The critical writings of Ogyu Sorai, one of the most original and influential early modern Japanese intellectuals, helped set the stage for the emergence of a bunjin consciousness. Another early Confucian advisor who attempted to embody bunjin ideals of aloof refinement in his life and work is Gion Nankai. Nankai's experience differs from Hattori Nankaku's in that Nankai did not resign but was punished for a certain infraction and kept under house arrest for ten years. Individuals who decided to step away from social engagement and follow a life devoted to literary and artistic endeavors, five stand out: Yosa Buson, Tsuga Teisho, Takebe Ayatari, Hiraga Gennai, and Ueda Akinari. All five share Nakamura Yukihiko's bunjin attributes of versatile creativity, eremitism, and aloof idealism, and all created works that continue to attract viewers today. Teisho's collections were identified by later writers as the earliest examples of what has subsequently become known as the yomihon, a specific genre of narrative fiction.

Haikai as a popular genre fully came into its own in the Edo period, moving from a state of anonymity to a multifaceted genre that had a broad impact on many other cultural forms. Matsuo Basho, who participated in both the Teimon and the Danrin schools, became the most influential haikai poet of the late seventeenth century. Haikai was to evolve significantly after the passing of Basho and his school. One major successor was Yosa Buson, who moved to Edo and became a disciple of Hayano Hajin, a haikai poet who had established the Yahantei circle in Nihonbashi. In the early nineteenth century, after Buson and his successors had died, haikai continued to be popular. The most talented haikai poet of this age was Kobayashi Issa, whose main interest was in the contemporary and quotidian, and who focused on the hokku rather than on linked verse. Issa is considered a highly unorthodox haikai poet.