was the pen-name of a Japanese poet and novelist active during the Taishō and Shōwa periods of Japan; he is often known as Kambara Yumei. Early life Ariake was born in Tokyo. His father, an ex-samurai from Higo province, was a close associate of Etō Shimpei and active in the Meiji Restoration. His real name was Kambara Hayao. He was so sickly as an infant that his parents waited for a full year to officially register his name with the local government. He moved to Tokyo together with Ōki Takatō and his mistress, leaving his wife in Higō. Literary career While still at middle school, Ariake developed an interest in the works of Byron and Heine, and began writing poetry in a similar style. In 1894, he started a literary journal called Ochibo Zōshi ("Gleaners’Notes") together with Hayashida Shuncho and Yamagishi Kayo, in which he serialized his first novel, . He escaped military conscription during the First Sino-Japanese War as he failed the physical examination. In 1898, Ariake won first prize in a Yomiuri Shimbun contest with his second novel , which was highly praised by one of the judges, Ozaki Kōyō. However, Ariake gave up prose and decided to concentrate only on poetry for the rest of his literary career. His first anthology, , was published in 1902, and borrowed themes from the ancient Japanese chronicles Kojiki and Fudoki. However, the style of his works exhibited influence from western poets, such as John Keats and Dante Gabriel Rossetti. He followed with a second anthology of lyrical poetry called Dokugen Aika in 1903. In this anthology, he also included Japanese translations of the works of Keats, in which he attempted to follow the rhyming pattern of the original sonnet, but resorting to many archaic and difficult words. Ariake served as the manager of a popular writer's salon called Ryudōkai, which was started in November 1904, by art critic Iwamura Toru at a French restaurant called Ryudōken in Azabu, Tokyo. Ariake and Iwamura were friends, and Ariake made contact with numerous people in the contemporary literary work, including Kunikida Doppo, Katai Tayama, Shimazaki Tōson, Masamune Hakuchō, through his job as manager of the Ryudōken. In his fourth anthology, , in 1922, he introduced the 14-line sonnet, which was previously seldom used in conventional Japanese modern poetry. Its publication gained him a reputation as a leading figure in Japanese symbolist poetry. However,