ageku, the final verse of a chain seal. This last stanza on the one hand describes the end of the sequence, on the other hand it anticipates a future event (e.g. a reunion). In the classic Renga / Renku poetry (e.g. Kasen) that is ageku settled in the same season as in the previous spring (bloom) verse - that is, in spring. 'Spring' can be used to refer to spring, the middle of spring or the end of spring in general. In more modern or contemporary Renga / Renku seals (e.g. Shisan), other seasons are also described. Even ageku Without a season (various) are not uncommon. Whatever is chosen, that ageku should have a mirror function for hokku offer in the form of a summary, greeting or an optimistic outlook. To meet all of these requirements ageku To be able to fulfill, the author is largely of the strict rules of connection, jump and diversity that apply to all other stanzas (the hokku except), exempt. The composition of the ageku is therefore like the hokku, a special honor. The poet who hokku, the input verse, shouldn't have written that too ageku, the final verse, write. Haijin, honorable term for a perfect haiku poet in Japan. In German-speaking countries however, Haiku poet or Haiku poet is the correct name for Haiku writing poets. Hankasen or "semi-cheese", form of Renga / Renku seal with 18 stanzas. hokku, Start verse of the Renga / Renku seal. The Japanese haiku developed from the Tanka seal (tanka means short poem or song with grace). When you started to write the Tanka by two authors, you called it tan renga, which means something like short chain poem. The tan renga was written further over time: the same or more authors attached stanza to stanza and that renga, the chain poem, was born. The guest of honor, usually a Renga master moving through the country, had the honor of the start verse, the hokku, to write the common chain. This verse could - in contrast to all other following verses - be written without having to refer to a previous stanza and established itself as a separate form of verse - later it developed into haiku hyakuin, Form of Renga / Renku seal with 100 stanzas. Junicho, Form of Renga / Renku seal with 12 stanzas. Jûsanbutsu, Form of Renga / Renku seal with 13 stanzas. Kasen, the most popular form of Renga / Renku poetry with 36 stanzas. The overall structure of a Kasen consists of three parts: the introduction, the prologue or the overture (6 stanzas) - (jo) the main clause, development or extension (24 stanzas) - (ha) and the conclusion, the inference or the epilogue (6 stanzas) - (kyu). Certain verses have special names or are reserved for special subjects. For example, there are three verse positions within the Kasen, which are dedicated to the moon and two to the blossoms - traditionally the cherry blossoms. Other stanzas describe the course through the seasons, tell of love or refer to free topics. The Renga / Renku is governed by “connection and change of location or scene” (“link and shift”). kigo (Japanese 季 語, German Season word), special words or phrases that are generally associated with a certain season in Japan or in the respective country. This allows an economy of expression, which is particularly valuable in the very short forms of Japanese poetry, to mark the time of year in which the poem or verse is set. Kukai, a haiku meeting interested Haijin, on which the participants of the round write Haiku in the first step, generally on a given topic. In the second step, the haiku are collected and listed anonymously. In part three, each participant awards points (according to a given system) for the texts (except for his own). In the last step, the points for each haiku are counted, the haiku are discussed and the authors are named. In the meantime, the name Kukai has also been used for virtual haiku meetings on the Internet, which follow the same principle. Either a main topic is given for the haiku to be sent in or a kigothat is said to be contained in the haiku. Matsuku, Sub verse one tanka with 7-7 moors. More or blackberry (Lat. blackberry, Period), Japanese sound unit, plural: Moren. The moras are all of the same length and contain less information than syllables in European languages. Japanese poetry is not syllable but quantizing. For example, the vowel a can make up two moras or n represent a more. Each Mora is represented in Kana (= Japanese characters) by one character and is considered a rhythmic unit in poetry. The pioneers of the German-speaking haiku and tanka mistakenly transferred the Japanese structure of the moras one to one to our syllable structure. Nijûin, Form of Renku seal with 20 stanzas. Ringa(Japanese 連 歌), is a traditional Japanese chain poem. It has emerged from the tanka and then from the tan renga developed. Today it is also known as contemporary renku known. Certain verses have special names or are reserved for special subjects. For example, there are verse positions within the chain poetry that are dedicated to the moon and two to the blossoms - traditionally the cherry blossoms. Other stanzas describe the course through the seasons, tell of love or refer to free topics. The Renga / Renku is governed by “connection and change of location or scene” (“link and shift”). The most varied types of linking or the principles of stanza connections on the one hand and principles of progression (moving forward) and the principle of diversity (changing themes and properties) are observed. saijiki, a collection or a directory of seasonal words (kigo)that are used in a traditional haiku. senryu (Japanese 川 柳), one of the Haiku very similar Japanese poem form. While the traditional Japanese Haiku is more oriented towards nature, the Japanese Senryū deals with the spiritual experience, with the personal, the emotional. shisan, Form of Renga / Renku seal with 12 stanzas. Shishi, Form of Renga / Renku seal with 16 stanzas.