from loneliness, to falling in love, to a mature relationship, and then the sorrow when it ends) or which refer to elements of previous poems (a technique later central to renga sequences). Go-Toba used such techniques consistently and often, whereas Teika's use was more erratic. During the compilation of the Shin Kokinshū, there were other differences, apparently over how wide-ranging a net to throw for poems: Teika's displeasure manifested itself in more petty ways, such as refusing to attend a banquet in 1205 (300 years after the Kokinshū was completed) celebrating the official completion of the Shin Kokinshū because there was no precedent for such a banquet (apparently he was not convinced by the precedent of the banquet celebrating the completion of the Nihon Shoki); Go-Toba reciprocated by cutting Teika out of the process of continually revising the Shin Kokinshū (while it was officially complete by the date of the banquet, it was de facto incomplete as the Japanese Preface only existed in rough drafts and because Go-Toba would continue revising the selection of poems for some time thereafter, only releasing the final edition approximately 6 years later, sometime after the ninth month of 1210; indeed, Go-Toba would continue revising it until his death, although the later revisions are not extant). In addition, there apparently were serious personality conflicts, which lead Go-Toba to write once, after praising Teika's poetry, that: (The stag and horse anecdote refers to the ancient Chinese Zhao Gao (d. 207 BCE), who revolted after an incident in which he brought a stag to the Imperial court, claimed it was actually a horse, and saw that more of the officials sycophantically agreed with him, rather than the emperor who pointed out that the horse was actually a stag.) Donald Keene believes that as Teika grew more important, he resented Go-Toba's peremptory use of him. In his later years, Go-Toba took issue not merely with Teika's personality, but also with his poetry, complaining of Teika's more liberal style that Teika (among other things) "by contrast, paid no attention whatsoever to the topic. For this reason in recent times even beginners have all come to be like this. It is outrageous. Only when one concentrates very hard upon a compound topic and composes a poem which centers upon the topic is the result of any interest. This modern style is sheer carelessness. It is absolutely essential to practice composing