This thesis asks the question of how we can understand the nature of ‘kyōka’ (lit. "crazy poems") in the centuries before they became a clearly established genre in early modern Japan. This is not...Show moreThis thesis asks the question of how we can understand the nature of ‘kyōka’ (lit. "crazy poems") in the centuries before they became a clearly established genre in early modern Japan. This is not so much done through a poet’s self-identification of a poem's genre as rather by attempting to chart the relative levels of ‘ga’ (refinement) and ‘zoku’ (‘vulgarity’) characteristics in the poems, and in this way create a new approach to the study of early kyōka. It is pointed out that ga and zoku are not equal categories, but rather that the degree of ‘infiltration’ of zoku determines how a poem can be understood. This approach is then used to look at the ‘Craftsmen’s Poetry Contest in Seventy-one Rounds’ (Shichijūichiban shokunin utaawase) from 1502. Situated in a genre of poem contests developed at the royal court, it ostensibly encompasses poems that sit firmly in a court tradition far removed from the early modern kyōka setting, yet shows remarkable zoku characteristics, and the question is raised whether this poem collection (and possibly others) can be considered 'kyōka hiding in plain sight'.Show less
