Poetry

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Japanese and Chinese Poetry
Japan and China are some of the great countries in the world that use poetry to express
feelings and events surrounding the poet’s world. Poems from the two distinct cultures have
several similarities and distinctions. For instance, poets from China and Japan preferred brief
lyrics focusing on numerous themes such as the beauty of nature, family life, romantic love, and
friendship. In Japan, Haiku is one of the briefest poetry containing seventeen syllables that were
set in three lines of 5-7-5. Matsuo Munefusa (Basho) is renown as a king of haiku. China, as one
of the first civilization on the globe, had conquered some islands that today belong to Japan. As
such, it introduced its literature, Buddhism, Taoism, and Confucius principles, which later
influenced Japanese poetry. Most of the classic poetry in Japan appear in Chinese but were later
produced in Japanese. For instance, Kanshi (Japanese phrase for Chinese poetry and Japanese
poetry in Chinese languages) was the commonest poetry during the initial Heian period (Robert
(11). Some of the greatest Haiku and waka poets, such as Basho and Teika have referred to
Chinese poetry, particularly those from Tang dynasty (Wilson 4). Tu (Du) and Li Po are among
the respected poets in China. Li Po had the love for romanticism in Taoist culture, and on the
other hand, Tu (Du) explored rationalism of the Confucian culture (Hei& Hideaki, 17).
Due to the influence of Confucius, Buddhism, and Taoism, poets in the two cultures
emphasized discipline and imparting knowledge on the vitality of people having control over the
directions. However, there is a difference in the level of adulation for this practice. Japanese
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haiku came from a type of poetry called Renga, whereas, in early China, allowed some freedom
in the form of Yue Fu, which is made in the style of a folk song. It usually contains five words
lines or an uneven amount. Additionally, poems from these countries share similarities in
aesthetics, including the use of Yugen (mystery and depth) and the unsaid, which were
influenced by Confucius teachings.
The China-Japan poetry has influenced poetry in other parts of the group, chiefly the
Imagism movement in the West. Unlike the western poetry, which was inflated with abreaction
in a sentimental way, Sino-Chinese poetry was often understated. It displayed objects or images
without necessarily making direct comments (Luo 39). Western poets appreciated the traditional
Chinese poetry due to it imagery. Chinese ideograms communicate precisely in images and
objects, providing several spatial choices, creating an abstract idea in a composite idea. The
interest of Western poets in Chinese poetry led to some traditional Chinese poems being
translated into English. For instance, Pound compiled “Cathay” from nineteen poems from
China, which increased interest in Chinese and Japan poetry due to imagery principles. Ezra
Pound and other Imagists adopted the Chinese haiku as it provided a form that “presents an
intellectual and emotional complex in an instance in time” (Pound 200). China and Japanese
poem had an influence on the subject of western poets. They described humanity in terms
friendship and nature instead of phrenetic life or god-like heroes common among western
cultures. Japanese and Chinese poets tend to focus on moderate feelings and virtues, which are
common among Buddhism and Taoism practices.
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Works Cited
Hei S. &Hideaki K. Japan and China: How different they are! Sentiments-sharing Japanese
poetry and narcissistic Chinese poetry. 2013. Print
Luo Chun. “The influence of Sino-Japanese Poetry on the British-American imagist movement.”
Journal of Literature and Art studies, 2016. Print
Pound, E. Cathay. London: Elkin Mathews. 1951. Print
Robert James. “The Poetry of Dialogue: Kanshi, Haiku and Media in Meiji Japan, 1870-1900.”
Columbia University, 2012. Print
Wilson Robert. “The Chinese Influence on Japanese Short Form Poetry.” Web. March. 3, 2016.
<https://simplyhaiku.wordpress.com/2010/06/18/chinese-influence/>

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