Crown jewel of Japanese culture, haiku

Author: Wang Ruilin
Editor-in-Chief: Chen Zhaohui
Publisher:
Publishing Date: 1998-11-01
Features:
Content Summary
This book is divided into three chapters, providing a detailed discussion on the origin, history, and characteristics of Japanese tanka. Following the of representative collections and famous poets, it offers an in-depth appreciation of over thirty tanka from perspectives such as the Japanese classical prose structure, the creative intentions of the poets, the political and historical background, and the literary and artistic value. In this book, all Japanese text is accompanied by Chinese translations, making it a valuable reference for readers who wish to gain a deeper understanding of Japanese history and culture, as well as for poetry enthusiasts.
Excerpt:
All the aforementioned forms of poetry were collectively referred to as "waka" () in ancient Japan, pronounced as (waka) or (yamatouta) in Japanese. Through the relentless passage of time, many things in human society have evolved from complexity to simplicity, from diversity to unity—a trend that has almost become a norm. Japanese waka were no exception. Today, when people mention waka, they are referring to tanka. Other forms of waka are rarely encountered. Due to this reason, tracing the origin of tanka requires starting with waka.
Section 2: Two Perspectives
According to Japanese historical records such as the Kojiki, Nihon Shoki, and Fudoki, waka had already emerged among the indigenous people of the Japanese archipelago even in the prehistoric era, long before the advent of written language in Japan. However, the term "waka" at that time bore no meaning related to "Daiwa" (); it simply meant "singing in response" or "antiphonal singing." Thus, interpreting it as "antiphonal singing" aligns perfectly with historical facts. So, what were the reasons, influences, and processes that led this form of "antiphonal singing" to evolve into the syllable-unified, format-fixed "tanka"? Regarding this question, there are two differing viewpoints among the Japanese.
One viewpoint holds that the syllable structure and format of tanka originated from the rhythmic patterns of agricultural or fishing labor practiced by ancient Japanese people, as well as the unique rhythmic characteristics of the Japanese language itself. Those who hold this view have consistently sought to find the roots of tanka in the relationship between the steps and melodies of traditional Japanese folk dances or the pauses and rhythms in Japanese speech, particularly the 5-7 syllable pattern. They strongly emphasize that the formation of tanka was a natural process, arguing that if tanka was influenced by anything, it was not an external cultural factor but rather the lifestyle, production methods, and linguistic habits of ancient Japanese people. Therefore, they believe that the formation of tanka was an organic and spontaneous process. It is evident that they are actually striving to exclude or deny the influence of ancient Chinese culture on the formation of Japanese tanka. We may refer to this perspective as the "natural formation theory." Some people, for various psychological or other reasons, seem to be inclined to accept this view. As a result, some Japanese scholars have aptly dubbed this perspective "popular theory" (Fumio Kojima: The Thirty-One-Kanji Puzzle).
Most Japanese scholars, however, argue that this "popular theory" is incorrect and that the formation of the 5-7 syllable structure in Japanese tanka was likely influenced by the five-and-seven-syllable Chinese poems () adopted by the ancient Japanese court and nobility. This latter perspective is more reasonable and respectful of history.
Section 3: Exploring the Origins
In any country or ethnic group in the world, the earliest literary works are neither prose nor novels but the precursors of poetry—folk songs. Their content often includes labor cries, celebratory songs, sorrowful laments, and tender yearnings.
Postscript:
Postscript
My alma mater, Peking University, will celebrate its 100th anniversary in 1998. Although I have been away from the campus for nearly three decades, the faces and teachings of my beloved professors have always lingered in my heart, never forgotten. Especially after I began teaching at the university and chose education as my profession, I have received continuous and kind guidance from professors Xu Changhua, Gu Haigen, Pan Jinsheng, and other esteemed teachers at my alma mater. Here, I must express my special gratitude to Professor Pan Jinsheng. During the completion of this humble work, Professor Pan not only provided numerous corrections but also generously gifted me various reference books. Moreover, in his busy schedule, he took the time to write a preface for this book, for which I am deeply grateful. At the same time, I feel deeply humbled by the encouraging words in his preface, as they fall far short of reality. I fully recognize that only Professor Pan’s insights into the difficulties of waka and the shortcomings of this work truly reflect the truth, and they serve as the motivation for me to study and improve in the future.
"The spring is so splendid, yet how can a blade of grass repay even a fraction of its warmth?" (Ming Dynasty, Tang Xianzu: The Peony Pavilion). On the occasion of the university’s centennial celebration, allow me to express my sincere gratitude to all my teachers for their nurturing and my warmest congratulations to my alma mater on this joyous milestone.
Wang Ruilin
Spring 1998, Beijing
Humble Abode