#JAPAN-HAIKU

[norbert-weber]

20241209 HAIKU-GEDICHT: WEISHEIT

WeisheitWir schließen keine Kompromisse mit dem Bösen,und deswegen kann kein Friede seinaußer in Reinheit und Gerechtigkeit.Original (Deutsch):WeisheitWir schließen keine Kompromisse mit dem Bösen,und deswegen kann kein Friede seinaußer in Reinheit und Gerechtigkeit.Japanisch (kanji/kana):> 知恵を私たちは悪と妥協せず、したがって平和はあり得ず純粋さと正義を除いてRomanisierte Version:Chie watashitachiha aku ni taishite dakyo…

[itsmarjudgelove]

Haiku

Dreams of autumn

Colorful leaves in the streets

crowded thoughts

Ikki 2024

[0nelinerwordplay]

https://kimonocatsoncups.etsy.com

[eggtrolls]

haiku misinformation: a fact check

there's an post going around about haiku that has a lot of incorrect information about haiku, its terminology, history, etc. I will try to debunk some of the biggest inaccuracies here. everything in quotes is a direct statement from the original post. this is also really, really long.

"Haiku are made of 14 on, which are essentially the equivalent to Japanese syllabic structures, except the nature of how Japanese as a language is constructed versus English means that any given proper haiku could be translated in extremely and intensely different ways, each giving a subtle but distinctly different meaning."

Starting off strong - haiku are (usually) made of 17 on. It's the classic 5-7-5 pattern! 5+7+5=17! [possibly this is a mix-up with wakiku (脇(わき)句(く)) which is another type of Japanese poetry that does use 14 on but who knows.]

Definitions: an on is a phonetic unit, the equivalent to a mora (pl. morae) in English. this concept a) exists in English and b) like on, is related to syllables but distinctly different from them (i.e. ba is one mora but baa with a long vowel is two morae). On can be counted using the number of hiragana (phonetic syllabic characters) when the text is transliterated, so a word like Osaka that has the long O sound (made up of 4 kana) would be 4 morae or 4 on (o-o-sa-ka; おおさか). it's not really a syllabic structure at all, and more importantly has nothing to do with translation. idk where that last part comes from because that's really...not the point here. Yes, any given "proper" haiku could be translated in different ways with a subtle but distinctly different meaning but that's true of just...translation, period. check out Deborah Smith's translation of The Vegetarian by Han Kang for more on that.

Furthermore, haiku were/are not rigidly locked into the 5-7-5 on pattern. That's just not true, which is why I said usually above. Easy example: a 1676 haiku by Matsuo Basho that uses 18-on:

冨士の風や　扇にのせて 江戸土産; ふじのかぜや おうぎにのせて えどみやげ; the wind of Fuji /I've brought on my fan/a gift from Edo <- that first line is 6-on!

2. "The best way I can explain what I mean is that in English a good poem can be defined as a shallow river, whereas a good haiku is a deeply-dug well."

Not dignifying this with a response. Deeply incorrect and untrue. @bill-blake-fans-anonymous can handle this assertion.

3. "The presence of the kigu. There is a specific series of characters/words which are used to imply a season, and specifically a specific aspect of a season which the haiku revolves around. The creation of a haiku is often done as a meditative practice revolving around the kigu--you're essentially contemplating on this particular natural feature (nearly always the temporal aspect emphasizes either ephemerality or the opposite as well bc Buddhist ideas of enlightenment and beauty begin coming into play) and building an evocative and purposeful point that revolves around it like a hinge. It functions as both ground and anchor."

First (and largest) problem: the word. is. kigo. kigo. It's ki (季; season)-go (語; word) = 季語. Both the English and Japanese language Wikipedia, or a 3-second google search, will tell you this immediately. I have no idea where the term kigu comes from.

Second problem: plenty of haiku, both traditional and contemporary, do not use kigo. these are described as muki (無季; seasonless). Matsuo Basho, the haiku-writing poet non-Japanese people are most likely to know, wrote at least ten seasonless haiku that exist today. Masaoka Shiki, the Meiji-era haiku poet and reformist, wrote hundreds of kigo-free haiku and as an agnostic, tried to separate haiku from Buddhism and focus more on the shasei, the sketches from daily life. you can actually, today, buy what are called saijiki, which are lists of words and terms that refer to specific seasons (in the traditional Japanese calendar, so there are actually a lot of "micro" seasons as well). some saijiki include a whole section of "seasonles" words - here's an article about non-season kigo in a saijiki.

so the claim that English-language haiku are invalid or not "real" haiku because they lack a kigo doesn't hold up, unless you invalidate a whole bunch of Japanese haiku as well. the op also claimed they would categorize a lot of English "haiku" as senryū which is...an opinion. Yes, haiku tend to be focused around nature (more on that below) and senryū tend to be more comedic or about human foibles but...that's it! it's a tendency! it's not a hard and fast rule!

Third problem: the claim that a haiku is as meditative practice revolving around the kigu kigo...yeah, no. the earlier form of haiku, the hokku, were the introductory poems of the longer poetic form, the renga and the hokku gradually became a standalone poetic form known as haiku. the hokku had a lot of purposes and we have a historical record of them going back ~1000 years to Emperor Juntoku where they were declamatory poems tied to events (births, deaths, etc.) or social events (moon-viewing parties) - not really meditative. haiku, if a genre can focus on a single idea, focus on an experience and that can be real or imaginary, direct and personal or neither.

Here's another Basho poem for your consideration:

夏草や 兵どもが 夢の跡 (natsukusa ya tsuwamonodomo ga yume no ato; summer grasses--/traces of dreams/of ancient warriors)

both the dreams and the grasses are those of Basho (contemporary) and of the warriors (ancient); it's about travel, it's about connecting the present to the ancient past, it's not really so much about the summer.

(Fourth, minor problem that I'm not really going to get into: you'd have to take this 'Buddhist ideas of enlightenment and beauty' up with haiku scholar Haruo Shirane but he explicitly says in the Routledge Global Haiku Reader (2024) that "pioneers of English-language haiku [such as D.T. Suzuki, Alan Watts, and the Beats] mistakenly emphasized Zen Buddhism in Japanese haiku".....so.)

4. "The presence of the kireji...it's a concept borderline absent from English because it's an intersection of linguistics and philosophy that doesn't really exist outside of the context of Japanese."

Let's begin with clarification. What is kireji (lit. a 'cutting word')? It's a class of terms in Japanese poetry that can do a few things, depending on the specific kireji and its place in the poem. In the middle of the poem, it can mark a thematic break, a cut in the stream of thought highlighting the parallel(s) between the preceding and following phrases. At the end of the poem, it provides a sense of ending and closure - it helps mark rhythmic division, to say the least, and it is seen as the 'pivot' word.

Two problems with claims above:

a. there are haiku that do not use kireji. For the hat trick, here's a Matsuo Basho haiku from 1689 AD that is kireji-free: 初しぐれ���も小蓑をほしげ也 (hatsu shigure saru mo komino wo hoshige nari; the first cold shower/even the monkey seems to want/a little coat of straw) <- NB: I love this haiku so much

b. the idea of a kireji, as in a pivot word that provides an inflection point with rhythmic division and structure, exist not just in English poetry but in multiple different types of poetry across time and space! The caesura in Latin and Ancient Greek! The volta in sonnets! Whatever is happening in the third line of the Korean sijo!

final thoughts:

the op included language, which I won't quote here because it was messy and tied into other rbs, about Orientalism and appropriation in English-language haiku, which is definitely a real thing. but this blanket statement ignores that the relationship between haiku and "the West", much like Japan and "the West", was and is not a one-way street. Western writers were influenced by haiku and, in turn, those writers influenced Japanese writers who wrote haiku inspired by these influences - this process has been going on for well over a century. Furthermore, English and Japanese are not the only languages in which haiku are written! Nobel Prize winner Rabindranath Tagore was writing haiku in Bengali; other Indian poets were and are writing them in Gujrati and Malayalam, particularly by the poet Ashitha. the Pakistani poet Omer Tarin has written haiku about Hiroshima! The Spanish poet Lorca published haiku in, get this, Spanish, in 1921 and the Mexican poet José Juan Tablada published more in 1922! Italian translations of Yosano Akiko were published in 1919! any discussion of the idea that English/non-Japanese-language haiku aren't really haiku because they don't hold to the "rules" (which Japanese authors have been revising, adapting, critiquing, and/or straight up flouting for centuries) or because English/non-Japanese poetry is "a shallow river whereas a good haiku is a deeply-dug well" just shows a lack of knowledge around traditions and depths of...well, poetry itself.

my god this is so long.

in summary: this is a complex topic. If anyone would like some actual information about haiku, its history, common themes and forms, or a collection of good poets, the Routledge Global Haiku Reader (2024) and Haiku Before Haiku : From the Renga Masters to Basho (2011) are great references and really accessible in their language! hmu if you're interested and I can send you some pdfs.

[konjaku]

山萩[Yamahagi] Lespedeza bicolor

Hagi is one of the seven autumnal grasses and is a seasonal word for autumn in the haiku world. In reality, the flowering season is from about June to September, and strictly speaking, its season word also refers to "early" autumn.

The tree in the photo is in a low mountain range where I sometimes go in search of flowers, and it produced flowers little by little around summer in previous years. But not so this year, and I did not see any of them at that time.

However, when I went out a couple of days ago, it was in full bloom. This summer was extremely hot, and that may have had an impact.

These flowers, which had been brightly decorating a part of the thicket, somewhat seemed to have deepened in color.

ゆきゆきて たふれ伏すとも 萩の原

[Yuki yukite taorefusu tomo hagi no hara] Keep going and going, even if I used up all my energy and collapse halfway through, I want that place to be a field of Hagi in bloom. By Kawai Sora when he traveled with Matsuo Bashō along the Oku no Hosomichi https://en.wikipedia.org/wiki/Sora's_Diary

[ariadnethedragon]

The Ink Dark Moon: Love Poems by Ono no Komachi and Izumi Shikibu

[haikuandmore]

The shallows -  a crane’s thighs splashed  in cool waves  Trong vũng cạn cặp chân của con hạc khua trong sóng nước mát · Deep into autumn  and this caterpillar  still not a butterfly  Mùa thu dài và chú sâu này vẫn chưa hóa bướm - Bashō

English Translation: George Marsh Art: Caroline Young

[asmolbirb]

Whoagh…… it’s Mt Fuji…… just like in The Lost Future of Pepperharrow by Natasha Pulley……..

[abellinthecupboard]

37.

Reeling with sake and cherry blossoms, a sworded woman in haori*.

— Bashō, On Love and Barley (translated by Lucien Stryk)

*In Bashō's time women did not wear haori (men's half-length coats) or carry swords, so the woman in this poem is notably breaking gender roles.

[i-hate-smile-files]

you should write poetry!!! it could be about how much you love dmitri fire emblem or something (it's fun!!!!!)

Dimitri so fine

An eye like a storming sea

I am gay for him

Are you happy? You little rat? Eat shit I hope you get hit by a clown car, and I hope they all trample you as you lay there thinking about your hospital bills

[norbert-weber]

2024-10-03 HAIKU-GEDICHT: Fallendes Herbstblatt ©️ Norbert Weber

20241003 HAIKU-GEDICHT: Fallendes Herbstblatt➖️Sieh, das fallende Herbstblatt im Wind erkenne die unsichtbare Kraftsodass Dein Geist sich emporschwingt.➖️Kazenifukarete ochiru kōyō o mitekudasaimenimienai-ryoku o ninshiki suruanata no seishin ga kōyō suru yō ni.➖️風に吹かれて落ちる紅葉を見てください目に見えない力を認識するあなたの精神が高揚するように○○○○○NORBERT WEBERKARATELEHRER / PERSONALTRAINING• Budōka – 武道家 • 5.DAN-KARATE-DŌ…

[milana-lao]

Matsuo Basho

Love

It flashed for a moment…

In its uncolored beauty

The face of the evening moon

[0nelinerwordplay]

https://kimonocatsoncups.etsy.com

[falseandrealultravival]

Today's Haiku with Picture 550

Clematis flower

Never made in Japan

By any means

クレマチス

日本産では

あるまじき

(2023.04.13)

[wisdom-and-such]

　　　　　　　　　　　 あ　　と　　世  　　　　　　　　　　　　　　 そ　　に　　の  　　　　　　　　　　　　　　 び　　は　　中  　　　　　　　　　　　　　　 ハ　　あ　　に  　　　　　　　　　　　　　　 わ　　ら　　ま  　　　　　　　　　　　　　　 れ　　ね　　じ  　　　　　　　　　　　　　　 は　　ど　　ら  　　　　　　　　　　　 良　　ま　　も　　ぬ  　　　　　　　　　　　 寛　　さ　　ひ  　　　　　　　　　　　 書　　れ　　と  　　　　　　　　　　　　　　 る　　り 

"It is not that  I avoid mixing  With this world;  Better for me is enjoying  Life on my own. " 

Brushed by Ryokan, a wandering zen monk, who slept with a stone for a pillow, wore a torn robe, and carried only a begging bowl, but was renowned as one of the greatest calligraphers who ever lived.