This presentation will analyze the reception of Hakushi Bunshū （Baishi Wenji） within Tsurezuregusa （Essays in Idleness）, in addition to examining the method of its reception and the influence of its expressions. The thirteenth passage in Tsurezuregusa mentions Monzen （Wen Xuan）, Hakushi Bunshū, Rōshi （Laozi）, and Sōji （Zhuangzi） as representative works of Chinese classics. The impact of Hakushi Bunshū on Tsurezuregusa has been indicated by several researchers, however, there is still no established theory on the actual circumstances of its reception. There are theories that question whether the poetry from Hakushi Bunshū quoted in Tsurezuregusa was actually quoted directly from Bunshū, as well as theories that postulate that the reception of Bunshū in Tsurezuregusa had a large, direct influence on the motifs and design for all of the passages. In this way, previous research focuses on whether or not Tsurezuregusa received Hakushi Bunshū directly, and while such research is helpful as a foundational study that investigates a text’s origins, in terms of the reception of Hakushi Bunshū in Tsurezuregusa, if one only considers the difference in partial quotations and quotations that concern the entire design, one cannot fully grasp the effects in expression achieved through the reception of the Hakushi Bunshū, or the method in which the text was received.This presentation will reconsider the reception of the Hakushi Bunshū within Tsurezuregusa as indicated by previous research, in addition to examining the method of reception and effect that the expressions within the Hakushi Bunshū had on Tsurezuregusa, which acted as an intermediary for haiku selections such as the Wakan Rōeishū, for court literature such as Genji Monogatari, and for the world of waka as in the Bunshū Hyakushu. While the reception of the Hakushi Bunshū was primarily founded on other classical works, the method of reception was unique in that it drifted away from the meaning or usage of the original text, and instead only borrowed the expressions of Bai Juyi in order to state original ideas. Another notable method was the use of expressions that were established or had changed within the waka genre. Additionally, within Tsurezuregusa, one can find something similar in the ancient commentaries of Wakan Rōeishū and Genji Monogatari in trying to understand the Bunshū. In this way, the presenter will attempt to investigate the multilayered method of citation and reception in Tsurezuregusa by not only looking at the original work, but also its reception of previous classical literary works as reflected in the text.