What is Haiku? Japanese three-line (haiku) Examples of haiku in Russian.
Traditional Japanese lyric poetry
How to write Haiku?!
Step 1: Learn Japanese
Check out haiku that have been translated from Japanese. One of the most famous haiku poems by Matsuo Basho is translated into Russian as follows:
old old pond
Suddenly a frog jumped
Water splash heard
In Russian, haiku are usually written in three lines. The first line should be five syllables, the second seven, and the third five again.
Step 2: Select season
Choose the time of year you want to write about. Your haiku should include one word that describes the state of nature at that time of the year.
Step 3: Choose two looks
For the first two lines of the poem, choose two images that appeal to feelings. Images can refer to the current moment, to memories or imagination.
Step 4: Add a third line
Add a third line that connects the patterns from the first two lines in a new and unexpected way. For example, the third line of Basho's poem concludes with the frog's unexpected jump into the water.
Haiku is a waka style of classical Japanese lyric poetry that has been in use since the 16th century.
Features and examples of haiku
In a separate genre, this type of poetry, then called haiku, took shape in the 16th century; This style was given its current name in the 19th century by the poet Masaoka Shiki. Matsuo Basho is recognized as the world's most famous haiku poet.
How enviable is their fate!
North of the busy world
Cherry blossoms in the mountains!
Autumn mist
Broke and drives away
Friends conversation
The structure and stylistic features of the haiku (haiku) genre
A real Japanese haiku consists of 17 syllables that form one column of characters. With special delimiting words kireji (jap. "cutting word") - the haiku verse is broken in a ratio of 12:5 on the 5th syllable, or on the 12th.
Haiku in Japanese (Basho):
かれ朶に烏の とまりけり 秋の暮
Karaeeda nikarasu no tomarikeri aki no kure
On a bare branch
Raven sits alone.
Autumn evening.
When translating haiku poems into Western languages, kireji are replaced with a line break, so the haiku takes the form of three lines. Among haiku, it is very rare to find verses consisting of two lines, composed in a ratio of 2: 1. Today's haiku, which are written in Western languages, usually have less than 17 syllables, while haiku written in Russian can be longer.
In the original haiku, the image associated with nature, which is compared with human life, is of particular importance. In the verse, the season is indicated by using the necessary seasonal word kigo. Haiku is composed only in the present tense: the author writes about his personal feelings from the event that just happened. Classical haiku does not have a name and does not use artistic expressive means common in Western poetry (for example, rhyme), but uses some special techniques created by the national poetry of Japan. The art of creating haiku poetry lies in the art of describing your feeling or moment of life in three lines. In the Japanese tercet every word and every image counts, they have great meaning and value. The basic rule of haiku is to express all your feelings using a minimum of words.
In haiku collections, each verse is often placed on an individual page. This is done so that the reader can concentrate, without haste, feel the atmosphere of the haiku.
haiku photography in japanese
Hokku video
Video with examples of Japanese poetry about sakura.
“... What I did not express
Stronger than what he said
(Ruboko Sho)
Haiku is a national Japanese form of poetry, a genre of poetic miniature, simply, concisely, succinctly and reliably depicting nature and man in their indissoluble unity.
Traditional Japanese haiku is a 17-syllabic poem, written in one hieroglyphic column (line) and consisting of three rhythmic parts of 5-7-5 syllables. Internally, a haiku is divided, as a rule, into two semantic parts 12 + 5 or 5 + 12. Translations and haiku composed in other languages are usually written in three lines.
sazaregani asi hainoboru shimizu kanna
little crab
Ran on the leg.
Pure water.
(MATSUO BASHO)
As a rule, the smaller of these parts contains "kigo" - a seasonal word or phrase that makes it clear at what time of the year the verse takes place. This can be a direct indication of the season - “autumn evening”, or a word that is “fixed” with one or another seasonal meaning, for example, “moon”, “irises”, “crab”, etc.
Haiku emerged as a genre in the process of developing a poetic game of adding alternating three lines and two lines, called "haikai no renga" (literally "comic renga"), later called "renku".
An important element of renku was the first three-line, called haiku (initial stanza). Hokku had special qualities compared to other stanzas in the chain: the presence of kigo, as well as "kireji" - a pause between two parts of a brevity. In addition, haiku had understatement, incompleteness, ambiguous interpretation, and thus encouraged the reader or participant in the addition of renku to co-create in the process of unfolding the chain of images.
Gradually, haiku began to be perceived as separate serious works and gave rise to an independent genre of haiku, which occupied one of the main places in Japanese poetry.
Today, haiku has won a huge number of fans around the world. They also write haiku in Russian. If you are also interested in this genre, then try to follow a few rules when writing haiku, given below.
Formal moments: number of syllables, kireji, kigo
Number of syllables and lines
The issue of the number of haiku syllables written in Russian (and others) has long been considered resolved. Russian syllables and sound units in Japanese are different things, you can only stick to the general layout of syllables, remembering, however, about brevity and conciseness. Write in three lines. Do not exceed the 5-7-5 formula by more than one and a half times, i.e. place no more than 10 syllables in each line and try to make one of the lines a little longer than the other two.
seasonal words
After many years of long literary discussions and attempts to move away from the canon, most modern Japanese poets nevertheless agreed to recognize the obligatory presence of seasonal words in haiku. In their opinion, kigo are necessary because they entail certain associations that significantly expand the semantic and emotional capacity of the poem. In addition, the tradition of using seasonal words was formed much earlier than haiku - in tanka poetry, and is an important part of Japanese artistic culture.
In our country, with its inherent difference in seasonal manifestations, there is not yet, and there cannot be a single dictionary of seasonal words, as is customary in Japan. However, it is still recommended to include in a haiku a word or a phrase denoting the state of nature at the moment described in the haiku. It is not the seasonal words themselves that are important, but the images they evoke. For example, “we plant potatoes” - late spring; "Bengal lights" - New Year, etc. At the same time, it is important to find precise and concise words that transfer the reader to the same situational space of action of the haiku that the author meant.
If you want to write about some exceptional natural phenomenon that is unique to your area, city or village, then write a haibun (a small prose sketch topped with a haiku), otherwise only those living next to you will understand you.
cutting word
The separating word (kireji) has no analogues outside the Japanese language and is replaced by Russian punctuation marks - dash, comma, exclamation and question marks, colon, ellipsis. As for punctuation and punctuation in other parts of the haiku, only those punctuation marks can be used without which it is not possible to realize the poetic intention. Also, only lowercase letters are allowed.
two-part
Don't write a haiku in three different sentences - a three-verse will look "torn" if there is a final syntactic break at the end of each line. Haiku should be read easily and naturally.
It is also not recommended to write a haiku in one complete sentence. Divide the haiku into two related parts, separating them with punctuation marks and semantic breakdown. Try not to use both parts of the verse to say the same thing: the farther the parts are separated from each other - with internal attraction to each other - the stronger the current will run from one pole of the verse to the other. For example:
Indian summer…
over the street preacher
laughing children
(VLADISLAV VASILIEV)
The eye sees a picturesque, slightly ironic scene, presented without pressure on the reader's perception, even with some mystery - the two parts of the verse are quite far apart, but looking closely, you can see the connecting threads that make the interline space sound: the warmth of Indian summer in the first line and the laughter of children in the third, Indian summer as the last island of the seasonal life of nature and the preacher as an intermediary between people and "truth". “Be like children” - comes to mind under the laughter of children ... Who comes to people and announces about the other world, about a better life, etc. at a time when this world is still so good and enchanting in its last burst of warmth before the autumn cold, the flowering of herbs, the festival of the color of leaves that have not yet flown ...
Do not write too much, but do not cut off the right
A haiku has a minimum of words. So each one means a lot. When creating a haiku, only the most necessary, accurate words are selected.
I go in the morning;
no footprints in the snow
everything is behind.
(PAUL COOPER)
If you can do without a word in a haiku, try to do without it. Avoid repetition of words, word roots, meaning - any oil - unless it is a conscious idea.
It is said that haiku is a meeting place between the author and the reader. Such co-creation is possible only if both of them are in the same semantic and cultural field. What is understandable from a half-word to a person of one nation - and haiku all the time deals with "half-words" - may not be understandable to a person living in another country with other customs, habits, and traditions.
In the same way, it can turn out to be an empty net to describe the experience of a person from a different “emotional planet” than the reader. So if you want to write a haiku that other people can understand, first think about how to build a bridge from the image that appears in your imagination to the image that the potential reader should have.
Late autumn.
I'm alone thinking
“How is my neighbor doing?”
(MATSUO BASHO)
Show, don't tell!
Paint a picture showing the bare minimum, but put a bit of semantic gunpowder into it. Focus on one or two interrelated details so that you can grab the end of the thread and unwind the entire ball. The reader himself must ask himself the question "Why?" or "Why?" and find the answer yourself.
Here at the end
to all my sorrows
green grass...
(TANEDA SANTOKA)
First summer rain.
I open and...
I fold my umbrella.
(FELIX TAMMY)
Let's go back to Basho's haiku about the little crab:
little crab
Ran on the leg.
Pure water.
“The spiritual unity of man and nature, the idea of a single essence of the world is revealed in the image of a small living creature - a crab that touched its leg. This image also creates an additional feeling of transparency, freshness and interacts with the image of clean water. In the first two lines, the author's attention is focused on the image of a crab, and the space of the haiku is, as it were, compressed to a minimum. The last line pushes the boundaries of the depicted. The image contained in it speaks not only about the transparency of water, it also serves the purpose of removing the emotional content of haiku from the frame of the image of a single phenomenon into a plane that is not spatially limited.
The feeling should not be directly expressed in the outward appearance of the haiku; it is not described or even named, but only shown by its manifestations. The means of artistic expression play a significant role in creating an atmosphere that leads to the perception of this feeling. (T.B. Breslavets. "Poetics of Matsuo Basho").
Write about real, not fictional events, use simple words
No need to speak pompously, snobbishly, or use "words" that are understandable only to you. Show everything as it is. But connect the images within the haiku so that they can hurt, touch the reader, make him think. Imagine that you are the director of a motion picture, and all you have is three moments and images that can be shot without special effects; you also have smells, touches, heat, cold, pain - everything that can be felt with the senses ... How would you tell then. Or rather, they showed. For example, the fact that in the evening news came to you that your girlfriend left you, you didn’t sleep all night, and in the morning you went to burn dry fallen leaves on a fire in the yard - because you have nothing more to burn, you don’t even have letters left ?. .
Pain subsided by morning -
having calmed down, I burn near the house
autumn leaves...
(TIIDA DAKOTSU)
Or maybe it was the pain from a tooth or from an old wound? And it's possible. But it is up to the reader to decide which of the paths to choose, you only need to draw this map of semantic roads in three lines ...
Haiku was called the poetry of sincere feeling and deep thought in the Middle Ages.
In order to change the reader even for a second, to combine in three lines the eternal and the transient, the natural and the human, the lofty and the mundane - to say a lot through the little, while showing the close interconnection of everything that exists, a haiku must be able to thicken sensation, memory, feeling. Such semantic concentration and precision can be achieved in several ways.
Don't chew, don't talk
Important principles of haiku poetry are understatement, ambiguity, and afterfeeling.
The author of the haiku does not name the feeling, but evokes it, pushing the reader to expand his chain of associations. At the same time, the created image must itself resonate with the consciousness (or subconscious) of the reader, without explanation and chewing. The effect caused by a haiku is comparable (according to Alexei Andreev) to the effect of an unfinished bridge: you can cross it to the “opposite shore” only by completing it in your imagination.
Intuitive penetration beyond the visible and tangible edge of the world is ensured thanks to the extremely precisely selected measure of understatement, emptiness around the specific strokes of the everyday shown in three lines of haiku.
The feeling that you want to convey should be, as it were, “poured” in the haiku itself, and not indicated by the words “what anguish”, “I feel so bad”, “love is gone”, “I fell into world sorrow”, etc.
And here she is again
the one who once quietly said:
"Late fall..."
(TAKAHAMA KYOSHI)
Haiku through words should lead to the gates of cognition, after which the words themselves become unnecessary and there is an internal pause of non-verbal intuitive cognition. Haiku, like poetry, uses the words of language to enter the space of non-language. (According to the doctrine of silence in Zen, which influenced haiku poetry, the word is an imperfect means of communication, it can only suggest, hint.)
I cook potatoes.
In the silent expanse of the universe
the baby is crying...
(KAWAHIGASI HEKIGODO)
After reading, the reader must experience an emotional response, after which associations based on personal and possibly non-personal experience begin to unfold in a second wave.
Don't give the reader a ready-made Big Mac, let the ingredients of your haiku be fresh, full of natural energy, and let them combine only in the mind of the reader.
Full moon.
Whenever the one who scolded me,
Was with me today...
(ISSA)
and in the biggest house
There is no place
for plucked water lilies
(KONSTANTIN KARABCHEEV)
Use the technique of contrast and opposition -
objects, planes, phenomena, sensations...
Heavy bell.
And on its very edge
A butterfly is drowsing.
(BUSON)
dripping on the roofs
transferred to the summer aviary
hippos
(VYACHESLAV KANIN)
Stuck in a traffic jam.
Slowly swims
White cloud.
(YURI RUNOV)
Autumn showers.
Accidentally stuck to a boulder
butterfly wing...
(TAKAHAMA KYOSHI)
compare, compare
Place related objects and phenomena nearby. Just forget about the words “like”, “as if”, “as if”, “similar” - just find those points in time and space where the coincidence happens by itself.
whitewash in the park
tree trunks...
first mini
(OLEG TENGU)
Showing white teeth
The monkey screams hoarsely ...
The moon rises over the mountain.
(TAKARAI KISAKU)
Through the light mist
the bright sun breaks through.
Downtrodden on earth...
(TIIDA DAKOTSU)
Palm Sunday
handing out
fluffy kittens
(OLEG TENGU)
With a broken moon
in late autumn the geese became friends
on my pond...
(TIIDA DAKOTSU)
Figurative parallelism is a slightly complicated version of comparison: the connection of similar images in terms of emotional coloring.
The clouds lay
Between friends. geese
Goodbye in the sky.
(MATSUO BASE)
IN THE MOUNTAIN VILLAGE
Nuns story
About the former service at the court ...
Deep snow all around.
(MATSUO BASHO)
love flame -
I'm going straight across the field
spreading the daisies...
(TAKAHAMA KYOSHI)
The year ends.
Cozy curled up cat
on my knees...
(NATSUME SOSEKI)
General string reception
The second line can be read both from the first and from the third:
full moon
between the balcony bars
cat muzzle
(LEONID POPOV)
There is also a similarity between the cat's face and the moon.
broken glass
Along the brake lane
Leaves are rolling
(ANDREY SHLYAKHOV)
magazine closed
at the most interesting point
turn
(LENA TALAYEVA)
all night long
without moving
snow falls
(ALEKSEY GROHOTOV)
Puns, use of homonyms, puns
There are much fewer homonyms in Russian than in Japanese, but they can also be used. Only thoughtfully.
wind in the garden
grabbed by a live thread
a couple of cabbages
(A. GROHOTOV)
Allusions, literary and cultural-historical associations
Dream or reality?
The flutter of a handful
Butterflies...
(BUSON)
“Buson has a tangibly authentic feeling of a butterfly squeezed in a handful, but this particular butterfly can be perceived more broadly - as human life in general, and for a more prepared reader, the words “dream” and “butterfly”, placed side by side, will inevitably cause an association with the famous parable of Zhuangzi. Tom once dreamed that he was a butterfly, and when he woke up, he could not understand whether he was Zhuangzi who dreamed that he was a butterfly, or whether he was a butterfly who dreamed that she was Zhuangzi. Thus, the meaning of the poem expands more and more - so a stone thrown into the water leaves behind circles diverging to the sides on the water. (T. Sokolova-Delyusina. "Japanese poetry").
In the sea, on stones, she cut her legs:
Mermaid bay.
(NATALIA KHARAG)
The fact that the legs were injured not just in some kind of bay, but precisely in the Mermaid, immediately takes the specific event out of the experience of an individual person - Andersen's fairy tale is recalled ... "The Mermaid" is read as a cultural and historical reminiscence, i.e. is perceived as a device widely used in classical Japanese poetry. The verse is perceived naturally and easily - precisely because of the gracefully and lyrically executed appeal to the Cultural.
Outgoing spring
In Waka Bay
Caught up with.
(MATSUO BASE)
Waka Bay is especially beautiful in spring.
My own voice
brings back to me
autumn swirl...
(FIND MEISETSU)
This verse refers to the haiku written by Basho, adding a new dimension to what the Banana Elder said:
I'll say the word
Lips freeze.
Autumn whirlwind!
Unusual in the usual
Try to show the unusual in a familiar situation. Medieval Japanese haijins have many verses based on this principle, often accompanied by an exclamation, such as "and suddenly - wisteria color."
But before it wasn't
Near Fuji these mountains!
Clear autumn evening.
(TAKARAI KISAKU)
spring evening...
plane emphasizes
pink cloud
(KONSTANTIN MIKYTYUK)
The plane, as it were, draws the attention of a close viewer to the beauty of the cloud. But - as it were, this fact is presented neatly, through a "natural coincidence."
fall...
petals are falling
get up on your head!
(GRIGORY BORUKAEV)
Right by lightning
barefoot peasant women walk -
flood field...
(TAKAHAMA KYOSHI)
Flies frolic.
Rays on the ink
spring sun...
(FIND MEISETSU)
map in a puddle
In all countries
flood
(MARINA HAGEN)
"The Fourth Line"
yellow butterfly
Fluttered away. It's time
To cook dinner.
(KITSUNE)
“Yellow butterfly…” Yellow is the color of separation. "... the butterfly ... flew away."
On the surface, a simple meaning - distracted, and now to work. But look at the fourth line - "it's time to fly away." Is it time for youth, games, love, life - everyone feels in their own way. This is volume (free variability of perception). Not without reason Kitsune left the word "it's time" on the second line. Punctuation marks are also important. They give the original natural reading. When the reader turns into a haiku reader, he begins to see the fourth line and all sorts of meanings (removing all punctuation when reading). Upon re-reading, the prepared reader will see another variation:
yellow butterfly
the time has flown away
To cook dinner
Together with the butterfly flew away and "it's time to cook dinner." An amazing transformation of the adverb "it's time" into a noun.
Briefly about what not to do when writing a haiku
1. Do not write in rhyme, it gives a sense of false completion, and in haiku there is always an ajar and inviting door of innuendo.
2. Do not write instructively, grandiloquently or sententiously, do not give judgments.
3. Do not invent haiku "out of your head", do not operate with the immaterial, abstract, but make the surrounding world and your own experience, even if imaginary, the subject of haiku.
4. Don't try to explain something in a haiku, just show it.
5. Do not write aphorisms, imposing the only idea that you have.
6. Don't write a diary or a story about how I spent my summer.
7. Don't write about times other than the present, or write through the lens of the present - haiku should make it feel like events are unfolding before your eyes.
8. Try to avoid explicit metaphors, comparisons, personifications, etc. A metaphor is admissible if both its metaphorical and its literal reading are equally possible.
9. Reception for the sake of reception, prettiness for the sake of prettiness, etc. makes the haiku flat and devoid of immediacy. Wordplay, graphic tricks, etc. are good only if they are meaningful - as in any artistic text.
the gate slammed
close at night
chamomile petals
(ETHEL JANOVA)
undressed
blew out
dandelions in a vase
(KONSTANTIN MIKYUTIK)
Shards of the sky
Hastily glued together
Black branches.
(VALERIA APRIL)
Look for the secret. Unfinished bridge
When two intelligible images are compared or contrasted in a haiku, everything is clear with this, a bridge is built and allows us to pass from one visible space to another. But there are haiku in which only one shore is visible - the one from which everything begins, on which one end of the bridge stands. The other one is lost in the mysterious haze of the unspoken in the verse. We can only feel the depth and alluring beauty of being through the skillfully created interlines of haiku, but decompose the elusive aroma hovering around such a verse into its components - it’s not so easy, you can only breathe it in ... We must listen very intently, gently and deeply, almost meditatively to the world, to nature, to one's soul, and then, perhaps, it will be revealed to the beholder...
fragrant dress
Thrown to the floor carelessly.
Spring twilight.
(BUSON)
Newspaper headlines
I look thoughtlessly
old spring...
(TAKAHAMA KYOSHI)
All day I was silent.
Went to the sea, looked -
tidal waves...
(TANEDA SANTOKA)
surf crashes.
girl with phone
looks at the water
(GLEB SECRETTA)
And finally - one oriental parable, echoing haiku poetry.
The new imperial garden had been preparing for the opening for three years. Finally, all the work was completed, and the emperor invited all the nobility to admire the beauty of the garden.
Everyone was delighted and showered with compliments. But the emperor was interested in the opinion of Master Lin-chi, who was considered an unsurpassed connoisseur of this art form. When the emperor spoke to Ling-chi, everyone present turned around, and silence reigned. Ling Chi replied:
- Strange, but I do not see a single dry leaf. How can life exist without death? Because there are no dry leaves here, the garden is dead. I think it was swept very carefully this morning. Order to bring some dry leaves.
When the leaves were brought and scattered, the wind began to play with them. The rustle of leaves - and the garden came to life! Master said:
- Now everything is all right. Your garden is beautiful, but it was too well maintained.
Art becomes greatest when it does not reveal itself.
Japanese poetry. How to write in Japanese correctly.
So what is Japanese verse?
Haiku(haiku) - a three-line, the first line is 5 syllables, the second is 7, the third is 5 (allowed, but undesirable when there are fewer syllables in the 3rd).
The skill of haiku is considered to describe the moment in three lines. Salt of the moment, something like a photograph.
The first line answers the question "Where"? The second to the question "What"? third "When"?.
But haiku is not uncommon without an answer to these eternal questions, especially when they are about feelings, states ...
But the breakdown by syllables is still better to stick to
Example:
Killed the spider
And it got so lonely
In the cold of the night
Tanka- a very ancient form of Japanese poetry, literally "short song".
As a song, it originated a long time ago, in the first records that have come down to us, dated to the 8th century, one can already distinguish very ancient and ancient songs where the sound of the choir is heard. At the beginning, the tanka is the common property of the people. Even when the poet spoke about his own, he spoke for everyone.
The separation of the literary tank from the song element was very slow. It is still chanted to this day, following a certain melody. The moment of improvisation, poetic inspiration is closely connected with the tank, as if she herself was born on the crest of emotion.
Tanka is a long-liver in the world of poetry, in comparison with it, the European sonnet is very young. Its structure has been adjusted for centuries: not much is said in tanka, but just as much as necessary.
The metric system is simple. Japanese poetry is syllabic. Tanka consists of 5 verses. The first and third have 5 syllables, each of the others has seven: the tank is characterized by an odd number.
And, as a consequence of this, that slight deviation from the crystal-balanced symmetry, which is so loved in Japanese art, constantly appears.
Neither the poem itself as a whole nor any of its component verses can be divided into two equal halves.
The harmony of the tank rests on an unstable and very mobile balance. This is one of the main laws of its structure, and it did not arise by chance.
In ancient poetry, a great many constant epithets and stable metaphors were kept. A metaphor binds a state of mind to a familiar object or phenomenon and thereby communicates a visible, tangible concreteness and, as it were, stops in time.
Tears transform into pearls or crimson leaves (blood tears). Longing, separation is associated with a sleeve wet from tears. The sadness of the departing youth is personified in the old cherry tree...
In a small poem, every word, every image counts, they acquire special weight, significance. Therefore, symbolism was very important - the language of feelings familiar to everyone.
Tanka is a small model of the world. The poem is open in time and space, poetic thought is endowed with extension. This is achieved in different ways: the reader must himself finish, think, feel.
Example:
I know myself.
That you're the one to blame
I don't think.
The face expresses reproach,
But the sleeve is wet from tears.
***
You regret it...
But no regrets
Our busy world.
Rejecting yourself,
Maybe you can save yourself.
How to write poetryVJapanesestyle?
Can you write haiku? Or maybe worth a try?
What is a haiku? The Literary Encyclopedic Dictionary tells us that:
“Haiku is a genre of Japanese poetry: 17-complex three-line (5 + 7 + 5). In the 17th century, Matsuo Basho developed the formal and aesthetic principles of the genre ("sabi" - graceful simplicity, "shiori" - the associative creation of harmony of beauty, "hosomi" - depth of penetration). The improvement of the form is associated with the work of Taniguchi Buson, the democratization of the subject - Kobayashi Issa. At the end of the 19th century, Masaoka Shiki gave a new impetus to development by applying to them the principle of “sketches from nature” borrowed from painting.
Haiku is a feeling-sensation transferred into a small verbal picture-image.
Interesting fact! Many Japanese now use their cell phones to write poetry.
“Beware, the doors are closing,” and Tokyo subway riders are making themselves comfortable. And almost immediately mobile phones are pulled out of pockets and bags.
In the classical forms of Japanese poetry [tanka, haiku, haiku], both the content and the number of syllables are clearly specified,
but modern young poets use the traditional form and fill it with modern content.
And this shape is great for mobile phone screens.” (BBCRussian.com).
Start writing haiku! Feel the joy of creativity, the joy of conscious presence here and now!
And to make it easier for you to do this, we offer you a kind of "master class" from famous haijins.
And the first session will be "led" by James W. Hackett (b. 1929; student and friend of Blyce, the most influential Western haijin, advocating "Zen haiku" and "haiku of the present moment." According to Hackett, haiku is an intuitive sense of "things as they are," and this, in turn, is in line with the manner of Basho, who introduced the immediacy of the present moment into haiku as an important one. For Haket, haiku is what he called "the path of living awareness" and "the value of every moment of life") .
Hackett's Twenty (Famous) Suggestions for Writing Haiku
(translated from English by Olga Hooper):
1. The source of haiku is life.
2. Normal, daily events.
3. Contemplate nature in close proximity.
Of course, not only nature. But haiku is first of all nature, the natural world around us, and only then we are in this world. That is why it is said, "nature". And human feelings will be seen and felt through the demonstration of the life of the natural world.
4. Identify yourself with what you write about.
5. Think alone.
6. Depict nature as it is.
7. Don't try to always write 5-7-5.
The rule of "17 syllables" was violated even by Basho. Secondly, the Japanese syllable and the Russian syllable are completely different in content and duration. Therefore, when writing (not in Japanese) or translating haiku, the 5-7-5 formula may be violated. The number of lines is also optional 3. It can be 2 or 1. The main thing is not the number of syllables or stanzas, but the SPIRIT of HAIKU - which is achieved by the correct construction of images.
8. Write in three lines.
9. Use regular language.
10. Assume. 
Assume means do not say it completely and to the end, but leave something for further construction (by the reader). Since the haiku are so short, it is impossible to paint a picture in them in all the details, but you can give, as it were, the main details, and the reader can guess the rest, based on this. It can be said that in a haiku only the external features of objects are drawn, only the most important (at the moment) characteristics of a thing/phenomenon are indicated - and the rest of the readers fill in their imagination themselves ... Therefore, by the way, a haiku needs a trained reader
11. Mention the season.
12. Haiku are intuitive.
13. Watch out for humor.
14. Rhyme is distracting.
15. Life in its entirety.
16. Clarity.
17. Read your haiku out loud.
18. Simplify!
19. Let the haiku rest.
20. Remember Blyce's warning that "a haiku is a finger pointing to the moon."
According to the memoirs of Basho's students, he once made the following comparison: a haiku is a finger pointing to the moon. If a bunch of jewelry shines on the finger, then the viewer's attention will be diverted to these jewelry. In order for the finger to show exactly the Moon itself, he does not need any decorations, because. without them, the attention of the audience will be directed exactly to the point where the finger points.
This is what Hackett recalls: haiku does not need any embellishments in the form of rhyme, metaphors, animation of natural things and phenomena, comparisons of them with something in human relations, comments or assessments of the author, and so on. to the moon". The finger should be "clean", so to speak. Haiku is pure poetry.
Write haiku! And your life will become brighter!
How right?
First of all - which is correct: "haiku" or "haiku"?
If you do not go into subtleties, you can do this and that. Usually, when talking about haiku, they use the expression "ancient Japanese poetic form." So, the haiku themselves are not much older than the Russian iambic tetrameter, which appeared for the first time in the 17th century and gained a foothold in the 18th century.
I will not dwell on the fascinating history of haiku, describing how, as a result of the development of poetic competitions, traditional tanka demanded the appearance of renga, from which haiku proper developed. Those interested can find information about this in English on the Web (see the list of links at the end of the preface).
The Russian iambic tetrameter and other meters, which had become established in our country by the middle of the 18th century, forced out from Russian poetry the meters that were based not on the alternation of stressed and unstressed syllables within a single poetic line, but on the quantitative commensurability of the syllabic volumes of lines (length expressed in the number of syllables). Such a system of versification is called syllabic.
Here is an example of a syllabic verse, which is easy to obtain by transforming the syllabic-tonic verse familiar to us:
My uncle, the most honest rules,
When you fell ill in earnest,
He made himself respect
And I couldn't think of a better one.
At first glance, this quatrain is just a destroyed Pushkin verse. In fact, since ALL the words of the "original" were preserved during this "translation", the ordering of the verses by the number of syllables is also preserved - there are 9 of them in each odd line, and 8 in each even line. Our hearing, accustomed to relying on stresses, does not notice this ordering , but this does not mean that the syllabic verse is organically alien to us. As lieutenant Myshlaevsky said, "it is achieved by training."
Haiku/haiku is just a kind of syllabic poem. The rules for writing haiku are simple -
1. Each poem consists of three lines
2. In the first and third line - 5 syllables each, in the second - 7.
These rules are associated with the verse form. They are the basis of the Garden of Divergent Haiku.
Japanese haiku, in addition, followed a number of rules related to the system of images, composition and vocabulary. They were built around kigo (words that directly or indirectly denote the seasons), were divided into two parts (2 first lines + 1 final) and connected a fleeting moment captured in a psychologically concrete experience and cosmic time. (Read what the specialist says about this - V.P. Mazurik).
One can argue with this - after all, Russian words are not at all the same length as Japanese ones. Even for English haiku, it was proposed to lengthen the traditional lines, and in fact the Russian language is less economical than English. The trouble is that longer lines (for example, according to the 7 + 9 + 7 scheme), which are not supported by rhyme or internal arrangement of pauses or stresses, will hardly be recognized by ear. Usually, when translating haiku (or stylizing them), Russian authors ignore the syllabic principle, so they end up with just three-line free verse.
Practice a little and you will begin to distinguish between five- and seven-syllable lines by ear. (Hint: try to chant each line slowly, syllable by syllable and not paying attention to stress.) And the conciseness of these lines will begin to save verbal resources. And you will hear haiku music, completely different from the sound of Russian verse, just as Japanese classical music is not like Mozart or Chopin.
Well, if you can’t do without the usual forms, you can write haiku using the usual sizes. After all, the 5 + 7 + 5 scheme also corresponds to the lines of "normal" iambs (My poor uncle! / He fell ill in earnest - / No longer breathing), trochees (Under my window / You covered yourself with snow, / Sakura is in bloom! .. - however, here I'm not sure about the accent), dactyls (Fly up like fires, / Blue nights of spring! / May Day), amphibrachs (At twelve o'clock / I look - rises / From the coffin a snitch) and - with some tension - anapaests ("Swing, hand" - / The paraplegic lamented, - / "Razzut your shoulder!").
And more related links:
.
http://iyokan.cc.matsuyama-u.ac.jp/~shiki/Start-Writing.html
.
http://www.faximum.com/aha.d/haidefjr.htm
.
http://www.mlckew.edu.au/departments/japanese/haiku.htm
.
http://www.art.unt.edu/ntieva/artcurr/japan/haiku.htm
.
http://www.ori.u-tokyo.ac.jp/~dhugal/davidson.html
.
http://www.ori.u-tokyo.ac.jp/~dhugal/haikuhome.html
.
http://www.zplace.com/poetry/foster/wazhaiku.html
What is the difference between haiku and haiku?
What is the difference between haiku and haiku?Many have heard these 2 names. On the forum HAIKU-DO.com in the topic ABC HAIKU or "What is it?" I found different opinions on this:
Version 1:
...Yes, there is no difference between haiku and haiku - haiku is an older, outdated name of three lines, today the Japanese only say "haiku". This was recently explained to me by the Japanese poet and translator Osada Kazuya. It was he who translated several of my haiku into Japanese and published them in Hoppoken 2003 winter vol.122, p. 92, emphasizing both the dignity and observance of the 5-7-5 form and the principle of construction.
But from communication on the sites, I realized that many people do not like the synonymy of “haiku and haiku”, and they passionately want to make some kind of gradation in the definitions of quite well-established oriental forms of poetry. The Japanese themselves do not have this division, so why should we, imitators, invent our own criteria. Personally, these philosophies of modern Russian-speaking “hikuists” seem to me too far-fetched. Why look for a black cat in a dark room - it is simply not there ...
I am publishing the article by Yuri Runov in full, because she is interesting and knowledgeable. Enjoy reading!
I have written before that about haiku and haiku, many do not understand that they are not synonymous. What I want to write about in more detail, and at the same time about where the haiku came from. In principle, many read something on this topic, but somewhere some significant points often slipped past the reader's consciousness, which gave rise to disputes, a struggle of conceit, and so on.
BACKGROUND OF THE HAIKU
The progenitor of haiku is known to be tanka - and more specifically, its first three-line. I was surprised when I found out how early this division of the tank into three and two lines began. It turns out that already the great tanka poet Saigyo took part in stringing stanzas - and this is the XII century. One poet wrote the first three lines, another added two lines to form a tanka, but at the same time both the couplet and the three-line had to be read as separate verses. Then the first poet or the third wrote the next three-line, which, with the previous couplet, would form the "reverse" tanka - i.e. first, a new three-verse was read and the previous two lines were added to it for a full tank. Then a new couplet, and so on. And even then, separate themes were assigned to individual stanzas in the collective work of poets.
There is a story when his acquaintances poets came to Saiga and complained that no one knew how to continue the chain of stanzas after this stanza dedicated to the war, by the famous poetess of that time Hee no Tsubone:
The battlefield is illuminated -
The moon is a tightly drawn bow.
Here Saige himself wrote a new stanza:
He killed his heart.
The hand made friends with the "ice blade",
Or is he the only light?
Why not haiku? Read now this stanza, adding after it the couplet of the poetess. Here is the tank...
Over the next few centuries, such stringing of stanzas became more and more popular, and around the 16th century it became a favorite entertainment of the literate population of the cities of Japan. But the more popular it became, the less poetry remained in it - writing renga became fun, where humor, ridicule, and various verbal tricks were appreciated. Therefore, this type of poetry began to be called haikai - i.e. humorous mix. At the beginning of the 17th century, the term haiku (a comical poem) also appeared, but then, however, it was forgotten for several hundred years. At this time, separate three-verses were already being written - not as part of the renga. There are even competitions to see who writes the most haiku in a certain period of time - for example, in a day. The results were phenomenal, but no one was particularly worried about the quality of such poems.
HAIKU
Then Basho appeared, exalting "comic rhymes" to the level of deep poetry. And here the differences between haiku and other types of three-verses begin to appear. Haiku is the opening verse of a renga, to which fairly strict rules were applied. He must have been connected with the season - because the renga were divided into seasons. It must necessarily be "objective", i.e. based on the observation of nature and was not supposed to be "personal" - for it was not a Basho or Ransetsu renga - but a collective work of poets. Complicating elements - metaphors, allusions, comparisons, anthropomorphism were also not allowed here. Etc. Exactly what haiku experts in the West consider to be the inviolable rules of haiku. This is where the confusion with haiku and haiku begins.
With all this, haiku was supposed to carry a powerful aesthetic charge - to set the tone for the entire chain of stringed stanzas. They were written in advance for all possible seasons. Good haiku were very much appreciated, because they were difficult to write - real skill was required, and so many people wanted to write renga. Then the first collections of haiku appeared - especially to meet the mass demand for the initial stanzas. Collections of internal three-line renga simply could not be written in advance - they were created only in response to the previous stanza in a real renga, and therefore there were never any collections of these stanzas, except in the rengas themselves.
HOKKU AND OTHER THREE LINES
But here you need to understand that all the great haiku masters took part in the creation of renga and wrote not only haiku, but also the inner verses of renga - which incredibly expanded the possibilities of three-line - there were three-line, which the poet was obliged to write in the first person, there were poems about human affairs and not about nature, both metaphors and anthropomorphization were allowed and used, becoming optional in many stanzas of kigo and kireji. In addition, haiku were composed both as diary entries, and as a gift from the poet to an acquaintance or friend, and as responses to various events. Haiku-like verses could be used here, but also simple stanzas. And all this was united by the general concept of haikai poetry - which in a couple of centuries Shiki will replace with the term haiku revived by him. There is no way you can write down in haiku this three-verse written by Basho when visiting an exhibition of his friend's drawings:
You are such an artist
but this bindweed of yours -
he really is alive!
THE HAIKU IS PUT ON A STRAITJACKET
Since the first Western scholars dealt only with collections of haiku, they ignored all other types of three-verses and thus approved the rules of haiku as haiku rules. From this came the ridiculous restrictions imposed to this day on haiku by many authorities in the West. After all, some there still consider Issa an unbalanced rebel, whose deviations from the "haiku norms" only confirm their correctness, as exceptions confirm the rules. But Issa was not a rebel, he just went beyond haiku at times, but not haikai poetry - or haiku in a new terminology. By the way, in his famous "Snail on the slope of Fuji" he, of course, does not look at the real snail on the slope of the real Fuji, but at the snail on the layout of Fuji - the sacred mountain - installed in many Japanese temples - again, this is not some kind of thoughtful surrealistic the poem is but a sweet joke of a great haiku master. However, everyone is free to see in the verse what he wants, these are the rules of the haiku game.
DOWN HOKKU :-)
In Russia, we are in an incomparably more advantageous position than in the West - in all our collections of haiku by great masters, there are not only haiku, but also verses from diaries, poetic offerings, three lines from renga. That is why we never created these codes of laws for haiku. The only thing that we confuse is haiku and haiku - until now, on the websites of our enthusiasts, you can read "My Haiku", where there may not be a single poem at all that would have the right to be called haiku (there are no seasonal words, there is no kireji, but there are metaphor, etc.). I would generally refuse the term haiku, as confusing the brains, and would leave one term - haiku. Hokku is only useful for writing renga. And there everything must be according to the rules, if we ourselves do not come up with new ones!
(c) Yuri Runov
Friends, I welcome you again to the portal of learning and self-development, and today we will again study the unusual poetry of haiku. Last time we already figured out how to write exactly, and now let's try to delve into real traditional Japanese traditions writing these wonderful poems, since this direction of poetry nevertheless arose in this wonderful eastern country during the Middle Ages.
It is commonly stated that as a genre of haiku originated in the 15th century. And the X style Okku literally translates from Japanese as " initial lines.
Initially, such poems were usually written in the genre " rank” which translates as “linked lines”, but rather quickly haiku began to be written separately as independent poems and became a fairly well-known type of poetry in Japan at that time.
Hokku Matsuo Basho
One of the most famous and brilliant poets writing in the style of haiku and renga was Matsuo Basho ( 1644-1694). He is considered the first to start writing three lines separately, and one of the best haiku writers in history.Basho himself recommended to start writing haiku with penetration into the inner life of an object or phenomenon, and after that the poet simply had to transfer this inner state of his to paper. If you do it simply and laconicly, then this will be good haiku.
Basho spoke about the state "sabi" what does it mean in translation "enlightened loneliness", it allows the poet to see the inner beauty of things and phenomena, expressed even in very simple forms. Basho himself always lived modestly and traveled a lot, while having almost no property, although he was of rather noble origin. Until now, he remains one of the most striking role models for aspiring poets, read a few of his haiku ...
Old pond.
The frog jumped into the water.
A surge in silence.
Farewell verses
on a fan I wanted to write -
It broke in his hand.
Come on, friends!
Let's go wandering through the first snow,
Until we fall off our feet.
Another of the significant personalities in the history of hockey was Masaoka Shiki (1867-1902), it was he who introduced another alternative name "haiku" (haiku) what does it mean in translation "comic poetry". Masaoka Shiki proclaimed the principle of objectivity as the most important, that is, images and themes for haiku had to be taken from one's own real experience, and not from imagination.
Also, in his understanding, it was necessary, if possible, to remove the figure of the poet himself and his judgments from the haiku text, as well as to minimize epithets and compound words. Here are some of his famous haiku:
Peeling a pear -
drops of sweet juice
crawling on a knife edge
Killed the spider
and it got so lonely
in the cold of the night
Pears in bloom...
and from home after the battle
only ruins
Therefore, now we will call our poems exactly haiku, and not haiku, so as not to limit the topics of writing to funny and comic ones, since I myself prefer to write quite often on various philosophical topics.
Also, I would like to dwell on the classic recommendation write haiku in 3 lines and 17 syllables.Writing in 3 lines is almost never even discussed, this gives haiku an unusual rhythm and distinguishes it from other types of poetry. But despite this, sometimes there are people who write haiku even in 1 line, but this does more harm to haiku than good, so we will stop at 3 lines.
1) The first line tells what will be discussed.
2) The second reveals the meaning of the first.
3) The third line draws an unexpected conclusion from all this.
What is stupider than darkness!
I wanted to catch a firefly -
and ran into a thorn.
Matsuo Basho
Or this standard example:
cemetery fence
Can't hold back anymore
The pressure of tulips!
There are other options for the arrangement of meaning along the lines. It is easy to do the opposite, because often only the first line is enough to indicate the topic of haiku, and the remaining lines can already sum up an unexpected result. For example:
The cicada sings.
But my old father
Masaoka Shiki
But with syllables in haiku, there is much less certainty. Yes, haiku is usually written in 17 syllables, namely 5 of them in the first line, 7 in the second, and again 5 syllables in the third line.
But this is ideal, but in practice, even the great Basho himself sometimes did not adhere to this scheme, and not only him, other hockey classics also have deviations from the traditional size.
In hockey, the soul is more important than the form
There are also many recommendations not to concentrate too much even on this aspect of writing, since in haiku, the soul is more important than the external form, you still remember that, according to tradition, even rhyme is unimportant in haiku. So in the name of good haiku, this can be neglected.
But that's not all, as many researchers and philologists also note that writing in Japanese characters differs significantly from writing in other languages in terms of duration, rhythm and informativeness.
For example, problems can arise even when writing in Russian or English, it is generally believed that, on average, to maintain the same informative content as in the Japanese counterpart, one should write in Russian a little longer and more syllables, and in English, for example, vice versa more briefly.
Also, usually the same Japanese characters have more different meanings than in Russian, for example, the same character can mean both "evening" as a time of day, and a mood such as "indulge in sadness."
Therefore, to create meaningful, and with a slight subtle hint of haiku mood, easier in Japanese, but as they say, we are not looking for easy ways, so I prefer to stick to the traditional size when writing haiku and in Russian.
Hokku is the best simulator for the mind and imagination
Yes, and it turns out that then writing haiku for us turns into more great gymnastics for the mind than for the Japanese themselves, since we have to fit all the beauty of the feelings of our super big and wide soul into an even smaller number of words.
At all haiku has long been proven to develop extraordinary and individual thinking, so now writing haiku is used even in psychotherapy, since when writing haiku, a person writes mainly not words, but images and feelings. Therefore, when the intellect fades into the background, they say that you can even hear your soul, or just at least relax and take a mental break from excessive thinking.
So probably one of the most wonderful and positive influences of traditional Japanese haiku, it is the ability to open your soul and let creative breakthroughs of inspiration into it. And this is really a wonderful skill, since it is known that all the greatest discoveries, paintings, poems, music and much more came into the world in this way, and not through intense thinking, which often only prevents the release of your primordial and pure creative energy. .
And indeed, as the aesthetes say, which is practically masterpieces are never created by simply perfect technique and template work, so I want to learn to hear yourself and create masterpieces in everything you do, and not just do your job well. Well, for this I recommend being less afraid, more experimenting and relaxing, and of course, do not forget to train in adding haiku verses.
Well, in order to arm you completely “to the teeth” and make you almost professionals in the wisdom of versification, next time I will give a lot more of the remaining traditional Japanese, and finally I will bring many different ones on various topics from simple nature to complex philosophy.
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