Introduction
instrument of procreation. For the first time, the Japanese poets accepted the Western habit of idealizing love and began to exhibit themselves in a romantic light.
Akiko’s poetic inspiration was continuous, and during 1904 and 1905, four small volumes were published. In 1906 appeared Mai hime (Dancing Princess), which attained a much higher tone than the previous volumes. Although her writing still gave abundant evidence of the intoxication of love and beauty, both emotion and expression were tempered by intellectual qualities. Skeptical readers of the earlier volumes now acknowledged her genius, and the period was called the Age of Akiko. Of minor significance was the fact that this was the first volume of Japanese poetry to appear in the Western style of binding.
Toko-natsu (Eternal Summer) in July, 1908, and Sao hime (Spring Maiden) in May, 1909, more or less sustained this level of inspiration. The Shundei-shu (Spring Mire) in January, 1911, reveals a depth of thought and contemplation not found in Akiko’s youthful work. Dr. Bin Ueda, who wrote a prologue to Takuboku Ishikawa’s Longings in 1905, honored Akiko’s volume with a
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