MARC record from Internet Archive

LEADER: 03205cam 2200349 a 4500
001 ocm41226717
003 OCoLC
005 20221014102058.0
008 990421s1996 ja a 000 0 eng d
040 $aEDK$beng$cEDK$dOCLCQ$dOCLCF$dOCLCQ$dOCLCO$dEDK$dOCLCQ$dOCLCO
020 $a0964704021 v.1
020 $a9780964704022 v.1
020 $a096470403X v.2
020 $a9780964704039 v.2
035 $a(OCoLC)41226717
050 4 $aPL729$b.B55
100 1 $aBlyth, Reginald Horace.
245 12 $aA history of Haiku /$cReginald Horace Blyth.
260 $a[Tokyo] :$bHokuseido Press,$c1998-1963.
300 $a2 volumes :$billustrations ;$c19 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
505 0 $aVolume 1: From the beginnings up to Issa: -- Introduction -- Renga -- Sogi -- Sokan, Moritake -- Teitoku and the Teimon school -- Soin and the Danrin school -- Pre-Basho haiku poets -- Onitsura -- Basho -- Ten disciples of Basho I -- Ten disciples of Basho II -- Others of the Basho school I -- Others of the Basho school II -- Women haiku writers -- Haiku between Basho and Buson -- Buson I -- Buson II -- Taigi -- Poets of Buson's time I -- Poets of Buson's time II -- Issa I -- Issa II -- Issa III -- Issa IV.
505 0 $aVolume 2: From Issa up to the present: -- Introduction -- Poets of Issa's time -- Shiki: the critic -- Shiki: on Furu-ike ya -- Shiki: the haiku poet -- Meiji era -- Meiji poets I -- Meiji poets II -- Meiji poets III -- Santoka -- New haiku -- Showa era I -- Showa era II -- Modern poets I -- Modern poets II -- Modern poets III -- Modern poets IV -- Best modern haiku -- Summary -- World haiku -- Index.
520 $aFrom the Preface: These volumes, the first of two, traces the history of haiku from its beginnings in renga to the uncertainties of present-day haiku. Haiku are not very amenable to a chronological treatment. Haiku are moments of vision, and the history of moments is hardly possible. If we were to choose verses which are typical of each poet, it would not be so difficult to make out some sort of development, but if it is the best verses which we select, there must a sameness throughout, a more or less constant level of excellence in which it is difficult to distinguish one writer from another. A compromise has been effected by choosing the best of as many writers as possible, thus illustrating the ups and downs of haiku history. The religious naturalism and profound simplicity of Basho, the versatility of Buson, the artfully artless art of Issa, the objective dryness yet pregnancy of Shiki, and the decadence of all later writers is thus not obscured. A fair number of not first-class verses being inevitably included, the reader, making a virtue of necessity, may actually learn more about the nature of haiku by considering the failures and near-hits rather than the successes.--page v.
650 0 $aHaiku$xHistory and criticism.
650 6 $aHaïku$xHistoire et critique.
650 7 $aHaiku.$2fast$0(OCoLC)fst00950289
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
994 $aZ0$bGTX
948 $hNO HOLDINGS IN GTX - 8 OTHER HOLDINGS