This dissertation seeks to explore possible relationships between literature—poetry, in particular—and royal patronage. More specifically, I am here interested in examining the remarkable efflorescence of Sinitic poetry (kanshi) during the reign of Emperor Saga (786-842, r. 809-823), as well as some of its later developments in the private poetry collections of Shimada Tadaomi (828-891) and his pupil Sugawara no Michizane (845-903). The history of Sinitic poetry composed in Japan has been meticulously studied; there is certainly no dearth of research, either in Japanese or in English. Even so, the early ninth century remains somewhat of a mystery. A total of three imperially commissioned anthologies (chokusenshū) of Sinitic poetry and prose were compiled during this time, along with an imperial history—all of which were the direct product of Saga’s personal patronage. Much of his own poetry has been preserved in these anthologies. Despite the existence of hundreds of Sinitic poems, and a contemporary history (also in Sinitic), scholars tend to shy away from this period. This dissertation is an attempt to remedy that situation. As a means of facilitating a broader appreciation of Saga, I have included some material on King Alfred the Great (849-899, r. 871-899), the most well-known Anglo-Saxon king, and oft-celebrated father of the English nation, who was a near contemporary of Saga. Naturally, I have also interwoven some material on Emperor Taizong (598-649, r. 626-649) of the Tang dynasty, whose influence on ninth-century Sinitic poetry (in Japan) has been the focus of some past research. Scholars of East Asian literature, whether they specialize in Chinese or Japanese literature, are familiar with the grand literary and political legacy of this continental sovereign. Both Saga’s poetry as well as his ideal of sovereignty were influenced by the work of Taizong and his lettered vassals. A central assumption informs this work: ninth-century poetry was inevitably political, insofar as it served as a tool whereby authors could enforce or manipulate prevalent power relations within the court. Poetry, therefore, was both dominated by and exercised significant influence over hierarchical networks of patronage. Poetry was also occasional performative, that is, it was recited aloud on public occasions—royal banquets or excursions—before an audience of vassals and courtiers. Saga, as supreme ruler and patron, composed poetry that sought, through its presentation at these banquets, to repeatedly legitimate his own position, while simultaneously appealing to a number of different audiences. Different audiences harbored different expectations, and Saga, adroit politician that he was, strove to please each in turn by adopting a number of poetic voices or personae. This is especially evident after his retirement, when he found it necessary to adopt a different poetic persona more appropriate to his less prominent station. Tadaomi and Michizane, as recognized scholars, loyal vassals, and influential statesmen, received patronage from both sovereigns and high-ranking noblemen. These complex networks of patronage and varied audiences demanded the creation of ever more subtle poetic personae. This dissertation, among other things, is an exploration of how poets of the ninth century adopted different poetic personae in accordance with their intended audiences. The deliberate mixing of various Sinitic genres to achieve this end receives a great deal of attention.

Shinsen rōeishū as a poetry collection of kanshi and waka compiled by Fujiwara no Mototoshi has not been studied as comprehensive as Wakan rōeishū. This thesis focuses on the study of the anthology, the historical and cultural backgrounds, the creator and representative Japanese and Chinese poets, as well as translations and cultural study of several poems. It begins with a broad discussion of the development of poetry recitation and the reception of Chinese literature in Heian period. Next, several more specific aspects of the anthology are discussed, including the emergence and completion of Shinsen rōeishū, the content and its reception, as well as manuscript copies. In the following chapter, discussion about the creator deals with his conservative poetic style and his strained personal relationships with other poets such as Minamoto no Toshiyori. These aspects may lead to a deeper understanding on the relationship between these factors and the spread of Shinsen rōeishū. In the appendices, several representative poems in Shinsen rōeishū are translated. Reasons for the choice of certain target poems are put forward. Meanwhile the translations also include cultural and historical studies for some poems, in order to inspire further study on other poems in Shinsen rōeishū. Additionally, certain influential poets who made great contributions to Shinsen rōeishū as well as the development of kanshi are also discussed, such as Sugawara no Michizane and Bai Juyi.

Vít Ulman Reflection of Changes in Japanese-Chinese Cultural Relations in Shōkenkō and Bingashū Anthologies Abstract The main topic of this master thesis is the change in the approach to Chinese culture of Japanese medieval monk-poets as seen through the Bingashu and Shokenko anthologies written by the abbots Sesson Yubai and Zekkai Chushin. This work contains their short biographies. However, the main part of this thesis consists of an analysis of their representative poems.