26 Collection of Ancient and Modern Poems (Kokinshuu) About one hundred years passed between the eras Enryaku (782-806; reign of Emperor Kanmu) and Engi (901-923; reign of Emperor Daigo). On the surface, Chinese prose and poetry were at their height in this period. Several imperial collections of Chinese poetry were compiled: Cloud-borne Collection (Ryouunshuu), Collection of Literary Masterpieces (Bunka Shuureishuu), and Cllection for Ordering the State (Keikokushuu). Superficially it appears that the compilers valued foreign culture, and imitated it. However, during that time, hiragana syllabary evolved and the Iroha Song was composed. Exacting research was carried out on the structure of the Japanese language. In the process, the katakana syllabary was developed, and the table of the fifty sounds was devised. On the surface, the imitation of foreign culture was at a peak, while underneath, native Japanese culture was growing forcefully. The long poem presented to Emperor Ninmyou (r. 833-850) at his fortieth birthday is evidence of this. Monks of Koufukuji-Temple in Nara composed the poem and offered it to the Emperor, along with a state of Buddha and sutras. The poem has several aspects: 1. it is long, consisting of more than 300 phrases; 2. it followes the poetry format of the Nara period, with repeated "five syllables followed by seven syllables." But sporadically the new style of "seven syllables followed by five syllables" appears, setting the pattern for future literary development; 3. though composed by Buddhist monks, the poem begins with a reference to the ancient Japanese myths. Most important is its respect for the Japanese language. Here is an example: "The words that form our poem Are drawn wholly from The language used of old In this our land: We do not need Chinese vocabulary, And seek no help from Professors who write Chinese prose. As generations past Have long said of this our land: Tha land of Yamato, Country of the rising sun, Is a land of blessings Granted by the kotodama. Thus we have believed Ever since the days of old; Thus it has been told As it was spoken by the gods. And as we follow Faithfully our ancient ways, And deeply contemplating Things that are now long past, We used these words To compose poem after poem, And the poems served To praise and glorify the gods; Also they became Offerings to our sovereign lord." In sum, it says: "Japanese language has a mysterious, inexplicably magical nature; that is why it was traditionally used for the matters of the Gods and the Emperor; thus for this occasion, we shall refrain from using a foreign language and celebrate in Japanese language." The poem was composed in the second year of Kashou era (849), the middle point of the one hundred-year span between Enryaku (782-806) and Engi (901-923) eras. The Iroha Song had existed some thirty years, and katakana syllabary was in the developing stage. Thus this one hundred-year span in the beginning of the Heian period was actually the period when Japanese native culture, language and poetry were making great progress, despite the impression that Chinese prose and poetry were flourishing. For example, talented female and male Japanese poets such as Ono no Komachi and Arihara no Narihira appeared during this time. Eventually in the 4th month of the 5th year of Engi era (905), an imperial poetry collection, Collection of Ancient and Modern Poems (Kokin Wakashuu, abbreviated as Kokinshuu) was compiled, and their superb poems were selected, along with other superior contemporary poems. These poems became models of Japanese poetry composition, casting bright light upon the field for a long time. The compilation of Collection of Ancient and Modern Poems (Kokinshuu) was decreed by Emperor Daigo. The four compilers were: Ki no Tomonori, Ki no Tsurayuki, Ohshikouchi no Mitsune, and Mibu no Tadamine. Ki no Tomonori passed away in the middle of the compilation project, so Ki no Tsurauki became the central figure and representative, taking the responsibility for the selection of the poems. Upon completion it consisted of twenty volumes, organized under thirteen headings: spring, summer, autumn, winter, felicitations, parting, travel, word-plays, love, grief, miscellaneous, miscellaneous forms, court poems. Approximately 1100 poems were selected. This number is one fouth the number of poems contained in Collection of the Thousnd Leaves (Man'youshuu), but the collection is of enormous value. It was to be followed by many imperial poetry collection, so it served as the starting point and the model for the compilers of the subsequent poetry collections. Some of these subsequent imperial collections are: Later Collection of Japanese Poetry (Gosen Wakashuu, abbreviated as Gosenshuu, 951) Collection of Gleanings of Japanese Poetry (Shuui Wakashuu, abbreviated as Shuuishu, around 995-1011) The above two and Collection of Ancient and Modern Poems are altogether called The Collections of Three Eras. Later Collection of Gleanings of Japanese Poetry (Goshuui Wakashii, abbreviated as Goshuuishuu, 1086) Collection of Golden Leaves of Japanese Poetry (Kin'you Wakashuu, abbreviated as Kin'youshuu, 1127) Collection of Verbal Flowers of Japanese Poetry (Shika Wakashuu, abbreviated as Shikashuu, 1151) Collection of a Thousand Years of Japanese Poetry (Senzai Wakashuu, abbreviate d as Sezaishuu, 1187) New Collection of Ancient and Modern Poems (Shin Kokin Wakashuu, abbreviated as Shin Kokinshuu, 1205) The above eight collections as called The Collection of Eight Eras. (Rest omitted)

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