Day 13: <\/strong><\/em><\/h1>\n\u201cWrite a Tanka: Part 2\u201d<\/strong><\/em><\/h2>\n <\/p>\n
Walking by Inner Vision – A Personal Journal<\/strong><\/em><\/p>\nThe Tanka, Part 2<\/p>\n
2019 – Writing Assignment #5<\/strong><\/em><\/p>\n![\"????????????????????????????????????????????????????????????????\"](\"https:\/\/i0.wp.com\/lyndalambert.com\/wordpress\/wp-content\/uploads\/2015\/09\/Blog15_WBIV_TankaPart2-225x300.jpg?resize=271%2C361\")
<\/a>Zen Meditation Garden, designed by Bob and Lynda Lambert, Wurtemburg, PA<\/p><\/div>\n
In April 2015, \u00a0I wanted to work on a special project for \u00a0National Poetry Month.<\/p>\n
I began to write\u00a0 tanka in response to what I was learning.<\/p>\n
It’s \u00a0a surprising \u00a0journey into the Tanka world –\u00a0<\/strong> my research\u00a0 led me into some interesting revelations after I joined the Tanka Society of America (TSA).<\/a><\/p>\nPreviously, I wrote Part 1 on this blog, \u00a0April 10, 2015, \u00a0Since that time, I’ve \u00a0learned so much more about tanka.<\/p>\n
<\/h3>\nTanka is deeper and more complex than I thought!<\/h3>\n
A \u00a0literary journal,\u00a0“Ribbons,”<\/a> is published by\u00a0 The\u00a0 Tanka Society of America.\u00a0 The magazine is another way of learning more about the Tanka form. The more I learn, the deeper I walk into this exquisite poetry form.<\/p>\nTanka is similar to \u00a0Japanese dance forms in some ways.<\/p>\n
I\u00a0 relate tanka \u00a0to the Butoh dance – human emotions, stories, minimalist space that feels like walking in a dream, finely orchestrated movement from the beginning of the poem to the end of it. \u00a0And, then, the last line is so important in the poem, as the final movements and imagery \u00a0is in the dance performances. \u00a0This new idea came to me today as I worked on this essay.<\/p>\n
<\/p><\/blockquote>\n
![\"Blog15_WBIV_Tanka2_3JapWomen\"](\"https:\/\/i0.wp.com\/lyndalambert.com\/wordpress\/wp-content\/uploads\/2015\/09\/Blog15_WBIV_Tanka2_3JapWomen-300x130.jpg?resize=540%2C234\")
<\/a><\/p>\nPhoto of Japanese Butoh Dance performance..<\/u><\/p>\n
–<\/p>\n
A TANKA POEM is like \u00a0a Japanese DANCE<\/p>\n
expressive, human emotion, movement, a dreamscape<\/p>\n
–<\/p>\n
\u201cRibbons\u201d provided new information:<\/p>\n
_ Tanka need not have a syllable count of 5-7-5-7-7.<\/p>\n
The tanka in the TSA publication have \u00a05 lines – yes!<\/p>\n
However, the \u00a05 lines vary greatly from the initial form\u00a0 I gave you in Tanka, Part I in yesterday’s post.<\/p>\n
At this point,\u00a0\u00a0I suggest that you go back to that post to see the limits I outlined for the tanka form. Read it!<\/a><\/p>\n <\/p>\n
<\/p>\n
![\"Blog15_WBIV_Tanka2_JapMapleLeaf\"](\"https:\/\/i0.wp.com\/lyndalambert.com\/wordpress\/wp-content\/uploads\/2015\/09\/Blog15_WBIV_Tanka2_JapMapleLeaf.jpg?resize=251%2C201\")
<\/a>\u00a0“Dancing Japanese Maple” by Rona Black<\/em><\/p>\nPhoto used with permission of photographer, Rona Black. Copyright 2015. <\/em><\/p>\nClick here to\u00a0 \u00a0See MORE photos by Rona Black<\/a><\/em><\/p>\n <\/p>\n
<\/p>\n
<\/p>\n
Let’s Review:<\/strong><\/h2>\nWhat is TANKA?\u00a0\u00a0<\/strong><\/h2>\nThe TANKA poem originated in Japan over 1200 years ago<\/p>\n
Traditionally,\u00a0 Tanka themes are:<\/p>\n
Nature \u00a0 \u00a0 Seasons<\/p>\n
Romance \u00a0 \u00a0 Sadness<\/p>\n
Love \u00a0 \u00a0 Strong Human Emotions<\/p>\n
A Tanka Poem usually \u00a0reflects a single MOMENT<\/p>\n
Tanka poems do not have titles or numbers<\/strong><\/p>\n\u00a0<\/em><\/strong>Use personification, metaphor, and other allusions<\/p>\nThe lyrical intensity gives a sense of a personal, intimate world.<\/p>\n
Capitalization and punctuation is not necessary. In fact, it can be a distraction to take the reader out of the moment in the poem.\u00a0 I saw this in the poems I read.<\/p>\n
Tanka is a lyrical poem and it\u2019s important for it to have a feeling of human emotions, awareness of being in a dream, or the author discussing personal \u00a0relationships or desires.<\/p>\n
Fragmentation \u00a0is highly desirable.<\/p>\n
<\/p>\n
What ELSE do I need to KNOW about TANKA:<\/em><\/strong><\/h2>\nOnce you understand the structure of the Tanka Poem, <\/em><\/strong><\/p>\nyou do not need to count the syllables and words \u2013 <\/em><\/strong><\/p>\n <\/p>\n
* It is not necessary to have the 5-7-5-7-7 format <\/em><\/strong><\/h2>\n* The tanka \u00a0is \u00a0much smoother if you do not\u00a0\u00a0force your words into a particular \u00a0syllable count.\u00a0 <\/em><\/strong><\/h2>\n\u00a0<\/em><\/strong><\/p>\n![\"GE](\"https:\/\/i0.wp.com\/lyndalambert.com\/wordpress\/wp-content\/uploads\/2015\/09\/Blog15_WBIV_TankaPart1_ZenandSmokeTree-300x225.jpg?resize=300%2C225\")
<\/a>Zen Meditation Garden, created by Bob and Lynda Lambert<\/p><\/div>\n
The\u00a0overall \u00a0observation, is that your Tanka will be a 5-line poem. \u00a0<\/em><\/strong><\/h3>\nAs you begin to consult literary magazines that focus on Tanka, or Haiku poetry forms, you soon see the poems published do \u00a0not conform to the traditional \u00a0generic description.<\/p>\n
When you understand this new information,\u00a0\u00a0<\/em><\/h3>\nyou have <\/em><\/h3>\njust entered into the “tanka master class.”<\/em><\/h3>\n–<\/p>\n
I consulted with an editor of a Haiku Journal. His response:<\/p>\n
\u201cThere are some western poets who do write in the traditional syllabic style, but they are few and far between,<\/strong> and not usually well represented in many of the more established journals
\nor showcased in the numerous anthologies that are produced each year.<\/p>\nTraditional Japanese poets still write in the syllabic style and use official kigo from a officially recognized sajiki, but there are plenty of Japanese poets who are not traditional
\nand write haiku which are reminiscent of what is being produced by poets in the west. I suggest you check out someone like Kaneko Tohta or Ban’ya Natsuishi to get an idea of just how adventurous some Japanese poets are.\u201d<\/p><\/blockquote>\n
Example:<\/p>\n
Below:<\/p>\n
My tanka was first published by the Tanka Society of America.<\/p>\n
Anthology – Spent Blossoms,<\/em> 2015.<\/p>\n–<\/p>\n
stony paths disappear<\/p>\n
beneath my feet<\/p>\n
I am the darkness<\/p>\n
of ginkgo trees<\/p>\n
and indigo skies<\/p>\n
\n\u00a0Excerpt from:<\/strong><\/em><\/p>\nWriting by Inner Vision Journal \u2013 Assignment #5<\/p>\n
Lynda McKinney Lambert. Copyright 2019 All Rights Reserved.<\/p>\n
–<\/p>\n
Do you WANT MORE? \u00a0 Come back tomorrow for MORE TANKA!<\/p>\n
Read Lynda’s Poems – Click here!<\/a><\/p>\n–<\/p>\n
You can visit my original 2015 post if you are interested.<\/p>\n
It was\u00a0 my Writing Assignment #12, in the series of THIRTY lessons I wrote in 2015.<\/p>\n
Click here to read the 2015 version:<\/p>\n
<\/p>\n
Walking by Inner Vision – A Personal Journal<\/strong><\/em><\/p>\n The Tanka, Part 2<\/p>\n 2019 – Writing Assignment #5<\/strong><\/em><\/p>\n Zen Meditation Garden, designed by Bob and Lynda Lambert, Wurtemburg, PA<\/p><\/div>\n In April 2015, \u00a0I wanted to work on a special project for \u00a0National Poetry Month.<\/p>\n I began to write\u00a0 tanka in response to what I was learning.<\/p>\n It’s \u00a0a surprising \u00a0journey into the Tanka world –\u00a0<\/strong> my research\u00a0 led me into some interesting revelations after I joined the Tanka Society of America (TSA).<\/a><\/p>\n Previously, I wrote Part 1 on this blog, \u00a0April 10, 2015, \u00a0Since that time, I’ve \u00a0learned so much more about tanka.<\/p>\n A \u00a0literary journal,\u00a0“Ribbons,”<\/a> is published by\u00a0 The\u00a0 Tanka Society of America.\u00a0 The magazine is another way of learning more about the Tanka form. The more I learn, the deeper I walk into this exquisite poetry form.<\/p>\n Tanka is similar to \u00a0Japanese dance forms in some ways.<\/p>\n I\u00a0 relate tanka \u00a0to the Butoh dance – human emotions, stories, minimalist space that feels like walking in a dream, finely orchestrated movement from the beginning of the poem to the end of it. \u00a0And, then, the last line is so important in the poem, as the final movements and imagery \u00a0is in the dance performances. \u00a0This new idea came to me today as I worked on this essay.<\/p>\n <\/p><\/blockquote>\n Photo of Japanese Butoh Dance performance..<\/u><\/p>\n –<\/p>\n A TANKA POEM is like \u00a0a Japanese DANCE<\/p>\n expressive, human emotion, movement, a dreamscape<\/p>\n –<\/p>\n \u201cRibbons\u201d provided new information:<\/p>\n _ Tanka need not have a syllable count of 5-7-5-7-7.<\/p>\n The tanka in the TSA publication have \u00a05 lines – yes!<\/p>\n However, the \u00a05 lines vary greatly from the initial form\u00a0 I gave you in Tanka, Part I in yesterday’s post.<\/p>\n At this point,\u00a0\u00a0I suggest that you go back to that post to see the limits I outlined for the tanka form. Read it!<\/a><\/p>\n <\/p>\n <\/p>\n Photo used with permission of photographer, Rona Black. Copyright 2015. <\/em><\/p>\n Click here to\u00a0 \u00a0See MORE photos by Rona Black<\/a><\/em><\/p>\n <\/p>\n <\/p>\n <\/p>\n The TANKA poem originated in Japan over 1200 years ago<\/p>\n Traditionally,\u00a0 Tanka themes are:<\/p>\n Nature \u00a0 \u00a0 Seasons<\/p>\n Romance \u00a0 \u00a0 Sadness<\/p>\n Love \u00a0 \u00a0 Strong Human Emotions<\/p>\n A Tanka Poem usually \u00a0reflects a single MOMENT<\/p>\n Tanka poems do not have titles or numbers<\/strong><\/p>\n \u00a0<\/em><\/strong>Use personification, metaphor, and other allusions<\/p>\n The lyrical intensity gives a sense of a personal, intimate world.<\/p>\n Capitalization and punctuation is not necessary. In fact, it can be a distraction to take the reader out of the moment in the poem.\u00a0 I saw this in the poems I read.<\/p>\n Tanka is a lyrical poem and it\u2019s important for it to have a feeling of human emotions, awareness of being in a dream, or the author discussing personal \u00a0relationships or desires.<\/p>\n Fragmentation \u00a0is highly desirable.<\/p>\n <\/p>\n Once you understand the structure of the Tanka Poem, <\/em><\/strong><\/p>\n you do not need to count the syllables and words \u2013 <\/em><\/strong><\/p>\n <\/p>\n \u00a0<\/em><\/strong><\/p>\n Zen Meditation Garden, created by Bob and Lynda Lambert<\/p><\/div>\n As you begin to consult literary magazines that focus on Tanka, or Haiku poetry forms, you soon see the poems published do \u00a0not conform to the traditional \u00a0generic description.<\/p>\n –<\/p>\n I consulted with an editor of a Haiku Journal. His response:<\/p>\n \u201cThere are some western poets who do write in the traditional syllabic style, but they are few and far between,<\/strong> and not usually well represented in many of the more established journals Traditional Japanese poets still write in the syllabic style and use official kigo from a officially recognized sajiki, but there are plenty of Japanese poets who are not traditional Example:<\/p>\n Below:<\/p>\n My tanka was first published by the Tanka Society of America.<\/p>\n Anthology – Spent Blossoms,<\/em> 2015.<\/p>\n –<\/p>\n stony paths disappear<\/p>\n beneath my feet<\/p>\n I am the darkness<\/p>\n of ginkgo trees<\/p>\n and indigo skies<\/p>\n \u00a0Excerpt from:<\/strong><\/em><\/p>\n Writing by Inner Vision Journal \u2013 Assignment #5<\/p>\n Lynda McKinney Lambert. Copyright 2019 All Rights Reserved.<\/p>\n –<\/p>\n Do you WANT MORE? \u00a0 Come back tomorrow for MORE TANKA!<\/p>\n Read Lynda’s Poems – Click here!<\/a><\/p>\n –<\/p>\n You can visit my original 2015 post if you are interested.<\/p>\n It was\u00a0 my Writing Assignment #12, in the series of THIRTY lessons I wrote in 2015.<\/p>\n Click here to read the 2015 version:<\/p>\n![\"????????????????????????????????????????????????????????????????\"](\"https:\/\/i0.wp.com\/lyndalambert.com\/wordpress\/wp-content\/uploads\/2015\/09\/Blog15_WBIV_TankaPart2.jpg\")
<\/a><\/h3>\n
Tanka is deeper and more complex than I thought!<\/h3>\n
<\/a><\/p>\n<\/a>\u00a0“Dancing Japanese Maple” by Rona Black<\/em><\/p>\nLet’s Review:<\/strong><\/h2>\n
What is TANKA?\u00a0\u00a0<\/strong><\/h2>\n
What ELSE do I need to KNOW about TANKA:<\/em><\/strong><\/h2>\n
* It is not necessary to have the 5-7-5-7-7 format <\/em><\/strong><\/h2>\n
* The tanka \u00a0is \u00a0much smoother if you do not\u00a0\u00a0force your words into a particular \u00a0syllable count.\u00a0 <\/em><\/strong><\/h2>\n
<\/a>The\u00a0overall \u00a0observation, is that your Tanka will be a 5-line poem. \u00a0<\/em><\/strong><\/h3>\n
When you understand this new information,\u00a0\u00a0<\/em><\/h3>\n
you have <\/em><\/h3>\n
just entered into the “tanka master class.”<\/em><\/h3>\n
\nor showcased in the numerous anthologies that are produced each year.<\/p>\n
\nand write haiku which are reminiscent of what is being produced by poets in the west. I suggest you check out someone like Kaneko Tohta or Ban’ya Natsuishi to get an idea of just how adventurous some Japanese poets are.\u201d<\/p><\/blockquote>\n
\n