I mentioned Shin-kokin-chō the other day. Scholars have, of course, discerned corresponding "tones" in the regular Kokinshū (Kokin-chō) and its predecessor the Manyōshū (Manyō-chō).

Kokin-chō is considered "feminine", and content-wise its main distinguishing feature is its heavy reliance on puns, metaphors, and the like. The general image of classical Japanese poetry as a delicate arrangement of allusions and innuendo is entirely due to the lasting influence of Kokin-chō. Manyō-chō, on the other hand, is "masculine": direct, vivid imagery; relative metric freedom; heavy use of "pillow words".

That's not to say that there are no metaphors or wordplay in the Manyōshū. There are plenty. They just aren't quite as subtle. For instance, consider this poem by Fufuki no Toji ("Lady Fufuki", 吹黄刀自), allegedly inspired by Emperor Tenmu's daughter Tōchi no Himemiko (十市皇女)'s visit to Ise shrine.

河の上のゆつ岩群に草むさず常にもがもな常処女にて
kawa no [u]e no/ yutsu iwamura ni/ kusa musazu/ tsune ni mo ga mo na/ toko-otome ni te
In the river/ the sacred clustered rocks/ do not sprout grass/ Would that [you] were ever thus--/ an eternal maiden

I'm sure it was all well and good back then, but for a modern reader, that poem starts to get creepy by about ku four.