Susukida Kyukin

Japanese: 薄田泣菫 - すすきだきゅうきん

Born: May 19, 1877, Oe Renjima, Okayama
[Died] October 9, 1945. Kurashiki poet and essayist. Real name: Junsuke. After dropping out of Okayama Junior High School, he moved to Tokyo and studied on his own. In 1897, his 13 poems entitled "Hanamitsun Kakurete Miegatashi" (Flowers are Hard to See) were recognized by Shimamura Hogetsu and others, and after three years of illness, he published "Kurebueshu" (1899), "Yukuharu" (1901), and "Tachikushita Gingkoju" (2002), becoming a leading figure in the world of poetry after Shimazaki Toson had left. While studying under Keats, he promoted the symbolic poetry movement after "Umichoon" (Seaside Sound), and made a great contribution to reviving old and obsolete Japanese words and establishing them as fixed-form literary poetry. Together with Kambara Ariake, he perfected the new style of poetry and ushered in the era of Namimizume = Ariake. In particular, "Oh Yamato Nishiaramashikaba" (05) and "Song of Nostalgia" (06) from the collection of poems "Aries" are masterpieces that borrow the poetic form of Browning and Goethe to evoke the scenery of Yamato, and are masterpieces that achieve the height of classical beauty with a hint of romanticism. In addition to the 7-5 rhythm, he also experimented with new rhythms such as 8-6 rhythm and introduced the sonnet form, which is not to be missed. He also left behind excellent collections of essays such as "Complete Collection of Tea Talks" (24) and "Sou Mokuchugyo" (29).

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

[生]1877.5.19. 岡山，大江連島
[没]1945.10.9. 倉敷
詩人，随筆家。本名，淳介。岡山中学校中退後上京して独学。 1897年『花密蔵難見 (はなみつにしてかくれてみえがたし) 』を総題とする詩 13編が島村抱月らに認められ，3年の病臥後発表の『暮笛集』 (1899) や，『ゆく春』 (1901) ，『公孫樹下にたちて』 (02) で島崎藤村の去った詩壇の第一人者となった。キーツに学びながら『海潮音』以後の象徴詩運動を推進し，日本の古語，廃語を復活させて文語定型詩に定着させた功績は大きく，蒲原有明とともに新体詩の完成者として泣菫＝有明時代をもたらした。特に詩集『白羊宮』中の『ああ大和にしあらましかば』 (05) や『望郷の歌』 (06) は，詩形をブラウニング，ゲーテに借りて格調高く大和の風物をさながら彷彿させる傑作で，ロマンの趣を秘めた古典美の極致を完成している。また，七五調以外に，八六調その他の新律を試みたり，ソネット形式を導入した形式の追求も見逃せない。『茶話全集』 (24) ，『艸 (そう) 木虫魚』 (29) などのすぐれた随筆集も残した。

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