In this Wednesday’s workshop, we played with the idea of “constraints” — what happens when we apply restrictions or rules that require the poet to move their focus from image and metaphor to something as specific as counting syllables?
In order to play with formal constraints and short forms, we explored the Japanese forms of Haiku and Tanka.
Haiku (俳句) is a short form of Japanese poetry. Traditional haiku often consist of 17 on (loosely translated as “syllables”), in three lines divided like so: 5 - 7 - 5.
Tanka is a slightly longer short form consisting of five lines usually with the following pattern of on (or number of syllables per line): 5 - 7 - 5 - 7 - 7.
A syllable is a part of a word pronounced as a unit. It is usually made up of a vowel alone or a vowel with one or more consonants. For example, the word “haiku” has two syllables: Hai (1) - ku (2); the word “traditional” has four syllables: tra (1) - di (2) - tion (3) - al (4).
The essence of haiku is kiru, or “splitting.” This is often represented by the juxtaposition of two images or ideas and a kireji (a “splitting word”) or a punctuation mark (i.e. “;” or “—”) between them.
A haiku also typically contains a kigo (or a “season word”), usually drawn from a saijiki, an extensive but defined list of such terms. Often focusing on images from nature, haiku emphasizes simplicity, intensity, and directness of expression.
“The light of a candle” is a Haiku written by Yosa Buson, one of the three classical masters of the form. This video provides a sampling of haiku read in the original Japanese verse, with English translations provided.
Haiku Writing Exercises
1. Write as many haiku stanzas following the 5 / 7 / 5 structure as you can in 10 minutes.
2. For an added constraint, try to incorporate the kiru: the juxtaposition of two images or ideas. To mark the juxtaposition, use a kireji (or “cutting word”) or a punctuation mark (“;” or “—”).
3. For another added constraint, use a kigo (or “season word”) in your poem. Here are a few for spring:
new, warm, serene, fog, rain, haze, thin ice, soil, seed, frog, silkworm, butterfly, blossom, willow, dandelion, primrose, daisy
Tanka Background
Like the sonnet, the tanka employs a turn, or pivotal image, which marks the transition from the examination of an image to the examination of the personal response. This turn is located within the third line, connecting the kami-no-ku, or upper poem, with the shimo-no-ku, or lower poem.
“Person of the Playful Star” is a tanka written by Tada Chimako.
Tanka Wring Exercises
1. Write a tanka following the 5 / 7 / 5 / 7 / 7 structure.
2. For an added constraint, try to include a “turn” or pivotal image in the third line of your poem, connecting the kami-no-ku, or upper poem, with the shimo-no-ku, or lower poem.
Please share your own haikus and tankas in the comments section below!
Check out the PowerPoint video for the workshop here: