Haiku and Tanka, some useful info -- The Poetry Workshop

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Date Posted: 08:54:10 01/23/01 Tue
Author: Rafa�l
Subject: Haiku and Tanka, some useful info

Haiku and Tanka

Haiku and Tanka, these Japanese-origin written art forms draw on imagery, emotion, and imagination to transport the reader into the vision of the poet.
Syllables
The Japanese language element which is compared to the English syllable is the onji, or symbol-sound. The classical Japanese language, like the French, does not contain stress accents, which obviates the use of meter in poetry. Most words in the language end in one of five open vowels rendering rhyme almost to coincidence. Therefore, avoidance of rhyme was usually considered more artistic. Rhythm, cadence if you will, is achieved by grouping the number of onji used in a written expression. Tradition dictates that an odd number of onji per "line" and an odd number of lines per "stanza" be used. The pattern of poetic onji which had evolved by the 7th century was the use of 5 or 7 onji per line. The choka, or long poem, consists of alternating lines of 5 and 7 onji and a concluding line of 7 more. The tanka, or short poem, consisting of 31 onji, is arranged in spoken lines of 5-7, 5, and 7-7.
Tanka
In their native language these 31 syllable poems are usually uttered in 2 breaths, very much unlike their western translations wherein syllables are much longer than onji.
According to Jane Reichold (co-editor of Wind Five Folded: An Anthology of English-Language Tanka, AHA Books, 1994) early tanka were used to exchange romantic messages between lovers upon ending a night's tryst. She says, "In a society that accepted the fact that married men could, would and will dally, the chore of writing those morning-after notes was raised to an acceptable art. A woman who could cope, after being wakened from a well-deserved sleep, with pen, ink and words was assured of more lovers (and hence, more financial support) than the gymnatist (sic) on the mattress. So revered became tanka - and so eager were men and women to improve their own works - that contests were regularly held for the purpose of writing and reading of tanka. So necessary was a body of esteemed works to which one could refer (and be inspired) that the emperors decreed the collection of anthologies beginning around 700 AD."
Classical tanka, according to Richard MacDonald, has always reflected the tone of the Japanese Imperial Court and its courtesans. Its authors properly avoid harsh epithets and vulgarities
In traditional practice the first two lines (5-7) depict something in nature and the middle line bridges that image to the last two lines which express a human condition or feeling.
For example, a classic tanka by Anonymous from the Kokinshu translated by Donald Keene:

Because there was a seed
A pine has grown even here
On these barren rocks:
If we really love my love
What can keep us from meeting?
Here, the age old expression of "love conquers all" contrasts the fertility of the pine, even on barren rock, to an unstoppable love possibly faced with some social barrier. Almost 1,000 years later, Shakespeare expressed the same theme in Romeo and Juliet.
After the early 13th century renga, or linked verse, a form with many regulations arose. Three or more poets would cooperate in composing one long poem comprised of thematic tanka. The greatest masters of this form, Sogi, Shohaku, and Socho, together composed the famous Minase sangin (Three Poets at Minase) in 1488.
The tanka was the pre-eminent Japanese verse form until the modern era. From the roots of tanka sprouted haiku.

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Replies:

Re: Haiku and Tanka, some useful info -- Raphaela, 12:59:09 01/23/01 Tue
- Re: Haiku and Tanka, some useful info -- Rafa�l, 15:02:23 01/23/01 Tue
  - Re: Haiku and Tanka, some useful info -- Raphaela, 10:20:43 01/29/01 Mon