Renga
is a form of
Japanese collaborative poetry. A renga consists of at least two or stanzas, often many more. The opening stanza of the renga chain, called the , later became the basis for the modern
haiku style of poetry.
As the renga was a popular poetry form for many centuries, there are many sayings that find their roots in renga traditions. The Japanese phrase means "at last", as the
ageku is the last stanza of a renga.
The most favored form of renga in the
Edo period was the , a chain consisting of 36 verses. As a rule,
kasen must refer to flowers (usually
cherry blossoms) twice, and once to the moon. These references are termed and .
By one reckoning, the earliest recorded renga appeared in the late
Heian period, and was in fact a
waka composed by two poets. This style is called . Other styles are called . However, Yoshitomo pointed to songs in the older Kojiki about the god
Izanagi and the goddess
Izanami as earlier examples.
Two of the most famous masters of renga were the Buddhist priest
Sogi (1421 - 1502) and
Matsuo Bashō (1644 - 1694).
In Western literature, the term "renga" has been applied to alternating accretive poetry, not necessarily in the classical Japanese form. Examples include
Octavio Paz and
Charles Tomlinson's sonnet-renga "Airborne", 1979, and to the work of Canadians
P. K. Page and
Philip Stratford, whose collaboration between 1997 and 1999 became the sonnet collection "And Once More Saw The Stars", 2001.
The earliest renga recorded is in the
Man'yōshū, where
Otomo no Yakamochi and a made and exchanged poems with
mora counts of 5-7-5 and 7-7. Around the time the
Shin Kokin Wakashū was published, the renga form of poetry was finally established as a distinct style. This original renga style, , used only
utakotoba, used mora counts of 5-7-5 and 7-7, and finished with two lines of 9 moras each. At this time, poets considered the use of
utakotoba as the essence of creating a perfect
waka and considered the use of any other words to be a deviation.
Many rules or were formalized in the
Kamakura and
Muromachi periods to prevent two different people from using similar syllables and to lay down the general rules of renga. Renga was a popular form of poetry even in the confusion of
Azuchi-Momoyama period. Yet by the end of this era, the
shikimoku had become so complicated and systematic that they stifled the active imagination that had been a part of the renga's appeal. During the medieval and Edo periods, renga was a part of the cultural knowledge required for high society.
In the
Edo period, as more and more ordinary citizens became familiar with renga,
shikimoku were greatly simplified. The number of moras was reduced to 36, and commonly spoken words as well as slang and were allowed. With this relaxation of the rules, renga were able to express broader humor and wit. This style of renga came to be called or simply , and
Matsuo Bashō is known as the greatest
haikai poet.
The first stanza of the renga chain, the , is the forebear of the modern
haiku. The
haiku form was modernized in the
Meiji period by the great Japanese poet and critic
Masaoka Shiki. The word "haiku" is an abbreviation of the term ; this is an echo of
haikai no renga.
For almost 700 years, renga was a popular form of poetry, but its popularity was greatly diminished in the Meiji period. Masaoka Shiki claimed that "(Renga is) not fit as modern literature" (「文学に非ず」). The renga's appeal of working as a group to make a complete work was not compatible with the European style of poetry where a single poet writes the entire poem.
Recently, with the rise of the internet, renga is once again becoming a popular form. People from anywhere at anytime can easily contribute to a work. There have even been special renga events where poets can contribute via their mobile phones.
As a renga is collaborative poetry, it is important that there be enough people to participate. Three to four is the minimum number for a renga group, called an , and upward of fourteen to fifteen may be possible under an experienced . For online renga collaborations, the
sôshô would be the one to select a verse from among those posted or sent.
The essence of renga is in the idea of . Bashō described this as , and as "refraining from stepping back". The fun is in the change, the new, the different, and the interesting verses of others.
A renga starts with a
hokku of 5-7-5 moras by one of the guests. This is followed by the second verse of 7-7 moras, called the , and then by the third verse of 5-7-5 moras, called the . The next verse is in will be 7-7 moras, and this pattern is repeated until the desired length is achieved. The
ageku is the final verse. The
shikimoku should be made clear in the advance to avoid confusion, or worse yet a breakdown of the renga writing process. It is recommended to for a small
ichiza so that everyone participates equally. For larger
ichiza, the rule is recommended so the better verse would be selected.
These words are presented as a
shikimoku and variations of rule may exist.
* : The first stanza of renga with a 5-7-5 mora count. This stanza should be created done by a special guest when present, and is considered a part of the greeting in a renga gathering. It must include a , as well as a .
* : The second stanza of a renga with a 7-7 mora count. The one who helped to organize the gathering is honored with creating it.
* : The third stanza of a renga with a 5-7-5 mora count. It must end with the
-te form of a verb to allow the next poet greater freedom in creating the stanza.
* : Refers to all verses other than the
hokku,
waki,
daisan, and
ageku.
* : The last stanza of a renga. Care should be taken to wrap up the renga.
* : A note made after the
ageku to indicate how many
ku each poet read.
* : To hold a renga gathering. May also be called .
* : To start with the
hokku of a famous poet such as Bashô and make a new
waki verse to follow on from there.
* : May also be called or . Refers to the mixing and matching of unlikely word combinations to spur imagination or evoke an image. One of the interesting features of renga.
* : The verse in which
tsukeai happens.
* : The verse before the
maeku.
* : A set of rules to lay out the stylistic requirements for change throughout the poem and to prevent a renga from falling apart.
* : Modern renga in the style of Matsuo Bashô.
* : Literally, "the number of verses". When the theme of a section is a popular topic such as "Love", "Spring", or "Fall", the renga must continue on that theme for at least two verses but not more than five verses. This theme may then be dropped with one verse on any other topic.
* : A rule to prevent loops repeating the same image or a similar verse.
* : The name for a loop where the same theme, image, or word is repeated. Term taken from
Buddhism.
* : A type of loop where the
uchikoshi and
tsukeku have an identical image or theme.
* : A stanza prepared beforehand. Should be avoided as stanzas should be created on the spot.
* : To make two stanzas in a row. Happens frequently when the
dashigachi rule is used. Should be avoided to let others join.
* : A rule to use the stanza of the first poet to create one.
* : A rule whereby each poet takes a turn to make a stanza.
* : The members of a renga gathering.
* : Literally, "one seating". Describes the group when the
renju are seated and the renga has begun.
* : May also be called . The coordinator of an
ichiza, he or she is responsible for the completion of a renga. Has the authority to dismiss an improper verse. The most experienced of the
renju should be the
sôshô to keep the renga interesting.
* : The main guest of the
ichiza and responsible for creating the
hokku.
* : The patron of a renga gathering, who provides the place.
* : The "secretary" of the renga, as it were, who is responsible for writing down renga verses and for the proceedings of the renga.
* : Using letters (i.e. the post), telegraph, telephone, or even fax machines for making a renga. Using the internet is also considered a form of
bunnin.
This is from Renga_ga. I have been writing renga since 1981, longer than anyone with the possible exception of Wm.Higginsonand my first renga were with Lewis Sanders and Steve Dalachinsky. This article is very good on the history and Japanese rules and i see no need for further changes on that except for the fact that no mention is made of the various formats for the kigo placement, the most extant being on p.64 of Higginson's, "The Haiku Seasons". Conservatives follow his kigo placements literally, the most conservative being P.J. Machmiller and Fay Aoyagi. His placements are a historical average he made himself.I, myself, never follow his kigo assignments since i invented my own, American?, placements long ago. In a 55 minute telephone conversation i had with Higginson on Mar 24, 2004 he admitted that his list on p.64 was "just a rough guide." That is a direct quote. I agree with him on this and many other issues having to do with renga but there is in haiku-land much disagreement over this.
Now there is one issue in which i disagree with the Japanese. This is the statement that a theme be continued for 2 to 5 verses. The conservatives interpret theme to be kigo in the same season. The moderates may think that theme means theme. The
more freer thinkers such as myself avoid all themes and i never repeat a kigo and rarely a theme unless it is 12 verses later.The conservatives now insist on calling their work renku and so there is too much politics on this issue from a few people.
*Earl Miner,
Japanese Linked Poetry, Princeton University Press © 1979 ISBN 0-691-06372-9 cloth ISBN 0-691-01368-3 pbk [376 pp. 6 renga] A discussion of the features, history and aesthetics of renga, plus two renga sequences with
Sogi and others, three haikai sequences with
Matsuo Bashō and others, and one haikai sequence with
Yosa Buson and a friend.
*
renga platform's renga guide*
William J Higginson's Renku_Home*
John Carley's Renku Guidelines*
How to Renga by Jane Reichhold
