tag:blogger.com,1999:blog-786207835641480928.post654891327449942613..comments2024-03-28T12:59:41.910-04:00Comments on NeverEnding Story: To the Lighthouse: Tentori (Point-Scoring) Haikai and Haikai TwistChen-ou Liu, 劉鎮歐http://www.blogger.com/profile/06235248170011255532noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-786207835641480928.post-77949094249451972652013-07-01T08:47:55.691-04:002013-07-01T08:47:55.691-04:00In her well thought-out essay, “Depopularizing the...In her well thought-out essay, “Depopularizing the Popular: Tentori Haikai and the Bashô Revival,” Cheryl Crowley “[discusses] the characteristics of haikai that made it a part of popular culture…then [examines] the circumstances of the historical development of haikai that led to the rise of tentori (point-scoring) haikai, and …[shows] how the Revival poets' efforts to counteract what they saw as the cheapening effect of popularization as a defense not only for the dignity of haikai, but of their own as well.” <br /><br />The eaasy was reprinted in the Spring 2006 issue of Simply Haiku, and can be accessed at http://bit.ly/hMSQfCChen-ou Liu, 劉鎮歐https://www.blogger.com/profile/06235248170011255532noreply@blogger.comtag:blogger.com,1999:blog-786207835641480928.post-13951308473281204272013-07-01T08:45:30.881-04:002013-07-01T08:45:30.881-04:00Over years of grouping and regrouping among Basho’...Over years of grouping and regrouping among Basho’s disciples and their followers, there were two major factions: the rural Shomon, which was divided into two sub-factions, the Mino and Ise factions, and the urban Shomon. The division was related to the different periods of the Basho style during which he made stylistic changes exemplified in various anthologies published by his supporters. <br /><br />Rural Shmon poets looked to the style with which Basho experimented in the last years of his life, the karumi (lightness) style. This style “emphasized simplicity and ordinary language and situations,” and the verse anthology, Charcoal Sack, was considered by the followers as the “epitome of good haikai.” Urban Shomon poets closely followed the style of Basho’s developed in the Tenna period (1681--84), the kanshibuncho or Chinese style. “[It] was a literary, elevated style that drew on kanshi (poetry in Chinese) for its model,” and the verse anthology, Empty Chestnuts, was regarded as the “‘quintessential expression of Basho’s kanshibuncho period.” <br /><br />Chen-ou Liu, 劉鎮歐https://www.blogger.com/profile/06235248170011255532noreply@blogger.com