Nakahara adapted the traditional counts of five and seven used in Japanese haiku and tanka, but frequently tripped these counts with variations, in order to obtain a rhythmical, musical effect. Several of his poems were used as lyrics in songs, so this musical effect may have been carefully calculated from the start. Chūya's works were rejected by many publishers, and he found acceptance primarily with the smaller literary magazines, including Yamamayu, which he launched together with Hideo Kobayashi, (although on occasion Shiki and Bungakukai would condescend to publish one of his works). He remained close friends with Kobayashi all of his life, despite the fact that in November 1925 Yasuko Hasegawa left Nakahara and began living with Kobayashi Hideo instead. This event took place right after the loss of his friend Tominaga. In December 1927, he met composer Saburō Moroi, who later adapted a number of his verses to music, such as “Morning Song” and “The Hour of Death”. In April 1931, Chūya was admitted to the Tokyo Foreign Language College in Kanda to study the French language, where he remained until March 1933.