Shōtetsu

Infobox Person
name = Shōtetsu


image_size =
caption =
birth_date = 1381
birth_place = Bitchū province, Japan
death_date = 1459
death_place = Kyoto, Japan

Shōtetsu (正徹, 1381-1459 CE) was a major Japanese poet during the medieval period, and is widely considered to have been the last great poet in the courtly waka tradition pg 139; "Shotetsu is thought by some Japanese today to be the finest poet of the century; the twenty thousand poems of his personal collection, the "Shōkonshū", show that he was also one of the most prolific poets in the whole court tradition." "An Introduction to Japanese Court Poetry", by Earl Miner. 1968, Stanford University Press, LC 68-17138] ; a number of his disciples were important in the development of the renga art form, which led to the haiku.

History

He was born 1381 CE, in a minor fortified town in the then province of Bitchū (now Okayama) to a samurai of middling rank named Komatsu Ysukiyo. About ten years after his birth, Shōtetsu's family moved to Kyoto for unknown reasons. At approximately the age of 15 (by the Occidental count), he was sent to the religious center of Nara where he became an acolyte in an unspecified but apparently prestigious Buddhist temple. He would spend the next five years there studying, among other things, Buddhist scripture.

Shortly after his father's death in 1400 CE, Shōtetsu moved back to Kyoto, and sought out a fellow named Imagawa Ryōshun (b. 1325/1326 ?, d. 1417/1420) and asked him to instruct him in the "Way of Poetry".

This was not an unexpected visit for Ryōshun; he and Shōtetsu had met many times previously- it was this Imagawa Ryōshun, retired military leader, lay priest, respected amateur poet, and accomplished author of polemic essays attacking the enemies of the Reizei poetic clan, who was apparently instrumental (the relevant passage gives an incorrect age for Ryōshun at the period it supposedly occurred, leading Inada Toshinori to believe that the passage conflates a number of events; thus it may be misleading as to the circumstances that introduced Shōtetsu to courtly poetry), in introducing the young Shōtetsu (whose personal name then still was Sonmyōmaru, given name Masakiyo) to poetic composition. From an autobiographic portion of Shōtetsu's extended essay on poetry, "Shōtetsu Monogatari" citation
last=Brower
first=Robert H.
author-link =
year = 1992
title = Conversations with Shōtetsu
publisher = Thomson-Shore Inc.
edition =
volume =
id =
isbn = 0-939512-43-2 (Translation of "Shōtetsu Monogatari".)] :

"A certain preceptor of the Ontoku'in once said to me, "If you want to compose poetry, I will take you with me to the civil administrator's house across the way." At that period of my life, I was still wearing my hair long in the manner of young children, and I felt embarrassed by my extreme youth, but nonetheless I went with the preceptor to the civil administrator's house. ... Then, when I arrived at the poetry meeting itself on the 25th, the highest places on the one side were occupied by Reizei no Tamemasa and Tamekuni, and on the other side by the former shogunal deputy... [who] was at that time a lay priest of more than 80 years... After this occasion, I just kept going again and again to those meetings, and thus gained experience in poetic composition. I was fourteen years old at the time."

Shōtetsu studied classical courtly poetry with Ryōshun, and other areas of literature, including of course famous works like "The Tales of Ise", "Essays in Idleness", and was even inducted into the secret traditions relating to the famed "Tale of Genji" and the"Shin Kokin Wakashū". With such an influential master, Shōtetsu met and learned from many of the most influential poets of the age. In 1406, Shōtetsu left his master, entering into an especially prestigious Kyoto Zen temple called Totukuji; no doubt he was admitted in no little part because of his relationship to Ryōshun (now in his nineties), who had previously gone to that temple. It was during this period that the Reizei family and its poetic ideals (along with associated poets) flourished receiving high titles and numerous grants of land. As he was solidly in this school of poetry, Shōtetsu prospered as well.

Eventually, cut loose by his two mentors' deaths (Tamemasa would die in 1417, and Ryōshun in either 1417, or 1420), Shōtetsu embarked on a short journey - one of the very few journeys far away from Kyoto in his life - to visit various "utamakura" (places famously commemorated in poetry); upon his return to Kyoto, he plunged whole-heartedly into Kyoto's poetry scene, having decided to make his life's work poetry, and not Buddhism.

By 1424, he had left his temple for a modest hut on the outskirts of Kyoto, as befitted a professional poet with the accompanying hosts of disciples, patrons, and invitations to head poetry gatherings at the most noble families' homes (and eventually at the residences of the Ashikaga shoguns themselves).

But alas, this productive and happy era for Shōtetsu could not, and did not, last forever. It ended between the second and third day of the fourth month of the year 1432 CE; of the disastrous ending, he wrote:

"On the night of the second, I stayed over at the house of the Chief of Central Affairs, and awakened to a report that my hut, "Imakumano", had burned in a fire in the neighborhood in the middle of the night- a report that was to no avail, for the damage was already done, with all of the poems I had composed since my twentieth year, all 27,000 of them, in more than 30 volumes, gone up in smoke, not a single one escaping- and this along with all my books and hand-copied treasures."

Even worse, this catastrophe was not an isolated setback for Shōtetsu- the shogun Ashikaga Yoshimochi had died in 1428, and his younger brother Ashikaga Yoshinori (b. 1394, d. 1441) had become shogun. Unlike his deceased brother, Yoshinori not non-partisan with regard to the poetic dispute between the Reizei and the Asukai, distinctly preferring the Asukai's poetry; in addition, several traditional biographies of Shōtetsu claim that Yoshinori had a personal antipathy to him, going so far as to place Shōtetsu under house arrest. Shōtetsu would suffer two major blows from this official hostility: the income from his hereditary estates was confiscated. This was a major financial blow to him, but by no means fatal.

The second blow struck straight at his heart- he was denied inclusion in the 21st, and last ever, Imperial anthology of waka which was compiled and edited by the Asukai. This exclusion from the "Shinzo kukokinshū" ("New Collection of Ancient and Modern Times Continued") meant that Shōtetsu could never achieve the final pinnacle of recognition for poetic merit, and that his name would be permanently diminished for all time; it is difficult to overstate how important inclusion in an Imperial anthology was to medieval poets.

In the wake of this blow, Shōtetsu became a hermit, seeing few people, going to fewer gatherings, and composing even fewer poems. His retreat ended in 1441 with the assassination of Yoshinori by one of his generals- his partisan spirit had extended beyond the field of poetry, and irritated many. Shōtetsu returned to his former place, now a highly respected and experienced poet in the liberal Rezei tradition. These were good and prosperous times for him, as he had entry into the most exclusive homes, and indeed, would even tutor the new shogun, Ashikaga Yoshimaga (b. 1435, d. 1490), in the intricacies of the "Tale of Genji"; his reward for this lengthy tutoring would be the return of his familial estate.

From this period on, Shōtetsu began declining in ill-health. The shadow of the approaching Ōnin War was even then visible in the riots and disturbances which began occurring number of years before. Shōtetsu had by this point also outlived many of his patrons, students, teachers and friends. After three years of prolonged illness, Shōtetsu died at the age of 79 in the year 1459. Even at the end he was hopeful- he had begun copying out the "Tale of Genji", expecting to complete it before he died. He had finished the first chapter. In his later years, his greatest student be the Bishop Shunkei (1406-1475), who, while he greatly admired his former teacher and Teika, worked not just in waka, but in renga as well, where he was known for his usage of the "yugen" and "yōembi" (ethereal beauty) styles.

Historical context

:"In poetry there are no teachers. One makes antiquity one's teacher. Provided he steeps his mind in the styles of antiquity and learns his diction from the great poets of old, who can fail to compose good poetry?" --Fujiwara no Teika

A defining feature of the poetry of Japan at this period was the existence of a long running feud or war between a number of clans over primacy in poetry, and consequently in courtly influence. Each clan came to be associated with a distinct artistic school- the Rezei family, which Shōtetsu was aligned with, distinctly hewed to a liberal bent, which encouraged its poets to experiment with all of the traditional 10 recognized styles of poetry, as opposed to the Nijō family, which advocated a restrained, conservative style (specifically, the "ushin", or deep feelings style).

Both of these families were descended from Fujiwara no Teika, and both claimed to carry on his legacy.

After a period of Reizei ascendancy under Rezei Tamehide (great-grandson of Teika) (b. 1302 ?, d. 1372), they suffered a decline and a consequent rise in the fortunes of the Nijō, as Tamehide's son, Iametuni, became a monk. The Nijō soon suffered setbacks under the wastrel Nijō Tameshige (b. 1325, d. 1385), whose promising son, Nijō Tametō (b. 1341, d. 1381), was killed comparatively young, killed by a brigand.

In a further disaster for the Nijō, Tametō's son, Nijō Tamemigi was killed by a brigand as well in 1399 (?), effectively wiping out the Nijō as a force. Under the grandson of Tamehide, Tanemasa (b. 1361, d. 1417), the Rezei were raised again to their former position of dominance, where Shōtetsu came into the picture.

He did this with the aid of a former general, Imagawa Ryōshun (b. 1326, d. 1417 or 1420), who had considerable literary skill. They defeated the Nijō adherents close to the Ashikaga Shogunate with 6 polemical treatises between 1403 and 1412, defending the Reizei's poetic doctrine and their cause. Ryōshun used a number of quotations to bolster his case, including notably a quote of Teika, which was that all of the "ten styles" were licit for poetic use and experimentation, and not merely the Nijō's ushin. With the aid Ryōshun afforded him, Tanemasa's politicking eventually succeeded in converting the Shogun, ending the matter- until the Asukai revived the dispute, that is.

His poetry

Shōtetsu was a remarkably prolific poet- Steven D. Carter once remarked that "His complete oeuvre, if it existed today, would probably comprise over 31,000 poems." He emulated his idol Fujiwara no Teika in striving to master all accepted style of poetry. His corpus is extremely difficult to critically examine due the issues of incompleteness, a wide range of voices and style, and sheer size- even with the loss of his early works, 11,000 poems is still vastly more than most poets ever write.

Examples

An example of one of his "yugen" ("mystery and depth") poems (translation and format, Steven D. Carter), with the assigned topic preceding Shōtetsu's response:

"An Animal, in Spring":The gloom of dusk.:An ox::from out:::in the fields:comes walking my way;:and along::the hazy road:I encounter::no one.

Shōtetsu was also adept at courtly love poems:

"The Unbearable Wait for Love":Past and::gone now:is the time I awaited,:leaving me::clinging-:anxious for wind::from the pines,:like dewdrops::at break of day.

An allusive variation on a poem by Teika:"Forgotten love":I had forgotten-:as I kept on forgetting :to remind ::myself :that those who vow to forget:are the ones who can't forget.

An allusive variation on an anonymous Kokin Wakashū poem:

A number of his poems allude to his understanding of Zen Buddhism:

"Seeking Love"

:With what harshness:they come blowing::towards me-:the mountain winds:from deep::within:::the heart:of one who asks::no lodging.

"Buddhism, related to the Moon"

:"Look up!"::someone says,:pointing into::empty sky:with one finger-:but no one::bothers to obey:and get::A look:::at the moon.

"Buddhism"

:Even::the mountains:all take::for themselves:::the form:of::the first Buddha;:and how ceaselessly:::the law:is expounded::by the storm winds!

"The Gods"

:Besides::myself:there is::no other god!:For the gods::themselves:know that it is::in men's hearts:that their own gods:::may be foundAs befitted a professional poet, a number of poems reflect on hischosen occupation:

"Famous Market Town"

:They accumulate,:but there::is no one:::to buy them-:these leaves::of words:piling up::like wares:::for sale:beneath the Sumiyoshi Pine.

"Lamenting"

:Darkness has fallen.:With my boat::making no progress:on Waka Bay,:I end this year::As others,:tossed on::the waves:::of old age.

"Reminiscing"

:So far::to go yet:on the long Way of Poetry-:when the daylight:::ends.:How I wish::I had:::the body:I had::back when I began!

"Prayer to the Gods"

:Learn it well,:::then::for of the deeds established:in the Age::of Gods,:only::this way:::yet remains-:The Way of::Words of Yamato.

But of course, most poems are not so easily categorized:

"Summer Writing Brush"

:When I::look upon:the rich sheen::of summer hairs:in my new writing brush,:I am saddened:::by a deer-:drawn::at night:::to a hunter's torch.

"One Call from a Cuckoo"

:As if to say-:"Isn't it true::for men, as well::that the more the words,:the less they are of value?"-:the cuckoo does not call again.

"Reminiscing"

:All these

Critical to understanding his poetry is appreciation of his connection with Teika.

Teika

:"In this art of poetry, those who speak ill of Teika should be denied the protection of the gods and Buddhas and condemned to the punishments of hell."

:"Both factions (Nijō vs. Rezei) are tiresome. I myself have no respect for those degenerate houses. I study only the essence of Shunzei and Fujiwara no Teika."

Monogatari

Most of modern critical understanding of Shōtetsu's poetic philosophy is derived from his "Monogatari", which is almost surely by either Shōtetsu himself, or else was compiled and edited by his disciple Shōkō. The work is indispensable, not merely for the critical discussion, but also for the biographical detail on Shōtetsu it provides. It exists in 2 volumes, probably compiled by disciples. It contains 'randomly a variety of information: bits of Shotetsu's poetic biography, an articulation of his aesthetic ideals [Particularly "yugen"] , exegeses of poems, poetic anecdotes, advice for novice poets, and such specialist information as the date of Hitomaro's death.' [ [http://links.jstor.org/sici?sici=0027-0741%28199223%2947%3A3%3C389%3ACWS%3E2.0.CO%3B2-0 "Conversations with Shotetsu."] Review by Roselee Bundy; "Monumenta Nipponica", Vol. 47, #3, Autumn 1992 pages 389-391; the review covers Robert Brower's English translation of "Shotetsu Monogatari"] .

It also provides striking objective proof of Shōtetsu's veneration for Fujiwara - the only poet whose poems are discussed more than Teika is Shōtetsu himself. For all that Shōtetsu was seen by others as a staunch Rezei apologist, and for all that Shōtetsu benefited from his affiliation with the Reizei, he was a bit of a poetic fundamentalist:

"Each of these schools has succeeded in mastering only a single poetic style and is constantly disputing with its rivals. It is my opinion that a person should pay no attention whatsoever to these schools. Instead, he ought to cherish the style and spirit of Teika, and strive to emulate him though he may never succeed."

"Now, a person might object to this kind of expression, saying that he would write instead, "Can it be that he has prayed / never to see me again?" and protesting that there is no point in putting it into such difficult language. This may be very true, of course, but let such critics look at the collected poems of Teika. There is not a single flat verse to found among them."

Partial bibliography

*"Shōkonshū" ("Grass Roots") was Shōtetsu's personal anthology of poetry from when he was 52 (the year his Imakumano quarters, and his 32 volumes of 27,00 poems were destroyed by fire), to his death, consisting of ~11,000 poems; this collection was revised after his death by his disciple Shōkō (b. 1412, d. 1494 CE).
*"Shōtetsu Monogatari"; a work of admixed autobiography and poetic criticism. It is an invaluable source of information on Shōtetsu's life and views, even if apparently compiled and edited by his disciples after his death.

References

*citation
last=Carter
fist=Steven D.
author-link=
year=1997
title=Unforgotten Dreams: Poems by the Zen Monk Shōtetsu
place=
publisher=Columbia University Press
id=ISBN 0231105762
*citation
last=Miner
first=Earl
author-link=
year=1968
title=An Introduction to Japanese Court Poetry
place=
publisher=Stanford University Press
id=ISBN 0804706360

Persondata
NAME=Shōtetsu
ALTERNATIVE NAMES=Shotetsu or Shōtetsu; Sonmyōmaru Masakiyo
SHORT DESCRIPTION=Japanese Zen monk and poet
DATE OF BIRTH=1381 CE
PLACE OF BIRTH=Okayama
DATE OF DEATH=1459
PLACE OF DEATH=Kyoto