Poetry- Traditional Japanese haiku and its significance

Poetry is among the oldest forms of literary artifacts. Poems portray the poet’s experiences in life or the prevailing contemporary aspects in the society. Traditional Japanese haiku is among the ancient genres of Japanese poetry that is still popular today. Haiku poems majorly focus on the poet’s current experiences in life. A distinctive feature of these poems is its syllable limit and the incorporation of at least one seasonal word. Though this genre of poetry has undergone numerous modifications over the ages, its core tenets are still evident. This essay aims at analyzing the core principles governing the composition of haiku poetry and its place in real life experiences.

Placing the traditional Japanese Haiku into Context

Haiku refers to the ancient type of poetry in Japan that is composed of a total of seventeen syllables which are shared among three lines arranged in a pattern that follows the 5-7-5 format. Specifically, the first line contains five syllables, the second line seven syllables, and the third, which is the last line, consists of five syllables (Carter, 2011). Haiku are meant to express daily experiences in life and are simply expressed and hence easy to understand. In most cases, haiku encompasses a dominant impression, or a primary theme, that has a strong appeal to one of our five senses. Notably, each haiku must incorporate a kigo, that is, a seasonal which indicates the season of the year the haiku is composed. For instance, a word like blossom would imply spring, snow would insinuate winter, mosquitos would imply summertime and so on. However, sometimes these seasonal words are not direct implying that one has to consider the general theme of the poem to locate them.

 

The Haiku Masters

Basho and Buson

There are many poets who have made immense contributions to the development of haiku poetry. However, four notable personalities are considered to have made a significant contribution to haiku poetry. Key among them is Matsuo Basho, who lived from 1644 to 1694. Basho was a famous poet during the Edo era in the Japanese history. Specifically, Basho has been cited as the master of the clear and the brief haiku (Addiss, 2012). In fact, many people are convinced that he was the person who invented haiku. Another notable poet associated with haiku is Yosa Buson, who lived between 1716 and 1783. Like, Basho, Buson was a painter as well as a poet who lived during the Edo era in Japan. He is well known as the master of haiga, which was a genre, related to manga, that he greatly advanced.

Issa and Shiki

Kobayashi Issa, who lived between 1762 and 18276, is another personality associated with the development of haiku poetry. Issa, which was his pen name, means ‘cup of tea.’ Many authors have written about Issa poetry which outnumbers those written about Buson by far. In fact, books on Issa can only be compared to those on Basho. The other poet considered to be among the fathers of haiku is Masaoka Shiki, who lived between 1867 and 1902. Shiki was an author, a literary critic and a poet who held that the haiku was to be viewed a legitimate genre and as such should be judged just like the other genres of literature (Addiss, 2012). Notably, when some of the modern haiku poets began to drift from the 5-7-5 haiku rule as well as the introduction of the kigo, that is, the seasonal word, Shiki condemned this breach of the haiku tradition.

 

Features of Haiku Poetry

-Usually, the poem comprises of two simple subjects that are normally in juxtaposition

-the two images employed in the poem are in most cases separated by a punctuation mark

-seasonal references are a common feature in haiku (Addiss, Yamamoto, & Yamamoto, 2009)

-traditionally, the haiku poems have focused on the natural word or general nature

Example

Traditional haiku often majors on simple subjects while at the same time presenting an unexpected or interesting perspective.  Two different images are employed in juxtaposition, an aspect that allows the reader to perceive an enlightening connection existing between the two symbols. Just like is the case with a good joke, the first section can be taken to serve the set-up purpose while the second section accomplishes the punch line purpose. This fact can be exemplified by employing an ancient haiku composed by one of the haiku masters, Issa.

The wren is chirping,

But it grows dusk

Just the same.

Analysis

Analyzing the haiku above, we note that it has two images, that is, a chirping Wren and the growing dusk. This poem involves concepts of nature and encompasses two subjects which are in juxtaposition (Verhart, 2007). Additionally, it is separated by a punctuation mark and connects the two distinct subjects. Notably, this poem aims at revealing something concerning ourselves, that is, however much we try, we cannot succeed in adding an extra hour to the day.

Structural Rules

–    The poem should consist of exactly seventeen syllables

–    The syllables should be arranged in three lines in the form of 5-7-5

–    The poet should avoid metaphors and similes

–    The message implied must refer to a particular season of the year

The Place of Nature in Haiku Poetry

The most important aspect that is emphasized in haiku poetry is seasons which are portrayed by employing at least one season word in the poem. Notably, this season word may be exemplified by using a human activity that matches a particular season. Therefore, every haiku poem is identified with time, place and, nature (McGee, 2009). On this note, there exist two conflicting views regarding the place of nature in haiku tradition. On one hand, it is held that these poems are models representing nature poetry, especially an imagistic portrait representing the thing-in-itself. On the other hand, it is also argued that the popular haiku tradition does not concern the true nature, but rather represents a culturalized nature defined by the prevailing tradition thus rendering it artificial.

Assumptions

The literary conventions that governed the emphasis on the place of nature in haiku poetry were based on several assumptions.

 

Assumption on the Possession of a True Nature

-Key among these assumptions was that just like human beings, animals, plants, as well as scenes possess a true nature. This means that they are not just mere objects but possess unique qualities that render them distinctive. As opposed to the common notion that beauty and emotions are subjective in nature, the objects in haiku are considered to portray a kind of feeling and beauty which is of and in the scene itself (Matsuo, & Barnhill, 2004). Therefore, the Japanese clung to the notion of poetic essences, which captured the actual nature of a particular thing and could be, passed on in their literary tradition.

Assumption on Nature and the Natural World

– The second assumption was that the experience of nature and the natural world were not completely distinct. This meant that each implied the other in a way that can be likened to the phenomenological school. This notion was based on the conviction that there is a nature that human beings are conscious of and the consciousness-of-nature. Notably, the strict distinction between object and subject and thus objectivity and subjectivity has no place in East Asian tradition. Therefore, a true haiku poet is the one who has cultivated their sensibility to the extent that their subjective feelings auger with the objective atmosphere surrounding the scene being experienced (Verhart, 2007).

Assumption on Natural Experiences

-The third assumption posited that there exist natural experiences that are authoritative in nature. This implies that some natural experiences are more insightful than others. We can employ the experiences of past renowned poets to get a hint of what should be experienced when we encounter various phenomena. In this manner, great poets can be likened to sages employed in the spiritual traditions of the Asians who embody insightful experiences.

Assumption on Culture and Nature

-The fourth assumption was that culture and nature are inseparable. According to the Japanese culture, poetry is viewed as the natural expression of the feelings of humankind, a notion presented in the popular preface to the collection of poetry in Japanese courts. As is the case with all the other assumptions, it is only the highly cultured individual that can genuinely experience nature and express their feelings regarding this experience (Matsuo, & Barnhill, 2004). Therefore, culturized nature, if executed with in-depth cultural reflection into nature, is the only true nature.

Implication

Based on the above assumptions, it can be stated that the more an individual knows about the cultural as well as the scientific nature images, the more they comprehend the Japanese experience about nature. This comprehension will, in turn, empower their experience regarding the complexity of the natural world and its relationship to culture.

Haiku Poetry and the Inter-Being

The word inter-being, which means everything must be in everything else, is associated with a Vietnamese monk, Thich Hanh. As human beings, we experience this reality via mindfulness, and through our daily encounters in the world. This means that one form of life-energy is influencing everything. Haiku means allowing this energy, life or reality to write itself. Simply stated, haiku records the immediate experiences we encounter in our daily discourse. Therefore, rather than being viewed as a form of art, haiku is usually viewed as a way of life (Hume, 1995). This means that haiku can best be described as a way of seeing, being, or listening. Therefore, owing to the fact that haiku is based on an individual’s daily experiences, it is best written immediately after the experiential occurrence.

The Haiku Writing Spirit

According to, Basho, one of the renowned haiku masters, a haiku poet should not follow the strides of old poets, but rather, should aim at seeking what they sought. Specifically, the haiku spirit exhibits:

-simple awareness regarding the present

-living the present moment to full capacity

-experiencing the impact of life energy

Implication

By adhering to the principle of simple awareness, it means that one is deprived of their ego rendering them selfless. Notably, being selfless is one of the basic tenets of haiku poetry. Deriving from the above fact, it follows that one should avoid the use of possessive or personal pronouns while composing a haiku poem. This is because, in Japanese haiku, very limited direct expression of the poet’s emotions is allowed. This means that the poet should describe what they experience rather than how they feel about it (Yasuda, 2011). However, in some cases, it is allowed to express indirect emotions more so the feelings based on short-lived beauty. Haiku is not judgmental, comparative, or analytic.

Words to Avoid When Composing Haiku

Notably, unlike much of the ancient Western poetry, haiku does not incorporate metaphors, but rather describes events as they are (Central Oregon Community College. (1996). In most cases, haiku uses simple words such as ‘spring rain’, ‘cool evening’ and the like in describing present experiences. Of importance to note, one should avoid words that are judgmental in nature such as ‘frightening’ or ‘amazing’, and abstract ideas such as ‘consciousness’ and ‘eternity’. However, it should be noted that though haiku emphasis on the use of simple and direct experiences, it does not imply that it is a mere description of a pretty image. In contrast, haiku conveys a deep, non-dual and direct experience (Stibbe, 2007). This means that if the experiential part is missing, it results in a superficial description which cannot be termed as a haiku.

Communion

If the goal of practicing haiku is the achievement of non-dual consciousness, then the notion of communion becomes a critical element. This element is pronounced in Zen haiku as opposed to Western haiku. When haiku is practiced for spiritual purposes, it usually reflects an ever increasing consciousness which is non-dualistic in nature. In the body of the poem, this aspect is manifested as two or more distinct elements connected via one force, one flow and one movement.

The Techniques Employed In Haiku the Writing of Haiku

Form

A haiku comprises of three lines that are short in nature with either:

-accented syllables that assume the form of 2-3-2, plus any other number of syllables that are unaccented

-syllables that assume the 5-7-5 form (Basho, 2011)

-free verse

 

The Concept of Accented Syllables

However, many poets that write in the English language prefer the 5-7-5 syllable haiku, either accented or not. This form is preferred because it is simple to use compared to others. On the other hand, the 2-3-2 accented syllables form has an advantage in that it is more flexible and exhibits more naturalness. Notably, the natural rhythm exhibited by the English language as well as English poetry emanated from its syllables that are accented in nature. This aspect can be contrasted with the Japanese syllables where each and every syllable is accented. Normally, one is able to determine which syllables are accented by reciting the poem lines aloud. However, in haiku poems, the aspect that is primarily employed to determine this feature is the meaning of the particular word.

Special Cases

Notably, in most cases, articles (the, an, and, a), pronouns (you, he, and, this), conjunctions (when, and, and, but), prepositions (near and from), and many helper verbs such as can, has, and will have no accents attached to them. However, it should be noted that the decision to use either 5-7-5, 2-3-2 syllables, or three short lines instead lies at the discretion of the poet. Therefore, there exist no rights, wrongs, or absolutes. All the three forms are commonly employed when writing haikus in the English language.

The Present Tense

The fact that haiku majors on present experience it is usually written in either the present or the present perfect tense.

 

 

Style and Language

Haiku employs as minimum words as practically possible. Notably, sly humor can also be employed when composing haiku. However, it should be noted that haiku that are solely meant to be jokes, such as the popular spam haiku, or the famous haiku regarding computer breakdowns, are not regarded as haiku, but rather are categorized as senryu, which is the humorous class of haiku poetry. Of importance to note, when one is composing a haiku, it is recommended that they employ evocative, concrete and specific words. It is also allowed to use a title indicating the context of your haiku. Notably, often times, the words employed will convey series of meanings (Verhart, 2007). In most cases, a poet will repeat a particular word to express their feeling. To add beauty to the haiku, most poets employ alliteration and internal rhyme. However, it should be noted that using rhyming patterns at line ends as is typical in western poetry are not common in haiku and hence tend to sound misplaced.

Grammar and Traditional Techniques

The words and phrases employed in Japanese haiku normally indicate a particular season. Kireji, which means a ‘cutting’ or ‘pause,’ is usually employed in Japanese haiku to depict a question, uncertainty, or an accent. They are normally found at the end of poem lines and are meant to heighten the emotion implied in the poem. In the English language, the same effect is realized by inserting punctuation marks in the poem. For example, a semi-colon cuts a given sentence twice, emphasizing on both parts equally. On the other hand, a dash is employed to put emphasis and add the concepts that follow. Free grammatical forms are also common, including the use of incomplete sentences, abbreviations, subject-object switching among others.

 

Presentation

Just like is the case with most poetry, haiku is meant to be listened to rather than read. Therefore, after writing haiku for the first time, it is recommended that the poet reads it aloud severally to appreciate how it sounds. By so doing, the poet will be in a position to judge whether their composition is viable for the audience or not. When officially presented to a group, haiku are normally read aloud two times. The reading enables the listeners to get a better comprehension. Often, this in-depth meaning is possible only after the second hearing of the haiku.

Conclusion

Haiku poetry is one of the ancient genres of Japanese poems that are still relevant in the modern Japanese society. The genesis of this genre of poetry is associated with four haiku masters Masaoka Shiki, Kobayashi Issa, Yosa Buson, and Matsuo Basho. The commonly employed composition structure comprises of seventeen syllables that assume the 5-7-5 syllable form. Two distinctive features of haiku are its allusion to nature and the incorporation seasonal references in its body. Observing that haiku poems describe current experiences in life, they are usually written in present or the present perfect tense.

 

 

References

Addiss, S., Yamamoto, F. Y., & Yamamoto, A. Y. (2009). Haiku: An anthology of Japanese poems. Boston: Shambala.

Basho, M. (2011). Haiku. New York: Benchmark Education Company.

Carter, S. D. (2011). Haiku before haiku: From the Renga masters to Bashō. New York: Columbia University Press.

Central Oregon Community College. (1996). Haiku, a poem of 17 syllables. Retrieved from web.cocc.edu/cagatucci/classes/hum210/coursepack/haiku.htm

Hume, N. G. (1995). Japanese aesthetics and culture: A reader. Albany, N.Y: State University of New York Press.

Matsuo, B., & Barnhill, D. L. (2004). BashÂo’s haiku: selected poems by Matsuo BashÂo. State University of New York Press.

McGee, M. D. (2009). Haiku– the sacred art: A spiritual practice in three lines. Woodstock, VT: SkyLight Paths Pub.

Stibbe, A. (2007). Haiku and beyond: language, ecology, and reconnection with the natural world. Anthrozoös, 20(2), 101-112.

Verhart, M. (2007). The Essence of Haiku as Perceived by Western Haijin.Modern Haiku Journal, 38 (2).

Yasuda, K. (2011). The Japanese haiku: [its essential nature and history]. New York: Tuttle Pub.