Hakushū Kitahara
Hakushū Kitahara was born in Yanagawa, Fukuoka Prefecture, Japan on January 25th, 1885 and is the Japanese Tanka Poet. At the age of 57, Hakushū Kitahara biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.
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In 1904, Kitahara moved to Tokyo and began submitting his poetry to various literary magazines. In 1906, he joined the Shinshisha (New Poetry Association) at the invitation of Yosano Tekkan, and he published poems in its magazine Myōjō (Bright Star) that brought him instant fame as a rising young poet, and served as an introduction to a wide circle of writers and poets. From these contacts, Kitahara formed his own literary group, the Pan no kai (The Society of Pan), which was innovative in including painters, musicians and actors as well as writers.
In 1909, he became one of the founding members of the literary magazine, Subaru (The Pleiades), where he published his first collection of verses, Jashumon (Heretics), which took the poetic world by storm. Through the use of its rich imagery and innovative structure, it (along with Yosano Akiko's Midaregami), is credited by critics with having set a new baseline for modern Japanese poetry. Kitahara's initial success was followed by Omoide (Memories, 1912), in which he evokes memories of the world from a child's perspective.
In 1907 he published the essays 5 Pairs of Shoes, together with Yosano Tekkan, Mokutaro Kinoshita, Hirano Banri and Yoshii Isamu.
In 1912, Kitahara was arrested for adultery and jailed for two weeks. Though the charges were later dropped, the experience was traumatic, as it was mentioned briefly in his first tanka anthology, Kiri no hana (Paulownia Blossoms, 1913), as having led to a religious influence in his outlook on life. This became evident in his second anthology, Shinju Sho (Selection of Pearls, 1914), and his third, Hakkin no koma (Platinum Top, 1915), which include one-line poems in the form of Buddhist prayers. He strove for what he called “oriental simplicity”, a concept which he borrowed from his understanding of Zen in Suibokushu (Collection of Ink drawings, 1923) and Suzume no tamago (Sparrow's Eggs, 1921).