What is the name of Japanese poetry. The form of Japanese poetry hokku (haiku)

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.

Classic thangka 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 way, 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 \u200b\u200bthe entire associative array that arises from 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, you can 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 both 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 traditions, and among the pro-Western poets - a desire to renounce and indignation. 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, but 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, traditionally written on one line.

The origin of the Japanese genre of tricycles (the original name is Hokku, then Haikai, 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. Waka's poetry 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 like 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 the 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 XV-XVI centuries. The initial three-verse of the Tanka five-line, 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 amoebaean form usually created by two or more poets, a poetic call-over of three and two lines on a given theme.

Ranga 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 two lines, then three lines. 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 connected 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 XII century. as a fun, literary game, then it developed into a sophisticated serious art with many complex rules. At the end of the XIII century. In the historical monument "Present Mirror" (Ima kagami), which describes the birth of this genre, the term Kusari renga "poetic chains" appeared.

Depending on the length, such "chains" were named: 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 [of mountains] 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 Rang 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. Such a 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 greatest 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 had 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 shi, 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, a large 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 came to the fore and became the most respected and popular genre in Japanese poetry, along with Tanka. This extremely short poetic form of only 17 syllables, seemingly vulnerable to influences and deformation.

At first glance, unstable, burdened with a whole system of mandatory formants, it turned out to be much more viable. The Renga genre in this case played the role of the initiator, with his help Tanka, which previously existed as a single formation (although it had a tendency to break), with the introduction of two-part voice, received the opportunity to split into two parts. The centrifugal role was played by the ability to use the two parts of the Tank as separate independent parts of the poem, and the first part, the three-line, 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 five-verse-Tanka, 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.

... She moves heaven and earth without any effort

Captivates even gods and demons invisible to our eyes

Refines the union of men and women

Softens the heart of harsh warriors ... Such is the song.

Ki-no Tsurayuki. From the preface to the collection "Kokinshu"

Poetry from the heart of Japan

Probably, for all peoples, songs and poems are born of one "source", but only among the Japanese, the song does not necessarily imply music. "The song is not equal to poetry, but it is not higher or lower than it." This is how the Japanese used to express themselves in many ways.

Types of Japanese poetry:

Tanka is a short lyrical song.
Sadoka is a six-hand.
Ranga is a chain of word images that decays towards the end.
Hokku is an independent genre that is popular in our time.
Uta - five-verse, serves as an appendix to the nagauta.
Nagauta is a ballad, very long.
Haiku is the traditional poetry of Japan.
Sinkwine - 5 non-rhymed lines.
Kyoka is a satirical genre of poetry (insane poems).
Rakushu - satirical poetry of the XIII-XIV centuries.

The first evidence of poetry

One of the first evidences of the monumentality of poetry, which is now considered a "monument" of the poetic principle, is the anthology "Manyoshu". The translation of this title is also not unambiguous: "A collection of songs for many centuries" or "A collection of myriads of leaves." This anthology dates back to the 8th century and is divided into 20 parts, and they total 4,500 verses. This truly unique collection is composed of works over 4 centuries!

Manyoshu contains all types and forms of Japanese poetry. The most interesting, oddly enough, is social poetry. By itself, it was in those days a rare occurrence. And, of course, there are a lot of anonymous poems in this anthology. This is very significant, because when such anthologies were made in later times, poems of unknown authorship were not included.

Second evidence and canons

The second evidence of the development of poetry was the collection "Kokinwakashu" of 26 scrolls and 1111 verses. In addition to the division into lyric and landscape, it presents: poetic complaints, congratulations, travel poems, acrostics.

This anthology was compiled under an imperial decree, which considered it his duty to take care of the heritage of poets of his own and other centuries. Interestingly, the foreword in Chinese was written by Ki no Yoshimochi, a poet and a great connoisseur of poetry, whom he even recognized. So, this collection is the most successful and thorough attempt to tell the reader about the history of poetry in Japan. It was "Kokinwakashu" who established the rules for building a tank and made this form canonical.

The birth and development of renga

Since the XII century, renga has become popular in Japan - a poetic chain that, towards the end, breaks down into links. This form originated from tanrenga (short form of renga), which were composed by two different poets - the first three lines of 7 syllables were written by one poet, the last two lines by another. And then the form developed into terenga and kusari renga, which were already written by several poets.

In the Kamakura era, renga acquired its canons, and its form was transformed. Now it was supposed to be one hundred lines, and such directions as spiritless renga musin and soul renga wuxing appeared.

The first is not lack of spirituality in the literal sense, but the form of the verse, which is filled with humor, sometimes obscene. Soul is an elegant form of expressing serious concepts.

By the end of the Kamakura era, renga, as the most popular form, had acquired exceptional masters. It was at that time that poets appeared who devoted their lives exclusively to this word form. Among the many masters was Nijo Yoshimoto, who was a student of the famous Gusai. Together they compiled a collection of renga, a kind of anthology and a set of canons, according to which they were to be composed. Added to this was the contribution of Shinkei and Takayama Sozei, who created a treatise in which they emphasized the importance of refined beauty (wushin, yugen).

And then a group of poets took up the form of the verse of wusin renga, which set out to bring this poetry to perfection. Sogi led the group, joined by Sotho, Inawashiro Kensai, and Shohaku. Although the goal seemed unattainable, these poets managed to achieve perfection of form, and this is recognized by everyone in Japan. However, after the death of Sogi, the wushin renga genre quickly declined.

But nothing dies just like that, this form was replaced by haiku, haikai and hokku. They were, as it were, transitional forms from musin renga. These three verses have absorbed humor and wit.

Haikai

The haikai poetic trend was characterized by the haigon form - borrowing words and Chinese words, phrases that were not previously allowed in the lexicon of poetic word form.

Of course, how to write and what to use was not without a struggle for rules and canons. Matsunaga Teikotu promoted a formalistic approach. He wanted haikai eventually to establish itself in a noble, elegant form of court art. After the death of this poet, his rulebook was challenged by a unique school of poets led by Siyama Soin. He emphasized the comic aspects. At the Siyama school, the yakazu haikai direction arose. It was a practice of free association, on the basis of which one had to single-handedly come up with as many poems as possible.

In the 19th century, the art of haikai was so widespread that the number of writers grew into poor quality. Only Kobayashi Issa was able to break through this dam of second-rate poetry, who chanted to small animals, and also wrote a lot about his poverty.

New form

The 19th century was also marked by the emergence of a galaxy of romantic poets. They became the real movers of the new style, who did not want to recognize the traditions and stood up for European poetry. Changes came immediately and in poetry, the era was called the golden age of Shintai. These incredible changes were marked by the appearance of the Shimazaki Toson collection. The poet's lyrics reflected the era of social change. And just then Doi Bansui appeared, who proclaimed romanticism. Shimazaki and Doi were very different from each other. Doi released a collection where he talked about the problems of being and the eternal question of finding his place in this universe. And Shimazaki expressed sincere, youthful joy in spring, nature, love.

Our centuries

It was in these tones that Japanese poetry stood on the threshold of the twentieth century. Needless to say, there were many more wonderful poets than those listed. And the poetic "battles" of young writers with old ones are very interesting, especially if you read the poems themselves. But it is impossible to pay attention to each in one article. Therefore, passing to the present century, we want to mention that during these years Japanese poets have already recognized Rimbaud, Verlaine, Mallarmé, Baudelaire and other European poets who became famous for the genre of symbolism. And this undoubtedly influenced what the Japanese brought to it with their understanding of things, nature and their view of the world.

And if classical poetry may be difficult for you, then modern poetry is within your power. But in any case, do not rely on the translation, often 10 translations can be made for one poem - and none will be accurate to the end. For this, it is better to read the text in the original. If you want to improve your knowledge of Japanese or learn it from scratch - we invite you to our languages!

Democratic poetry

Europeans and people of the new world met in the 10s and 20s of the twentieth century, full of enthusiasm and confidence that in the very near future the world will be conquered. There were already novels by Jules Verne, technical progress replaced the old horse. New people joined art, young and active, who wanted not only to renounce the old, they wanted something radically new.

Innovation broke into Japanese poetry through Kawaji Ryuko's experimental line of poetry. He quickly found many like-minded people who abandoned symbolism, abandoned the old-written bungo and brought into the world a living conversational genre. Many naturalistic schools arose. Among the new poets, Fukushi Kojiro stood out, who composed poems about the true owner of the planet's wealth - man. It was during these times that poetry became democratic; it spoke not only with the aristocratic elite and well-read people, but also with commoners. A "folk school" of poets emerged, from which came true classics, such as Ishikawa Takuboku.

If it seemed to you that socialist sentiments began to soar in the air of those times, so it is. The so-called "proletarian" literature and poetry in particular began to convey the truth about the hard everyday life of ordinary people. And on this wave, the poets who lived in exile rose to the top with their witty poems about the self-consciousness of peasants and workers, and in the vanguard were poets with creativity that arose under the influence of "left" Western art.

Who was in the opposite camp? Already at the end of the 20s of the twentieth century, on the basis of the magazine "Si to Siron", an influential community appeared that stood up for the ideals of surrealism and a clear distinction between politics and poetry. This movement was led by the famous Nishiwaki Junzaburo.

Modernists

Japanese modernism has proletarian roots. Sounds a little ironic, but it's true. Poetry was filled with formalistic devices, which an unconventional new direction could neither use nor reveal to Japan such an author as Miyazawa Kenji.

Of course, it was not without a radical young growth, which wanted a place in the sun for a "stream of consciousness" without edits and restrictions and for the so-called "automatic writing". The best of these poets are Ono Tozaburo, Murano Shiro and others. Even during their lifetime, they were recognized as masters of modernism, skillfully using technology, without looking away from real life.

Unbiased lyrics

End of the 30s. Japan was illuminated by a new phenomenon - the magazine "Shiki", which gave rise to "unbiased lyrics". On the other hand, the currents of the Rekitei association poured into the poetic world, which declared themselves anarchists. This community was headed by Nakahara Chuya, and he promoted the combination of Buddhist abstraction of the philosophical direction and the aesthetics of nonsense. These two streams of poetry seethed and excited the minds for a very long time, but the Second World War was ahead.

Postwar poetry

Japan as a state was in for a collapse. The national ideals and moral values \u200b\u200bof people that led to those tragic events that we all know about were rejected.

New poets strove to comprehend the essence of Evil and to find that Good that can be opposed to the forces of destruction. Kaneko Mitsuharu became the accusers of the past. The front-line poetry of Ayukawa Nobuo and other famous poets, telling about the horror of war, appeared. The "Left Movement" actively promoted "democratic poetry". They began to lose their positions, but were still popular among, so to speak, “disagreeing”.

In the late 50s, the Areti association released poetry full of disappointment. In general, poetic circles turned their attention to denial and search. And in all this one could see the search not even for a new form, but for old values.

Traditional humanistic values \u200b\u200bwere now being rediscovered in the lyrics about friendship, love, mercy. Tanikawa Shuntaro was truly one of the best poets of that time, who managed to show not only the Japanese, but also the world art the aesthetics of new poetry. And yet there was still to be discovered neo-avant-garde, the anarchy of poetic rebellion, a non-conformist trend and a nihilistic movement that no longer rebelled against the foundations in Japan, but against the foundations of the world.

What famous Japanese poems resonate with you the most? Do you like Japanese poetry? If so, for what period? Let us know in the comments.

Of course, to understand Japanese philosophy inherent in poetry, you need to work hard, but you can learn to read Japanese in just a week! Don't believe me? Step through and get a video of the course "How to Learn Hiragana in a Week"!

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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, opens up, an image sketched in two or three strokes appears 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 ponder, 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 permanent 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 "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 line - 4-6 syllables, for a 7-syllable line - 6-9 syllables. However, 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, arriving,
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.
The total is 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 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 must 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 just saw or heard.
* haiku has no name
* does not use rhyme
* The art of writing haiku is the ability to describe a moment in three lines.
* every word, every image counts, they acquire a 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)

SYNQUWINE 2-4-6-8-2

* used for didactic purposes, as an effective method of developing figurative speech
* useful as a tool for synthesizing complex information, as a snapshot of the assessment of the conceptual and vocabulary baggage of students.
* Sinkwine
1 line - noun denoting the theme of syncwine
Line 2 - 2 adjectives revealing some interesting, characteristic signs of the phenomenon of the object declared in the theme of syncwine
3 line - 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 a 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.
Writing syncwine is a form of free creativity that requires the author to be able to find the most essential elements in information material, draw conclusions and formulate them briefly.
In addition to using syncwines in literature lessons (for example, to summarize the completed work), the use of syncwines is also practiced as the final assignment for the passed material of any other discipline.

TANKETKA - ultra-short poetic form

* a two-line poem with a total of 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 emerged 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 humor. T. Grigoriev writes about this in the book "Japanese Artistic Tradition". Therefore, haiku in the senryu genre was not persecuted by the authorities, as would happen with satirical works. Satire may find itself 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 upper classes 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 laughter tradition. 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 useful
http://haiku.ru/frog/def.htm Alexey Andreev WHAT IS A 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 - (crazy poetry), the size of a tanka.
4. Rakushu is a satirical type of 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" - unrhymed 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) - the beginning is like a tanka, the total volume is unlimited - romantic poetry was approved by the poet Shimazaki Toson at the beginning of the 20th 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 poet 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 didn't have time
Speak up.
It would be nice for us in paradise
Be in the same squadron.
ALEXANDER FREIDLES, - MEMBER OF LITO,
...
Drizzling rain.
My pride weeps,
Saying goodbye to you in thoughts
A 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)

What are the names of Japanese poems and what meaning do they carry?

Japanese love poems have long been appreciated by fans of poetry. Someone will say that Russian or French poetry sounds much more beautiful, but nothing penetrates deeply into the soul as the quivering and romantic works of Japan. Many do not yet know what Japanese poems are called, and what meaning do they carry?

A bit of history about Japanese poetry

Japanese poetry comes in the form of tanka or hokku. In these works, the Japanese express love as the highest feeling that life carries with it. Tanka has a five-verse form and appeared around the eighth century. Hokku - three lines, appeared only eight centuries later.

It would seem that from the eighth to the sixteenth century, poetry is separated by eight hundred years, but such a large amount of time did not become an obstacle for the Japanese to create masterpieces. The five-verse has replaced the previously popular free verse and is dominant in the 21st century.

What has attracted the attention of those around Japanese poetry?

The lyric poetry of Japan does not accept an open expression of feelings; in it, feelings are compared with living nature. Poems have a subtle meaning only because they intersect the beauty of living nature and human feelings.

Japanese poets have a peculiar style of writing their works. For example, in Russia, poems are very popular where the author praises the beauty of a woman; in Japanese poetry, a beloved woman is compared with golden spring leaves, with butterflies that gently flutter from flower to flower. If, while reading Japanese literature, you notice admiration for sakura, carnation or any other flower, then you should know, thus, the author praises female beauty. Japanese lyricists can also compare the young maiden with a pearl, jasper, or other precious stones.

You never see female names in Japanese lyrics. This rule is" came to the land of the rising sun since ancient times, if a girl said to a young man what her name was, then she was obliged to tie the bonds of marriage with him.

Japanese short poems never reveal their soul, secrets. After reading them, one gets the impression of an understatement. Each reader feels certain emotions in relation to the work he has read.

Romantic images that are most often used in poetry:

dreams;
moonlight of the night;
fog, smog, haze;
dusk;
sun or moon.

How are tanka poems different from hokku poems?

Japanese poetry tanka differs from hokku only in the size of the lines. Hokku looks like a three-line, and a tank looks like a five-line. Today it is difficult to list all the honored authors, but one can single out:

Basho,
Roana,
Issa.

Amazing Japanese poetry

The Japanese have not only a special relationship to word form, to women, but also to nature. The Russians have only four seasons, as, in principle, do most of the world's inhabitants, while the Japanese have six seasons a year.

Fifth - rain season tsuyuwhich lasts six weeks. Season Six - Autumn transparency or Japanese clarity, which is analogous to Indian summer.

It is difficult to denote by two names what Japanese poems are called. Tanku and hokku are just names that do not say anything to half of the readers, but after reading a few lines, the reader understands what a deep meaning they carry.

Japanese poetry does not contain complex expressions or thoughts, but at the same time it cannot be called too simple. A small verse contains a whole world of feelings and emotions that the author tries to convey to the reader. At first glance, it may seem that everyone can create a tank or hokka, but having tried it in practice, it will be really difficult for you.

Video: Japanese haiku poems SEASONS

Hokku structure

1 line - 5 syllables
2nd line - 7 syllables
3 line - 5 syllables
From branch to branch
Drops are quietly running down ...
Spring rain.
Basho

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

Hokku are distinguished by their utmost brevity and peculiar
poetics. It depicts the life of nature and life
man in their solid, indissoluble unity against the background
seasons.
No rhyme, but sound and rhythmic
organization of the tricycle - subject
great concern of Japanese poets.

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

What can you write about in hokku?
About native land, about work, about entertainment, about
art, about nature (about winter cold, about summer
heat), about insects, animals, birds, about trees, oh
herbs.
When composing a hokku, the poet had to mention which
the time of year in question. Hokku books are also usually
were divided into 4 chapters: "Spring," Summer "," Autumn "," Winter

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

As a required text element
used kigo, "seasonal word" - narration
conducted in the present tense.

Spring verses - melt water, flowers on
plum and cherry, first swallows, nightingale,
singing frogs.
Summer poetry - cuckoo, green grass,
lush peonies.
Autumn poems - chrysanthemums, scarlet leaves
maple, scarecrow in the field, sad trills
cricket.
Winter poems - cold wind, snow, frost,
blazing hearth.

Skill is considered a classic of writing hokku, with
which the poet is able to describe in three lines the moment
"Here and now".
Say a lot in a few words,
signs - the main principle of hokku poetry.

Brevity makes hockey akin to folk
proverbs
Hokku is akin to the art of painting. They are
often wrote on the subjects of paintings and
inspired artists,
turned into a component of the picture.

Matsuo Base (1644-1694)

Matsuo Base (1644-1694)
Matsuo Base - the recognized Master
Japanese poetry. Hokku Basho is
truly masterpieces
among other Japanese hokku
poets. Basho is a pseudonym
great poet. At the birth of Basho
was named to Kinzaku, upon reaching
majority - Munefusa; yet
Basho's one name is Jinsichiro. Matsuo
Basho is a great Japanese poet,
verse theorist. Basho was born in 1644
year in a small castle town
Ueno, Iga Province (Honshu Island).
On a high embankment - pines,
And between them cherries shine through, and
palace
Deep in bloom
trees.

"All the excitement, all the sadness" ... Willow is a tree,
bowed by the water, by the road. All twigs
willows are lowered down. No wonder in poetry willow -
a symbol of sadness, sadness, longing. Sadness, longing
- this is not your way, the poet tells us, give it back
this load to the willow, because she is all the personification
sadness.

Esa Buson (1718-1783)

Esa Buson (1718-1783)
With the name of another
The Masters, Esa Buson (1718-1783)
expansion of topics
haiku. Often in three lines
poems he could
tell a whole story.
So in the verse "Change of clothes with
the onset of summer "he writes.
Hid from the master's sword ...
Oh, how happy the young couple are
Light winter dress
change.

Kobayashi Issa (1763-1827) - born in
mountain village in a peasant family.
His mother died when he was a child,
his stepmother treated him cruelly,
so he is fourteen years old
went "to the people", for many years struggled with
need. Only in his declining years received
inheritance and was able to live in abundance, a lot
wandered, left the rich
poetic heritage: more than six
thousands of hokku, diaries, comic poems.
Ah, don't trample the grass!
There the fireflies were shining
Yesterday at night.

Sakura and maple are the favorite plants of the Japanese. Sakura represents the Japanese
notion of beauty: everything beautiful is sad because
short-lived. Japanese cherry blossoms only a week of the year. In late March
early April. Then all the Japanese leave their business and celebrate the Hanami holiday of admiring the cherry. In October, when autumn comes scarlet
Momiji Japanese maples flash in color, and then all Japanese again
celebrate the holiday of admiring maple leaves - Momijigari.

Arivara Narihira

In sequence
Petals fall
terry sakura,
Fluttering in the wind.

Matsuo Basho.

Spring passed
night
White dawn
turned around
A sea of \u200b\u200bcherry blossoms.

In my native country
Cherry blossoms
color
And there is grass in the fields!

In any three-verse, the main character is
man. The poets of Japan do their best in their hokku
tell how a person lives on earth, what
ponders how sad and happy. Japanese poets
teach us to take care of all living things, to pity all living things, therefore
that pity is a great feeling. He who does not know how to truly regret will never become kind
human.

Scarlet leaves
On maple leaves
Maple trees fly in the air. The rain dies down quickly.
The cold will come.
And the wind howls.
I look out the window -
And I will see in the snow
My native city.
The flowers have withered
The clouds covered the sky ...
I am very sad.
Cold wind.
The soul turned into ice
Lonely.
Here are the trills of the cricket
They sound sad, sad.
Autumn is coming.
The fire is burning
And in a stone hearth.
Life is continuous.
I look at the sky:
The cranes are flying by.
The soul began to sing!
The nightingale sings
Streams flow away
West towards the river.
Melt water
Spring brought with it.
And everyone sang!
On a bare branch
The raven sits alone.
Autumn evening.

1. Old, frog, into the water, pond, in silence, jumped,
splash. (Basho)
2. I, and, it blew with what, in, with an ax, hit, winter,
aroma, froze, forest (Buson)
3. Hour, I stand, and, lost, peony, like, evening,
ripped off (buson)
4. Herbs, oh, news, autumn, fox, brought, forest,
redhead, in, withered. (Buson)
5. Empty, house, neighbor, nest, and abandoned, left.

Internet resources:

http://scrapbazar.ru/catalogue/files/211/1_big.jpg -background
http://www.design-warez.ru/uploads/posts/2009-09/1252424867_6321519_71.jpeg background
http://img-fotki.yandex.ru/get/6206/90468072.432/0_7f12b_4f790d75_XL - crocuses
http://img-fotki.yandex.ru/get/9795/16969765.1fc/0_8c9ab_e01a6d91_L.png -bubbles