"Kyouen Poetry Collection"

…However, he had no connection to the kyoka world of the next generation, such as Shikazube Masakado and Yadoya Memori, and he had no disciples. However, the public was drawn to Shuzan's kyoka, and naturally his works increased in number. From around the end of the Bunka era (1817), he published anthologies of kyoka and kyobun such as Senkou Manshi, Manshi Senkou, and Shiho no Tomogasu, as well as his own handwritten Shuzan Hyakushu. In his later years, he was highly regarded as a representative intellectual of Edo, and was appointed as a referee in the ranking of Edo's literati and artists, and his poems from his youth were published as Kyoen Shishu. His works such as Ippai Ichigoto and Zokumimi Kobuki, which he wrote diligently out of curiosity, were already copied by his beloved readers during his lifetime, and his works such as Kana Sesetsu and Nanpou Yugon were published by his disciple Bunpoutei. …

*Some of the terminology used in "Kyouen Poetry Collection" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…ただし次代の鹿津部真顔，宿屋飯盛らの狂歌界と関係なく，また門人もないが，世人の人気は蜀山人の狂歌に集まり，おのずから作も多くなり，文化末年(1817)ころから《千紅万紫》《万紫千紅》《四方の留粕》などの狂歌狂文集，自筆の《蜀山百首》として出版された。　晩年はむしろ江戸の代表的な知識人として高く評価され，江戸の文人墨客の番付には判定の立行司に据えられたし，青年時からの詩は《杏園詩集》として出版された。また好奇心旺盛に筆まめに書きとめた《一話一言》《俗耳鼓吹》などは生前すでに愛読者があって筆写され，《仮名世説》《南畝莠言》などは門人文宝亭編で出版されている。…

※「《杏園詩集》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報