The National Cherry Blossom Festival is a spring celebration in Washington, D.C., commemorating the March 27, 1912, gift of Japanese Cherry trees from Mayor Yukio Ozaki of Tokyo City to the city of Washington, D.C. Ozaki gave the trees to enhance the growing friendship between the United States and Japan, and also celebrate the continued close relationship between the two nations.
Photo by Ian Hutchinson, Washington, DC
Welcome to our Waka Society of America.com website,( a volunteer run society) where you can learn more about the society, its membership, Petals Journal annual ebook, our yearly Ama Pearls International Waka Contest, plus have access to additional ebooks such as Songbirds Waka Anthology, and songs of the natural world (72 Waka in English for 72 Micro-seasons in Japan), articles on Waka by Amelia Fielden, and White Pages by an'ya.
Join fellow members of our Waka Society of America, in discovering, sharing, studying, and preserving this classic Japanese Waka genre composed in the English-language.
Charter Members
Founding Volunteers & Charter Members List
Contest Coordinator/Membership Chair
Marilyn Humbert, Australiamhumbert1953@gmail.com
Petals Journal Editoran'ya, USAtankaanya@gmail.com
WSA Columnist
Amelia Fielden, Australia
anafielden@gmail.com
WebmasterpeterB, USA whazammo@gmail.com
Bonnie J Scherer, USA
Charter Member 2025
Rupa Anand, India
Charter Member
Michele L. Harvey, USA
Charter Member 2025
Carole MacRury, USACharter Member 2025
Vidya Premkumar, IndiaCharter Member 2025
Pris Campbell, USACharter Member 2025 Kala Ramesh, India Charter Member 2025 Keitha Keyes, Australia Charter Member 2025 Reid Hepworth, Canada Charter Member 2025 Milan Rajkumar, IndiaCharter Member 2025
Vidya Premkumar, IndiaCharter Member 2025
Pris Campbell, USACharter Member 2025 Kala Ramesh, India Charter Member 2025 Keitha Keyes, Australia Charter Member 2025 Reid Hepworth, Canada Charter Member 2025 Milan Rajkumar, IndiaCharter Member 2025
Our mission at WSA is simple, and we are dedicated to preserve the songlike rhythm
of Waka created by the short/long/short/ long/long lines; the second, fourth and last line being similar in length, no matter the syllables.
Join us this year to become a Charter Member. Please start your annual WSA Membership (if possible), with a minimal, but never-mandatory donation via Paypal Venmo. We aren't a charity and run by volunteers, but any help would be greatly appreciated, and even one dollar donated helps cover the cost of researching, writing, plus publishing and maintaining this website, to promoting your works.
To become a WSA Member or to renew your Membership yearly, please email your Date/Name/Country/Email, with the subject heading "JOIN" to our WSA Membership Chairperson. Marilyn Humbertmhumbert1953@gmail ----------------------------------- Use this PayPal Venmo link to donate any amount, suggested, but never mandatory.
To become a WSA Member or to renew your Membership yearly, please email your Date/Name/Country/Email, with the subject heading "JOIN" to our WSA Membership Chairperson. Marilyn Humbertmhumbert1953@gmail ----------------------------------- Use this PayPal Venmo link to donate any amount, suggested, but never mandatory.
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Petals Journal is the official annual ebook of the Waka Society of America. Published once a year it offers original Waka selected for craftsmanship and originality. Petals seeks to keep the highest standards of aesthetic excellence and continue the Waka genre via the natural world and human interface; the beauty of thought that is the ancient Japanese court poetry in its goal to advance the writing, study, and appreciation of this form in the English-language. Petals is only open for submissions by members, albeit not every submission will be accepted, but workshopping with the editor is always encouraged. Petals submission window is from 15 March until 31 April, (midnight GMT), emailed to an'ya, Petals editor.
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Ama Pearls International Waka Contest
The Ama Pearls International Waka Contest is in honor of the female Ama freedivers in Japan, who are professional fisherwomen who freedive to harvest seashells, seafood, and seaweed at the bottom of the ocean. They also used to practice pearl oysters’ fishing. While their rare traditional know-how has been on the decline over the past years, Ama are striving to perpetuate it and introduce travelers to it, especially in Mie prefecture that shelters the largest women divers’ community in Japan. Read more about this 5,000-year tradition of these talented and courageous Ama Freedivers: https://www.morethantokyo.com/ama-freedivers/
Contest entries are FREE to members and entries can be emailed to our Contest Coordinator Marilyn Humbert from July 15 until August 31 (midnight GMT) 2025 ).
Calendar
We look forward to the following Waka Society of America activities in 2025.
January 1: Time to join or renew your WSA membership.
March 15 until April 31, (midnight) GMT) 2025. Petals Journal annual submission deadline. To be published in an ebook mid-May, 2025.
August: Waka Article by Amelia Fielden, WSA Columnist.
July 15 until August 31 (midnight) GMT) 2025.Entries to the Ama Pearls International Waka Contest. To be online mid-September, 2025. November: White Pages. November 15 until December 31, (midnight) GMT) 2025. Songbirds Waka Anthology submission deadline. To be published in an ebook mid-January, 2006.
January 1: Time to join or renew your WSA membership.
March 15 until April 31, (midnight) GMT) 2025. Petals Journal annual submission deadline. To be published in an ebook mid-May, 2025.
August: Waka Article by Amelia Fielden, WSA Columnist.
July 15 until August 31 (midnight) GMT) 2025.Entries to the Ama Pearls International Waka Contest. To be online mid-September, 2025. November: White Pages. November 15 until December 31, (midnight) GMT) 2025. Songbirds Waka Anthology submission deadline. To be published in an ebook mid-January, 2006.
ebooks
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WHITE PAGES
Waka Genre(examples by an’ya)Firstly known as Waka (Japanese song poem) during the Heian period from 785-1185 CE, is a non-rhymed lyrical poem consisting of 5 lines total with a short, long, short long, long syllable count/rhythm of no more than 31 total, and often less to compensate for the difference in Japanese sound units and English syllables. Waka skillfully combines natural images with human elements. The concept of the pathos of existence characterized by a sense of gentle desolation is frequently a key poetic device in Japanese poetry forms, but particularly in Waka: scattering youas sea oats oscillatealong the dunesa lone piper runsthrough sand and ashesWaka gradually evolved into the poetry of the Imperial Court from the 10th to 13th centuries when many anthologies of court poetry were compiled both under imperial auspices and privately among the aristocracy. Its history continues to be venerated to date by Japan's Emperor through a thousand year long tradition of the New Year’s Poetry Ceremony still held annually at the Imperial Palace in Tokyo. Courtly elegance and refinement refers to the aristocracy's privileging of a genteel aesthetic sensibility and subtlety of expression. The best waka selected are chanted, and one of the most popular topics continues to be about ongoing affairs. A typical waka/tanka poet is a connoisseur of love and an avid lover of nature:midsummer's eveunderneath a rose moonI'll wait for youuntil my hands are bloodiedfrom holding back the dawnWaka is frequently about longing, counting the minutes (or number of wing beats in this next piece) until the time when lovers will be together, and often portrayed ambiguously through something in nature:a flock of birdsrising from the ground in formationhow many wing beatsbefore evening fallsWaka can contain word thoughts that allow alternative interpretations which often function to increase the richness of language and imbue it with a complexity that expands the literal meaning. The art of linking the human and natural worlds pervades Japanese tanka and natural images almost invariably symbolize some human emotion or human experience:a whooper cranethe milky way sparklesin its waketonight our glass dishof dreams hit the floor Waka has also been heavily influenced by the belief that life is fleeting, and therefore one should cherish each and every memory, whether good or bad. Those that capture well this style are composed in such a way as to flow smoothly thought by thought and glide gracefully from line to line:old memorieslike tangled fish hooksimpossibleto pick up only onewithout all the othersIn court poetry, catching a glimpse of a person who might ultimately become a lover, and with whom waka/tanka may someday be exchanged, was, and still is, quite popular:
across the lakecandlelight from your windowbeckoning methough I may never reach therea loon approaches the dockA plethora of Waka are written about the experiences of those left behind on this earth. They resonate with loss and have a particular meaning or spiritual appeal for someone in a personal and sentimental way:cold cemeterythe long sleeves of your old coatwarm my fingertipseven beyond this graveyou manage to comfort me
There are Waka written about passion which are hinted at through nature references:it's no mistakenaming a wild brush fireit jumped the lineas if to prove some thingsburn way beyond passion
A very strong Waka, is one that includes anticipation, especially if it involves one of the senses:
between usand warm summer sunwhite lilac budson the very brink of becoming scentUnlike the haiku form, Waka often uses poetic devices as in the following examples: Metaphor, a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable: with deftness a mistfollows the mountain's contourshow sensuallyit slowly cups pointed topsand slides into the valleySimile, Interpretation of one sense through another:gone are sail windsthat came in the nightsame as youI knew we would endon a still day in timeAlliteration, the occurrence of the same letter or sound at the beginning of adjacent or closely connected words:a strong waveof passion fills my bodyat high tideone small striped seashelltumbles the ocean ashorePersonification, the attribution of a personal nature or human characteristics to something nonhuman, or the representation of an abstract quality in human form:milking houra whitish mist movestoward the moonsnow clouds keep their promiseof an uncolored dayRepetition is another poetic device used to enhance a tanka:polarized skycloser and closerand closerthe mixed melodiesof twilight birdsEven hyperbole (an exaggeration used for effect) is sometimes applied to Waka:if only I couldcapture the essence of fogin a pretty jarto leave on your doorstepand watch while you open itOnce in a while, the Waka will contain an oxymoron, a figure of speech in which apparently contradictory terms appear in conjunction: what is my lifebut bittersweet chaptersdeeply coloredyet the birds know enoughto avoid poison berriesThe most popular subjects atypical to all forms of Japanese poetry, are the 5 basic seasons divided into phases and categories: Early Spring = FebruaryMid-Spring = MarchLate Spring = AprilAll SpringEarly Summer = MayMid-Summer = June Late Summer = July All SummerEarly Autumn = AugustMid-Autumn = SeptemberLate Autumn = OctoberAll AutumnEarly Winter = NovemberMid-Winter = DecemberLate Winter = JanuaryAll WinterThe New Year The Seasons: Includes general climatic cycles, reminders of the previous season, the solstice or equinox (that is, the middle of the season), the months, time and length of day, temperature, approaching the end of the season, anticipation of the next season. The Heavens: Includes sky, heavenly bodies, winds, precipitation, storms, other sky phenomena, light and shade. The Earth: Includes landforms, seascapes, fields, forests, streams, rivers, and lakes. Humanity: Includes clothes, food, beverages, work, school, sports, recreation, the arts, illness, travel, communications, and moods. Observances: Includes sacred and secular holidays and festivals, their associated decorations, clothes, foods, and activities, and "memorial days" (death anniversaries of literary persons). Animals: Mammals, amphibians and reptiles, birds, fishes, mollusks, and insects. Plants: Blossoming trees, foliage of trees and shrubs, garden flowers, fruits and vegetables, wildflowers and other vegetation, seaweed, or fungi. Within each category, there are also approximately 500-1000 different season words used as writing prompts such as: Spring: waking insects: waking insectsthe year of the horseturns audiblewe trail ride intoa woodpecker’s world Summer, heat wave long heat wavewhile people argueit’s onlythe wading heronthat keeps its composure Autumn, night of stars:night of starsall along the precipicegoat bells ringtreading a well-worn pathto their meadow by the sea Winter, banked fire: banked firea sigh from the watchdogasleep in my armshis wolf tendencies allbut domesticated New year: the same as it is for haiku (anything referencing “first”): cold spellwhen everything startsto thawwill you resurfacewith the first crocus Although mankind has 1 senses, most Waka are inspired by nature references about the first five basic senses: Touch:this seasonof leaf trees fluidwith windy waysperhaps its fate that webrushed against each other Taste: from the gaping lipsof an old stone gargoylespring rainwaterI shall turn it to champagneif she looks at me twice Smell:row after rowdraft horses plow the odorof potatoesa farmer’s daughter inhalesher family’s legacySound:at mid-afternoona cicada’s abdomenvibrates with songfrom deep within leaf treesthe noises of courtshipSight:
on new fallen snowthe sight of a headless birdmakes my heart achewhat am I without you except also incompleteMultiple Senses: taste, sight, sound, touch, and smell: what could be as sweetas doves on a church steeplebreezes that whisperand caress wild sweetpeas or lemon perfumed womenBeyond the common and well known five senses mentioned above, there are additional senses that some people perceive, and perhaps unconsciously express through nature, such as:
Direction:abandonedto walk a rainy beachof love lostjust follow each pockmarkin the sand that leads homeBalance:another quakeand moments of beingon shaky groundour relationship toois sometimes unstableInterpretation of one sense through another: mountain slatethe color of the soundspring rain makesthe sameness of the tearsafter love’s passing The sense of time perception:sunlit eavesan icicle’s shapeexits itselfwill the hourglassof love be left unturnedJapanese Waka, albeit composed as a single unit, have an "upper poem" of three opening lines with a short/long/ short rhythm, which connect the “lower poem of two (2) additional lines with a long/long rhythm. These final lines play an omni-important role of presenting the piece as a whole. Therefore, in terms of Japanese sound units/English syllables, they should be at least as long as line two in the "top" part, and should also conclusively deepen the meaning of the Waka: sweet scented breezewhat did you caress beforecooling methat I may know the flowerby another woman’s nameIn addition to Waka that convey personal emotion, there exists an equally valid yet more objective form of tanka that is simply a sketch from nature/life, or word painting: barnacleatop barnaclepiled highover the seaporttowering cumulus Waka often are sorrowful, concern death or are about dying: from heavy skiesin this world and the nextrain keeps fallingmy sorrow seeds the cloudswith perpetual tearsAnother style of Waka is that which is a line borrowed from another poem as homage or allusion, such as this next one that alludes to the phrase "there is a time for every season" adapted from the Old Testament, set to music and recorded by Pete Seeger in the late 1950s in his song “turn turn turn”:winter oceanfollowing its shoreline untilwe reach our limitto every earthly beingthere comes too soon this seasonA desirable effect in Waka is to utilize a "pivot line/word" in the middle which refers to both the top two lines and the bottom two lines as well, and can be read both ways; think of it as a gate that opens both directions: let us meet atopa cliff’s edge as raptorswith wide-flung wings and/orwith wide-flung wingstogether we’ll take flightover foaming shallowsIn Waka (similar to haiku), concrete nature images are often used in the upper portion and the last two lines or lower portion elaborate on these feelings with an emotional twist: june breezea hole in the cloudmends itself if only a broken heartwas so easily repairedA multitude of Waka are composed about loneliness and seperation via nature references:long dry spella scotch pine bough losesits needlesthe poignant emotionsof our separation as well as melancholy: what melancholywhen colorful leaves crumbledinto nothingnessopening my pillow bookon the night you departedAn equal amount of Waka are composed about rustic simplicity, freshness or quietness, or as the understated elegance existent in the natural world: erecting its tailthe albino peacockand suddenlyan absence of colordoesn’t really matter Waka is simple, subtle, unobtrusive beauty, or a balance of simplicity and complexity:bows to thoseall abloom in spring snowwere but wethis uncomplicatedwithin our complex worldAnother technique used in Japanese poetry of all types including Waka, is sometimes achieved by presenting the atmosphere of something half-hidden that reappears. This is rather difficult to explain correctly, but it is not like a ghost or spirit, rather it's like the returning sacredness of a common thing: a cloud of blackbirdshas flown into the tunnelnot unlike uspassing through love’s dark timesinto its light againToday there are also Waka that are not the traditional 5/7/5/7/7 count, rather they are minimalist. However, in order to truly be known as a Waka rather than a short poem, the rhythm of short/long/short/long/long still must be present: birth deatha stretch of beachbetweentime spent in loveand ocean rain**Moreover, some Waka poets compose their "deathbed" tanka before passing. This one is mine.In Japanese Waka, what's important is not only what is said, but also what is left unsaid. Waka/tanka is also open to charm, suggestiveness; an aftertaste and fullness of meaning from minimal description. According to this ideal, effective Waka reverberates its meaning by refraining from saying the obvious words and sometimes even using an ellipsis to create an unfinished thought, thus inviting readers to finish the omission for themselves: spider silksuddenly I’ve becomea puppeteerhow the Creator must feelbe it mine, be it yours, or . . . There are many Waka written around secrets, and by adding obscurity, they lead to hidden levels of meaning; this concept is what allows an astute reader to delight in its mystery and depth when an unseen world literally hovers in the tanka's atmosphere. swallow dayin combinationwith a breezethe willow tree revealssecrets hidden in its leavesWaka can be written in the form of a question: a love poemwill I ever compose itone with wordsthat shall read like the songfrom this nightingale’s beak or it can be written in statement form with the last line adding depth: across the blueon a cirrus cloud morningvarious shapesof angels and chimeras . . .we all view things differently Many more Waka are written about people who have greatly influenced our growing up, such as our parents and those experiences we shared with them as children:beachcombingmy mother used to sayhousework will waitbut treasures in the sandare too soon swept away it’s where we builtthe palaces of my youtheach drip castleshaped by supple fingersthe ones that fail me now Subject matter is quite varied in Waka. It is helpful to take a theme from the natural world, and unexpectedly twist it into a personal memory; one with fresh yet familiar imagery, and which will on a universal level, evoke powerful meaning: wind at duskan old bough rocksthe fledglinggrandmother’s chair sitsstill after all these yearsWaka is not just an extended haiku even though it has two extra lines. There's more to it insofar as lyricism that creates an emotion such as longing or yearning. Haiku are typically objective which makes them emotionally sparse, whereas waka are often more subjective and therefore full because they focus on human relationships through a nature connection. The most effective waka/tanka write symphonizes the author's passion with facets from the natural world used to depict it: stuck in a rutwhile the goat’s beard hairsgo everywherehow intense my yearningto parachute your way Humor and word-play are also strong elements used in Waka: iffy castfisherman and streamtrade placeseven the trout fliesseem to be laughingThere are Waka that focus on natural "idiophonics", which are, sounds heard via nature and appreciated as aesthetically meaningful. Using idiophonics in a waka/tanka might be compared to sacred music being present, since what we hear, is meant to be understood in the context of deeper listening, and/or create an enlightened as well as compassionate awareness: pacific oceanyour last remains scatteredinto salt winda pod of humpback whalesspouting the eulogy Like haiku, a Waka can be more interesting with some juxtaposition added to enhance its meaning, and most especially if it compares nature to a human element: in the late nightpleasure of its companya strange flying bugI call by your nameas if this were normal Some Waka pertain to the rituals of courtship: coupledthey decide which wayto goin a courtship flightthe king and his queen and some make it easy to draw a parallelism: at the heightof its capabilitybaby birdsongpredicting the futureof a mother-to-be Waka is about all things on this earth and in this life sharing a common beginning: on loose limbswoodland moss swaddlesthe slug’s eggslike all others to beginthis new life as a babyAnother always popular subject, is children: open marketthat familiar clackingof tent polesthe gipsie baby clutchesa ripe grape in her fistand a great number are of childhood memories: dandelion ballwith every tiny seed goesthe breath of a childacross fields over mountainswherever wishes come true Yet another concept that Waka writers incorporate into this form, represents the characteristic spirit or rebirth of a particular culture, era, or community as manifested in its beliefs and aspirations: grave markerthe final ground lightfades to duskin another forma new sun is dawning Waka can raise either a distinctly pronounced or subtle voice in social and/or political issues: on both sidesof a border crossingspringtimeignores the boundariesman has created Other Waka have a loftiness about them which is a way of creating grandeur and elevation: celestial spacewild geese touch their wingsto lofty cloudsthe innocent dreamsof an infant child In Waka, as in haiku, direct opposition is a bonus: heavy snowour luggage lightly packedfor elsewheremay we meet in marchwhere bright sun abounds Another style of Waka may present with characteristics similar to “senryu” (a cousin to haiku) with a sarcastic human side: burning banlove letters at the landfillbear our namesas if it might matterto a million maggotsWaka may be suggestive beyond its words: flowers in a fieldirresistibly wild . . .free for the pluckingyet we part empty-handedeach with our own reasons Another way to write waka is in the form of a "personal diary", and although this is not my favorite style, it serves a purpose if someone else can relate to it:Dear diary:nothing much to write about,what did I expect . . .that love would always bring memeadowlarks and wildflowers!And lastly there are Waka that remind us all of our own place in this Universe:the symmetryof a common mothmakes me thinkabout how I amunremarkable an’ya Sometimes Waka are presented with art. "Tankart" is not a formal term, since there is no actual word for it in the Japanese language, as there is for haiga "haiku painting." Therefore, neither are there truly any definite rules for tankart, as there are for haiga. Sometimes the artwork matches the tanka directly and sometimes it does not; it is simply just tanka and art . . .
across the lakecandlelight from your windowbeckoning methough I may never reach therea loon approaches the dockA plethora of Waka are written about the experiences of those left behind on this earth. They resonate with loss and have a particular meaning or spiritual appeal for someone in a personal and sentimental way:cold cemeterythe long sleeves of your old coatwarm my fingertipseven beyond this graveyou manage to comfort me
There are Waka written about passion which are hinted at through nature references:it's no mistakenaming a wild brush fireit jumped the lineas if to prove some thingsburn way beyond passion
A very strong Waka, is one that includes anticipation, especially if it involves one of the senses:
between usand warm summer sunwhite lilac budson the very brink of becoming scentUnlike the haiku form, Waka often uses poetic devices as in the following examples: Metaphor, a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable: with deftness a mistfollows the mountain's contourshow sensuallyit slowly cups pointed topsand slides into the valleySimile, Interpretation of one sense through another:gone are sail windsthat came in the nightsame as youI knew we would endon a still day in timeAlliteration, the occurrence of the same letter or sound at the beginning of adjacent or closely connected words:a strong waveof passion fills my bodyat high tideone small striped seashelltumbles the ocean ashorePersonification, the attribution of a personal nature or human characteristics to something nonhuman, or the representation of an abstract quality in human form:milking houra whitish mist movestoward the moonsnow clouds keep their promiseof an uncolored dayRepetition is another poetic device used to enhance a tanka:polarized skycloser and closerand closerthe mixed melodiesof twilight birdsEven hyperbole (an exaggeration used for effect) is sometimes applied to Waka:if only I couldcapture the essence of fogin a pretty jarto leave on your doorstepand watch while you open itOnce in a while, the Waka will contain an oxymoron, a figure of speech in which apparently contradictory terms appear in conjunction: what is my lifebut bittersweet chaptersdeeply coloredyet the birds know enoughto avoid poison berriesThe most popular subjects atypical to all forms of Japanese poetry, are the 5 basic seasons divided into phases and categories: Early Spring = FebruaryMid-Spring = MarchLate Spring = AprilAll SpringEarly Summer = MayMid-Summer = June Late Summer = July All SummerEarly Autumn = AugustMid-Autumn = SeptemberLate Autumn = OctoberAll AutumnEarly Winter = NovemberMid-Winter = DecemberLate Winter = JanuaryAll WinterThe New Year The Seasons: Includes general climatic cycles, reminders of the previous season, the solstice or equinox (that is, the middle of the season), the months, time and length of day, temperature, approaching the end of the season, anticipation of the next season. The Heavens: Includes sky, heavenly bodies, winds, precipitation, storms, other sky phenomena, light and shade. The Earth: Includes landforms, seascapes, fields, forests, streams, rivers, and lakes. Humanity: Includes clothes, food, beverages, work, school, sports, recreation, the arts, illness, travel, communications, and moods. Observances: Includes sacred and secular holidays and festivals, their associated decorations, clothes, foods, and activities, and "memorial days" (death anniversaries of literary persons). Animals: Mammals, amphibians and reptiles, birds, fishes, mollusks, and insects. Plants: Blossoming trees, foliage of trees and shrubs, garden flowers, fruits and vegetables, wildflowers and other vegetation, seaweed, or fungi. Within each category, there are also approximately 500-1000 different season words used as writing prompts such as: Spring: waking insects: waking insectsthe year of the horseturns audiblewe trail ride intoa woodpecker’s world Summer, heat wave long heat wavewhile people argueit’s onlythe wading heronthat keeps its composure Autumn, night of stars:night of starsall along the precipicegoat bells ringtreading a well-worn pathto their meadow by the sea Winter, banked fire: banked firea sigh from the watchdogasleep in my armshis wolf tendencies allbut domesticated New year: the same as it is for haiku (anything referencing “first”): cold spellwhen everything startsto thawwill you resurfacewith the first crocus Although mankind has 1 senses, most Waka are inspired by nature references about the first five basic senses: Touch:this seasonof leaf trees fluidwith windy waysperhaps its fate that webrushed against each other Taste: from the gaping lipsof an old stone gargoylespring rainwaterI shall turn it to champagneif she looks at me twice Smell:row after rowdraft horses plow the odorof potatoesa farmer’s daughter inhalesher family’s legacySound:at mid-afternoona cicada’s abdomenvibrates with songfrom deep within leaf treesthe noises of courtshipSight:
on new fallen snowthe sight of a headless birdmakes my heart achewhat am I without you except also incompleteMultiple Senses: taste, sight, sound, touch, and smell: what could be as sweetas doves on a church steeplebreezes that whisperand caress wild sweetpeas or lemon perfumed womenBeyond the common and well known five senses mentioned above, there are additional senses that some people perceive, and perhaps unconsciously express through nature, such as:
Direction:abandonedto walk a rainy beachof love lostjust follow each pockmarkin the sand that leads homeBalance:another quakeand moments of beingon shaky groundour relationship toois sometimes unstableInterpretation of one sense through another: mountain slatethe color of the soundspring rain makesthe sameness of the tearsafter love’s passing The sense of time perception:sunlit eavesan icicle’s shapeexits itselfwill the hourglassof love be left unturnedJapanese Waka, albeit composed as a single unit, have an "upper poem" of three opening lines with a short/long/ short rhythm, which connect the “lower poem of two (2) additional lines with a long/long rhythm. These final lines play an omni-important role of presenting the piece as a whole. Therefore, in terms of Japanese sound units/English syllables, they should be at least as long as line two in the "top" part, and should also conclusively deepen the meaning of the Waka: sweet scented breezewhat did you caress beforecooling methat I may know the flowerby another woman’s nameIn addition to Waka that convey personal emotion, there exists an equally valid yet more objective form of tanka that is simply a sketch from nature/life, or word painting: barnacleatop barnaclepiled highover the seaporttowering cumulus Waka often are sorrowful, concern death or are about dying: from heavy skiesin this world and the nextrain keeps fallingmy sorrow seeds the cloudswith perpetual tearsAnother style of Waka is that which is a line borrowed from another poem as homage or allusion, such as this next one that alludes to the phrase "there is a time for every season" adapted from the Old Testament, set to music and recorded by Pete Seeger in the late 1950s in his song “turn turn turn”:winter oceanfollowing its shoreline untilwe reach our limitto every earthly beingthere comes too soon this seasonA desirable effect in Waka is to utilize a "pivot line/word" in the middle which refers to both the top two lines and the bottom two lines as well, and can be read both ways; think of it as a gate that opens both directions: let us meet atopa cliff’s edge as raptorswith wide-flung wings and/orwith wide-flung wingstogether we’ll take flightover foaming shallowsIn Waka (similar to haiku), concrete nature images are often used in the upper portion and the last two lines or lower portion elaborate on these feelings with an emotional twist: june breezea hole in the cloudmends itself if only a broken heartwas so easily repairedA multitude of Waka are composed about loneliness and seperation via nature references:long dry spella scotch pine bough losesits needlesthe poignant emotionsof our separation as well as melancholy: what melancholywhen colorful leaves crumbledinto nothingnessopening my pillow bookon the night you departedAn equal amount of Waka are composed about rustic simplicity, freshness or quietness, or as the understated elegance existent in the natural world: erecting its tailthe albino peacockand suddenlyan absence of colordoesn’t really matter Waka is simple, subtle, unobtrusive beauty, or a balance of simplicity and complexity:bows to thoseall abloom in spring snowwere but wethis uncomplicatedwithin our complex worldAnother technique used in Japanese poetry of all types including Waka, is sometimes achieved by presenting the atmosphere of something half-hidden that reappears. This is rather difficult to explain correctly, but it is not like a ghost or spirit, rather it's like the returning sacredness of a common thing: a cloud of blackbirdshas flown into the tunnelnot unlike uspassing through love’s dark timesinto its light againToday there are also Waka that are not the traditional 5/7/5/7/7 count, rather they are minimalist. However, in order to truly be known as a Waka rather than a short poem, the rhythm of short/long/short/long/long still must be present: birth deatha stretch of beachbetweentime spent in loveand ocean rain**Moreover, some Waka poets compose their "deathbed" tanka before passing. This one is mine.In Japanese Waka, what's important is not only what is said, but also what is left unsaid. Waka/tanka is also open to charm, suggestiveness; an aftertaste and fullness of meaning from minimal description. According to this ideal, effective Waka reverberates its meaning by refraining from saying the obvious words and sometimes even using an ellipsis to create an unfinished thought, thus inviting readers to finish the omission for themselves: spider silksuddenly I’ve becomea puppeteerhow the Creator must feelbe it mine, be it yours, or . . . There are many Waka written around secrets, and by adding obscurity, they lead to hidden levels of meaning; this concept is what allows an astute reader to delight in its mystery and depth when an unseen world literally hovers in the tanka's atmosphere. swallow dayin combinationwith a breezethe willow tree revealssecrets hidden in its leavesWaka can be written in the form of a question: a love poemwill I ever compose itone with wordsthat shall read like the songfrom this nightingale’s beak or it can be written in statement form with the last line adding depth: across the blueon a cirrus cloud morningvarious shapesof angels and chimeras . . .we all view things differently Many more Waka are written about people who have greatly influenced our growing up, such as our parents and those experiences we shared with them as children:beachcombingmy mother used to sayhousework will waitbut treasures in the sandare too soon swept away it’s where we builtthe palaces of my youtheach drip castleshaped by supple fingersthe ones that fail me now Subject matter is quite varied in Waka. It is helpful to take a theme from the natural world, and unexpectedly twist it into a personal memory; one with fresh yet familiar imagery, and which will on a universal level, evoke powerful meaning: wind at duskan old bough rocksthe fledglinggrandmother’s chair sitsstill after all these yearsWaka is not just an extended haiku even though it has two extra lines. There's more to it insofar as lyricism that creates an emotion such as longing or yearning. Haiku are typically objective which makes them emotionally sparse, whereas waka are often more subjective and therefore full because they focus on human relationships through a nature connection. The most effective waka/tanka write symphonizes the author's passion with facets from the natural world used to depict it: stuck in a rutwhile the goat’s beard hairsgo everywherehow intense my yearningto parachute your way Humor and word-play are also strong elements used in Waka: iffy castfisherman and streamtrade placeseven the trout fliesseem to be laughingThere are Waka that focus on natural "idiophonics", which are, sounds heard via nature and appreciated as aesthetically meaningful. Using idiophonics in a waka/tanka might be compared to sacred music being present, since what we hear, is meant to be understood in the context of deeper listening, and/or create an enlightened as well as compassionate awareness: pacific oceanyour last remains scatteredinto salt winda pod of humpback whalesspouting the eulogy Like haiku, a Waka can be more interesting with some juxtaposition added to enhance its meaning, and most especially if it compares nature to a human element: in the late nightpleasure of its companya strange flying bugI call by your nameas if this were normal Some Waka pertain to the rituals of courtship: coupledthey decide which wayto goin a courtship flightthe king and his queen and some make it easy to draw a parallelism: at the heightof its capabilitybaby birdsongpredicting the futureof a mother-to-be Waka is about all things on this earth and in this life sharing a common beginning: on loose limbswoodland moss swaddlesthe slug’s eggslike all others to beginthis new life as a babyAnother always popular subject, is children: open marketthat familiar clackingof tent polesthe gipsie baby clutchesa ripe grape in her fistand a great number are of childhood memories: dandelion ballwith every tiny seed goesthe breath of a childacross fields over mountainswherever wishes come true Yet another concept that Waka writers incorporate into this form, represents the characteristic spirit or rebirth of a particular culture, era, or community as manifested in its beliefs and aspirations: grave markerthe final ground lightfades to duskin another forma new sun is dawning Waka can raise either a distinctly pronounced or subtle voice in social and/or political issues: on both sidesof a border crossingspringtimeignores the boundariesman has created Other Waka have a loftiness about them which is a way of creating grandeur and elevation: celestial spacewild geese touch their wingsto lofty cloudsthe innocent dreamsof an infant child In Waka, as in haiku, direct opposition is a bonus: heavy snowour luggage lightly packedfor elsewheremay we meet in marchwhere bright sun abounds Another style of Waka may present with characteristics similar to “senryu” (a cousin to haiku) with a sarcastic human side: burning banlove letters at the landfillbear our namesas if it might matterto a million maggotsWaka may be suggestive beyond its words: flowers in a fieldirresistibly wild . . .free for the pluckingyet we part empty-handedeach with our own reasons Another way to write waka is in the form of a "personal diary", and although this is not my favorite style, it serves a purpose if someone else can relate to it:Dear diary:nothing much to write about,what did I expect . . .that love would always bring memeadowlarks and wildflowers!And lastly there are Waka that remind us all of our own place in this Universe:the symmetryof a common mothmakes me thinkabout how I amunremarkable an’ya Sometimes Waka are presented with art. "Tankart" is not a formal term, since there is no actual word for it in the Japanese language, as there is for haiga "haiku painting." Therefore, neither are there truly any definite rules for tankart, as there are for haiga. Sometimes the artwork matches the tanka directly and sometimes it does not; it is simply just tanka and art . . .
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31 Poetic Senses by an'ya - (first published at Triveni)
Those of us who write haiku and Waka or tanka, are aware that there are 5 main seasons (spring/summer/autumn/winter/the new year, plus numerous sub-seasons. However, as far as the “senses”, it’s more extensive. With this article, I’m addressing the subject hoping it might help other poets to expand their minds as well as enhance their writing of the Japanese genre. The first person who tried to make a list of human senses was the Greek philosopher Aristotle (384 BC–322 BC). He was also the first one to name the 5 basic human senses. Later, 4 more senses were added to his list, and then they were further differentiated to reach 21 or more (sometimes 33) human senses, depending on differences of opinion. A list of the human senses (those that are generally accepted), their related human sense organs, and the function of human senses are the following.
The 5 Basic SensesVisual Perception, Sight:
watching a wild finchflit casually to and frouninhibited I start to wonder if it’sa curse to be born human
Auditory Sensations, Sound:
ever since love I have known all four soundsof the seasons spring song and summer pantingautumn moans and wintry sighs
The Tongue, or sense of Taste:
month of june a wild blueberry partsthe jay’s beak this stellar recollectionof kisses that made me love
The Nose, or sense of Smell:
washday postponedalthough I clearly detectthe scent of lemoneven on this misty mornyou’re able to distract me
The Skin, or sense of Touch:
mimosa why do you shy awayfrom my handlove is to know whatis touched touches back
The 4 Internal Human Senses
Skin as the lack or an increase of Temperatures:
your fingertips caressed my skin as ifreading by braille on this dark winter’s night—how felt the written word
Body Parts, or awareness of them without Visual input:
while you slumber I work late into the nightour own rhythms like full moon and rising tidewhat’s one without the other
Whole Body, or the sensation of Pain or Pleasure in the body, skin, or organs:
dragonfliesabove a watery moontightly claspedwe too part satisfiedwith our encounter
The 6 Additional Senses
Skin, or its perception of Pressure as a sense:
before puffballs took flight on the spring windI dreamt of this your soft roundness againstmy rough skin one last time
Whole Body, or the sense of Acceleration:
desert tortoisemoving at breakneck speedfor what it is this love of ours comparesmore to a bullet train
Blood and Brain, or the sensations of Hunger/starvation, Thirst/dehydration, Sickness/vomiting, Shortness of breath/suffocation, or Mental confusion:
what will work to clear my mind fullof cobwebswhen the spider spinsso prolifically
Sense of Balance, either Physical or Mental or both:
birds on a wirethe afternoon stillnesssteadies their worldwill love be this way toowithout a safety net
Skin, or the sense of being Flushed or Blushing:
the first burst of hot pink sky shoneso brightly- but the blush on her cheekswas even more poignant
Muscle Stretching, or the sense of Childbirth, Gag reflex, or Bodily excretions:
my blood and boneslipping from darknessinto bright light her small skull as roundas a slavic moon
Body Parts or a cocktail of senses like Frowning at someone’s Voice, or Smiling at their looks:
you were the one who always made me smileuntil today- the rodeo clown’s facepainted blue with tears
The 6 more controversial Extrasensory Perception Senses
The Sixth Sense, Intuition:
you colored inall of the empty loopsin my handwritingand after this I sensedthere would be no other
Premonition, or the subconscious sense of Future events, usually of foreboding:
close enoughto reach out and toucha sandhill cranewill you also come closeonly to wing away
Telepathy, Auditory perception of a person’s (near or distant) Thoughts:
our chance meeting to what might we compare itall was quiet on mutual horizons until swan geese came honking
Precognition, Visual perception of Future events of any type:
in this month of leafy willows fluidwith windy waysperhaps it's fated that wewill brush against each other
Clairvoyance, Visual perception of Invisible objects or Events:
never alone even though in the fleshyou are absent for your spirit's not lostit’s where a seabird flies
Clairaudience, Auditory perception of the Invisible:
night musicnobody knows aboutour secret only the mockingbirdssing of what we whisper
The 10 Roles of Human Senses
Perception:
across the blue on a cirrus cloud morningvarious shapes of angels & chimeras we all view things differently
Motion:
the moon the sunand horizontal currentsthat move the tides intimate are we toowith love’s ups and downs
Reaction:
on new-fallen snow the sight of a headless birdmakes my heart achewhat am I now without youexcept also incomplete
Articulation:
oh falling starhow fortunate tonightyou pinpoint me in this whole universefull of other people
Interpretation:
sheet waterfallsteadily spillingover the edgea mountain wept tearsor so does it feign
Comprehension:
how many timesI've crushed autumn leavesuntil today when a chickadee drankfrom one that cupped the rain
Cognition:
the breast feathersof a great blue herontickle my thoughtsthis evening your heartbrushes against mine
Recognition:
painted ladyI’ll never cease to lovenor forget the way that you drinknectar from a thistle
Sensation:
as sure as rain kept falling from the cloudsthat sensationwhen our eyes met and whatstarted could not be stopped
Sense of Time:
funeral day steady rain unearthsour time capsulefilled with the treasureswe buried as siblings
PART 2
As we all know the use of poetic devices in haiku is for the most part, taboo, whereas in Waka or tanka they are a bonus. There are 31 poetic devices available for us to use for emphasis, clarity, and to create a unique effect, plus convey feelings to help the reader grasp what we are trying to say on a deeper level. Poetic devices have 2 aspects: poetic “elements” or poetic “techniques”. Poetic Elements are inherent in tanka to develop the setting, characters, nature, mood, theme, etc. Poetic Techniques, on the contrary, are usually words or phrases in a Waka or tanka to achieve not merely artistic ends but also give readers a greater understanding and appreciation of structure.
Allegory (1)
An allegory can be used in Waka or tanka to send a message about a real-life historical moment in which a character, place, or event presents a hidden meaning of moral, spiritual, or political significance. An allegory is used to illustrate or convey complex concepts via symbolism.:
war bridea letter of loveand honornever deliveredafter the bombing
Alliteration (2)
Alliteration is a series of words or phrases that all, or almost all, start with the same sound. It’s the conspicuous repetition of identical sounds in successive or closely associated syllables with a group of words even if spelled differently. It works very well to enhance the rhythm of a Waka or tanka:
in subduedwinter light danglingleaf lichenlets loose of its hostand floats downriver
Allusion (3)
Allusion is when we make an indirect reference to a figure, place, event, or idea originating from outside the text. Waka and tanka often make reference to a previous work of literature or art:
at my ear sounds of the red priest’s* “four seasons”now come and gone since our last tête-à-tête
*Vivaldi’s nickname
Anachronism (4)
An anachronism occurs in a Waka or tanka when there’s an errata in its timeline. An inconsistency, especially the juxtaposition of a person, event, object, or custom from a different era. The most common anachronism is an object misplaced in time, but it can also be a verbal expression, a technology or philosophical idea, a music style, a material, plant or animal, or anything else associated with a particular period place outside its proper temporal domain. An anachronism can also be used to convey, nostalgia:
to bygone dayswhen gentle men spent timecomposing verse of pillow book poetryfor ladies-of-the-court
Anaphora (5)
Anaphora is when a word or phrase is repeated at the beginning of multiple sentences throughout a piece of writing. It's used to emphasize the repeated phrase and evoke strong feelings in the reader. Anaphora is a rhetorical device that features the repetition of a word or phrase at the beginning of successive lines. Anaphora works as a poetic device that allows our writing to convey, emphasize, and reinforce the meaning which can be very effective in Waka or tanka.
a cold day a cold day of rain turns to sleets sleet that turns into snow- deeper grows my desire
Anthropomorphism (6)
An anthropomorphism occurs when something nonhuman, such as an animal, place, or inanimate object, behaves in a human-like way. The difference between anthropomorphism and personification is that with anthropomorphism non-human figures actually “become” human-like characters. However, with personification, the object or figure is simply “described” as being human-like. In this Waka, there is an actual characterization of “King Neptune” that became “a wrecking ball”:
our driftwoodpalace built atopthe sand dunesuntil King Neptune’s tidesbecame a wrecking ball
Asyndeton (7)
Asyndeton is one of several poetically rhetorical devices that omit out conjunctions (such as "and," "or," "but," and "for") in a group of words or phrases so that the meaning is emphasized:
mid-august dog-day-air hot humid to a faultI wait for you to bringcool dry wind my way
Colloquialism (8)
Colloquialism is the use of informal language and slang. It's often used by authors to lend a sense of realism to their characters and dialogue. Forms of colloquialism include words, phrases, and contractions that aren't real words (such as "gonna" and "ain't"). A true experience:
garbage day coming eye to eye with a bear-I chicken out way longbefore it finishes
Epigraph (9)
An epigraph is when an author inserts a famous quotation, poem, song, or other short passage or text at the beginning of a larger text (e.g., a book, chapter, etc.). An epigraph is typically written by a different writer (with credit given) and used as a way to introduce overarching themes or messages in the work:
a red, red rose*the same as my heart…valentine’s day love is in this card bound for your mailbox
*Robert Burns, “a red, red rose”
Epistrophe (10)
Epistrophe is similar to anaphora (see above), but in this case, the repeated word or phrase appears at the end of successive statements. Like anaphora, it is used to evoke an emotional response from the readers, and is quite effective in the Waka or tanka genre:
wintertimefinally makes its debut -ongoing in curtains of acid rain the sky’s a stage of acid rain
Euphemism (11)
A euphemism is when a more mild or indirect word or expression is used in place of another word or phrase that is considered harsh, blunt, vulgar, or unpleasant. For instance, saying someone “didn’t make it”, rather saying the person “died”:
gone are sail windsthat came in the nightsame as youI knew we would endon a still day in time
Flashback (12)
A flashback is an interruption in a narrative that depicts events that have already occurred, either before the present time or before the time at which the narration takes place. This device is often used to give the reader more background information and details about specific characters, events, plot points, and so on:
the good old dayswhen life was still easy to contemplate and cross-legged we sat in a meadow of wildflowers
Foreshadowing (13)
Foreshadowing is when the poet indirectly hints at—through things such as dialogue, description, characters' actions, or natural disaster—what's to come later on in theWaka or tanka. This device is often used to imply that something equally worse will happen:
another quakeand moments of beingon shaky groundour relationship toobecoming unstable
Hyperbole (14)
Hyperbole is an exaggerated statement that's not meant to be taken literally by the reader. It is often used for comedic effect and/or emphasis:
from the gaping lipsof an old stone gargoylespring rainwaterI shall turn it to champagneif you look at me twice
Imagery (15)
Imagery is when we describe a scene, thing, or idea so that it appeals to the readers' senses, also known as a “picture Waka or tanka”. This device is often used to help the reader clearly visualize the tanka by creating a strong mental picture:
between usand warm summer sunlilac budson the very brinkof becoming scent
Irony (16)
Irony is when a statement is used to express an opposite meaning than the one literally expressed at first. There are three types of irony in Waka or tanka, verbal, situational, dramatic irony, and romantic irony. In romantic irony, as far as what the reader or viewer knows, the state of the action or what is happening is the reverse of what the person supposes it to be. Here is an example of dramatic irony:
downsizing the one thing I wantedfor keeps was love* but it hada nomadic soul**
*literal statement**reverse action
Juxtaposition (17)
Juxtaposition is the comparing and contrasting of two or more different (usually opposite) ideas, characters, objects, etc. This poetic device is often used to help create a more clear picture of the characteristics of one object or idea by comparing it with those of another:
with logicyou explained what went wrongbetween uson this day annuallyI’m full-on of emotion
Malapropism (18)
Malapropism happens when an incorrect word is used in place of a word that has a similar sound. This misuse of the word typically results in a statement that is both nonsensical and humorous; as a result, this device is commonly used in comedic writing but can be used in Waka or tanka for a fun exercise, nevertheless. My original Waka and an example of malapropism following:
iffy castfisherman and streamtrade placeseven the trout fliesseem to be laughing
iffy castfisherman and streamtirade placeseven the trout fliesseem to be laughing
Metaphor/Simile (19)
A metaphor is a poetic device often used in tanka, that imaginatively draws a comparison between two subjects. It does this by stating that one thing is another. Through this method of equation, metaphors can also help explain concepts and ideas by colorfully linking the unknown to the known; the abstract to the concrete; the incomprehensible to the comprehensible. It can also be a rhetorical device where the poet specifically appeals to our sensibilities as readers:
you are the aand I am the z alter-egosin love’s alphabetopposites attract
A simile is a type of metaphor in which an object, idea, character, action, etc., is compared to another thing using the words "as" or "like":
old memories like tangled fishhooksImpossibleto pick up only onewithout all the others
Metonym (20) A metonym is when a related word or phrase is substituted for the actual thing to which it's referring. This device is usually used for poetic or rhetorical effect, which can also be incorporated into this Waka:
baby-boomersliving for each momentwe spoke our mindsthe generation of love who “agreed to disagree”…
Mood (21)
Mood is the general feeling the writer wants the audience to have. The Waka or tanka poet can achieve this through dramatic description, the setting, dialogue, and word choices:
a midsummer’s eve underneath a rose moon I’ll wait for you until my hands are bloodiedfrom holding back the dawn
Onomatopoeia (22)
Onomatopoeia is a word (or group of words) that represents a sound and actually resembles or imitates that sound or sounds it stands for. It is often used for dramatic, realistic, or poetic effects:
autumn sky animated with flocks homeward boundgeese honking their wayback into Canada
Oxymoron (23)
An oxymoron is a combination of two words that, together, express a contradictory meaning. This device is often used for emphasis, for humor, to create tension, or to illustrate a paradox:
to small-largethe varying sizes of snowflakesthat fall this afternoon on me here, you elsewhere
Paradox (24)
A paradox is a statement that appears illogical or self-contradictory but, upon investigation, might actually be true or plausible. Note that a paradox is different from an oxymoron: a paradox is an entire phrase or sentence, whereas an oxymoron is a combination of just two words:
sleeper carI travel by trainto see you albeit apart … together in dreams
Personification (25)
Personification is when a nonhuman figure or other abstract concept or element is described as having human-like qualities or characteristics. (Unlike anthropomorphism where non-human figures become human-like characters, with personification, the object/figure is simply described as being human-like.) Personification is used to help the reader create a clearer mental picture of the scene or object being described:
maple leavesdancing in the winda magpiewearing the colorsof an autumn day
Note; “dancing refers both to the leaves and the magpie also before the Waka or tanka pivots.
the breast feathersof a great blue herontickle my thoughtsthis evening your heartbrushes against mine
Repetition (26)
Repetition is when a word or phrase is written multiple times, usually for the purpose of extreme and often romantic emphasis. It is often used in Waka or tanka for purposes of rhythm as well:
O my lovetomorrow tomorrowtomorrowO my love my loveI’ll be there tomorrow
Satire (27)
Satire is a genre of writing that criticizes something, such as a person, behavior, belief, government, or society. Satire often employs irony, humor, and hyperbole to make its point. Waka or tanka can also use this technique:
keep the faith my heart tells me butnews mediareports otherwise -beginning of the end
Soliloquy (28)
A soliloquy is a type of dramatic tanka where the poet speaks aloud to themself and/or to the reader thereby revealing innermost thoughts and heartfelt feelings:
my paramour why do you leave mefor anotheris not my blossom always open to you?
Symbolism (29)
Symbolism refers to the use of an object, figure, event, or situation in a tanka to represent something else—typically a broader message of romantic imagery, or deeper meaning that differs from its literal meaning. The things used for symbolism are called "symbols," and they'll often appear in the Waka (per this example, a nod to Greek mythology, and a change of direction:
I whisperedof love to whomever would tell you so quoted the goddess of a gentle west wind Synecdoche (30)
A synecdoche is a literary device in which part of something is used to represent the whole or vice versa. It's similar to a metonym (see above); however, a metonym doesn't have to represent the whole—just something associated with the word used:
all you left me was lipstick on a glass of bubbly* how often I recall we sat beside the creek
*synecdoche for champagne
Tone (31)
While mood is what the reader is supposed to feel, tone is the poet’s attitude toward their subject. A Waka or tanka poet should always want the reader to feel the mood they're trying to evoke, even if the reader may not always agree with that tone. Tanka can have many different types of tones, such as solemn, humorous, intimate, ironic, arrogant, condescending, sentimental, and so forth. Any emotion that the Waka or tanka poet can convey to readers is an example of tone in that Waka:
as a sailorlonging for the seaam I for lovethe kind that will beendless fathoms deep
All Waka examples are by an'ya
The 5 Basic SensesVisual Perception, Sight:
watching a wild finchflit casually to and frouninhibited I start to wonder if it’sa curse to be born human
Auditory Sensations, Sound:
ever since love I have known all four soundsof the seasons spring song and summer pantingautumn moans and wintry sighs
The Tongue, or sense of Taste:
month of june a wild blueberry partsthe jay’s beak this stellar recollectionof kisses that made me love
The Nose, or sense of Smell:
washday postponedalthough I clearly detectthe scent of lemoneven on this misty mornyou’re able to distract me
The Skin, or sense of Touch:
mimosa why do you shy awayfrom my handlove is to know whatis touched touches back
The 4 Internal Human Senses
Skin as the lack or an increase of Temperatures:
your fingertips caressed my skin as ifreading by braille on this dark winter’s night—how felt the written word
Body Parts, or awareness of them without Visual input:
while you slumber I work late into the nightour own rhythms like full moon and rising tidewhat’s one without the other
Whole Body, or the sensation of Pain or Pleasure in the body, skin, or organs:
dragonfliesabove a watery moontightly claspedwe too part satisfiedwith our encounter
The 6 Additional Senses
Skin, or its perception of Pressure as a sense:
before puffballs took flight on the spring windI dreamt of this your soft roundness againstmy rough skin one last time
Whole Body, or the sense of Acceleration:
desert tortoisemoving at breakneck speedfor what it is this love of ours comparesmore to a bullet train
Blood and Brain, or the sensations of Hunger/starvation, Thirst/dehydration, Sickness/vomiting, Shortness of breath/suffocation, or Mental confusion:
what will work to clear my mind fullof cobwebswhen the spider spinsso prolifically
Sense of Balance, either Physical or Mental or both:
birds on a wirethe afternoon stillnesssteadies their worldwill love be this way toowithout a safety net
Skin, or the sense of being Flushed or Blushing:
the first burst of hot pink sky shoneso brightly- but the blush on her cheekswas even more poignant
Muscle Stretching, or the sense of Childbirth, Gag reflex, or Bodily excretions:
my blood and boneslipping from darknessinto bright light her small skull as roundas a slavic moon
Body Parts or a cocktail of senses like Frowning at someone’s Voice, or Smiling at their looks:
you were the one who always made me smileuntil today- the rodeo clown’s facepainted blue with tears
The 6 more controversial Extrasensory Perception Senses
The Sixth Sense, Intuition:
you colored inall of the empty loopsin my handwritingand after this I sensedthere would be no other
Premonition, or the subconscious sense of Future events, usually of foreboding:
close enoughto reach out and toucha sandhill cranewill you also come closeonly to wing away
Telepathy, Auditory perception of a person’s (near or distant) Thoughts:
our chance meeting to what might we compare itall was quiet on mutual horizons until swan geese came honking
Precognition, Visual perception of Future events of any type:
in this month of leafy willows fluidwith windy waysperhaps it's fated that wewill brush against each other
Clairvoyance, Visual perception of Invisible objects or Events:
never alone even though in the fleshyou are absent for your spirit's not lostit’s where a seabird flies
Clairaudience, Auditory perception of the Invisible:
night musicnobody knows aboutour secret only the mockingbirdssing of what we whisper
The 10 Roles of Human Senses
Perception:
across the blue on a cirrus cloud morningvarious shapes of angels & chimeras we all view things differently
Motion:
the moon the sunand horizontal currentsthat move the tides intimate are we toowith love’s ups and downs
Reaction:
on new-fallen snow the sight of a headless birdmakes my heart achewhat am I now without youexcept also incomplete
Articulation:
oh falling starhow fortunate tonightyou pinpoint me in this whole universefull of other people
Interpretation:
sheet waterfallsteadily spillingover the edgea mountain wept tearsor so does it feign
Comprehension:
how many timesI've crushed autumn leavesuntil today when a chickadee drankfrom one that cupped the rain
Cognition:
the breast feathersof a great blue herontickle my thoughtsthis evening your heartbrushes against mine
Recognition:
painted ladyI’ll never cease to lovenor forget the way that you drinknectar from a thistle
Sensation:
as sure as rain kept falling from the cloudsthat sensationwhen our eyes met and whatstarted could not be stopped
Sense of Time:
funeral day steady rain unearthsour time capsulefilled with the treasureswe buried as siblings
PART 2
As we all know the use of poetic devices in haiku is for the most part, taboo, whereas in Waka or tanka they are a bonus. There are 31 poetic devices available for us to use for emphasis, clarity, and to create a unique effect, plus convey feelings to help the reader grasp what we are trying to say on a deeper level. Poetic devices have 2 aspects: poetic “elements” or poetic “techniques”. Poetic Elements are inherent in tanka to develop the setting, characters, nature, mood, theme, etc. Poetic Techniques, on the contrary, are usually words or phrases in a Waka or tanka to achieve not merely artistic ends but also give readers a greater understanding and appreciation of structure.
Allegory (1)
An allegory can be used in Waka or tanka to send a message about a real-life historical moment in which a character, place, or event presents a hidden meaning of moral, spiritual, or political significance. An allegory is used to illustrate or convey complex concepts via symbolism.:
war bridea letter of loveand honornever deliveredafter the bombing
Alliteration (2)
Alliteration is a series of words or phrases that all, or almost all, start with the same sound. It’s the conspicuous repetition of identical sounds in successive or closely associated syllables with a group of words even if spelled differently. It works very well to enhance the rhythm of a Waka or tanka:
in subduedwinter light danglingleaf lichenlets loose of its hostand floats downriver
Allusion (3)
Allusion is when we make an indirect reference to a figure, place, event, or idea originating from outside the text. Waka and tanka often make reference to a previous work of literature or art:
at my ear sounds of the red priest’s* “four seasons”now come and gone since our last tête-à-tête
*Vivaldi’s nickname
Anachronism (4)
An anachronism occurs in a Waka or tanka when there’s an errata in its timeline. An inconsistency, especially the juxtaposition of a person, event, object, or custom from a different era. The most common anachronism is an object misplaced in time, but it can also be a verbal expression, a technology or philosophical idea, a music style, a material, plant or animal, or anything else associated with a particular period place outside its proper temporal domain. An anachronism can also be used to convey, nostalgia:
to bygone dayswhen gentle men spent timecomposing verse of pillow book poetryfor ladies-of-the-court
Anaphora (5)
Anaphora is when a word or phrase is repeated at the beginning of multiple sentences throughout a piece of writing. It's used to emphasize the repeated phrase and evoke strong feelings in the reader. Anaphora is a rhetorical device that features the repetition of a word or phrase at the beginning of successive lines. Anaphora works as a poetic device that allows our writing to convey, emphasize, and reinforce the meaning which can be very effective in Waka or tanka.
a cold day a cold day of rain turns to sleets sleet that turns into snow- deeper grows my desire
Anthropomorphism (6)
An anthropomorphism occurs when something nonhuman, such as an animal, place, or inanimate object, behaves in a human-like way. The difference between anthropomorphism and personification is that with anthropomorphism non-human figures actually “become” human-like characters. However, with personification, the object or figure is simply “described” as being human-like. In this Waka, there is an actual characterization of “King Neptune” that became “a wrecking ball”:
our driftwoodpalace built atopthe sand dunesuntil King Neptune’s tidesbecame a wrecking ball
Asyndeton (7)
Asyndeton is one of several poetically rhetorical devices that omit out conjunctions (such as "and," "or," "but," and "for") in a group of words or phrases so that the meaning is emphasized:
mid-august dog-day-air hot humid to a faultI wait for you to bringcool dry wind my way
Colloquialism (8)
Colloquialism is the use of informal language and slang. It's often used by authors to lend a sense of realism to their characters and dialogue. Forms of colloquialism include words, phrases, and contractions that aren't real words (such as "gonna" and "ain't"). A true experience:
garbage day coming eye to eye with a bear-I chicken out way longbefore it finishes
Epigraph (9)
An epigraph is when an author inserts a famous quotation, poem, song, or other short passage or text at the beginning of a larger text (e.g., a book, chapter, etc.). An epigraph is typically written by a different writer (with credit given) and used as a way to introduce overarching themes or messages in the work:
a red, red rose*the same as my heart…valentine’s day love is in this card bound for your mailbox
*Robert Burns, “a red, red rose”
Epistrophe (10)
Epistrophe is similar to anaphora (see above), but in this case, the repeated word or phrase appears at the end of successive statements. Like anaphora, it is used to evoke an emotional response from the readers, and is quite effective in the Waka or tanka genre:
wintertimefinally makes its debut -ongoing in curtains of acid rain the sky’s a stage of acid rain
Euphemism (11)
A euphemism is when a more mild or indirect word or expression is used in place of another word or phrase that is considered harsh, blunt, vulgar, or unpleasant. For instance, saying someone “didn’t make it”, rather saying the person “died”:
gone are sail windsthat came in the nightsame as youI knew we would endon a still day in time
Flashback (12)
A flashback is an interruption in a narrative that depicts events that have already occurred, either before the present time or before the time at which the narration takes place. This device is often used to give the reader more background information and details about specific characters, events, plot points, and so on:
the good old dayswhen life was still easy to contemplate and cross-legged we sat in a meadow of wildflowers
Foreshadowing (13)
Foreshadowing is when the poet indirectly hints at—through things such as dialogue, description, characters' actions, or natural disaster—what's to come later on in theWaka or tanka. This device is often used to imply that something equally worse will happen:
another quakeand moments of beingon shaky groundour relationship toobecoming unstable
Hyperbole (14)
Hyperbole is an exaggerated statement that's not meant to be taken literally by the reader. It is often used for comedic effect and/or emphasis:
from the gaping lipsof an old stone gargoylespring rainwaterI shall turn it to champagneif you look at me twice
Imagery (15)
Imagery is when we describe a scene, thing, or idea so that it appeals to the readers' senses, also known as a “picture Waka or tanka”. This device is often used to help the reader clearly visualize the tanka by creating a strong mental picture:
between usand warm summer sunlilac budson the very brinkof becoming scent
Irony (16)
Irony is when a statement is used to express an opposite meaning than the one literally expressed at first. There are three types of irony in Waka or tanka, verbal, situational, dramatic irony, and romantic irony. In romantic irony, as far as what the reader or viewer knows, the state of the action or what is happening is the reverse of what the person supposes it to be. Here is an example of dramatic irony:
downsizing the one thing I wantedfor keeps was love* but it hada nomadic soul**
*literal statement**reverse action
Juxtaposition (17)
Juxtaposition is the comparing and contrasting of two or more different (usually opposite) ideas, characters, objects, etc. This poetic device is often used to help create a more clear picture of the characteristics of one object or idea by comparing it with those of another:
with logicyou explained what went wrongbetween uson this day annuallyI’m full-on of emotion
Malapropism (18)
Malapropism happens when an incorrect word is used in place of a word that has a similar sound. This misuse of the word typically results in a statement that is both nonsensical and humorous; as a result, this device is commonly used in comedic writing but can be used in Waka or tanka for a fun exercise, nevertheless. My original Waka and an example of malapropism following:
iffy castfisherman and streamtrade placeseven the trout fliesseem to be laughing
iffy castfisherman and streamtirade placeseven the trout fliesseem to be laughing
Metaphor/Simile (19)
A metaphor is a poetic device often used in tanka, that imaginatively draws a comparison between two subjects. It does this by stating that one thing is another. Through this method of equation, metaphors can also help explain concepts and ideas by colorfully linking the unknown to the known; the abstract to the concrete; the incomprehensible to the comprehensible. It can also be a rhetorical device where the poet specifically appeals to our sensibilities as readers:
you are the aand I am the z alter-egosin love’s alphabetopposites attract
A simile is a type of metaphor in which an object, idea, character, action, etc., is compared to another thing using the words "as" or "like":
old memories like tangled fishhooksImpossibleto pick up only onewithout all the others
Metonym (20) A metonym is when a related word or phrase is substituted for the actual thing to which it's referring. This device is usually used for poetic or rhetorical effect, which can also be incorporated into this Waka:
baby-boomersliving for each momentwe spoke our mindsthe generation of love who “agreed to disagree”…
Mood (21)
Mood is the general feeling the writer wants the audience to have. The Waka or tanka poet can achieve this through dramatic description, the setting, dialogue, and word choices:
a midsummer’s eve underneath a rose moon I’ll wait for you until my hands are bloodiedfrom holding back the dawn
Onomatopoeia (22)
Onomatopoeia is a word (or group of words) that represents a sound and actually resembles or imitates that sound or sounds it stands for. It is often used for dramatic, realistic, or poetic effects:
autumn sky animated with flocks homeward boundgeese honking their wayback into Canada
Oxymoron (23)
An oxymoron is a combination of two words that, together, express a contradictory meaning. This device is often used for emphasis, for humor, to create tension, or to illustrate a paradox:
to small-largethe varying sizes of snowflakesthat fall this afternoon on me here, you elsewhere
Paradox (24)
A paradox is a statement that appears illogical or self-contradictory but, upon investigation, might actually be true or plausible. Note that a paradox is different from an oxymoron: a paradox is an entire phrase or sentence, whereas an oxymoron is a combination of just two words:
sleeper carI travel by trainto see you albeit apart … together in dreams
Personification (25)
Personification is when a nonhuman figure or other abstract concept or element is described as having human-like qualities or characteristics. (Unlike anthropomorphism where non-human figures become human-like characters, with personification, the object/figure is simply described as being human-like.) Personification is used to help the reader create a clearer mental picture of the scene or object being described:
maple leavesdancing in the winda magpiewearing the colorsof an autumn day
Note; “dancing refers both to the leaves and the magpie also before the Waka or tanka pivots.
the breast feathersof a great blue herontickle my thoughtsthis evening your heartbrushes against mine
Repetition (26)
Repetition is when a word or phrase is written multiple times, usually for the purpose of extreme and often romantic emphasis. It is often used in Waka or tanka for purposes of rhythm as well:
O my lovetomorrow tomorrowtomorrowO my love my loveI’ll be there tomorrow
Satire (27)
Satire is a genre of writing that criticizes something, such as a person, behavior, belief, government, or society. Satire often employs irony, humor, and hyperbole to make its point. Waka or tanka can also use this technique:
keep the faith my heart tells me butnews mediareports otherwise -beginning of the end
Soliloquy (28)
A soliloquy is a type of dramatic tanka where the poet speaks aloud to themself and/or to the reader thereby revealing innermost thoughts and heartfelt feelings:
my paramour why do you leave mefor anotheris not my blossom always open to you?
Symbolism (29)
Symbolism refers to the use of an object, figure, event, or situation in a tanka to represent something else—typically a broader message of romantic imagery, or deeper meaning that differs from its literal meaning. The things used for symbolism are called "symbols," and they'll often appear in the Waka (per this example, a nod to Greek mythology, and a change of direction:
I whisperedof love to whomever would tell you so quoted the goddess of a gentle west wind Synecdoche (30)
A synecdoche is a literary device in which part of something is used to represent the whole or vice versa. It's similar to a metonym (see above); however, a metonym doesn't have to represent the whole—just something associated with the word used:
all you left me was lipstick on a glass of bubbly* how often I recall we sat beside the creek
*synecdoche for champagne
Tone (31)
While mood is what the reader is supposed to feel, tone is the poet’s attitude toward their subject. A Waka or tanka poet should always want the reader to feel the mood they're trying to evoke, even if the reader may not always agree with that tone. Tanka can have many different types of tones, such as solemn, humorous, intimate, ironic, arrogant, condescending, sentimental, and so forth. Any emotion that the Waka or tanka poet can convey to readers is an example of tone in that Waka:
as a sailorlonging for the seaam I for lovethe kind that will beendless fathoms deep
All Waka examples are by an'ya
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