Classical Japanese poetry, hokku and thangka. Japanese five-verse - tanka and three-verse - hokku
Tanka (or midzikauta, Japanese - short song) -
national treasure of Japanese culture,
the main form of Japanese poetry.
An example of a Kagawa Kageki tank:
Moonlight
Poured cherries in the mountains.
I see in the wind
Trembling in the trees has passed, -
So the flowers will fall ?!
_____________
The prosodic unit of a tanka is a stanza consisting of 5 or 7 syllables.
In a poem built according to this plan, 5 syllabic blocks are distinguished in accordance with the formula:
________________________
5-7-5-7-7 syllables
_________________________
Thus, a classic tanka contains exactly 31 syllables.
Rhyme (rhymed phoneme) is missing.
Consider an example of the Oshikochi Mitsune tank
and its exact formal translation into Russian by Ki-no Tsurayuki:
Okuyama-ni _________________________ Deep in the mountains
Momoji Fumiwake __________________ tramples on a red maple leaf
naku-saka-ni _______________________ moaning deer
koe koku toka dzo ___________________ I hear him cry ... in me
oki-wa kanashiki ____________________ all autumn sadness
The origins of the tank are in folk rituals and legends. This genre originated long before the appearance of writing in Japanese culture, and to this day continues to occupy a dominant position. Such an amazing vitality of poetic traditions became possible thanks to the capacity and versatility of the tanka, the ability to embrace the immensity, as well as to develop within the limits of an exceptionally rigid form.
In the first anthology of Japanese poetry, Manyoshu (Collection of Myriads of Leaves, 20 books, about 500 authors, 759 AD), the overwhelming majority of works are written in the form of a tanka (4207 out of 4516 poems). From 905 to 1439 22 anthologies of the tank were published under the direct patronage of the Emperors.
It should be noted that the themes of the classic tanka are strictly regulated. These are, first of all:
1) songs about love, separation, wanderings, hunting, feasts, meetings ...
2) ritual songs, crying, round dance, roll call songs ...
3) finally, one can find analogues of Western epigrams, medieval Albs, madrigals, ditties, romances ...
The education of the Japanese aristocrat was invariably accompanied by the study of the traditions and foundations of the tanka. Suffice it to say that mastering the art of composing a tank was an important milestone spiritual development samurai. She accompanied the noble Japanese warrior throughout all stages of his life. Even in the event of the need for hara-kiri (ritual suicide), each samurai had to leave the farewell tanka.
This poetic form was inlaid in all spheres of life, from a conversation between a host and a guest to a flirtation of a man and a woman ...
But the tanka gained particular popularity thanks to poetry competitions.
It could be:
1) tournaments on a given topic
2) or a collective "glass bead game" (when one participant started the tank, the other continued; big number poets).
Competitions were conducted by utaavase (authoritative judge). Tournaments had strict rules and clear regulations. The "appended" tanks were called renga. The first part was called hokku (Japanese - initial verses) and subsequently acquired an independent genre status - as haiku.
________________________
5-7-5 [hokku]
7-7
(5-7-5) n [hokku]
(7-7) n
_________________________
PS /
Such renga games have become widespread in modern Internet networks (including in the Russian language).
________________________
5-7-5
_________________________
PSS /
Since the 17th century. (lyrics by Matsuo Basho) To this day, haiku poetry is the main competitor of tanka.
Japanese poetry of the Silver Age (late 19th - early 20th centuries) had an invaluable influence on the development of the art of tanka. Japanese Renaissance revived, breathed new life
1) as in the simplicity and imagery of the original forms of the anthology "Manyoshu",
2) and the sophistication of the elegant developments of the Middle Ages.
The revolution that took place in the modern tanka (late XX-early XXI centuries) combines the blurring of ethnic, semantic and even formal boundaries.
The canonized basic techniques of the tank are elaborated in great detail by tradition.
Exist keywords that evoke a certain gallery of associations in the prepared reader.
Makura-kotoba (Japanese - "word-headboard") plays the role of a permanent beginning, a permanent epithet, a constant sound repetition. This archaic technique in a lapidary form recreates a picture of nature, life, ritual, and gives a characteristic of the area. For it bears a trace of a petrified connection prompted by regularly recurring phenomena of life, historical tradition, mythological ideas.
Example (Ozawa Roan)
Plowing ox
The plow drags joylessly
Your hard plow ...
Well, and you and I, tell me
Are they not harnessed to the plow?
The so-called kake-kotoba (Japanese for "spinning words"), homonymous metaphors, are often used. The word is used in two different meanings.
If there is a seed
There will be a pine tree on the rocks
So sterile
We will not stop trying
Be together if you are in love.
In the Japanese art tradition, there is a particular style of ink painting.
The artist rubs the ink stick for a long time, observing the spreading over the surface of the inkwell. At the same time, he tries to detach himself from the World and his thoughts. When consciousness (and ink) are brought into the desired state - in a few strokes he creates a drawing. It is believed that even the slightest stop or delay is unacceptable.
The technique of a Western artist is associated with the creation of sketches and sketches, thinking through the composition, perspective, chiaroscuro ...
This example is often cited as an illustration of the differences between thangka poetry and traditional Western poetry. Tanka is the poetry of illumination and impromptu.
Tank examples:
Kamo Mabuchi
At the time of flowering
Cherries are like clouds -
Is it because
The soul has become more spacious
Like the sky in spring ...
O winds from the mountains!
Do not blow tonight, -
Disturbed sleep
Forgotten the wanderer on the way
On a hard headboard.
Tachibana Akemi
The woodcutter's song.
Birdish discordant chirping.
The murmur of the brook.
Pure herbs in the dew.
The pines stuck into the sky.
Dear friends!
On the page "Hedgehog's Creative Workshop"
it is planned to hold 10 lessons on the topic "Poetry of a tank".
Tentative dates are late December 2006 - early 2007.
Everyone is welcome.
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
Sincerely,
School of Poetry of the East,
Sensei Gil'an
* G | | _` \ / | R | @ | \ | ~ ^ ~ ^ ~ ^ ~ ^ ~~)))
Tanka, or mijikauta is Japanese medieval genre of landscape, love and philosophical lyrics; non-rhymed 31-syllable five-lineage, based on the principle of alternating 5-complex and 7-complex lines according to the scheme of 5-7-5-7-7 syllables.
Tank structure and example
According to the rhythmic structure, the tanka is an ancient stanza, which consists of five verses, has no meter and rhyme. The poetic unit is a syllable. The first, third verses contain 5 syllables each, the second, fourth, fifth - seven-syllable, in total there are 31 syllables in the tank.
With the brevity of the form, the poems of the tanka are distinguished by poetic grace and deep meaning, moreover, in the first three lines the main idea is concentrated, in the last two - the conclusion.
Tank example:
You winds of the sky
passage between the clouds
quickly close
so that young creatures
still stayed with us!
(Henjo, IX century)
Tanka's connection with the waka genre
According to the principle of building a tank, the verse teka (Japanese "long song"), or nagauta, is organized, which differs from the lyric five-verse in unlimited size (up to 50 verses or more).
Tanka, like nagauta, is a variation of the Japanese medieval waka poetic genre that was cultivated among the feudal aristocracy.
Origin and flourishing of the genre
Tanka originated in Japanese poetry of the early Middle Ages (8th century) and flourished in the 9th-10th centuries, becoming a traditional poetic form of aristocratic literature in Japan along with nagauta and sadoka.
Classical examples of the genre are presented in medieval anthologies of Japanese lyric poetry, which were published by decree of the emperors. Tanka verses are rich in creativity of the "six immortal" poets of Japan (IX century): Arivara-no Narihira, Ono-no Komachi, Henjo, Funya-no Yasuhide, Kisen-hoshi, Otomo Kuronushi.
Anthology "Manyoshu"
The first and most recognized anthology of Japanese poetry is the Manyoshu (Collection of Myriads of Leaves), dating from about 759. Of the 4,516 works of poetry, 4207 are short tanka songs, among the authors of which were Yamabe no Akahito, Kakinomoto no Hitomaro , Otomo no Tabito, Yamanoue no Okura, Takahashi Musimaro, Otomo no Yakamochi.
Manyoshu is the golden age of Japanese poetry. Direct presentation, simplicity and emotional richness are the characteristic features of the works of the anthology.
Anthology "Kokinshu"
Tanka poetry received its fullest, most complete expression in the imperial anthology "Kokinshu" or "Kokinwakashu" ("Collection of old and new songs of Japan", 922). This collection consists of 1,111 waka lyric poems, grouped by topic.
"Kokinshu" is considered the embodiment silver age Japanese poetry, a symbol of the revival of poetry during the Heian period (794-1185).
The meaning of tanka in modern poetry
Having undergone many modifications, the tanka poetic form has been preserved and prevails in Japanese national poetry of modern times and modern times (Masaoka Shiki, Ishikawa Takuboku, Yosano Tekkan, Ashida Takako, etc.).
A poet who composes a tanka is called a kajin.
Tanka word borrowed from Japanese and in translation means a short song.
Japanese poetry based on the alternation of a certain number of syllables. There is no rhyme, but much attention is paid to the sound and rhythmic organization of the poem.
Hokku, or haik y (opening verses), is a genre of Japanese poetry: an unrhymed three-verse of 17 syllables (5 + 7 + 5). The art of writing hokku is, first of all, the ability to say a lot in few words. Genetically, this genre is associated with tanka.
Tanka (short song) is the oldest genre of Japanese poetry (first recorded in the 8th century). 31 syllable non-rhymed five-verses (5 + 7 + 5 + 7 + 7). It expresses a fleeting mood, full of understatement, is distinguished by poetic grace, often - complex associativity, verbal play.
Over time tank(five-verse) began to be clearly divided into two stanzas: a three-verse and a couplet. It happened that one poet composed the first stanza, the second - the next. In the twelfth century, chain verses appeared, consisting of alternating three-verses and distichs. This form is called renga (strung stanzas); the first three-verse was called the "initial stanza", in Japanese "hokku". The renga poem did not have thematic unity, but its motives and images were most often associated with the description of nature, and with the obligatory indication of the season. The opening stanza (hokku) was often the best stanza in rengi. Thus, separate collections of exemplary hokku began to appear. The Trinity became firmly established in Japanese poetry in the second half of the seventeenth century.
Hokku has a steady meter. This does not exclude poetic liberties, for example, in Matsuo Basho (1644-1694). He sometimes did not reckon with the meter, striving to achieve the greatest poetic expressiveness.
Matsuo Basho is the creator of not only hokku poetry, but also a whole aesthetic school of Japanese poetics. His real name is Matsuo Munefusa. Born in the castle city of Ueno, Iga province (in the center of the island of Honshu), in the family of a poor samurai Matsuo Yozaemon. Basho's relatives were educated people, which first of all presupposed knowledge of Chinese classics. Basho's father and older brother taught calligraphy. Basho himself from childhood was a friend of the prince's son - a great lover of poetry; soon Basho himself began to write poetry. After early death his young master Basho went to the city and took tonsure, thereby freeing himself from the service of his feudal lord, but did not become a real monk.
He studied under the famous masters of the poetry of the hokku Katamura Kigin and Nishiyama Soin. In 1680 he published the first anthology of his own poems and the poems of his students. Then he settled in a hut on the outskirts of Edo (Tokyo). In 1684 he began to wander as his favorite poet Saigyo. As Basya's fame grew, students of all ranks began to flock to him. By the end of his life, he had many students all over Japan, but the Basho school was not the usual school for the master and the students who listened to him at that time: Basho encouraged those who came to him to find their own path, each had his own handwriting, sometimes very different from the teacher's. Basho's students were Kyorai, Ransetsu, Issho, Kikaku; Chiyo belongs to the Basho school - a talented poetess who, having been widowed early and having lost a child, took her hair as a nun and devoted herself to poetry ...
Some genres of Japanese poetry
Classic tanka in written form (and even longer in oral form) have existed since the 8th century and have undergone 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 tank 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 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, 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.
Japan was one of the leading forces during World War II. The scale of the strategic plans of its leadership was to be confirmed by the high quality of technology. Therefore, in the 30s, the Japanese created many models of tanks that fought on the Pacific front of World War II for several years without interruption.
Purchase of western models
The idea of creating your own tanks appeared in Japan after the First World War. This conflict showed the promise of this modern look weapons. Since the Japanese did not have their own industry necessary for the production of tanks, they began to get acquainted with the developments of the Europeans.
For Tokyo, this was a familiar method of modernization. The Land of the Rising Sun spent several centuries in total isolation and only in the second half of the 19th century began to develop intensively. New sectors of the economy and industry appeared from scratch. Therefore, the task of conducting a similar experiment with tanks was not so fantastic.
The first French Renault FT-18s were purchased in 1925, which at that time were considered the best cars of a kind. These models were adopted by the Japanese. Very soon, engineers and designers of this country, having gained Western experience, prepared several of their pilot projects.
"Chi-I"
The first Japanese tank was assembled in Osaka in 1927. The car was named "Chi-I". It was an experimental model that never saw serial production. However, it was she who became the very "first lump" that turned out to be for Japanese specialists Starting point for further technical research.
The model had a cannon, two machine guns, and its weight was 18 tons. Her design feature consisted of several towers on which the guns were installed. It was a bold and controversial experiment. The first Japanese tank was also equipped with a machine gun designed to protect the vehicle from the rear. Because of this feature, it was installed behind the engine compartment. Tests showed that the multi-turret design was unsuccessful in terms of combat effectiveness. In the future, Osaka decided to abandon the implementation of such a system. The Japanese tank "Chi-I" has remained a historical model that has never been in a real war. But some of its features were inherited by machines later used on the fields of World War II.
"Type 94"
Mostly Japanese were developed in the 30s. The first model in this series is Tokushu Ken'ingxia (abbreviated as TK, or "Type 94"). This tank was distinguished by its small dimensions and weight (only 3.5 tons). It was used not only for combat, but also for auxiliary purposes. Therefore, in Europe "Type 94" was considered a wedge.
As an auxiliary vehicle, the TC was used to transport goods and help convoys. This was the original purpose of the car, as conceived by the designers. However, over time, the project evolved into a full-fledged combat model. Almost all subsequent Japanese inherited from the "Type 94" not only the design, but also the layout. More than 800 units of this generation were produced in total. The Type 94 was primarily used during the 1937 invasion of China.
The post-war fate of Tokushu Ken'ingxia is curious. Part of the park of these models was captured by the allies, who defeated the Japanese after the atomic tanks were transferred to the Chinese - the Communists and the Kuomintang troops. These sides were hostile to each other. Therefore, the "Type 94" was tested for several more years in the fields of the Chinese civil war, after which the PRC was formed.
"Type 97"
In 1937 the Type 94 was declared obsolete. Further research by engineers led to the emergence new car - direct descendant Tokushu Ken'ingxia. The model was named "Type 97" or abbreviated "Te-Ke". This Japanese tank was used during the battles in China, Malaya and Burma up to the very In fact, it was a deep modification of the "Type 94".
The crew of the new car consisted of two people. The engine was located in the back and the transmission was in the front. An important innovation compared to its predecessor was the unification of the combat and command department. The vehicle received a 37mm cannon inherited from the TK.
New Japanese tanks in the field were first tested in battles on the Khalkhin-Gol River. Since they did not participate in the first strikes against Soviet positions, most of the Te-Ke managed to survive. Almost all active combat units of this type were transferred to the Pacific theater of operations of the Second World War. These small tanks were especially effective for reconnaissance of enemy positions. They were also used as machines that organize communication between in different parts front. Small size and weight made the Type 97 an indispensable weapon for supporting the infantry.
"Chi-Ha"
Interestingly, almost all Japanese tanks of World War II were developed by Mitsubishi employees. Today this brand is known primarily in the automotive industry. However, in the 30-40s, the company's factories regularly produced reliable vehicles for the army. In 1938, Mitsubishi began production of the Chi-Ha, one of the main Japanese medium tanks. Compared to its predecessors, the model received more powerful guns (including 47mm cannons). In addition, it featured improved guidance.
"Chi-Ha" were used in battle from the very first days after their appearance on the assembly line. At the initial stage of the war with China, they remained an effective weapon in the hands of Japanese tankers. However, after the United States was drawn into the conflict, Chi-Ha had a serious combat competitor. These were tanks of the M3 Lee type. They easily coped with all Japanese cars of the light and medium segment. Largely because of this, out of more than two thousand units of "Chi-Ha", only a dozen representatives of this model remain as museum exhibits.
"Ha-Go"
If we compare all Japanese tanks of the Second World War, then we can distinguish two of the most basic and common models. This is the above-described "Chi-Ha" and "Ha-Go". This tank was mass-produced in 1936-1943. More than 2300 units of this model were produced in total. Although it is difficult to single out the best Japanese tank, it is "Ha-Go" that has the most rights to this title.
The first sketches of it appeared in the early 30s. Then the Japanese command wanted to get a car that could become an effective auxiliary means for cavalry attacks. That is why "Ha-Go" was distinguished by such important qualities as high cross-country ability and mobility.
"Ka-Mi"
An important feature of the "Ha-Go" was that this tank became the basis for numerous modifications. They were all experimental and therefore not widely used. However, this does not mean at all that there were no competitive models among them.
High quality, for example, was "Ka-Mi". It was unique in that it remained the only Japanese amphibious tank of World War II to be mass-produced. The development of this modification "Ha-Go" began in 1941. Then the Japanese command began to prepare an offensive campaign to the south, where there were many small islands and archipelagos. In this regard, it became necessary to land an amphibious assault. Japanese heavy tanks could not help in this task. Therefore, Mitsubishi started the development of a fundamentally new model, based on the most common tank of the Land of the Rising Sun "Ha-Go". As a result, 182 Ka-Mi units were produced.
Use of amphibious tanks
The chassis of the old tank has been improved so that the vehicle can be used effectively on the water. For this, in particular, the body has been significantly changed. Because of its originality, each Ka-Mi was assembled slowly and for a long time. For this reason, the first major operation using amphibious tanks took place only in 1944. The Japanese landed on Saipan - the largest of the war, when imperial army did not advance, but, on the contrary, only retreated, and its landing operations also ceased. Therefore, "Ka-Mi" began to be used as a conventional ground tank. This was facilitated by the fact that in its design and running characteristics it was universal.
In 1944, photos of Japanese tanks sailing along the coast of the Marshall Islands flew around the world. By that time, the empire was already close to defeat, and even the emergence of a fundamentally new technology could not help her in any way. Nevertheless, the "Ka-Mi" themselves made a great impression on the opponents. The tank hull was spacious. It accommodated five people - a driver, a mechanic, a shooter, a loader and a commander. Outwardly, "Ka-Mi" immediately caught the eye because of its two-man tower.
"Chi-hee"
Chi-He appeared as a result of work on errors related to the characteristics of Chi-Ha. In 1940, Japanese designers and engineers decided to catch up with Western competitors by the most simple way copying foreign technologies and developments. Thus, all the initiative and originality of oriental specialists were put aside.
The result of this maneuver was not long in coming - "Chi-He" more than all its Japanese "relatives" and externally and internally began to resemble the European counterparts of that time. But the project was implemented too late. In 1943-1944. only 170 Chi-Hee were produced.
"Chi-Nu"
The continuation of the ideas embodied in "Chi-Khe" was "Chi-Nu". It differed from its predecessor only in improved weapons. The design and layout of the body remained the same.
The series turned out to be small. At the final stage of World War II in 1943-1945. only about a hundred "Chi-Nu" were released. According to the idea of the Japanese command, these tanks were to become an important defense force for the country during the landing of American troops. Due to the atomic bombings and the imminent surrender of the state leadership, this foreign attack never happened.
"O-I"
How were Japanese tanks different? The review shows that there were no heavy class models among them according to the western classification. The Japanese command preferred light and medium vehicles, which were easier and more efficient to use in conjunction with the infantry. However, this did not mean at all that there were no projects of a fundamentally different type in this country.
One of these was the idea of a super-heavy tank, which was tentatively named "O-I". This multi-turret monster was supposed to accommodate a crew of 11 people. The model was designed as an important weapon for the impending attacks on the USSR and China. Work on "O-I" began in 1936 and, one way or another, continued until the defeat in World War II. The project was closed and then resumed. Today there is no reliable information that at least one prototype of this model was produced. "O-I" remained on paper, as did Japan's idea of its regional domination, which led it to a disastrous alliance with Hitler's Germany.
Quiet step
Inflames impatience in the soul
Funny tricks
Should I not know
How passion flares up
Ruboko Sho
Who among us has not seen mysterious short poems that look like a hieroglyphic picture? A few strokes of the brush - and before you is a complete thought, image, philosophy.
Hokku, tanka, haiku. What is it, how and when did such verses appear and how do they differ?
They appeared in the Middle Ages. Nobody knows when it all began, it is known for sure that all these forms of Japanese versification were born from folk songs and ... and the syllabic alphabet. Those who attended my lectures on IDC know that the alphabet does not necessarily consist of letters. It can be composed of hieroglyphs or syllables. (Strictly speaking, the name "alphabet" is not quite suitable for them, but, nevertheless, it was precisely it that stuck). And here the syllabary alphabet - hiragana and / or katakana. Why do I bet and / or? Because in Japanese there are TWO forms of the same syllabic alphabet - kana. Each form is used when referring to different estates. Moreover, before there were even more of them, in particular there were hentaigan and manyogana, but they remained in the historical past. Children in Japan first learn hiragana and then katakana. Today in Japan there is a rather strong mixture of both alphabets, but nevertheless, addresses to foreigners or official letters are usually written in katakana, and everything else in hiragana. Katakana came into life due to the need to translate Chinese texts, which were considered the lot of only high-ranking persons to read. Accordingly, for the Middle Ages, referring to the superior only in katakana is characteristic. But today in Japan it is partly preserved.
By the way, you probably noticed that the Japanese transmission of the names of cities, countries or Western names gives a strong distortion of sounds? The point is again in the syllabic alphabet. You cannot convey one sound with one letter. And when one sound is conveyed by a syllable, anything is possible. For example, the name of my city of Novosibirsk will sound like Noboshibirusuku, Moscow will sound like Moseke or Mosukuba, and St. Petersburg will become much easier to pronounce: Sankutsu-Peterburugu. By the way, if you're curious, you can enter any name in Latin and see how it will sound in Japanese. True, sometimes this will be far from the truth due to different local traditions.
But back to the verses.
The Japanese folk song was called "uta" and was divided according to the activities of the singers (sendouta, for example, meant "the song of the rowers") and by length. There was a nagauta - a long song and a mijikauta - a short song. This short song, hitting the nobility and educated people of Japan, gradually replaced all other versions of different uta. Only now it began to be called a tank or a tank.
The first heyday of the tank falls on the 8th century, the Nara era. We got the anthology of poems of those times "Maneshu". Here are two examples from this book:
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, the 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 a five-verse. 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 - the feeling or sensation that this image evokes. Or vice versa.
Ah, don't fall asleep
Alone on a cold bed.
And then this rain -
It knocks so that even for a moment
It is impossible to close your eyes.
Akazome-emon
translator: T. Sokolova-Delyusina
In the Oyamada hut
I am rescued from dreams
An alarming call.
Ah, it's near in the mountains
The deer is calling!
Saigyo
translator: A. Belykh
The next heyday of the tanka fell on the Heian era (IX-XII centuries). Tanka of this period - elegant works of noble nobles, perfect in form love messages and dialogues, vivid sketches and ridicule encoded by word play. Two main anthologies of these poems have come down to us (by the way, the publication of a tanku or haiku by one author has never been popular, they usually collected anthologies of all poets - from little-known to the emperor) "Kokinshu" and "Shinkokinshu". At this time, Buddhism came to Japan from China, and with it chinese culture and philosophy. The concept of "mono no avare" was born - "the charm of things", usually sad. This era gave the world another great writer of Japan, SAIGYO (Sato Norikiyo, 1118-1190) and the lady of the court Sei-Senagon, who wrote "Notes at the head", which gave us so much knowledge about the life of the Japanese court, as no other chronicle gave. this era.
my soul languishes -
lily that almost came off
from the roots, and will easily float away -
if only there was a stream
to captivate the flower!
It-no Komatsi
bright night -
in the bright glow of the moon
plum blossoms
and flowers fall
along with the snow
Fujiwara no Kinto
I met while walking ...
but while I was wondering
is he or is not he? -
hid in the clouds
midnight month
Murasaki-shikibu
if we die -
then in the month " new clothes",
under the cherry blossom,
when it shines
full moon!
Saiga
By the way, the fusion of pagan Shinto and Buddhism gave birth to a new aesthetic. Shinto, like any pagan religion, contained many "dark" and mysterious elements, spirits, etc., respectively, the principle of "yugen" appears in the culture, which sets the basic mood in the tanka. A certain mysticism and even gloom appears in them.
Autumn wind
chases the clouds above.
Through flying shreds
So bright, so pure will it spill
A dazzling moonbeam.
Sake no Taifu Akisuke
(lane by V. Sanovich)
The "dark ages" of internecine wars followed in Japan, and until the 19th century the tanka degenerated into dark Buddhist-samurai songs about imminent death. But even after the onset of some stability, this gloom remains in poetry:
sad to watch
like a boy smiles
saying goodbye to my father,
who goes there,
from where they are not returning
Fusii Takanao
Or something like this:
Deeper and deeper into the mountains
I will leave
But is there a place in the world
Where will I not hear bitter news?
"Light - calm
I'd like to die! "-
Flashed in my thoughts
And immediately my heart
Echoed: "Yes!"
Saigyo
Gradually, the art of a short song reaches such popularity that even peculiar games are spread among the nobility: one of the players pronounces the beginning of the tank, the second must either continue or come up with his own answer. Diplomats utter entire dialogues in tanks, declare war or make peace, find out the intentions of opponents and look for friends.
Love tanks are no worse, if not better than diplomatic ones, they build their simple, but such a deep scheme, which allows them to express their feelings and find out the response better than any other means.
The game gradually became more difficult. For example, they played like this. The last stanza of the old tank served as the beginning of a new one, and at each "step" it is necessary to turn events a little so that gradually, having made a full turn, you would return to the original description. This is somewhat similar to the game "burime", but it is called "haikai no renga" (something like a "chain game"). By the way, some games lasted for years ...
Here they look like a miracle
On the silver coin -
A deaf tavern in the mountains.
Basho
This is completely out of place -
The guy has a long dagger!
Kerai
Suddenly jumps out in the dark
Scared frog
From a thicket of tangled herbs.
Bonte
Woman Gathering Herbs
The lantern drops from his hands.
Basho
. . . . . . . . . . . . .
(lane by V. Markova)
Renga became a separate species versification with its own rules. It is very important for her to choose the "seed" - the first hokku poem of three lines. After all, it is this that will determine the mood, the style, and the theme of the competition.
Gradually, they began to compete in the writing of these three lines of the first stanza. Even entire contests were held ... Matsuo Basho (Matsuo Munefusa, 1644-1694) was especially distinguished in them, who became the founder of haiku - a new trend in classical Japanese poetry - these very three lines of hokku.
But haiku and haiku are wrong to be considered one and the same. After all, the hokku usually contains something like an introduction or greeting, and this is understandable: competitions for drawing up renga chains took place in the houses of the nobility or in sacred places, and the first lines were supposed to be dedicated to the owners of the house or the gathering place. In haiku, nothing of the kind was required.
I'll end the tank here and go back to the haiku.
In the 20th century, tanka gained a second wind, in particular thanks to Masaoka Shiki, who took "Manyoshu" as a basis, and began to write "in the old style."
finally happy
I climbed Fuji
and when your knees trembled
at the very top
woke up
Shiki
Another famous modern poet Ishikawa Takuboku, who, on the contrary, was engaged in innovation and change of classical themes and forms of tanku.
On the sandy white shore
Islet
In the eastern ocean
I, without wiping my wet eyes,
with a little crab.
Takuboku
(lane by V. Markova)
At all modern trends versification of Japan is not alien to a certain modernism and postmodernism and a slight mockery of their own solemn ceremonies ...
"Delight!"
you exclaimed, and from now on
the sixth of July is the birthday of the salad.
In a green sweater - as if in your arms
drowning:
winter is on the nose.
Tavara Mati
(lane by D. Kovalenin)
The tank has another curious feature that cannot be overlooked. They were written by a huge number of women. Two masterpieces "of all times and peoples" in the tank "The Tale of Genji" and "Notes at the Headboard" were written by women. This is partly explained by the fact that men were supposed to write Chinese poetry. The Japanese syllabary was written mainly by women. This is especially true after the Heian era.
Wing flap
Like farewell letters
On white clouds.
About a friend left in the field
The lonely goose yearns ...
Saigyo
