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To create a renga, one poet writes the first stanza, which is three lines long with a total of seventeen syllables. The next poet adds the second stanza, a couplet with seven syllables per line. The third stanza repeats the structure of the first and the fourth repeats the second, alternating in this pattern until the poem’s end. Thematic elements of renga are perhaps most crucial to the poem’s success. The languageis often pastoral, incorporating words and images associated with seasons, nature, and love. In order for the poem to achieve its trajectory, each poet writes a new stanza that leaps from only the stanza preceding it. This leap advances both the thematic movement as well as maintaining the linking component.Contemporary practitioners of renga have eased the form’s traditional structural standards, allowing poets to adjust line-length, while still offering exciting and enlightening possibilities. The form has become a popular method for teaching students to write poetry while working together.The Japanese tankais a thirty-one-syllable poem, traditionally written in a single unbroken line. A form of waka, Japanese song or verse, tanka translates as "short song," and is better known in its five-line, 5/7/5/7/7 syllable count form. One of the oldest Japanese forms, tanka originated in the seventh century, and quickly became the preferred verse form not only in the Japanese Imperial Court, where nobles competed in tanka contests, but for women and men engaged in courtship. Tanka’s economy and suitability for emotional expression made it ideal for intimate communication; lovers would often, after an evening spent together (often clandestinely),dash off a tanka to give to the other the next morning as a gift of gratitude. In many ways, the tanka resembles the sonnet, certainly in terms of treatment of subject. Like the sonnet, the tanka employs a turn, known as a 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.
Many of the great tanka poets were women, among them Lady Akazone Emon, Yosano Akiko, and Lady Murasaki Shikibu, who wrote The Tale of Genji, a foundational Japanese prose text that includes over 400 tanka. English-language writers have not takento the tanka form in the same way they have the haiku, but there are several notable exceptions, including Amy Lowell, Kenneth Rexroth, Sam Hamill, Cid Corman, and Carolyn Kizer. There are many excellent anthologies of Japanese verse, most of which feature lengthy selections of tanka. Rexroth's translations, which include One Hundred Poems from the Japaneseand One Hundred More Poems from the Japanese, are considered classics, and The Ink Dark Moon: Love Poems by Ono no Komachi & Izumi Shikibu, translated by Jane Hirshfield with Mariko Aratani, continues this tradition.