Aspects of Prosody

	Aspects of Prosody how might a verse be written? 2010 revision
This page holds a series of essays that explore some of the considerations which govern how an individual renku verse is conceived and constructed. It therefore deals with 'prosody', defined by Collins as: the study of poetic metre and of the art of versification, including rhyme, stanzaic forms, and the quantity and stress of syllables. Immediately beneath each title is a paragraph outlining that essay's contents. The black buttons at right of the titles link to the relevant text.
Beginnings and Endings
Beginnings and Endings: this article explains the meaning of a number of verse names (chouku, tanku, uchikoshi, maeku, tsukeku) before moving on to examine in detail the particular compositional requirements of hokku, wakiku, daisan and ageku - verses with which the prestige of the poet and the overall tenor of the poetry session may be intricately involved.
Cut or Uncut?
Cut or Uncut?: this article addresses the profound confusion that surrounds the question of the 'haikuness' or otherwise of renku verses. It examines the notions of kire and kireji' (the 'cut' and the 'cutting word') whilst suggesting that a distinction should be made between parataxis and outright juxtaposition.
Supple Stanzas
Basic issues of prosody are revisited in an article which examines the rationale, or lack of it, behind many contemporary beliefs about stanza form and versification. Modes of emulation of the source literature are discussed in some detail, and a middle way advanced between the strict-count and free verse approaches to English-language haikai. The article is therefore equally relevant to haiku as to renku.
A Dynamic Pattern
A Dynamic Pattern: the origins and meaning of the term jo-ha-kyu are examined in the particular context of Basho's focus on the Kasen. The question is also raised of how this performance paradigm might influence shorter contemporary forms.