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| Renga / Haikai Renga Što renga? Ukratko, renga je japanska pjesnička forma koja se mora kolektivno pisati! XV vijek je period za koji vezujemo nastanak haikai renge. To je vrijeme svirepih ratova koji su bjesnjeli u feudalnom Japanu, vrijeme koje nije poštedjelo ni tadašnju prijestolnicu Kjoto od razaranja. Učitelji renge, bježeći od ratova, pješice su putovali po brojnim feudima i širili svoje umijeće. Tako se desilo da su prve "ulančane pjesme" nastajale u aristokratskim krugovima. Bilo je popularno pisati "vezane" stihove koji su se tematski naslanjali na prethodi stih. Takva forma i način pisanja renge se održao do danas. Naizmjenično se nadovezuju stihovi na prethodni, ali nije neophodno da budu u vezi sa kompletnom cjelinom. Početna pjesma je trostih sa metrikom 5-7-5. Slijedi je dvostih sa po 7 slogova, da bi treći pjesnik ponovo pisao trostih, i tako naizmjence pišu svi učesnici. U japanskim je klubovima skoro obaveza da prilikom druženja pjesnici pišu rengu "sada" i na neposredno izabranu temu. Iako je renga u XVI i XVII vijeku uglavnom bila vraćana igra riječi i dosjetki koju je na novo poezije i prave umjetnosti izdigao nitko drugi do Macuo Bašo, ne čudi da vrsni znalci klasične japanske pjesme smatraju da su pjesnici koji napišu izvrsnu rengu veliki pjesnici jer oni pišu "tu i sada". Preneseno sa web stranice - http://www.tempslibres.org/aozora/en/asc/l46p1.html
About Renga Poetry
A RENGA is a group of HAIKU-LIKE verses linked in any one of several special ways. It is usually written by two or more poets who take turns writing the verses. In classical RENGA, 3-line and 2-line verses are alternated, beginning with a 3-line verse (a hokku, usually approximating 5-7-5 syllables) resembling haiku and indicating a season. A second poet composes the following verse (2 lines approximating 7-7), linking it by one of several methods (not too obviously, please) with the first. The next verse (of 3 lines), composed by the first poet (in a 2-person renga) or by another (in renga written by more than 2 poets), links with the second but not with the first. Traditionally, each verse employs a season word, most especially the ones requiring reference to autumn, moon, flower, etc. Season words are words usually associated with one season more than another (blossom = spring; snow = winter; baseball = summer, harvest = autumn, etc.) Verses do not refer to moon or flower except when they are specifically called for. Beginning capitals and ending punctuation are usually avoided. These patterns continue throughout the renga, each verse linking somehow with the verse preceding it, but with no others. Each verse may launch us in a new direction, providing the next poet with a new puzzle to solve. Once a significant noun, verb, adjective or adverb occurs, it is usually not used in another verse (the a witty switch of meaning or context might be acceptable in adjacent links). This technique keeps a renga continually twisting and turning, challenging both poet and reader. The result is a constantly changing mosaic which discourages development of a logical, sequential narrative. The pleasures derived from continual surprise, striking imagery and delightfully sudden (and often witty) insights can be captivating. That is one of the chief delights of renga. Original text from the webpages - http://thewordshop.tripod.com/renga.htm
LJUBAVNA REGA /haibun/ - 2003
1.- Darja Kocjančić /Ljubljana, Slovenija - D.K./
PTICE DALJINE /RENGA/
THE BIRDS OF
DISTANCES /rengay/
kiss of
distances
blown in on the
wind
the wind brought
behind the
school
the street is
glittering
the drowned nests
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