RENGA.

The following is a brief introduction to Renga, which is a collaborative form of poetry that evolved from the Tanka about 800 years ago in Japan. It helps if you know a little about Tanka and Haiku - if you don't, I've also written short introductions to them. These can be found in through the links on "the caged unhitched" website.

Renga (the term is both singular and plural) have evolved over the years, and the earlier known examples were more concerned with punning and witticism. However, over time, as with most Japanese poetry they became more nature orientated, and sometimes philosophical. Today they deal with almost any subject, particularly in the western world.

Some of the very early ones were very long (as Japanese poetry goes) and had a hundred or so verses, but they have more or less settled into a 36 stanza (link) form, with three major parts, and a structure that defines the topic of each stanza, with a modicum of choice for moving the placement of each one. Relatively recently Renga with fewer links have been tried, and a version has become established in Japan that has 20 stanzas.

They have mostly retained the syllabic count of the tanka, but split it into two separate links - so they have alternating verses of 5-7-5 and 7-7. There is still a long argument about how best they should be transliteration into english and other languages which I don't intend to contribute to here. Some people prefer to use a short-long-short, long-long structure - though very rarely does the line length exceed 7 english syllables in the long lines.

I recommend that you have a look at both ways of writing them, and read the many examples that are available in books. magazines and the web.

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Basic Rules/Guidelines for Renga:

In these guidelines I have kept to the syllable count convention, but as mentioned before, you can use the short-long-short, long-long alternative. The rules are not hard and fast, and some of the great master poets of Japan varied them. I suggest that you keep to them, and only after you have come to know the form, and the nuances that it contains, try a variation of your own if you want to.


1. "Classic" 36 link Renga.

Renga are made by alternating 5-7-5 and 7-7 stanzas throughout the poem. They have six "pages" of six stanzas each. These in turn are grouped into three major sections, Jo (which has 6), ha (which has 24) and the kya which has six. More about these later.

Ideally, each link should form a complete poem with the link that immediately follows it, and another with the link that comes before it. This "layers" images and scenes, and adds to the subtly and beauty of the poem. Strictly, there must not be a link between the first and third stanzas in any set of three : eg: 1 and 3 have no direct links, 2 and 4 have no direct links, 3 and 5 have no direct links, etc.

Again, ideally, the first stanza (hokku) is the only verse that should be able to stand alone. Interestingly, the Haiku evolved from the hokku of renga and became a form of its own.

The first 5,7,5 link is called a Hokku and must include a season word.
The second link (7,7) must include a season word of the same season as the hokku.
The third link (5,7,5) must change the scene.

It's not necessary to include a season word in the links that follow except for the exceptions noted below.

Around the 5th link there must be a reference to the moon.
Between the 17th and 19th link there must be a reference to "love".
The second last link (Ageku) must contain a reference to "blossoms".
(Note: The word blossoms in Japan implies cherry or sakura)

Seasons don't run backwards in real life, neither do they in Renga. (ie. Autumn to summer is not allowed)

Spring and Autumn themes may be continued for 3-5 links.
Summer and Winter themes may only be continued for 1-3 links.

Avoid using any of the same themes that have appeared before.

Only refer to "dreams" and "insects" once in the entire Renga.

The word "woman" is not to be used at all. I can't remember the reason for this rule, if there is one, but it *is* a definite no-no. If you disagree write to the Emperor of Japan, not me <g>

Don't use any noun or verb that has already been used on a "page" of the Renga again, and preferably, most preferably, don't use it again in the entire renga.

In the middle section of 24 links (ha) particularly, vary the subject matter in each stanza so that it doesn't get bogged down on one topic (for instance lots of verses about eating, drinking, waterscapes etc.) A couple of links on a topic is about enough, imagination helps.

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Confused, lost? It's not so bad - think of the time it took you to learn to walk, learn to talk, and how much that helped you. Anyway, help is at hand. It's almost impossible to just get together with no idea of where you are, what you are going talk about, and at the same time write a poem. A Renga is a poem, a longish one albeit, but it requires the same thought, if not more than other forms of poetry.

Before you start out, ask yourselves these questions:

What *are* you going to talk about, and are you going to have a theme such as current events, loving relationships, children, animals, grief or happiness and what that implies, etc?

What directions do you think it might go? This is very relevant for the hokku which sets up the Renga. Ideally, the hokku should reflect the time of year that it was started. Japanese poetry is very concerned with nature and the seasons, and Renga most often use the flow of the seasons as the overall pacing and direction for them. You are not so much defining the poem exactly, as thinking about how it will make a cohesive whole.

Think of it like planning journey - you don't know exactly what you will find on it, but you have a route planned, and a good idea of where you will end it.

Once you have begun, pay careful attention to what has gone before, and re-read all the verses each time before you contribute yours. Think about what it might need - do you want a pause for reflection, or change in tone, or to steady it down a bit if its running too wild, things like that. This will help you understand more, and appreciate more of what is in the Renga so far, expand the meanings and implications in your own mind.


I think it helps to try and put yourself in this scene :

You have gone to visit some friends for the evening. Your host invites a guest to begin a Renga. The guest writes the hokku, which quite often thanks the host, or makes a kind reference to his or her social standing or current situation in life. Sometimes it contains a direct reference to the other people who are expected to take part in the Renga.

This mostly leads to a hokku which is elegant, and maybe even formal. (Basho, being Basho, broke the rules and often started with humour or an irreverent approach.) In these days, depending on the circumstances and company, it is fairly open - though insulting remarks etc are not the best way make friends <s>. However, it is generally accepted that a "season" word *must* be in the hokku. Commonly, there is also a season word in the second link, but not always in those written today.

Again, as a general rule, the event that has brought the group who are going to participate in the Renga together, and their reasons for writing one is indirectly touched upon, over the first two links.

If the poem to going to have as its purpose or theme an abstraction - it *must* be written using solid images. Avoid the ethereal <s>

Right - on to the overall form of the Renga, which are typically divided into three movements, called Jo (with 6 stanzas), Ha (with 24 stanzas), and Kyu (with 6 stanzas). Each movement is supposed to have a different tempo and different types of linking.

The "first page" (or Jo) contains the introduction, references to the situation and company of poets, the overall theme. This is mostly the "quietest" part, with the links being closely related. You can think of it as a "getting to know you" section, which also gives an overview of what is to come.

The central body of 24 stanzas (Ha) is when the party really gets under way <g> - everyone has been introduced to everyone else, is comfortable, the wine is flowing, and conversation will go wherever fancy and imagination takes it - as in any gathering of friends who are having a good time. On some occasions, a few hackles can be raised too, though civility prevails, mostly <s>.

The "last page" of six links (Kyu) is the time for thank you's and farewells - maybe the evening has past all too quickly, some tempers have been unintentionally frayed and apologies needed, a new friend made (who might, just might <s>, want to continue to friendship in a more private situation), all those sort of things. The last stanza refers back to the beginning of the evening (the hokku) to "close" the Renga and the gathering of friends who have composed it.

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Panic!! Right .. no panic.  Ther is aso a link from "the cage unhitched websit to a file in which I have compiled a few step by step (stanza by stanza) suggestions for writing Renga. It includes three versions of the 36 link Renga, and one for the 20 link.

Simple, really. Now go and try one with some of your friends, they are great fun, very stimulating and I'm sure you will enjoy them once you have got over the seeming mass of rules.

Have fun,


Neil