Значение слова "CHŌKA" найдено в 1 источнике

CHŌKA

найдено в "Encyclopedia of medieval literature"
chōka: translation

   The chōka or “long poem” (sometimes called a nagauta) is one of the two forms of poetry used by the Japanese poets whose work was collected in the eighth-century anthology called The MAN’YŌSHŪ (the other form being the TANKA, or “short poem”). The chōka could be composed in any number of verses—though in practice, the longest chōka in the Man’yōshū is 149 lines. The chōka alternates lines of five and seven syllables, and ends with a final couplet of two seven-syllable lines. In effect, the last five lines of a chōka are identical in form to the more popular tanka: 31 syllables in five lines of five, seven, five, seven, and seven syllables.Further, the chōka was typically followed by one or two (or even more) short poems called hanka—a word from the Chinese meaning “a verse that repeats.” These hanka, usually in the five-line form of the tanka, acted as envoys, detailing, enlarging, or summarizing the theme of the longer main body of the poem. Of the 4,516 poems anthologized in The Man’yōshū, only 265 are chōka. These, however, are generally the most memorable poems in the collection, particularly those attributed to the acclaimed poet HITOMARO Kakinomoto, called the “Saint of Poetry.” One of his best-known poems is the chōka “On leaving his wife as he set out from Iwami for the capital.”The main body of the poem consists of 24 lines and ends with these verses:
   Farther and farther my home falls behind,
   Steeper and steeper the mountains I have crossed.
   My wife must be languishing
   Like dripping summer grass.
   I would see where she dwells
   Bend down, O mountains!
   (Nipon Gakujutsu Shinkokai 1965, 32)
   The poem is accompanied by two tanka-like hanka, the last of which reads:
   The leaves of bamboo grass
   Fill all the hill-side
   With loud rustling sounds;
   But I think only of my love,
   Having left her behind.
   (Nipon Gakujutsu Shinkokai 1965, 32)
   The effective but understated emotion that gives the poem its lyrical appeal is characteristic of the chōka in the Man’yōshū. Although chōka continued to be composed after the collection in the Man’yōshū, none of these is particularly effective, and the chōka was soon virtually completely displaced by the tanka among Japanese poets.
   Bibliography
   ■ Keene, Donald. Seeds in the Heart: Japanese Literature from Earliest Times to the Late Sixteenth Century. Vol. I, A History of Japanese Literature. New York: Columbia University Press, 1999.
   ■ Miner, Earl, Hiroko Odagiri, and Robert E. Morrell. The Princeton Companion to Classical Japanese Literature. Princeton, N.J.: Princeton University Press, 1985.
   ■ Nipon Gakujutsu Shinkokai, trans. The Manyoshu. With a new foreword by Donald Keene. 1940.New York: Columbia University Press, 1965.


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