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Updated: May 6, 2025
Their efforts are said to have been limited to the tracing of ideographs and the composition of verselets. A perfectly formed ideograph possesses in Japanese eyes many of the qualities that commend a pictorial masterpiece to Western appreciation.
Further reference to the subject will be made hereafter. Here it will suffice to note that the composing of such verselets was a feature of every age in Japan. A favourite pastime during the early historic period was known as uta-gaki or uta-kai.
To be able to adapt the Chinese ideographs skilfully to the purposes of written Japanese was a feat achieved by comparatively few. Much richer, however, is the realm of poetry. The compiler's name is not known certainly; he is believed to have been either Tachibana no Moroe or Otomo no Yakamochi. Old manuscripts and popular memory were the sources, and the verselets total 4496, in twenty volumes.
This specious precept was not intended to be literally obeyed. The shoguns had no desire for an erudite Emperor. Their conception of learning on the part of the sovereign was limited to the composition of Japanese verselets. A close study of the doctrines of the ancient Chinese sages might have exposed the illegitimacy of the Bakufu administration.
For Montoku's first born, Prince Koretaka, seeing himself deprived of his birthright, went into seclusion in Ono at the foot of Mount Hiei, and there, in the shadow of the great Tendai monastery, devoted his days to composing verselets.
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