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During the Kojiki and Nihonshoki periods the tanka retained a well defined form, but the history of the mutations of the tanka itself forms an important chapter in haiku history, [7] until the modern revival of tanka began with several poets who began to publish literary magazines, gathering their friends and disciples as contributors.
The Boat Dwellers, also known as Shuishangren (Chinese: 水上人; pinyin: shuǐshàng rén; Cantonese Yale: Séuiseuhngyàn; "people living on the water") or Boat People, or the derogatory Tankas, [2] [3] are a sinicised ethnic group in Southern China [4] who traditionally lived on junks in coastal parts of Guangdong, Guangxi, Fujian, Hainan, Shanghai, Zhejiang and along the Yangtze river, as ...
The tanka appeared in the Imperial Court at the end of the Nara period in the late 8th century [10] and enjoyed a golden age during the Heian period (794–1185). [10] The haiku form that had appeared by the 17th century also derives from the tanka, reduced to 17 syllables: 5-7-5. [9]
The composition and translation of tanka in English begins at the end of the nineteenth century in England and the United States. Translations into English of classic Japanese tanka (traditionally known as waka) date back at least to the 1865 translation of the classic Ogura Hyakunin Isshu (c. early 13th century); an early publication of originally English tanka dates to 1899.
Shiki is regarded as a major figure in the development of modern haiku poetry, [3] credited with writing nearly 20,000 stanzas during his short life. [4] He also wrote on reform of tanka poetry. [5] Some consider Shiki to be one of the four great haiku masters, the others being Matsuo Bashō, Yosa Buson, and Kobayashi Issa. [6] [7]
Up to and during the compilation of the Man'yōshū in the eighth century, the word waka was a general term for poetry composed in Japanese, and included several genres such as tanka (短歌, "short poem"), chōka (長歌, "long poem"), bussokusekika (仏足石歌, "Buddha footprint poem") and sedōka (旋頭歌, "repeating-the-first-part poem").
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The position of Bashō in Western eyes as the haiku poet par excellence gives great influence to his poetry: Western preference for haiku over more traditional forms such as tanka or renga have rendered archetypal status to Bashō as Japanese poet and haiku as Japanese poetry. [47] Some western scholars even believe that Bashō invented haiku. [48]