Paper short abstract:

The paper explores the interrelations between Edo poetic genres senryū and kyōku, attempts to find where the concept of maekuzuke and the concept of senryū overlaps, and examines whether the term senryū may be expanded on the texts other than those published in Yanagidaru anthology.

Paper long abstract:

Though the senryū poetry is considered very popular during the second half of Edo period, as proved by 167 volumes of Yanagidaru anthology, it was officially defined as a genre in the beginning of the 20th century, when Inoue Kenkabō and Sakai Kuraki started to research this poetry. While the modern period senryū has a name and a definition, it is yet to be determined what Edo senryū's (or old senryū) consist of and which texts should be gathered under the term.

The paper explores the interrelations between Edo poetic genres senryū and kyōku, attempts to find where the concept of maekuzuke and the concept of senryū overlaps, and examines whether the term senryū may be expanded on the texts other than those published in Yanagidaru anthology.

The original Yanagidaru was a collection of cut maekuzuke poems, which were created during the poetic competitions. There are various collections of maekuzuke published synchronically with Yanagidaru, the first anthology of senryū, however these collections are sometimes considered general zappai rather than senryū in particular. It is also unclear how well-established was the term senryū before Meiji Restoration, because senryū and kyōku are used almost as synonyms when referred to late Edo.

The lack of genre theory during Edo period brings out the question if Edo senryū should be even regarded as an isolated genre and not just as a part of zappai. The history of senryū between its birth and the initial time of popularity and the development of late Edo kyōku is usually described as a regressive period, but at the same time it may be the turning point for the independence of a genre that ensured its sustainability.