Traditional Japanese poetry, represented mainly by two classical genres, tanka and haiku, established in rigid, almost unchanging forms, existed for many centuries as a closed, isolated aesthetic system.

Classical tanka in written form (and even longer in oral form) have existed since the 8th century. and managed to undergo many changes. Themes of such tanks are strictly regulated and, as a rule, are songs of love or separation, songs written just in case or on the road, in them human experiences occur against the background of the changing seasons of the year and are, as it were, fused (or rather, inscribed) into them.

Classic tanka contain five lines of 5 - 7 - 5 - 7 - 7 syllables, respectively, and this small space does not allow translating into other languages ​​the entire associative array that arises in a reading (or writing) Japanese. Since tanka carry keywords that are responsible for the emergence of certain associations, then by translating all the meanings of these words into other languages, it is possible to achieve an approximate recreation of the original logical chain. It should also be noted that although tanka are a poetic form, they do not have rhymes.

The form of the tank has gone through a lot in its lifetime, there were ups and downs, various collections were compiled, the very first of which was "Collection of Myriads of Leaves" ("Manyoshu", 759), containing 4500 poems. Gradually, anthologies of the tanka began to be published by decree of the emperor, and the tanka themselves as a genre developed under the watchful eye of the court poets.

By the end of the 19th century, the tanka had turned into rather monotonous repetitions of the same thing, which caused bitterness among the adherents of the traditions, and the desire to renounce and indignation among the pro-Western poets. But it so happened that at the turn of the 19th and 20th centuries, two completely different poets (Yosano Akiko and Ishikawa Takuboku) were able to bring new feelings and views into the tightly regulated volume of the tank, creating images that, although intertwined with the classical ones, carried freshness and cleanliness. ...

In Japanese poetry, there is another, no less important genre, which is called haiku (hokku). Haiku are three lines of 17 syllables, which traditionally were written in one line.

The origin of the Japanese genre of tricycles (the original name is Hokku, then Haykai, and from the end of the 19th century - Haiku) is artificial and is an exception to the rule. The haiku tri-verses of just 17 syllables are derived from the Japanese classical five-verses Tanka, or Waka, of 31 syllables through another genre, namely the "linked stanzas" - Renga. Waka (lit. "Japanese song") is a general term that includes mainly the Tanka five-verses (lit. “short song”) and some other forms (the Sadoka hex and Nagauta's “long song”), but is often used in the narrow sense as a synonym for Tank. The poetry of Waka originated in antiquity and is widely represented in the first poetic anthology of the Japanese, A Collection of Myriads of Leaves (Manyoshu, 8th century). Hokku (literally "opening lines") is a bridge connecting Waka poetry and Haiku poetry, that is, the two most widespread genres of Japanese poetry. Other poetic genres, although they exist, cannot be compared with Tanka and Haiku in terms of their prevalence and influence on the life of the Japanese. haiku japanese tanka

The first Haiku date back to the 15th century. The original Haiku, which at that time bore the name Haykai, were always humorous; they were, as it were, comic couplets of a semi-folklore type on the topic of the day. Later, their character completely changed.

For the first time, the Haikai genre (comic poetry) was mentioned in the classic poetic anthology Collection of Old and New Songs of Japan (Kokin Waka Shu, 905) in the Haykai Uta (Comic Songs) section, but it was not yet a Haiku genre in full sense of the word, but only the first approximation to it. In another well-known anthology, The Collection of Mount Tsukuba (Tsukubashu, 1356), the so-called Haikai no renga appeared, that is, long chains of poems on a given topic, composed by one or more authors, in which the first three lines were especially appreciated - Hokku ... The first anthology of the Haikai no renga proper, The Collection of Crazy Chikuba Songs (Chikuba keginshu), was compiled in 1499. At that time, Arakida Moritake (1473-1549) and Yamazaki Sokan (1464-1552) were revered as outstanding poets of the new genre.

The emergence of the Haiku genre dates back to the 15th-16th centuries. The initial three-verse of the Tanka five-verse, bearing the name Hokku, acquired an independent meaning and began to develop as a separate genre. Hokku is the first three lines of a long chain of Rang's poems, a kind of amoebae form usually created by two or more poets, a poetic call-over of three and two lines on a given theme.

Renga is, in fact, Tank's five-lineage of 31 syllables, divided into two parts (pre-caesure and post-caesure), a kind of inception and continuation, which are repeated a specified number of times. The essence of the poem is not so much in the text itself as in the subtle, but still felt connection between the verses, which in Japanese is called Kokoro (literally, soul, heart, essence). The connection between the first and second parts of the poem, that is, the three-line and the two-line, was described, for example, by the word Nioi ("smell", "aroma").

Ranga is a chain of tricycles and distichs (17 syllables and 14 syllables), sometimes infinitely long, up to a hundred or more lines, built according to one metric law, when the prosodic unit is a stanza consisting of a group of five and a group of seven syllables (5-7- 5 and 7-7) per line. The five-line was divided into two parts: the "upper" Kami-no ku with 5-7-5 syllables per line and the "lower" Shimo-no ku with 7-7 syllables per line. These parts were connected in a sequence of three - and couplets, which were supposed to be created on a given topic, semantically, they were supposed to be connected. There were also Ranga with inversion stanzas - first a two-line, then a three-line. Rangas were often composed impromptu at meetings of poets that could last for days. All three-verses and two-verses (often written by different authors on the basis of roll call) are related by a common theme, but do not have a common plot.

Each of them, which is an independent work on the theme of love, separation, loneliness, inscribed in a landscape picture, can, without prejudice to its meaning, be isolated from the general context of the poem (examples of this form are known in Eastern poetry, for example, chains of panutnas, performed in two half chorias, in Malay poetry). But at the same time, each verse is associated with the previous and subsequent verses: it’s like a chain of weakly expressed questions and answers, where in each subsequent three-verse or couplet a turn of the topic, an unexpected interpretation of the word, is valuable.

The Renga genre emerged in the 12th century. as a fun, literary game, then developed into a sophisticated serious art with many complex rules. At the end of the XIII century. in the historical monument "The Present Mirror" (Ima kagami), which describes the birth of this genre, the term Kusari renga "poetic chains" appeared.

Depending on the length, such "chains" bore the names: Tanrenga ("short renga"), Kasen ("thirty-six stanzas" after the name "thirty-six geniuses of Japanese poetry" - Sanjurokkasen), Hyakuin ("stostrophes"), etc. "Chains "could be composed by several people, turning into a kind of dialogue, in which a special artistic unity was to arise. It was necessary to focus only on the previous verse. Depending on how many people took part in the creation of the "chain", they were subdivided into Dokugin ("one person"), Ryo: gin ("two") and Sangin ("three").

There was a canon of themes (Dai) for Wrang's composition: moon, flowers, wind. It was necessary to maintain a special kind of indirect connection between individual verses. The most appreciated were the Renga of the Mikohidari school, which included, for example, the best poet Fujiwara Teika (1162-1241). Renga were also divided into "having a soul" (Usin renga), that is, serious, and comic, "having no soul" (Musin renga). The first large collection of Renga is the anthology of Tsukuba shu, compiled by Nijo Yoshimoto and Kyu: sei (1284-1378): ("Collection [mountains] of Tsukuba", 1357). In the XV century. began to talk about the "Seven sages of Renga", as the famous poet Sogi Shinkei (1406-1475) called them, one of the sages belongs to the theoretical treatise on Renga Sasamegoto ("Whisper", 1488), in which he explained the meaning of the main aesthetic categories. Japanese critics consider Shinsen Tsukuba shu to be the best in the history of the genre: ("Newly composed collection of [mountains] Tsukuba"). The art of adding Wrang consists not only in creating perfect stanzas, but also in the art of counterpoint and composition of the entire chain as a whole, so that the theme plays and shimmers in all colors in compliance with the rules and canons and at the same time, in an original way, like no one else, does not contradict harmony anywhere whole.

Rang's chains were composed impromptu at poetry gatherings, when two or more poets chose one of the canonical themes and composed tricycles and couplets in turn.

The Rang chains could find a relatively more complete expression of the techniques developed in the poetry of Waka (Engo, Yojo), etc., since the large volume of Renga as a whole and the preservation at the same time of the poetic form of Tank and many of its properties made it possible to view the deployment of a set of associations on comparatively wider material. This poetic dialogue goes back to the roll call songs from the Manyoshu (Mondo) anthology. Gradually, the three-verses that were part of Renga acquired independent significance and began to function as works of the new poetic genre Haiku, and the Renga genre eventually disappeared from the scene, completely losing its independent meaning. Already in the XVI century. the Renga genre has virtually ceased to exist.

The largest poet Haiku and the best theorist and historian of the genre at the turn of the XIX - XX centuries. Masaoka Shiki (1867-1902) believed that the Renga genre played its formative role in the Haiku genre and ceased to exist with the publication of Sokan's collection "Collection of the Dog Mountain Tsukuba" (Inu tsukuba shu, 1523), an anthology of comic Haiku-haikai. At first, humor, joke, and provocation were the constructive elements that breathed new strength into the fading genre, so the earliest three-line of Haykai are extremely playful in nature. The first comic three-verses appear as early as the 12th century, a section of three-verses is in the Senzai waka shu anthology ("Millennial Collection of Japanese Songs", circa 1188), compiled by Fujiwara Shunzei (1114-1204).

The term Haiku was put forward in the late 19th - early 20th centuries. the fourth great poet and theorist Haiku Masaoka Shiki, who attempted to reform the traditional genre. In the XVII-XVIII centuries. the poetry of Haiku was influenced by the Zen Buddhist "aesthetics of understatement", forcing the reader and listener to participate in the act of creation. The effect of understatement was achieved, for example, grammatically (Taigendome), so one of the intonational and syntactic means of Haiku - the last line ends with an unconjugated part of speech, and the predicative part of the statement is omitted. In the poetry of Haiku, an important role was played by the aesthetic principles of Sabi ("sadness") and Wabi ("simplicity", "simplification"), Karumi ("lightness"), Toriawase ("compatibility of objects"), formulated by Basho in the form of conversations with students and recorded by them. , Fui ryuko ("eternal, unchanging and current, present").

But this is a topic for other works. The disappearance of Renga and the flourishing of the Haiku Historically, the first three lines of Renga, bearing the name Hokku and often standing in the second, inversion, place after the two-line are the predecessors of the three-line Haiku. With the disappearance of the Renga genre from the poetic scene, the Haiku three-verse genre comes to the fore and becomes the most respected and popular genre in Japanese poetry, along with Tanka. This extremely short poetic form of just 17 syllables, seemingly vulnerable to influences and deformation.

At first glance, unstable, burdened with a whole system of obligatory formants, it turned out to be much more viable. The Renga genre in this case played the role of initiator, with his help Tanka, which had previously existed as a single formation (although it had a tendency to break), with the introduction of two-part voice, was able to split into two parts. The centrifugal role was played by the opportunity to use the two parts of the Tank as separate independent parts of the poem, and the first part, the three-verse, began to exist independently. Then, having fulfilled its formative role, the Renga genre left the stage.

The main property of Haiku as a poem is that it is dramatically short, shorter than the Tanka five-verse, and such a compactness of space creates a special type of timeless, poetic-linguistic field. The main theme of Haiku is nature, the cycle of the seasons; outside of this theme, Haiku does not exist. The quintessence of this theme is the so-called Kigo - "seasonal word", emblematically denoting the season, its presence in the seventeen-syllable poem is felt by the bearer of the tradition as strictly obligatory. No seasonal word - no Haiku. The "seasonal word" is a nerve knot that awakens a series of certain images in the reader.

Literature

• 1. Blyth R. H. Haiku: in four volumes. V .: Eastern Culture; V.2: Spring; V.3: Summer-Autumn; V.4: Autumn-Winter. Tokyo: The Hokuseido Press, 1949-1952. - ISBN 0-89346-184-9
• 2. Blyth R. H. A History of Haiku. Vol. 1, From the Beginnings up to Issa. Tokyo: Hokuseido Press, 1963. - ISBN 0-89346-066-4
• 3. E.M. Dyakonov. Thing in three-line poetry (haiku) / Thing in Japanese culture. - M., 2003. - 120-137.

Creators - teachers, doctors, artists, writers,
artisans and samurai.
The author is not trying to paint a picturesque picture, but
notices something unusual about familiar objects.
Japanese poet draws, sketches in few words
what you yourself must conjecture, finish drawing in
imagination.

Hokku structure

Hokku are distinguished by their utmost brevity and peculiar poetics. It depicts the life of nature and the life of man in their unity,

The first two lines describe the phenomenon. And the third line summarizes the conclusion, the result, which is often unexpected.

Kigo is used as an obligatory element of the text, the "seasonal word" - the narration is in the present tense.

Matsuo Base (1644-1694)

Esa Buson (1718-1783)

Arivara Narihira

Matsuo Basho.

Internet resources:

CRYSTAL ==========================
In Japanese poetics, the term "after-feeling" is used. The deep echo born of the tanka does not die out immediately. A feeling, compressed like a spring, unfolds, an image sketched in two or three strokes arises in its original integrity. The ability to awaken the imagination is one of the main features of Japanese small-form lyrics.
A short poem (just a few words) can become a powerful condenser of thought and feeling. Each poem is a small poem. She calls to think, to feel, to open the inner vision and inner hearing. Sensitive readers are co-creators of poetry.
Tanka, literally "short song", originated in the depths of folk melos in ancient times. It is still chanted to this day, following a certain melody. Tanka is just five verses. The metric system of the tank is extremely simple. Japanese poetry is syllabic. A syllable consists of a vowel sound or a consonant combined with a vowel; there are not very many such combinations. Frequent repetitions create a melodious euphony. Tanka contains many constant poetic epithets, enduring metaphors. There is no final rhyme, it is abundantly replaced by the subtlest orchestration, the roll call of consonances at the beginning and in the middle of the verses.
(from the foreword by Vera Markova to the book "The Japanese Pentatees. A Drop of Dew")

Tanka (aka waka or uta) is a traditional genre of Japanese poetry, a syllabic five-verse in the size of 5-7-5-7-7 syllables.
* (In the competition, it is permissible to deviate from the canon of the form for a 5-syllable string - 4-6 syllables, for a 7-syllable string - 6-9 syllables. Nevertheless, the 5-7-5-7-7 form is preferable.)

At my gates
There are ripe fruits on the elm trees,
Hundreds of birds nibble them, having arrived,
Thousands of different birds gathered, -
And you, beloved, no and no ...
Unknown author (translated by A. Gluskina.)

“According to the classical canon, a tanka should consist of two stanzas.
The first stanza contains three lines of 5-7-5 syllables, respectively,
and the second - two lines of 7-7 syllables.
This gives a total of 31 syllables. This is about form. I draw your attention to the fact that the line and the line are different things.
The content should be like this.
The first stanza represents a natural image,
the second is the feeling or sensation that this image evokes. Or vice versa." (Elena
One of the most accurate definitions of yugen can be recognized as tanka Fujiwara Tosinari, who created his doctrine of yugen in poetry:

In the dusk of the evening
Autumn whirlwind over the fields
It pierces the soul ...
Quail complaint!
Settlement Deep grasses.

Yugen is a sense of the fragility of the existing, but poets loved the state of "wandering in uncertainty" (tadayou). If avare is light yang, then yugen is impenetrable yin ...

TANKA 5-7-5-7-7 - short song
* has no rhymes
* The first three lines in a tanka are hokku, or haiku
* In general, the first three lines should be one sentence.
* must consist of TWO stanzas (not formal space division).
- The first stanza represents a natural image,
- the second is the feeling or sensation that this image evokes.
* has styles:
avare - light yang,
yugen - impenetrable yin, secret, secret, mystical
tadayou - wandering in uncertainty "
*! elapsed time, not allowed in the tank
*! there is a controversial issue about pronouns. (FUJIVARA SADAIE also uses them)
"... I am the only one who has not changed here,
Like this old oak tree "(M. Base) - Here you have both the pronoun and the past tense

+++
Deep in the mountains
trample the red maple leaf
moaning deer

I hear him cry ... in me
all autumn sadness

HAIKU-Hokku 5-7-5

* the haiku text is divided in a ratio of 12: 5 - either on the 5th syllable or on the 12th.
* the central place is occupied by a natural image, explicitly or implicitly correlated with human life.
* the text should contain an indication of the season - for this, kigo is used as a mandatory element - "seasonal word"
* haiku are written only in the present tense: the author writes down his immediate impressions of what he has just seen or heard.
* haiku has no name
* does not use rhyme
* The art of writing a haiku is the ability to describe a moment in three lines.
* every word, every image counts, they acquire special weight, significance
* To say a lot using only a few words is the main principle of haiku.
* haiku, each poem is often printed on a separate page. This is done so that the reader can thoughtfully, without haste, feel the atmosphere of the poem.
++++
On a bare branch
the crow sits alone.
Autumn Evening (Matsuo Basho)

RUBAI - quatrains rhyming like

* aaba, - the first, second and fourth rhyme
........ less often -
* aaaa, - all four lines rhyme.

++++
In one hand there are flowers, in the other - a permanent glass,
Feast with your sweetheart, forgetting about the whole universe,
Until death a tornado suddenly rips off you,
Like petals from a rose, a shirt of mortal life.
(Omar Khayyam)

I went out into the garden in sorrow and am not happy in the morning,
The nightingale sang to Rose in a mysterious way:
"Show yourself from the bud, rejoice in the morning,
How many wonderful flowers this garden gave! "
(Omar Khayyam)

SINQUWINE 2-4-6-8-2

* used for didactic purposes, as an effective method for the development of figurative speech
* useful as a tool for synthesizing complex information, as a cut of the assessment of the conceptual and vocabulary baggage of students.
* Sinkwine
1 line - noun denoting the theme of syncwine
Line 2 - 2 adjectives that reveal some interesting, characteristic signs of the phenomenon of an object declared in the theme of syncwine
Line 3 - 3 verbs that reveal actions, influences inherent in this phenomenon, subject
4 line - a phrase that reveals the essence of the phenomenon, object, reinforcing the previous two lines
5 line - a noun acting as a total, conclusion

Reverse syncwine - with the reverse sequence of verses (2-8-6-4-2);
Mirror syncwine - a form of two five-line stanzas,
where the first is traditional,
and the second is reverse syncwines;

Sinkwine butterfly - 2-4-6-8-2-8-6-4-2;
Crown of syncwines - 5 traditional syncwines that form a complete poem;
A garland of syncwines - an analogue of a wreath of sonnets,
* crown of syncwines, to which the sixth syncwine is added,
where the first line is taken from the first syncwine,
second line from second, etc.

Strict adherence to the rules for writing syncwine is not necessary.
For example, you can use three or five words to improve the text on the fourth line, and two words on the fifth line. Use cases for other parts of speech are also possible.
Syncwine writing is a form of free creativity that requires the author to be able to find the most essential elements in the information material, draw conclusions and formulate them briefly.
In addition to the use of syncwines in literature lessons (for example, to summarize the completed work), the use of syncwines is also practiced as the final task for the passed material of any other discipline.

TANKETKA - ultra-short poetic form

* a poem of two lines, totaling six syllables.
3 + 3 or 2 + 4.
* must be no more than five words
* there should be no punctuation marks.

++++
Japanese
butterfly
(Alexey Vernitsky)

Where us
it's good there
(Oleg Yaroshev)

Continuation

Self-Study Writing Japanese Poems Part 1

Senryu (Japanese ;; "river willow") is a genre of Japanese poetry that arose during the Edo period. The shape coincides with the haiku, that is, it is a three-lineage, consisting of lines 5, 7 and 5 syllables long. But, unlike the lyrical genre of haiku, senryu is a satirical and humorous genre, far from admiring the beauty of nature. It is characteristic that senryu usually do not contain kigo - indications of one of the four seasons that are mandatory for classical haiku.

In Japan, humor has always prevailed over satire in the culture of laughter. Writes about this in the book "Japanese artistic tradition" T. Grigoriev. Therefore, senryu haiku were not persecuted by the authorities, as would happen with satirical works. Satire may end up in opposition to the authorities even when it does not touch upon social issues: due to the constant exposure of morals, if the spiritual authorities consider this a violation of the monopoly of the leaders on criticism. But the senryu did not engage in moral denunciation of ordinary human vices. It is rather, even in satirical poetry, a genre of jokes, anecdotes, and sketches.

Although outwardly, in their content, senryu are similar to European jokes, there is a fundamental difference between senryu and the European tradition of laughter. Senryu had a strong ideological foundation, and senryu masters did not consider themselves poets inferior in aesthetics to poets of past eras. Laughter is the Japanese word for okashi. Here is what T. Grigorieva writes about the laughter culture of Japan in the 18th century: “It is not surprising that Hisamatsu puts okashi on a par with avare, yugen, sabi. They are equal. Each time has its own feeling: the severity of the Nara, the beauty of Heian, the sadness of Muromachi, the laughter of Edo. Society removed what it lost interest in, and highlighted what it needed. The criterion of beauty remained constant ”.

They got their name from senryu after the poet Karaya Senryu (;;;;, 1718-1790), thanks to whom the genre gained popularity.

Links are useful
http://haiku.ru/frog/def.htm Alexey Andreev WHAT IS HAIKU?
http://www.haikupedia.ru/ Haikupedia - encyclopedia of haiku
http://tkana.zhuka.ru/kama/ugan/ Yugen style
Meetings on the Star Bridge V. Competition Poems
Haiku Competition (Judging Rules)
Ryoanji Garden Competitions
goodbye forever ... acro tanka ... try 6
http://termitnik.dp.ua/poem/152528/ Termitnik of poetry
Classics (Akro-tanka) Konstantin

Tania Vanadis
Tsunami San
Dictionary of Russian Kigo - seasonal words

1. Hokku or haiku - (initial stanza) non-rhymed three-verses of 17 syllables (5 + 7 + 5).
2. Tanka - (short song) non-rhymed five-lines of 31 syllables (5 + 7 + 5 + 7 + 7). The roots of poetry are in the human heart.
3. Kyoka - (insane poetry), the size of a tanka.
4. Rakushu is a satirical form of a tank.
5. Choka or nagauta - (long song), tank size, up to 100 lines.
6. Busoku-sekitai - (the soul of nature - the soul of a person) in translation - "Buddha's Footprint" - non-rhymed six-lines of 38 syllables (5 + 7 + 5 + 7 + 7 + 7).
7. Sadoka - (rowers' song) non-rhymed sixty lines of 38 syllables (5 + 7 + 7 + 5 + 7 + 7).
8. Shintaiishi - (new verse) - beginning as a tanka, the total volume is unlimited - romantic poetry was approved by the poet Shimazaki Toson at the beginning of the twentieth century.
9. Sinkwine - non-rhymed five-lines of 22 syllables (2 + 4 + 6 + 8 + 2) - were invented and put into use at the beginning of the twentieth century by the American poetess A. Crepsi.

SEDOKA is a genre of Japanese poetry - six lines in which the syllables in the lines are arranged as follows: 5-7-7-5-7-7

The eyes are sad
Wrinkles like trails.
Left behind by life ...
Where is the surgeon
What makes plastic
Body and soul? ...
CLARA RUBINA, LITO MEMBER,
...
We coexist
Very long time.
But they did not have time
Speak up.
It would be nice for us in paradise
Be in the same squadron.
ALEXANDER FREIDLES, LITO MEMBER,
...
Drizzling rain.
My pride weeps,
Saying goodbye to you in thoughts-
Prisoner of feeling.
The soul will start up a little.
Will wash away the tears from your face.
KIRA CRUZIS- MEMBER OF LITO.

PS:
Don't use the cheat sheet as the basis for everything ..
it was collected from what was on the Internet at that time
(it was created for me)