connection could have existed between the two types of poetry. A typical lien-chü is this dialogue between one Chia Ch‘ung and his wife, a work of the fourth century A.D.:
| Chia: | Who is it sighs so sadly in the room? |
| Wife: | I sigh because I fear our ties may break. |
| Chia: | Our marriage ties are firm cemented; rocks may crumble, but my heart will never change. |
| Wife: | Who does not worry at the end? ’Tis fate that they who meet must part. |
| Chia: | My heart is known to you; your heart I understand. |
| Wife: | While you are faithful to your word, it’s fit I stay with you. |
This example illustrated two characteristics of the Chinese lien-chü, the unity of subject and the lightheartedness of the tone, neither at all true of Japanese linked-verse. In any case, I believe it is clear from what has already been said that the linked-verse was a natural development in Japanese poetry, and not dependent on any foreign influence.
The lien-chü was never taken seriously by the Chinese, and is barely mentioned in histories of their literature, but linked-verse developed steadily in Japan into an extraordinarily complicated form of poetry, governed by elaborate codes. Of the opening verse (the hokku) it was said, “The hokku should not be at variance with the topography of the place, whether the mountains or the sea dominate, with the flying flowers or falling leaves of the grasses and trees of the season, with the wind, clouds, mist, fog, rain, dew, frost, snow, heat, cold or quarter of the moon. Objects which excite a ready response possess the greatest interest for inclusion in a hokku, such as spring birds or autumn insects. But the hokku is not of merit if it looks as though it had been previously prepared.” The requirements for
