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"short poem" is a genre of classical Japanese poetry and one of the major genres of Japanese literature.Ueda, Makoto. Modern Japanese Tanka. NY: Columbia University Press, 1996. p1. (1982). 9780691065144, Princeton University Press. ISBN 9780691065144 (1986). 9780874513806, University Press of New England. ISBN 9780874513806
It reads:
Because of an illness, crumbling,
the whole sky clear
this life—
if I could give it for the dharma
how glad I would be
The 5-7-5 is called the "upper phrase", and the 7-7 is called the "lower phrase". Sometimes the distinction between Waka and Tanka are drawn on where the division is placed, either after the first couplet or after the first tercet, but sources disagree. Even in early classical compilations of these poems, such as the Ogura Hyakunin Isshu, the form is often broken to suit the poet's preferences.
Yosano Tekkan and the poets that were associated with his Myōjō magazine were one example, but that magazine was fairly short-lived (Feb. 1900 Nov. 1908). A young high school student, Otori You (later known as Akiko Yosano), and Ishikawa Takuboku contributed to Myōjō. In 1980 the New York Times published a representative work:
Masaoka Shiki's (1867–1902) poems and writing (as well as the work of his friends and disciples) have had a more lasting influence. The magazine Hototogisu, which he founded, still publishes.
In the Meiji period (1868–1912), Shiki claimed the situation with waka should be rectified, and waka should be modernized in the same way as other things in the country. He praised the style of Man'yōshū as manly, as opposed to the style of Kokin Wakashū, the model for waka for a thousand years, which he denigrated and called feminine. He praised Minamoto no Sanetomo, the third shōgun of the Kamakura shogunate, who was a disciple of Fujiwara no Teika and composed waka in a style much like that in the Man'yōshū.
Following Shiki's death, in the Taishō period (1912–26), Mokichi Saitō and his friends began publishing a magazine, Araragi, which praised the Man'yōshū. Using their magazine they spread their influence throughout the country. Their modernization aside, in the court the old traditions still prevailed. The court continues to hold many utakai (waka reading parties) both officially and privately. The utakai that the Emperor holds on the first of the year is called Utakai Hajime and it is an important event for waka poets; the Emperor himself releases a single tanka for the public's perusal.
After World War II, waka began to be considered out-of-date, but since the late 1980s it has revived under the example of contemporary poets, such as Machi Tawara. With her 1987 bestselling collection Salad Anniversary, the poet has been credited with revitalising the tanka for modern audiences.
Today there are many circles of tanka poets. Many newspapers have a weekly tanka column, and there are many professional and amateur tanka poets; Makoto Ōoka's poetry column was published seven days a week for more than 20 years on the front page of Asahi Shimbun.Honan, William H. "Why Millions in Japan Read All About Poetry," New York Times. March 6, 2000. As a parting gesture, outgoing PM Jun'ichirō Koizumi wrote a tanka to thank his supporters.
The Japanese imperial family continue to write tanka for the New Year.
Much like with tea, there were a number of rituals and events surrounding the composition, presentation, and judgment of waka. There were two types of waka party that produced occasional poetry: Utakai and Uta-awase. Utakai was a party in which all participants wrote a waka and recited them. Utakai derived from Shikai, Kanshi party and was held in occasion people gathered like seasonal party for the New Year, some celebrations for a newborn baby, a birthday, or a newly built house. Utaawase was a contest in two teams. Themes were determined and a chosen poet from each team wrote a waka for a given theme. The judge appointed a winner for each theme and gave points to the winning team. The team which received the largest sum was the winner. The first recorded Utaawase was held in around 885. At first, Utaawase was playful and mere entertainment, but as the poetic tradition deepened and grew, it turned into a serious aesthetic contest, with considerably more formality.
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