"Those inner links in renga were an important part of Basho's haikai renaissance. So, anything we learn about that can be applied to our growing sensitivity to the internal mechanics of a hokku in its standalone anarchy. But is it so? For, do we not, as participants in this beautiful theatre of the mind (ma as Noh) that is hokku, supply a response? Just like ghosts at a phantom gathering. Thus is tanka the reply of our heart to worlds of natural experience." - jprisky shortcut-
through the farmer's corn
twilighting
Personalised edit → in A moldering graveyard = in MY moldering graveyard ( for the sake of conjecture )
KU EXAMPLES EXTRACTED FROM RENGA (crossroaders: Zen Guy and Zen Anecdotes, respectively) Hokkuleaves fall
the scent of butterfly
remains
Wakiku
in a moldering graveyard
angel wings cast in stone
Tanka Form (tan-renga)
leaves fall
the scent of butterfly
remains
in a moldering graveyard
angel wings cast in stone
Something to ponder. Now, moving forward . . .
"Each link in a renga (except the first and last) should really be read twice: once with the link preceding it and once with the link following it. Each link is thus part of two small poems and may provide different meanings or perceptions
in each." - Larry Gross
Perhaps we have a new potential here . . .
PROPOSED NAME FOR NEW FORM CONCEPT IN HAIKAI: Tan'iku no renga [8 line short poem of renga). Comprising three centrally linked stanzas from a renga sequence: tercet / couplet / tercet - which form an octet. A gap between stanza 1 and 3 emphasise linking (although some may choose to omit this; see version 2 below and consider the merits of each):
E X A M P L E [Free form, keyed to autumn.]:
VERSION-1
leaves fall
the scent of butterfly
remains
in a moldering graveyard
angel wings cast in stone
from billions of years
around galactic vastnesses
this mossy epigram
VERSION-2
leaves fall
the scent of butterfly
remains
in a moldering graveyard
angel wings cast in stone
from billions of years
around galactic vastnesses
this mossy epigram
Following our experimental logic, we can split this 8-line ku into two tan-renga ( [short linked poem] A two stanza poem, the 5/7/5 maeku (front verse) being written by one person, and the 7/7 tsukeku (joined verse) by another). Producing tanka forms (condensed style used):
leaves fall
the scent of butterfly
remains
in a moldering graveyard
angel wings cast in stone
in a moldering graveyard
angel wings cast in stone
from billions of years
around galactic vastnesses
this mossy epigram
I like this idea of "ku", its universal application. To overcome factionalism in the haikai game, at least for seven seconds. Long enough to be heard in the battling 'parliament of the emotions' (William James) which is global haiku. This idea also produces a rationale for ku forms based on renga: THREE KU FORMS:Hokku (opening stimulus of renga)---
-----
--
Wakiku (first response to a hokku of renga)-----
-----
Tanka Form (hokku + waki, first and second ku of renga)---
-----
--
-----
-----
click
The following was posted at Boloji - an excellent site to visit and explore.
leaves fall
the scent of butterfly
remains
These inner links of renga were an important part of Basho's haikai renaissance. So, anything we learn about that can be applied to our growing sensitivity to the internal mechanics of a hokku in its standalone anarchy. But is it so? For, do we not, as participants in this beautiful theatre of the mind (ma as Noh) that is hokku, supply a response? Just like ghosts at a phantom gathering.
leaves fall
the scent of butterfly
remains
in my moldering graveyard
angel wings cast in stone
Thus is tanka the response of our heart to worlds of natural experience.
leaves fall
the scent of butterfly
remains
in my moldering graveyard
angel wings cast in stone
John Potts
June 19, 2013
Note
As an example of personal response to the proceeding 3 lines, the "my" in L4 was required. Also, that 'reads' much better in terms of connotative expansion and also serves a double meaning (local graveyard/personal grave), which adds much to the original renga experiment. Chopping that renga down to the first call/response, to provide an example of classical waka (personal allusion to a nature observation) and discuss that edit in terms of a more authentic approach to the construction of modern tanka (which is decadent and largely gone to pot in the modern haikai world) was the general idea. On Twitter I glance at the 'experts' and their offerings and cringe. However, there is good stuff about in quintet form but it's not anywhere near the original aesthetic (which I admire and respect) on the whole. The piece, in its final form, lacks a certain subtle integration, though. And, to that extent (parts bolted together), it is also not anywhere near the sublime. But, the piece does serve well enough, perhaps, as an example of concept and for that very reason.
..also see essay by Smitha Chakravarthula
Misc
Call it what you will. To me it represents the uta ('fragment') form of classical waka ('Nipponese poem'). It could be called: 'classical tanka' ('short poem' = 5-7-5-7-7). However, calling it that muddies the waters in terms of my argument (which is that the first verse of the Kojiki waka compilation lays down the template for this form by 'divine decree' - that is to say, magico-mythically). The tanka pundits know very little (if anything) regarding the cultural substrate of all this. And that is why they fall into the modern materialist trap - whilst thinking they are out of it! As for ownership, you're contribution is credited on the link above and all outgoing links which return to that credited link. Besides, feel free to use the entire 5-liner as you see fit. But, do bear in mind that I made it standalone and gave it life - for what that's worth in the scheme of things.
As an example of personal response to the proceeding 3 lines, the "my" in L4 was required. Also, that 'reads' much better in terms of connotative expansion and also serves a double meaning (local graveyard/personal grave), which adds much to the original renga experiment. Chopping that renga down to the first call/response, to provide an example of classical waka (personal allusion to a nature observation) and discuss that edit in terms of a more authentic approach to the construction of modern tanka (which is decadent and largely gone to pot in the modern haikai world) was the general idea. On Twitter I glance at the 'experts' and their offerings and cringe. However, there is good stuff about in quintet form but it's not anywhere near the original aesthetic (which I admire and respect) on the whole. The piece, in its final form, lacks a certain subtle integration, though. And, to that extent (parts bolted together), it is also not anywhere near the sublime. But, the piece does serve well enough, perhaps, as an example of concept and for that very reason.
This musing is a living document and as such will develop - so, be sure to return regularly to this page, if you like. Not just to note any changes, but also to review the material in the light of your own understanding.
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