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Arts
Love's
Eyes
Tanka
Japanese poems by Lenard D. Moore
If
anyone deserves to be called a legend in his own time it is the African
American poet Lenard D Moore. He is most celebrated for his pioneering
interpretation of the Japanese poetic art form, haiku. Now his interest
has spilled over into tanka, an earlier 1300 year old poetic tradition,
that served as secret messages between lovers. Mr Moore's complete mastery
of the poetic idiom together with his achievements as a teacher and
workshop leader have given him a status of distinction, if not fame.
Here, Mr Moore reveals his mastery of the ancient Japanese art form
of tanka.
Painting
the Toenails
painting
the toenails
of her right foot
my wife in black bikini
beyond her, curved shadows
of white herons
The
Night is Long
The
night is long
A tavern just off the road
With only one car,
But the man and woman hug
To the song on the jukebox
Note
about Tanka poetry
"From tanka's long history - over 1300 years recorded in Japan - the
most famous use of the poetry form of tanka was as secret messages between
lovers. Arriving home in the morning, after having dallied with a lover
all night, it became the custom of well-mannered persons to write an
immediate thank-you note for the pleasures of the hospitality.
Stylised
into a convenient five lines of 5-7-5-7-7 onji, the little poem expressing
one's feelings were sent in special paper containers, written on a fan,
or knotted on a branch or stem of a single blossom. These were delivered
to the lover by personal messenger who then was given something to drink
along with his chance to flirt with the household staff.
During
this interval a responding tanka was to be written in reply to the first
note which the messenger would return to his master." Excerpt from Tanka
for the Memory by Jane Reichhold
About
Lenard D. Moore
For information about the master haiku poet see our Archive section.
Permission
to reprint these tanka granted by the author.
Copyright 1983-2000 Lenard D. Moore.
All
rights reserved. No responsibility for errors, omissions or opinions
stated in this work are assumed by the editor and publisher of The Chronicle.
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