Advent: Hope
winter oak grove / marcescent / in expectation
The first week of Advent is traditionally known as the week symbolizing hope. In the Christian tradition, we light the prophecy candle throughout this week. I’ve sought to capture both of those concepts in this series of short poems.
If you’re interested in learning more about the forms in this set, a short description of each can be found below the image. You may find benefit from letting the poems sink in first before looking into their forms.
– MR
I. Haiku winter oak grove— marcescent in expectation II. Imayo overhanging leaves whisper—secrets in the sky underfoot they interrupt—bolder with harsh words distressed, the sky weeps on them—they sulk, quieted her tears awaken their need—into earth they sink III. Choka driven into dirt by heavy tread the seed sleeps— tiny, inert, hard. far from its withered parent and the green of growth it settles for Sabbath rest amid arthropods that till and turn its cradle soil restlessly waiting for the stone to split with roots to breach and bind it. IV. Gogyohka one breath drawn deep and held until urge becomes need V. Choka and birds change their song while maples dress in ruby fringed against the sky first among the sentinels to raise trumpet blast— and crawlers innumerous push away the stone that blocks their resurrection leaving folded shrouds— winter’s sodden drapery pushed aside by brilliance. VI. Imayo eyelids closed in early morning—dreams flicker beneath stars stand watch over fields—still green in darkness trumpets kindle whirling skies—the sleeper quickens visions of approaching day—stronger than slumber VII. Haiku columbine blooms— distant bells ringing at noon
In order of appearance
Haiku
Three lines: long / short / long per modern haiku trends with no syllable rules. Nature as the overriding theme: a short poem describing a single moment in time. Includes a seasonal reference (e.g. “columbine blooms” suggesting Spring) and a kireji or “cutting word” (I’ve chosen to use an em-dash, because there are no cutting words in English as there are in Japanese).
Imayo
A 4-line poem meant to be sung, with 12 syllables per line and a pause after the first 7 syllables of each line, shown here by an em-dash. No rules for subject matter. I use these to tell a story.
Choka
Translates as “long poem” (as opposed to tanka which means “short poem”). Alternating lines of 5 and 7 syllables, ending with a couplet of 7-syllable lines. The first 2 lines set the theme and the rest of the lines expand on it and enrish its meaning. Usually written as sets of couplets. I’ve bent that rule here.
Gogyohka
Translates as "five-line poem." It’s simple: just 5 lines, with 1 phrase per line. The length of a “phrase” is completely subjective. I tend toward very short phrases for these because I find that brevity opens up the form’s potential. No subject matter rules, seasonal references, or kireji required.
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