Japanese poetry

Japanese Poetry

Presented by
Maqsood Hasni
Free Abuzar Barqi Kutab’khana

Aug. 2017

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History of Japanese Poetry

The classical Japanese poetry is referred as waka.
Man’yoshu, dating back to the middle of 7th century, is
the oldest book of Japanese poetry. Man’yoshu contains
20 volumes of waka. The authors of most of these poems

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are unknown, but they ranged from aristocrats to the
general public, women as well as eminent poets of the
time such as Nukata no Okimi and Kakinomoto Hitomaro.

During the period of Chinese influence, Chinese poets
recited poems in the courts of the Japanese royals and
the aristocrats. Japanese poets even went to China to
study poetry. Poetry tradition was so much ingrained in
Japanese culture that waka (poetry) was used to write

letters and community.

During the Heian period (794 and 1185), Japanese royals
and aristocrats organized waka recitation contest.
Notable works in this period is Wakan Roeishu, which
was compiled by Fujiwara no Kinto, Tale of Genji by

Poetess Murasaki Shikibu, and The Pillow Book, whose
author is unknown.

In the 12th century, new poetry forms Imayo and Renga
developed. Recitation of Imayo was accompanied with

music and dance, and Renga was written in a

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communication form between two people.

Haikai (also called Renku) developed during the Edo
period (1602–1869). Matsuo Basho was the great haikai
poet of this era. He also developed haibun, a poetry style
that combined haiku with prose. During Edo period, poets

collaborated with painters and blended poetry with
paintings, which gave birth to new visual poetry form
called haiga. Notable amongst poet-painters is Yosa
Buson. He wrote haiku poems in his paintings. Senryu, a
satirical poem in haikai form, developed in the late Edo

period.

By the 19th century, major Japanese poetry forms were
already developed. With the Western influence, freeform
poetry style developed in Japan. This poetry style was
called Jiyu-shi, literally freestyle poetry, or Shintai-shi,
new form poetry. Shi is the Japanese word for Chinese
poetry, but today it is used for modern Japanese poetry

style.

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Japanese Death Poems: Written by Zen Monks and Haiku
Poets on the Verge of Death Japanese Death Poems:
Written by Zen Monks and Haiku Poets on the Verge of
Death

Waka

Japan was heavily influenced by Chinese poetry;
Japanese poets composed poems in Chinese language.
The Japanese poems following the classical Chinese
poetry are called kanshi. Classical Japanese poets also

wrote poetry in Japanese language. All the poems
written in Japanese language were referred as waka.
Waka is a Japanese word for poetry. The Kokin-shu

(905) Man’yoshu (7th century) are two books of
Japanese poetry that contain waka in different patterns.

Man’yoshu, which as 20 volumes, contain waka of
different forms such as tanka (short poem), choka (long
poem), bussokusekika (Buddha footprint poem), sedoka
(repeating-the-first-part poem) and katauta (half poem).

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By the time Kokin-shu was compiled, most of these
poetry forms, except tanka, had vanished. Therefore,
waka was used to refer tanka poetry. Tanka also gave
birth to renga and haiku. Choka and sedoka are early
poetry forms whereas renga, haikai, and haiku are later

poetry forms.

Waka: The Classical Japanese Poetry Forms

Poetry Forms

Pattern

Meaning

Katauta

5,7,7

Half Poem

Tanka

5,7,5,7,7

Short Poem

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Choka

5,7,5,7,5,7,5,7,7

Long Poem

Bussokusekika

5,7,5,7,7,7

Buddha Footprint Poem

Sedoka

5,7,7,5,7,7

Repeating-the-First-Part Poem

Haikai

When renga is composed in humorous and comic themes,
it is called haikai. Haikai is referred as mushin renga or
comic renga. Haikai poetry, sometimes also called hokku,
is composed in three lines with nature and season as the

dominant theme. Hokku or haikai poetry form gained
prominence in the 17th century. Matsuo Basho

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(1644-1694) was one of the early poets to perfect the art
of hokku/haikai poetry.

Renga

Renga is a linked-verse Japanese poetry from composed
in tanka pattern. Renga was originally composed by two

or more poets. Renga developed when poets tried to
communicate through poetry. The first three lines of
renga, in 5-7-5 syllables format, were composed by a
poet and the remaining 7-7 syllables were composed by
another. In ancient Japan, composing renga was a
favorite pastime affairs of poets, aristocrats, even
general public. The earliest record of renga poems is
found in Kin'yo-shu, an anthology of poems compiled in

about 1125.

In the beginning, renga were based on light topic,
however, by 15th century, there was a distinction drawn
between ushin renga (serious renga) and mushin renga

(comic renga).

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Renga poetry contains at least 100 verses. The first
stanza (the first three lines), of renga is called hokku.
Hokku of a renga later developed into haiku poetry.

A little cuckoo across a hydrangea, a haiga by Yosa
Buson (1716 - 1784)

A little cuckoo across a hydrangea, a haiga by Yosa
Buson (1716 - 1784) | Source

When the Japanese poets composed haiku and senryu,
they used words in terms of sound effect. This was not

possible when these Japanese poetry forms were
adapted in other languages. The 5-7-5 pattern called

kana (17 kana in total) in Japanese language was
translated as 17 syllables in 5-7-5 format. Haiku
were/are also written in 3-5-7, 3-5-3 and 5-8-5

pattern.

Today haiku are mostly written in three lines, in 17 or
less syllables.

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Haiku is not a sentence in three fragments.

The best haiku are open ended.

Haiku is about nature and season as experienced or
observed by the poet.

Haiku uses minimal punctuation.

Metaphors, similes and other poetry elements are
unnecessary in haiku.

Haiku does not tell but shows the emotions as
experienced by the poet.

Haiku present specific moments rather than extensive
picture.

Haiku, senryu, haiga and tanka are used in both, singular
as well as plural form.

Haiku

The word haiku combines two different words haikai and
hokku. Haikai is a linked-verse Japanese poem in renga

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poetry style and hokku is the name given to the first
stanza of renga poetry. Haikai, a type of renga poetry,
consists of at least 100 verses in 5-7-5-7-7 pattern.
Haiku poetry form developed from hokku of haikai and
became an independent poetry form in the 17th century;
however, the word haiku was not used until 19th century.

Haiku was named by Japanese poet Masaoka Shik.

Haiku is non-rhyming Japanese poetry form. It is
composed in three lines, in 5-7-5 format, 17 syllables in
total. Haiku is about nature and plays with the imagery,

metaphors and emotions of seasons.

Japanese characters were developed from Chinese and
Korean alphabets, which are basically pictograms. The
style of haiku was perfectly compatible with the language

because a single character could say many things.
However, in other language such as English, an alphabet
is just a letter that cannot evoke feelings and emotions,
or even sensible meaning. Therefore, when haiku entered

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into English and other languages, there were few
modifications. The three lines form was maintained in
haiku, but the strictness of 17 syllables could not always

be retained.

The modern haiku does not strictly follow 17 syllables in
5-7-5 format. Some haiku poets follow 5-3-5 format,
whereas some do not even follow the uniform pattern of
syllables. The most common haiku format is unrhymed

three lines poetry.

Haiku poetry form was incorporated in the Western
languages in the 19th century. Imagists popularized

English haiku poetry in the early 20th century.

Haiku Poetry

Haiku: Rose

Haiku about rose. Pictures of rose.

Haiku: Nature

Haiku were originally written about nature. Two haiku

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about nature and a video based on haiku about nature

Senryu

In the 18th century, Karai Senryu (1718-1790) composed
short non-rhyming poems, about human foibles and
ironies, in 5-7-5 form. His poems were called Senryu.

Later, all the poems that followed the tradition of Karai
Senryu were called senryu. Karai Senryu is the pen
name of Karai Hachiemon.

Senryu – a Japanese poetry form composed in 17
syllables, in 5-7-5 format – is similar to haiku. Like haiku,
there have been some modifications in senryu pattern, in
modern times. The basic difference between haiku and

senryu is, haiku is written about season and nature,
whereas senryu is about the ironies of life. Sometimes it

is hard to differentiate senryu with haiku because
senryu can also be a commentary on nature or season.
To differentiate a senryu with haiku you have to consider
the tone. Thematic treatment in haiku is serious whereas

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senryu are humorous or cynical.

Normally, senryu presents setting, subject and action. It
is a commentary on human nature in satirical or
humorous tone.

Haiga by Vinaya

Haiga by Vinaya

Haiga

Haiga: Love

Haiga about carnal, ethereal and motherly love. Tips on
how to create Haiga.

Haiga

Haiga (hai=poem/haiku; ga=painting) is a visual poetry
form, which originated in China in the 7th century, and
was perfected in Japan the 17th century. Painting, poetry

and calligraphy were called ‘Three Perfections’ in
ancient China. The Three Perfections was first practiced

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during the Tang Dynasty (618-907). The Three
Perfections of Tang Dynasty heavily influenced Japanese

art and literature.

Calligraphy, the art of handwriting, was highly regarded
in ancient China. Artists wrote deep and profound lines,
in beautiful script, over the painting. Japanese artists
emulated the tradition of writing beautiful lines over a
painting. Painting and poetry became complimentary art
forms. Poets with painting ability, or the painters who

were poets, created visual poetry.

During the Edo period (1602–1869) haiku and senryu
were combined with painting and calligraphy. Thus, a new
visual poetry form was born, it was called Haiga. Haiga is

a haiku/senryu poem written over a painting or
photograph.

Haiga is a poetry blended with picture that tells about
profound observation of life, living and the world.

Thematically the poetry in the haiga is similar to the

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picture. Haiga was initially painted over wooden blocks,
stones, cloths, and paper and used as room decoration.
Haiga is highly regarded in Zen Buddhism. Creating haiga

is thought to be a type of Buddhist meditation.

Modern haiga poet/artist combines haiku/senryu with
digital pictures. The modern haiga normally presents a

haiku or senryu written on painting or photograph.

Given a choice between different Japanese poetry forms,
what do you choose?

Haiku

Senryu

Haiga

Tanka

See results

Tanka

In the beginning, when Japanese poetry forms were not

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developed, waka was used to denote all kinds of poem.
Waka literally means classical Japanese poetry.
Man’yoshu, which dates back to the middle of 7th
century, is the oldest book of Japanese poetry.

Man’yoshu contains long and short poems. Man’yoshu
categorizes short poems as waka and long poems as
choka. The word waka was later replaced with tanka.
Tanka is the modern name for waka. It is one of the

oldest Japanese poetry styles.

Tanka is non-rhyming Japanese poetry form composed
in five lines, in 5-7-5-7-7 format, 31 syllables in total. It
consists of two elements. The first three lines (5-7-5) is
called kami-no-ku (literally upper phrase) and the last

two lines (7-7) is called shimo-no-ku (literally lower
phrase).

In the ninth and tenth centuries, short poems dominated
Japanese poetry styles. Kokinshu is one of the earliest
collections of tanka. However, tanka poetry form was

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almost lost for one thousand years. Japanese poet,
essayist, and critic Masaoka Shiki (1867-1902) is
credited for the revival of tanka poetry, and the
invention of haiku from hokku (haikai). Masaoka lived
during the reign of Japanese emperor Meiji Tenno
(1852-1912). Meiji is credited for the development of
modern Japan. Masaoka tried to do the same thing in

Japanese poetry.

Kokin-shu, an anthology of poetry, was compiled by a
court noble Ki Tsurayuki in 905. Kokin-shu styles of
poetry ruled Japan for about one thousand years.

However, Masaoka praised the poetry styles in
Man’yoshu (7th century) and degraded Kokin-shu.
Man’yoshu contains long and short poetry forms. Tanka

is a short poetry form in Man’yoshu.

The modern tanka poetry form was revived in the late
1980s by Japanese poetess Tawara Machi.

Tanka: Poems for Kids - and adults

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If a haiku is usually (mistakenly) thought of as a 3-line,
5-7-5 syllable poem, then the tanka would be a 5-line,
5-7-5-7-7 syllable poem. However, as with haiku, it’s
better to think of a tanka as a 5-line poem with 3 short
lines (lines 2, 4, 5) and 2 very short lines (lines 1 and 3).

While imagery is still important in tanka, the form is a
little more conversational than haiku at times. It also
allows for the use of poetic devices such as metaphor

and personification (2 big haiku no-no’s).

Like haiku, tanka is a Japanese poetic form.

*****

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While I’m sure there are problems with my attempt, here
is my tanka attempt, which you can use as an example of

the form:
Chopin’s waltzes
turn circles in my head

for hours
as I think of her hand
turning the world inside out

Somonka: Poetic Forms
By: Robert Lee Brewer | October 17, 2013

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Thesomonka is a Japanese form. In fact, it’s basically

two tankas written as two love letters to each other (one
tanka per love letter). This form usually demands two
authors, but it is possible to have a poet take on two
personas. .
Here’s an example somonka:
“Sugar,” by Robert Lee Brewer

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I’m waiting to die;
I think it will happen soon–

this morning, I saw
two bright hummingbirds battling

over some sugar water.

I know; I was there.
I chased after them for you

until thirst stopped me.
Fetch me some water. I have

a little sugar for you.

*****
Get your poetry published.

*****
Senryu
By: Robert Lee Brewer | May 23, 2013

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It’s been two months since our last poetic form challenge
and the April PAD Challenge is over, so let’s get another

one started.

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This time around, the challenge is to write senryu, which
is a variation of the haiku. As with haiku, senryu are most

often 3-line poems containing 17 (or fewer)
syllables–often in a 5-7-5 pattern. Senryu does not
include a cutting or seasonal word, and it’s usually about
human issues (not nature, as is the case with haiku).

In fact, many people write poems that they call haiku that
are really senryu. So in a way, it’s a form of poetry that

is often suffering from identity theft and mistaken
identity.

OK, so that’s the form.
Here are the guidelines for competing in this challenge:

 Write and share original and previously unpublished
senryu in the comments below (on this specific
post).

 Deadline for entries: May 31, 11:59 p.m. (Atlanta,
Georgia time).

 No entry fee.

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 Include your name as you would like it to appear in
print (just in case you’re chosen as a winner).

 Speaking of winners, the top senryu (and maybe a
few extra, since the form is so short) will be
published in a future issue of Writer’s Digest
magazine in the Poetic Asides Inkwell column.

 Anyone and everyone (from any location on the
globe) is encouraged to participate. It’s free and fun.
 Note to new poets: You’ll have to register on the site

(don’t worry; it’s free) to comment. And for your
first few comments, you may have to wait for one of
us editors to approve your comment. Don’t worry;
we’ll get to you–and then, after that first approval,

you should be good to go into the future.

Good luck!

Katauta Poems
The katauta is a Japanese poetic form that is actually
considered an incomplete or half-poem. It’s a 3-liner that
follows either 5-7-5 or more commonly 5-7-7 syllables

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per line. Sounds like a haiku or senryu, right? But this
poem is specifically addressed to a lover.

When paired together, multiple katautas act as a
question and answer conversation between lovers to
form sedoka. If the concept of sedoka sounds familiar,
it’s similar to somonka, in which 2 tankas are written as

love letters.
*****

Here’s my attempt at a Katauta:
Untitled Katauta, by Robert Lee Brewer

Why do winter stars
shine brighter than summer stars

as if they are shards of glass?

And while we’re at it, here’s a Sedoka:
Untitled Sedoka, by Robert Lee Brewer

why do winter stars
shine brighter than summer stars

as if they are shards of glass?

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don’t blame the seasons
on the ever changing heat
of your lover’s quick embrace.

*****
Dodoitsu: Poetic Forms
By: Robert Lee Brewer | July 14, 2015

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Ready to learn a new poetic form? And yeah, you know
that a new WD Poetic Form Challenge is just around the

corner.

Thedodoitsu is a Japanese poetic form developed

towards the end of the Edo Period, which came to an end
in 1868. As with most Japanese forms, the dodoitsu does

not have meter or rhyme constraints, focusing on
syllables instead.

This 4-line poem has seven syllables in the first three
lines and five syllables in the fourth–and final–line. The
dodoitsu often focuses on love or work with a comical

twist. While my examples below do not have titles, I

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haven’t found any word on whether dodoitsu traditionally
have titles or not.
*****

Here is an example focused on work:
when a geologist speaks

& the earth trembles seven
meteorologists get
sucked in a twister

Here is an example focused on love:
i gave her all my heart &

heartache but she returned it
with the admission they gave

her severe heartburn
*****

Mondo: Poetic Form
By: Robert Lee Brewer | February 27, 2017

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Some folks may remember me covering katauta (and
sedoka) poems last December. Today’s poetic form

mondo is a close relative of those forms.

Mondo Poems
Mondo poems are often very brief collaborative affairs
that present a question and answer in the style of trying
to glean meaning from nature. Mondos can be as short
as a one-liner or as long as two 5-7-7 syllable stanzas
(the first stanza presenting the question; the second the

answer). Examples below.

*****

Here’s my attempt at a one-line Mondo:
Untitled, by Robert Lee Brewer

why do winter stars shine brighter? i can’t hear them
laugh.

And here’s a two-stanza Mondo:
Untitled, by Robert Lee Brewer

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why do winter stars
shine brighter than summer stars

and why do i notice them?

i can’t hear them laugh,
but i remember the way
they once entered the darkness.

*****

If mondo seems a little too much like sedoka, I totally
understand. I think the main difference is a focus on
nature and trying to attain a zen-like meaning from

natural source material.
*****

Katauta: Poetic Form
By: Robert Lee Brewer | December 19, 2016

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Let’s look at one or two more poetic forms before the
end of the year, starting with the katauta poem.

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Katauta Poems
The katauta is a Japanese poetic form that is actually
considered an incomplete or half-poem. It’s a 3-liner that
follows either 5-7-5 or more commonly 5-7-7 syllables
per line. Sounds like a haiku or senryu, right? But this

poem is specifically addressed to a lover.
When paired together, multiple katautas act as a
question and answer conversation between lovers to
form sedoka. If the concept of sedoka sounds familiar,
it’s similar to somonka, in which 2 tankas are written as

love letters.
*****

Here’s my attempt at a Katauta:
Untitled Katauta, by Robert Lee Brewer

why do winter stars
shine brighter than summer stars

as if they are shards of glass?

And while we’re at it, here’s a Sedoka:
Untitled Sedoka, by Robert Lee Brewer

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why do winter stars
shine brighter than summer stars

as if they are shards of glass?

don’t blame the seasons
on the ever changing heat
of your lover’s quick embrace.

*****

Gogyohka: Poetic Form
By: Robert Lee Brewer | October 20, 2014

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If only a poetic form existed that could be both concise

and free. Oh wait a second, there’s gogyohka!

Gogyohka was a form developed by Enta Kusakabe in
Japan and translates literally to “five-line poem.” An
off-shoot of the tanka form, the gogyohka has very
simple rules: The poem is comprised of five lines with

one phrase per line. That’s it.

*****

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What constitutes a phrase in gogyohka?
From the examples I’ve seen of the form, the definition of

phrase is in the eye of the beholder. A compound or
complex sentence is probably too long, but I’ve seen
phrases as short as one word and others more than five

words.

So it’s a little loose, which is kind of the theory behind
gogyohka. It’s meant to be concise (five lines) but free

(variable line length with each phrase). No special
seasonal or cutting words. No subject matter
constraints. Just five lines of poetic phrases.

Here’s my attempt at a Gogyohka:
“Halloween”

Ghosts hang
from the willow
as the children run
from one door

to the next.

*****

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Haibun Poems: Poetic Form
By: Robert Lee Brewer | September 3, 2012

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The haibun is the combination of two poems: a prose
poem and haiku. The form was popularized by the 17th
century Japanese poet Matsuo Basho. Both the prose
poem and haiku typically communicate with each other,

though poets employ different strategies for this
communication—some doing so subtly, while others are

more direct.
The prose poem usually describes a scene or moment in

an objective manner. In other words, the pronoun “I”
isn’t often used—if at all. Meanwhile, the haiku follows the

typical rules for haiku.
Here is my attempt at a haibun poem:

“1985”

In the shadow of the Nevado del Ruiz, rice farmers woke
as if on any other morning. Their daily pleasures and

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worries were the same as always. Even the smoke and
eruptions that afternoon were familiar—though masked
by a thunderstorm—no one aware of the approaching

lahars.

not the sound
but drops of rain

scatter ants

*****

As you may have guessed, a new poetic form challenge is
around the corner. It’d probably be a good idea to work

on your haibuns today and share them tomorrow.

*****
Haiku Revisited
By: Robert Lee Brewer | August 8, 2007

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Michael Dylan Welch, who wrote on haiku for the 2005
Poet’s Market, stopped by and offered some great advice

in the comments to my “Haiku: Easy or Hard?” post from
earlier this week. While it’s probably best to read the

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comments first-hand, I figured I’d make it easy on people
since the advice is very useful.

Some highlights:

 “My sense of things is that practically no current
literary haiku writers believe the 5-7-5 pattern of
syllables is applicable in English (in Japanese they
count sounds, not syllables, which is why a
one-syllable word like ‘scarf,’ in English, is counted
as FOUR sounds when said in Japan, something like
‘su-ka-ar-fu’), so I’m not sure I’d call 5-7-5 a
‘traditional’ viewpoint in English. More like a
traditional misunderstanding.”

 “Rather, what matters most in the tradition of haiku

is kigo (season word) and kireji (cutting word), as
well as objective sensory imagery (thus one

wouldn’t say that rain ‘stampedes’ the mud, because,
as interesting as that is, it shows your

interpretation and lacks the objectivity that lets
readers have their own reaction to a carefully

crafted image).”

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 “At any rate, I always like to quote philosopher
Roland Barthes on haiku. He said that ‘The haiku has

this rather fantasmagorical property: that we
always suppose we ourselves can write such things
easily.’ Paradoxically, haiku is both easy and hard.”

Welch also provided to links to check out:
1. His essay “Becoming a Haiku Poet” at

http://www.haikuworld.org/begin/mdwelch.apr200
3.html

2. Keiko Imaoka’s essay “Forms in English Haiku” at
http://asgp.org/agd-poems/keiko-essay.html

I would like to thank Welch, who is an expert in his field,
for sharing so much great information with everyone.
This is what having a community of poets is all about as

far as I’m concerned.

Haiku, Senryu, Haiga and Tanka

The Chinese contribution in the development of Japanese

script and literature is immense. Even though the history

of Japanese literature goes beyond 7th century AD,

much of the Japanese literature took inspiration from

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Chinese literature during the Tang Dynasty (618-907) in
China.

Kojiki (712) and Nihonshoki (720) are the earliest
records of Japanese literature. Kojiki and Nihonshoki are

the books of Japanese mythology, history and poems.
Mythology and history in these books were recorded
from the oral tradition by Hieda no Are and credited to
Yasumaro. The poems in these books are said to be

composed by Japanese God Susanoo.

In the beginning, Japanese poets used Chinese language
to express their emotions, observations and insights.
After the hundred years of writing in foreign language
and form, Japanese poets developed a native style, which

became integral to Japanese culture.

This one of the hundred prints illustrating the Japanese
poetry anthology called the Hyakunin isshu, which was

compiled by the poet Fuhiwara Teika 1162-1241

This one of the hundred prints illustrating the Japanese

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poetry antology called the Hyakunin isshu, which was
compiled by the poet Fuhiwara Teika 1162-1241 | Source

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