too old). Teika wrote in his Maigetsusho that the best poems were spontaneous and original, but nevertheless traditional: The following is an example of how Teika used old and classic imagery such as Takasago and Onoe, as well as pine and cherry trees, in fresh ways: His poems were described as remarkable for their elegance and exemplars of Teika's ideals, in his early and later years (respectively; Teika considerably modified his personal beliefs during his 40s, after the death of Shunzei, and simplified his style of composition), of the styles of yoen – one of the ten orthodox styles Teika defined and defended in his poetic criticism, with some of the others being the onihishigitei ("demon-quelling force") style, the style of sabi or "loneliness" (closely related to mono no aware), the style of yūgen, or "mystery and depth"; the yoen style was concerned with "ethereal beauty", and ushin ("deep feeling" or "conviction of feeling". This shift in style from yoen to ushin was intended to achieve a certain sort of makoto, or integrity; Teika sometimes referred to his aim as ushin ("deep feeling"), which confusingly was also the name of one of the ten styles. The yoen style was one of the most popular in his time due in no small part to Teika's of it (yoen had first been described by Fujiwara no Mototoshi in the 1150s, but had been only marginally successful); years later, the Symbolists would admire and emulate (to a degree) his use of language to evoke atmosphere in his brief poems in the yoen style. An excellent example (and one later chosen for an Imperial anthology) is the first poem below: Partial bibliography Shūi gusō () ; Teika's personal anthology which includes over 3500 poems selected by himself. The two poems which offended Retired Emperor Go-Toba so much and caused the rift between Teika and him are preserved here only. Meigetsuki (; "The Record of the Clear Moon"; sometimes called "Diary of the Clear Moon" or possibly "Chronicle of the Bright Moon"; as the second translation suggests, this was a diary Teika kept in classical Chinese between the ages of approximately 18 (in 1180) to just before his death, around 1241; the entries for 1180 and 1181 may have been written when Teika was an old man, but the bulk of the diary covers the 47 years between 1188 and 1235. As its comprehensiveness might