A Sedoka is similar to a Mondo in that it also consists of two parts, or one pair of Katauta. The difference is that Sedoka were written by a single author, and did not generally consist of a question and answer part. Incidentally, while the norm for writing Katauta was 5-7-7 onji, it was also acceptable and common to see them in 5-7-5 format. Remember, the last line was used to fill out the poem, and while this was generally done with 7 onji, 5 onji (also an odd numbered line) was considered a pleasant variant from the norm.
This (Katauta) poetic form was respected for it's variance as well as its conformity. So, it can be said that the Mondo and Sedoka were written by combining two Katauta -- each Katauta consisting of three parts (lines) with two separate rhythms, a consistent overall form length of 17-19 onji, and each part being of an odd numbered line in terms of onji.
The major difference between the two being that Mondo were written by two authors and Sedoka were written by a single author. The next form is the Choka, the Japanese long poem. This poem was structured 5-7-5-7-5-7-5-7-5........7-7 onji in line length, and could be of any overall line total; many of which exceeded 100 lines.
As stated earlier the Katauta could be called the basic unit of Japanese poetry. Here in the Choka, the 5-7-5 or 5-7- 7 (17-19) onji pattern is easily found. It seems the preference for ending Japanese poetry in these early days was with the 5-7-7 onji pattern; however, as stated earlier, 5-7-5 was often used as a substitute and was equally acceptable in terms of aesthetics and appreciation.
In fact, as time passed, the 5-7-5 onji ending became more prevalent rather than less in forms other than the Tanka, though never quite exceeding the originally preferred ending format in these older poetic form.
With all of this in mind, it is easy to see why the Katauta is believed by some poetic historians to be the original basic unit of Japanese poetry, either as a 17 onji unit or a 19 onji unit. This is important to remember not only for understanding and writing Tanka poems but in understanding and writing in any Japanese poetic form, including Haiku.
Tanka is also, but not always, used in a manner that includes nature in the expression of thought or feeling, similar to haiku, but because of its extra length, Tanka allows for deeper thought and expression of themes that would be too burdensome for haiku to carry. Again, the decision to use nature as a backdrop for expression is a personal choice.
Those who think staying close to the Japanese model will do so with a great sense of commitment; while others who choose to stray will argue their view points with equal vigor. Whatever choice you make, it should be a choice that you are happy with and that provides you the means of expression that you seek. Whatever choice others make should be viewed as simply an alternative choice and not an attack on your personal perspectives or tastes.
Like Haiku, Tanka is in its infancy in the West and its development will be determined by those who utilize its heritage and manner of presentation to greatest impact on readers both in the East and West. By trying to appreciate the aesthetic of Japanese poetry and thinking and incorporating it into the West, we bring the two cultures closer in terms of understanding and fellowship.
There is nothing to lose in this process. All can only gain by the experience. So, when embarking on this journey, remember the goal is fellowship and learning how to best live our lives by incorporating poetic experiences into them.
In conclusion, I sincerely hope that this introduction to Tanka has achieved its goal of enabling writers, previously unexposed to Tanka to appreciate it as a poetic form and as a remarkable expression of the Japanese aesthetic. The only true way to begin seriously writing Tanka poems is to first understand what it was, how it developed and changed, and what it is now by reading as many Tanka poems as you can, both classical Tanka and modern Tanka.
Hopefully this explanation will encourage others to try their hand at Tanka and to share their feelings and insights into the living world of which we are incorporated for better understanding and achievable peace on the planet by expanding fellowship throughout.
© by Richard MacDonald