If you’ve ever found yourself wandering into the world of Japanese poetry, you’ll know it’s like stepping into a completely different universe – at least to our western eyes. I still remember being in school and my English teachers banging on about haiku and how it was just about counting syllables (spoiler: it’s not). Maybe it says more about the school I went to,the limited timeframe to explore the form, or Mr. Mason’s distate for anything that wasn’t Shakespeare, but there was no mention of any of the broader concepts that, to my mind now, make a haiku a haiku.
For Western poets looking to explore Japanese poetic forms, the terminology alone can be overwhelming, particularly as these poetic terms are so far removed from the named concepts we use in Western, or English, poetry. It’s not just about learning what a “haiku” is – there’s also renga, tanka, senryu, and dozens of aesthetic concepts that don’t easily translate into English, or can be directly and fully understand without an intense understanding of Japanese culture as a whole. Plus, there’s the challenging issue of pronunciation when you’re not familiar with Japanese – infamously not an easy language to learn.
I’ve put together this comprehensive glossary to help demystify the rich vocabulary of Japanese poetry. Whether you’re just starting to explore haiku or you’re working on complex linked-verse sequences, or even if you’re playing around with a friend and working on a renga, having a solid understanding of these terms will deepen your appreciation and practice. It should, hopefully, also help you to get more out of the haiku you read, understanding that simply talking about a frog isn’t just descriptive, but allegorical, portenteous and surrounded by endless connotations, sounds, memories and so much more.
Contents
The Major Forms and Structures
Before diving into the glossary, let’s look at the fundamental forms that make up the backbone of Japanese poetry tradition:
Haiku and Its Origins
The haiku might be Japan’s most famous poetic export, but it didn’t emerge in isolation. What we now call haiku evolved from the opening verse (hokku) of collaborative linked poems (renga). Only in the late 19th century did the poet Masaoka Shiki formally establish haiku as a standalone form.
Modern haiku in English often deviates from traditional Japanese rules, but understanding the original context helps appreciate both traditional and contemporary approaches.
Renga and Renku: The Collaborative Traditions
Long before haiku became popular, Japanese poets were gathering to create collaborative poems called renga – linked verse sequences where each poet would contribute stanzas following complex rules of association. These weren’t just casual writing exercises but highly structured social rituals with their own aesthetic principles.
Many of the terms in this glossary relate to renga composition, and while you might not engage in traditional renga sessions, understanding this collaborative tradition sheds light on how Japanese poetic aesthetics developed.
Tanka: The Classical Foundation
The five-line tanka (originally called waka) predates haiku by centuries and formed the foundation for Japanese poetic tradition. With its 5-7-5-7-7 pattern, the tanka offers more space for emotional expression than the more condensed haiku.
Now, let’s dive into the comprehensive glossary.
Complete Glossary of Japanese Poetry Terms
A
ageku (AH-GAY-COO) – The final stanza of a renga that attempts to summarize the entire work by referencing back to the opening stanza. It creates a sense of closure while maintaining connection to how the poem began. Think of it as the poetic equivalent of returning home after a long journey – you’re back where you started, but transformed by the experience.
aware (AH-WAH-RAY) – The emotional quality of an object or scene, often conveying pathos or sadness. Aware is the ability of something to move the emotions. It’s not just sadness, but a complex emotional response that might include nostalgia, empathy, or wistfulness. Cherry blossoms are a classic example – their beauty is heightened by their fleeting nature, creating aware in the viewer who understands both their beauty and impermanence.
B
Basho (BAH-SHOW) – The pen name of acclaimed haikai poet Matsuo Munefusa (1644-1694), who is considered a master of renga and pioneer of haiku poetry. The name Basho comes from a banana tree he was fond of. His poetry is deeply associated with images of nature, most iconically the frog and autumn crow. Basho revolutionized Japanese poetry by elevating haikai from mere wordplay to profound art. His most famous haiku about a frog jumping into an old pond remains one of the most analyzed poems in world literature.
C
choka (CHOE-KAH) – A long poem following the 5-7-5, 7-7 mora pattern of renga but composed by a single poet. Popular nearly 1,000 years ago, the form has seen occasional revivals. The choka allowed poets to develop extended meditations and narratives that weren’t possible in shorter forms. Many of the earliest Japanese poems preserved in the Man’yōshū anthology are choka.
D
dai (DAY’EE) – The agreed upon topic or theme that links the verses of a renga. In traditional renga sessions, participants might agree on a seasonal theme or concept that would provide subtle continuity throughout the collaborative poem. Unlike Western poetry where themes often develop explicitly, dai in Japanese poetry functions more as an invisible thread guiding the participants.
daisan (DAY’EE-SAH-N) – The third stanza in a renga, which often ends in English with a verb or gerund (-ing ending). The daisan was particularly important in establishing the poem’s movement away from the opening verses, helping to create the flow that would carry through the remainder of the sequence.
dokugin (DOE-COO-JEAN) – A solo renga composed by one person. While renga was traditionally a social activity, some poets practiced dokugin as a way to develop their linking skills or create more cohesive sequences. It’s a bit like playing chess against yourself – challenging but instructive.
F
fueki ryūkō (foo-eh-key ree-oo-koh) – “Eternal fashion” – An aesthetic ideal implying naturalness and timelessness, as embodied in classical arts like Noh drama. Often associated with jo-ha-kyū structure. This concept expresses the balance between the unchanging (fueki) and the ever-changing (ryūkō) aspects of art and life – creating work that feels both contemporary and timeless.
G
gojuin (GO-JEW-EEN) – A 50-link renga. These medium-length sequences allowed for more development than shorter forms but didn’t demand the intense concentration and stamina required by the 100-verse hyakuin.
gunsaku (GOO’N-SAH-KOO) – “Group work” – A collection of poems on one theme from different viewpoints, which can be read individually or as a whole. Unlike renga, where verses directly link to create a sequence, gunsaku presents multiple independent perspectives circling around a central theme – similar to how a collection of short stories might explore a shared theme from different angles.
H
ha (HAH) – The middle 24 links of a 36-stanza kasen renga, marked by frequent shifts in scene and perspective. As the middle section of the jo-ha-kyū structure, the ha represents development and variation, creating the bulk of the poem’s movement and exploration before the swift conclusion of the kyū section.
haibun (hi-boon) – “Tight-loose writing” – First-person prose interspersed with haiku, pioneered by Basho in travel diaries like The Narrow Road to the Interior. The prose sections often provide context or narrative that complements the condensed imagery of the haiku. Haibun creates a unique rhythm of expansion and contraction as it moves between discursive prose and concentrated poetry.
haiga (HI-GAH) – “Painting” – A brush and ink sketch accompanying a handwritten haiku or hokku. Usually in a minimalist, abstract style. Haiga represents the integration of visual and verbal art, creating a composite experience where the painting and poem enhance each other without mere illustration. Contemporary poets sometimes create digital haiga by pairing photographs with haiku.
haigon (HI-GO’N) – “Haikai words” – Words considered too vulgar or informal for elevated poetry but used deliberately in haikai for effect. These were signposts of the genre. The use of haigon was revolutionary, bringing everyday language into poetry that had previously been restricted to refined, classical vocabulary.
haijin (HI-GIN) – A haiku or haikai poet. Also a slang term for a disabled person. The term broadly encompasses practitioners of haiku and related forms, from beginners to masters. Today, haijin exist worldwide, participating in an international community that transcends the form’s Japanese origins.
haikai (HI-K’EYE) – “Humor or joke poetry.” Originally referred to comic renga, later used as a synonym for haikai no renga. Haikai represented a deliberate break from the more serious, classical traditions of waka poetry, embracing wordplay, humor, and references to ordinary life.
haikai no renga (HI-K’EYE NO RAY’N-GAH) – “Comic linked verse” – In Basho’s time referred to vulgar, pun-filled renga. Basho called his own work by this term. Through Basho’s mastery, haikai no renga evolved from simple comedy to include profound observations about nature and human existence, while maintaining its accessibility and conversational tone.
haiku (HI-COO) – A single 5-7-5 verse from a renga. Coined by Shiki to mean specifically an opening 5-7-5 verse (hokku) that contains a kigo and kireji and stands alone. Modern haiku need not follow these strict rules. The term has become so widely used that many people incorrectly apply it to any short poem, but traditional haiku has specific characteristics beyond brevity.
haimi (HI-ME) – Refined quality in haiku. This aesthetic characteristic refers to the sophisticated, elegant sensibility that elevates a haiku beyond mere description to create resonance and depth. It’s that ineffable quality that makes certain haiku continue to reward repeated readings.
hana no ku (HAH-NAH NO COO) – “Flower verse” – The designated flower stanza in a seasonal renga. Traditional renga required verses about flowers (typically cherry blossoms) at specific positions in the sequence, creating cyclical patterns that mirrored the seasons.
hankasen (HAHN-KAH-SAY’N) – “Half kasen” – An 18-stanza renga, half the length of a full 36-stanza kasen renga. This shorter form became popular for its practicality, allowing poets to complete a substantial linked sequence in a single sitting.
hibiki (HE-BEE-KEY) – “Echo” – When two stanzas have a very close or parallel relationship in imagery or theme. Unlike typical linking, which creates movement through contrast or development, hibiki creates resonance through similarity, like an echo responding to a call.
hiraku (HE-RAH-COO) – Any “extra” stanzas between the formal opening, closing, moon etc stanzas of a renga. These intervening verses provide space for exploration and development between the required seasonal and structural elements that form the skeleton of the renga.
hokku (HOE’K-COO) – “Starting verse” – The opening 5-7-5 stanza of a renga. Since Shiki’s time, it has also been used to mean haiku. The hokku was traditionally the most important verse in a renga, setting the tone and season for what followed. Many of Basho’s most famous “haiku” were originally hokku intended to begin collaborative sequences.
hokku-mai (hok-koo my) – “Hokku dance” – Performative recitation of hokku/haiku verses. This practice reminds us that Japanese poetry was meant to be heard as well as read, with performance adding another dimension to the poetic experience.
honkadori (HOE’N-KAH-DOE-REE) – Borrowing from literature, alluding to a well-known literary work or incident. An homage or artistic licence to reference past writings. Unlike Western concerns about plagiarism, honkadori was considered a sophisticated technique that created resonance between past and present, allowing new poems to build upon cultural memory.
hyakuin (HE-YAH-COO-EEN) – “One hundred verses” – A full-length mediaeval renga before Basho introduced the shorter 36-stanza kasen form. Some modern renku reach 100 stanzas. Creating a hyakuin required extraordinary stamina and collaborative skill, often taking several days to complete.
J
jo-ha-kyū (joh-hah-queue) – “Beginning-middle-end” – Structural principle featuring steady introduction, elaboration/complication, and swift conclusion. Considered an organic rhythm in arts like Noh, tea ceremony and renga. This three-part structure appears throughout Japanese arts, reflecting a natural rhythm of development that begins slowly, builds complexity, then concludes with acceleration.
K
kaishi (KAY-EE-SHE) – “Pocket paper” – Small, slim sheets of paper used for writing poems. Carried by poets to write spontaneous verse. The physical materials of poetry composition were themselves aesthetic objects, with high-quality paper selected to enhance the experience of both writing and reading.
kaori (KAH-OH-REE) – “Fragrance” – When two stanzas evoke the same feeling or mood using very different images. Unlike hibiki (echo), which links through similarity of imagery, kaori creates connections through shared emotional qualities despite different concrete details – like how different flowers might produce distinct but equally pleasing fragrances.
karumi (KAH-RUE-ME) – “Lightness” – A profound simplicity and focus on ordinary images that Basho encouraged over puns or word play. In his later years, Basho promoted karumi as an aesthetic ideal, moving away from overly clever or showy techniques toward direct, unembellished observation that reveals depth through apparent simplicity.
kasen (KAH-SAY’N) – “Immortal poets” – Now refers to Basho’s 36-stanza renga form, with moon and flower links at designated stanzas. The kasen became the standard form for serious linked verse, providing enough length for development while remaining practical for completion in a single session.
kidai (KEY-DAY’EE) – “Season topic” – An agreed seasonal theme that determines word choices, like the moon always signifying autumn. Dictionaries called saijiki list detailed correspondences. Seasonal awareness permeates Japanese poetry, with kidai providing subtle contextual cues that create shared understanding between poet and reader.
kigo (KEY-GO) – “Season word” – Words strongly associated with particular seasons. Season words provide context and atmosphere. The use of kigo situates a poem in time, creating immediate associations and emotional resonance. Modern haiku poets debate whether kigo remain essential, especially outside Japan where seasonal associations may differ.
kyoka (QUE’YOE-KAH) – “Mad poem” – Humorous, bawdy poems in tanka form satirising poets or poetry. Like haikai’s relationship to renga, kyoka represented a comic, irreverent counterpart to the more serious tanka tradition, allowing poets to play with the form while poking fun at poetic conventions.
ku (COO) – “Verse” – The basic unit of linked poetry. In renga, the verses alternate between 5-7-5 and 7-7 patterns, with each ku contributing to the overall sequence while maintaining its own integrity.
kuzari (COO-ZAH-REE) – “Suspension” – The prescribed interval between repeating certain words in a renga. Traditional renga had complex rules about how many verses must pass before certain topics (like specific animals or colors) could reappear, ensuring variety and preventing repetition.
M
maeku (MAH’EE-COO) – “Previous verse” – The preceding stanza to which another poet is expected to link. In renga composition, each poet responds to the immediate maeku, creating connections while moving the sequence in new directions. This pattern of response creates the chain-like structure of linked verse.
maekuzuki (MAH’EE-COO-ZOO-KEY) – “Joining the previous verse” – A poetry game where one poet writes a maeku and others respond with tsukeku linking verses. The original poet then picks a winner. These competitive linking sessions helped poets develop their skills while creating a social context for poetic creation.
mankuawase (MAH’N-COO-AH-WAH-SAY) – “Collected verses” – An anthology of winning tsukeku verses from a maekuzuki contest. These collections preserved successful linkings, providing models for studying the art of connection and association in linked verse.
mondo (mohn-doh) – “Question and answer” – Spontaneous wise dialogues or poetry games testing spiritual insight. Practised by Zen monks and renga poets. The mondo approach reveals the connection between poetic and spiritual practice in Japanese tradition, where sudden insight might emerge from the unexpected juxtaposition of question and response.
mushin (MOO-SHE’N) – “Without heart” – Plain, inelegant images contrary to traditional aesthetics. Opposite of ushin. While initially this might seem negative, the mushin approach can create powerful poetry through deliberate plainness, avoiding decorative or sentimental elements to achieve direct communication.
N
niji (NE-JE) – “Rainbow” – The subtle way one verse relates to another through indirect connection rather than explicit linkage. Like how a rainbow appears when conditions are just right, niji emerges from the space between verses when they’re perfectly balanced.
O
on (OH’N) – “Sound unit” – Morae or sound units used in analysing Japanese verse patterns. Replaces the outdated term onji. Understanding that Japanese poetry counts sound units rather than syllables helps explain why English approximations of forms like haiku don’t need to strictly follow 5-7-5 syllables to capture the spirit of the form.
R
renga (RAY’N-GAH) – “Linked verse” – Collaborative linked poem form interweaving 5-7-5 and 7-7 stanzas. Renga links present images associatively rather than narratively. The art of renga lies not in storytelling but in creating meaningful connections between images and ideas, often through surprising juxtapositions or subtle shifts in perspective.
rengaawase (RAY’N-GAH-AH-WAH-SAY) – “Renga contest” – Competitive renga sessions where teams or individuals would be judged on their linking skills and poetic quality. These contests helped maintain standards and develop techniques within the tradition.
renku (RAY’N-COO) – “Linked verse” – Alternate term coined in the 18th century for renga, now sometimes used to mean experimental modern variations. Contemporary renku practitioners often adapt traditional rules to modern sensibilities while maintaining the collaborative spirit of the form.
rensaku (RAY’N-SAH-COO) – “Linked work” – Sequence of haiku or tanka where each verse depends on the previous one. Unlike renga, which traditionally involved multiple poets, rensaku is typically created by a single poet developing a connected sequence of short poems.
ryogin (RE-YOE-JEAN) – “Two-person renga” – A renga composed by just two poets alternating verses. This intimate form of collaboration creates a poetic dialogue that can develop significant depth through sustained engagement between two sensibilities.
S
sabi (SAH-BEE) – A wabi-sabi aesthetic quality suggesting aged, weathered loneliness and impermanence. A sagging, overgrown split-rail fence has sabi. This aesthetic values the beauty that emerges from aging and decay, finding poignancy in what has weathered time’s passage.
sangin (SAH’N-JEAN) – “Three-person renga” – A renga composed by three poets taking turns. This format creates a triangular conversation, adding complexity to the linking patterns while remaining manageable.
satori (sah-toh-ree) – “Enlightenment” – Sudden intuitive awakening sought in arts like haiku, tea ceremony, and Zen Buddhism. Many haiku aim to capture or evoke moments of satori, where ordinary perception gives way to deeper insight through direct experience.
sedoka (SAY-DOE-KAH) – Matching verses using question and answer riddles. Forerunner to renga in the 7th century. This ancient form already contained the dialogic principle that would later develop into collaborative linked verse.
senryu (SEN-YOU-RUE) – “River willow” – Named for poet Karai Senryu, refers to satiric 17-mora poems similar to haiku in construction but poking fun at human foibles. Lacking seasonal words, senryu often appear in haiku magazines and anthologies. While haiku typically focus on nature and seasonal awareness, senryu turn their attention to human behavior and social observation, often with ironic or humorous intent.
shibumi (SHE-BOO-ME) – Subdued, astringent, simple aesthetics in poetry. Like cracked wheat flour muffins compared to sugar-glazed croissants. This quality of understated elegance values restraint over obvious beauty, finding depth in what might initially seem plain or even slightly bitter.
shinku (SHE’N-COO) – “Closely related” – Two stanzas with very closely related imagery. Cf. soku. While renga typically seeks balance between connection and progression, shinku creates tighter bonds that emphasize continuity between verses.
Shomon (SHOW-MOAN) – “Basho’s school” – The poetic lineage tracing back to Basho’s teachings, emphasising profound yet humble expressions of nature. Basho’s disciples carried forward his approach, developing what became the dominant style of haikai poetry.
soku (SO-COO) – “Distantly related” – Two stanzas with seemingly unrelated or disjunctive imagery. Unlike shinku, soku creates surprise through unexpected shifts, trusting readers to discover hidden connections between apparently disparate elements.
sono mama (SO-NO MAMA) – “As it is” – Plain description without rhetorical embellishment. This approach values direct observation over clever technique, presenting things simply as they are and trusting in the inherent poetry of reality.
T
tanka (TAH’N-KAH) – “Short poem” – Five-phrase poem in 5-7-5-7-7 metre to express lyrical feelings anchored in natural imagery. Precursor to renga. Tanka offers more space for emotional development than haiku, allowing for the expression of complex feelings while maintaining compressed, imagistic language.
tan renga (TAH’N RAY’N-GAH) – “Short renga” – Two linked stanzas by two poets. 5-7-5 followed by 7-7. This minimal collaborative form offers an accessible entry point to linked verse practice, requiring just two poets and creating a complete unit in just two verses.
tsukeai (T’SUE-KAY-AH-EE) – “Joining together” – Linking verses / collaborative linking / renga. The art of tsukeai involves finding the perfect balance between connection and progression, maintaining enough continuity to create coherence while introducing enough novelty to move the sequence forward.
tsukeku (T’SUE-KAY-COO) – “Linked verse” – The second added stanza linking to the previous maeku verse. Creating successful tsukeku requires sensitivity to what possibilities the maeku opens up and how to develop them in surprising yet fitting ways.
U
ushin (UU-SHE’N) – “With heart” – Graceful, emotionally resonant imagery in the classical aesthetic. Cf. mushin. Ushin poetry embodies refined sensitivity and emotional depth, creating beauty through carefully crafted expression.
utsuri (UU-T’SUE-REE) – “Reflection / Transfer” – Relationship between renga stanzas conveying a sense of movement or connection. Utsuri creates a feeling of organic development, where each verse grows naturally from what came before while still introducing new elements.
W
wabi (WAH-BEE) – “Poverty aesthetic” – Beauty in simplicity, everyday wear, frayed edges. Old faded jeans have wabi that designer jeans lack. This aesthetic finds value in the imperfect, the humble, and the worn, appreciating authenticity over manufactured perfection.
waka (WAH-KAH) – Five-line classical Japanese poem. Alternate name for tanka. The term predates “tanka” and was the standard for court poetry for centuries before the emergence of linked forms and haiku.
Y
yohaku no bi (yo-hah-koo noh bee) – “Beauty of empty space” – Profound, intentional voids. Comparable to negative space in art. This concept values what remains unsaid or unshown, recognizing that emptiness can be as meaningful as presence – like the silence between notes in music.
yugen (YOU-GAY’N) – “Mystery, depth” – Paradoxical beauty in obscurity, partially hidden things. A woman’s face half-veiled by a fan has yugen. This aesthetic prizes the suggestive over the explicit, finding deeper beauty in what is glimpsed rather than fully revealed.
Z
zappai (zahp-pie) – “Miscellaneous style” – Irreverent mixed genres, eccentric forms. Seen as a decadent departure from high classical arts. While purists might dismiss zappai, these experimental approaches helped keep Japanese poetic traditions vital by testing boundaries and incorporating new influences.
Essential Japanese Poetic Aesthetics
The terms above cover specific forms and techniques, but Japanese poetry is equally defined by its aesthetic principles. While concepts like sabi, wabi, and yugen appear in the glossary, it’s worth noting that these aesthetic qualities often combine and interact in complex ways.
Japanese poetry doesn’t separate form from content – the structure, imagery, and emotional quality are all interconnected aspects of the poem’s effect. For instance, a haiku might simultaneously embody sabi in its imagery, karumi in its language, and yugen in what it leaves unstated.
These aesthetic principles aren’t merely decorative elements but fundamental approaches to perceiving and expressing reality. They reflect philosophical and spiritual understandings about impermanence, the relationship between humans and nature, and the limits of language itself.
Applying Japanese Poetic Concepts in English
While many of these terms originated in specific historical and cultural contexts, they offer valuable perspectives for poets writing in any language. The challenge isn’t to imitate Japanese poetry superficially but to understand the underlying principles that might enrich your own practice.
For instance, the concept of kigo (season words) might inspire you to develop more awareness of seasonal references in your own environment, even if they differ from traditional Japanese associations. Similarly, principles like karumi (lightness) can guide you toward greater simplicity and directness in your language.
When working with forms like haiku or tanka in English, remember that strict syllable counting often misses the point. Japanese on (sound units) work differently from English syllables, and a 5-7-5 syllable pattern in English typically produces a poem that feels longer than its Japanese counterpart. Many contemporary English-language haiku poets use fewer syllables to better capture the spirit of the form.
Beyond Definitions: Living Traditions
It’s worth remembering that Japanese poetic traditions weren’t, and aren’t, static – they evolved continuously through history and continue to develop today, both in Japan and globally. Terms like haiku and tanka now belong to international literary traditions with their own regional variations and contemporary interpretations.
The terms in this glossary provide entry points into rich traditions, but poetry ultimately lives in practice rather than definition. Reading widely, writing regularly, and engaging with communities of poets will teach you more than memorizing terminology.
Japanese poetic forms offer particular gifts to contemporary poets: attention to concreteness and immediacy, appreciation for seasonal cycles, awareness of what remains unsaid, and the possibilities of collaborative creation. These qualities remain valuable regardless of what language or tradition you write in.
Whether you’re crafting traditional haiku or incorporating Japanese aesthetic principles into your free verse, I hope this glossary helps illuminate the depth and complexity of these traditions. The journey into Japanese poetic forms is one that continues to reward exploration – each term opening into new territories of perception and expression.
- Glossary of Japanese Poetry Terms - 26 February 2025
- What is Waka Poetry? - 23 May 2024
- How to Identify the Kigo in a Haiku: - 22 March 2024
