MH44-3-Gage-Placewesternhaiku

Total Page:16

File Type:pdf, Size:1020Kb

MH44-3-Gage-Placewesternhaiku 34 M!"#$% H&'() 44.3 T!" S"#$%&$ %' P(#)": T!" P%*"&*+#( %' C!"#$$ K"%$ +& W"$*",& H#+-. Joshua Gage ne PGUIFNBKPSJTTVFTGBDJOHUIFBEBQUJPOPGIBJLVJOUP8FTUFSO 0MBOHVBHFT JT UIF SPMF PG kigo 0ĕFO USBOTMBUFE BT iTFBTPOBM SFGFS- FODFuPSiTFBTPOBMXPSE ukigoBSFNVDINPSFUIBOUIBU%VFUPUIFJSIJT- UPSZ XIJDITPNFTDIPMBSTBSHVFDPOOFDUTCBDLUPDMBTTJDBM$IJOFTFQPFU- ry, kigoBDUVBMMZTFSWFBTNBSLFSTPGkisetsu PSTFBTPOBMFNPUJPOăSPVHI UIFVTFPGkigo +BQBOFTFIBJLVBSFBCMFUPFBTJMZUBQJOUPUIFMBSHFMJUFSBSZ USBEJUJPOPGTFBTPOBMFNPUJPO)PXFWFS UIJTUSBEJUJPOJTOPUUSVMZEFNP- DSBUJD BT8JMMJBN+)JHHJOTPOQPJOUTPVUJO !e Haiku Seasons: Poetry of the Natural World: 4FBTPOBMGFFMJOH<JO+BQBOFTFMJUFSBUVSF>DPNFTFBTJMZUPUIPTFMJWJOHJO+B- QBOw6OUJMWFSZSFDFOUMZ UIFXFBUIFSQBUUFSOTBOEDMJNBUFPG,ZPUPPS 5PLZP CPUIDPOUSPMMFECZUIFXBSN+BQBO$VSSFOUJOUIF1BDJđD0DFBO IBWFEPNJOBUFEUIF+BQBOFTFQFSDFQUJPOPGUIFTFBTPOT )JHHJOTPO 0OFPGUIFNBJOUPPMTPG+BQBOFTFIBJLVQPFUTJTBsaijiki, an organized DPMMFDUJPOPGkigoBOESFMBUFEIBJLV&BDIFOUSZJOBsaijiki usually in- DMVEFTBEFTDSJQUJPOPGUIFkigoJUTFMG QPTTJCMZFWFOBQIPUPHSBQI BMJTUPG SFMBUFEXPSETPSQISBTFT BOETPNFFYBNQMFTPGIBJLVUIBUJODMVEFUIBU kigoăFTFDPMMFDUJPOTIFMQ+BQBOFTFQPFUTBOESFBEFSTUPJEFOUJGZOPU POMZUIFTFBTPOPGUIFIBJLV CVUBMTPUIFIJTUPSZPGFBDIkigo and its sea- TPOBMGFFMJOH 8FTUFSODPVOUSJFT QBSUJDVMBSMZUIF6OJUFE4UBUFT EPOPUIBWFUIJTIJT- UPSJDBMMJUFSBSZDPOOFDUJPOUPUIFTFBTPOT TPBUUFNQUTUPVTFkigo in a tra- EJUJPOBM+BQBOFTFTFOTFPĕFOGBMMĔBU)BJLVQPFUBOEFEJUPS"$.JTTJBT BSHVFTJOUIF*OUSPEVDUJPOUPUIFAcorn supplement In Due Season: A Discussion of the Role of Kigo in English-Language Haiku i0VSTFMFDUJPO PGTFBTPOXPSETOFFETUPCFCSPBEFOFEUPJODMVEFBNPSFVQUPEBUFBOE E!!"#! NVMUJDVMUVSBMTFUPGTJHOJđFSTu .JTTJBT *OBDPVOUSZMJLFUIF6OJUFE 4UBUFT XIJDIJTPWFSUXFOUZđWFUJNFTUIFTJ[FPG+BQBO JUPOMZNBLFT TFOTFUIBUUIFSFXPVMECFBUMFBTUUXFOUZđWFSFHJPOBMsaijiki SJGFXJUISF- gional kigo XIJDIBSFDBMMFEchiboo kigoJO+BQBO*GPOFBDDFQUTUIBUFBDI SFHJPOTIPVMEIBWFUIFJSPXOMPDBMJ[FEkigo UIPTFkigoTIPVMEFDIPUIF MPDBMFUIBUJOTQJSFEUIFN*EFBMMZ chiboo kigoJO8FTUFSOIBJLVDBOBOE TIPVMESFTPOBUFOPUPOMZTFBTPOCVUBMTPQMBDF ăF5SPVCMFXJUI,JHPJO&OHMJTI OIJTFTTBZiSeasonality: English-language Haiku in Search of the Verti- Ical u$IBSMFT5SVNCVMMTFUTGPSUIUIFJTTVFTGBDFECZ&OHMJTIMBOHVBHF IBJLVQPFUTXIFOBUUFNQUJOHUPVTFkigo)FCFHJOTXJUIBQSPQPTBMGSPN )BSVP4IJSBOFUIBUIBJLVCFBOBMZ[FEBMPOHUXPBYFTiUIFAIPSJ[POUBM SFQSFTFOUJOH UIBU BTQFDU PG UIF QPFUTDPOTDJPVTOFTT UIBU BEESFTTFT UIF QSFTFOUBOETQFBLTUPIJTDPOUFNQPSBSJFTBOEUIFAWFSUJDBM UIFIBJLV QPFUTMJOLUPBIJTUPSJDBM DVMUVSBM BOEMJUFSBSZQBTUu 5SVNCVMM ăF BSHVNFOUJTQPTJUFEUIBUkigoJTUIFQSJNBSZUPPMUPEFWFMPQBOETUSFOHUI- FO B IBJLVT WFSUJDBM BYJT 5SVNCVMM UIFO TUBUFT UIF PCWJPVT QSPCMFN i8FTUFSOIBJLVQPFUTBSFTUJMMGBSGSPNFSFDUJOHBTBUJTGBDUPSZWFSUJDBMBYJT TFBTPOBMPSPUIFSXJTF GPSPVSXPSLu ăFJTTVF PGDPVSTF JTUIBU 8FTUFSOQPFUTEPOPUIBWFUIFMJUFSBSZIJTUPSZPSBODFTUSZVQPOXIJDIUP lean. Japanese kigo IBWFDFOUVSJFTPGDVMUVSBM SFMJHJPVTBOEMJUFSBSZIJTUP- SZVQPOXIJDIFBDIJOEJWJEVBMkigoDBOSFTU XIFSFBT8FTUFSODPVOUSJFT UIF6OJUFE4UBUFTPG"NFSJDBJOQBSUJDVMBS TJNQMZBSFOPUPMEFOPVHIBOE DFOUSBMJ[FEFOPVHIUPIBWFTVDIBMJUFSBSZIJTUPSZ PSBT5SVNCVMMBSHVFT iDVMUVSBMMJUFSBDZJO"NFSJDBJTOPUXJEFTQSFBEPSQSPCBCMZEFFQFOPVHI GPSVTUPNBLFVTFPGPVSPXOWFSUJDBMBYJTSFHVMBSMZBOEEPJUXFMMu 5SVNCVMMBEESFTTFTNBOZPGUIFTPMVUJPOTPSQPTJUJPOTUBLFOCZXFTU- FSOXSJUFSTPGIBJLVUIBUBUUFNQUUPSFTPMWFUIJTQSPCMFN GSPNUIFEPH- NBUJDi$PNFIFMMPSIJHIXBUFS XFNVTUUSZUPVOEFSTUBOE+BQBOFTFTFB- TPOBMBTTPDJBUJPOTBOEVTFUIFNJOPVSIBJLVu UPUIFEBOHFSPVTMZ MJCFSBMi4FBTPOJTOPUSFBMMZOFDFTTBSZGPSXFTUFSOIBJLVBOZOBUVSFSFG- FSFODFXJMMEPKVTUđOFu UPUIFJODMVTJWFiăFTPMVUJPOUPUIFkigo QSPCMFNPOBHMPCBMTDBMFPSFWFOXJUIJOMBSHFDPVOUSJFTJTUPEFWFMPQB 36 M!"#$% H&'() 44.3 HMPCBMTBJKJLJu BTPMVUJPOXIJDIFDIPFTUIFTFOUJNFOUTPG8JMMJBN +)JHHJOTPOTJNQPSUBOU!e Haiku Seasons and Haiku World. Trumbull SFTQPOETUPFBDIBTTFSUJPOJOUVSO QPJOUJOHPVUUIFPCWJPVTĔBXTXJUI FBDI BSHVNFOU BOE VMUJNBUFMZ EJTNJTTJOH UIFN JO UVSO BT B DPNQMFUF TPMVUJPOăFFTTBZFOETPOUIFTFMGQSPDMBJNFETPNCFSJEFBTi4FBTPO DMFBSMZFOSJDIFTIBJLVJOBOZMBOHVBHF CVUJUEPFTOPUDBOOPUJOGPSN OPO+BQBOFTFIBJLVBTJUEPFT+BQBOFTFuBOEi8FTUFSOIBJLVBOE+BQBOFTF IBJLVTJNQMZPQFSBUFXJUIJOEJĈFSFOUDVMUVSBMHFPNFUSJFTu ăFJTTVF XJUI5SVNCVMMTBSHVNFOUTJTUIBUUIFZTFFNUPXBOUBOBMMPSOPUIJOH TPMVUJPOUPUIFkigo EJTDVTTJPO IPMEJOHVQBWFSZDPOTFSWBUJWF USBEJUJPOBM DPODFQUPGkigoUPUIFQPJOUUIBUDIBMMFOHFTUPJUGSPNWBSJPVTDPSOFSTPG +BQBOFTFMJUFSBUVSFBOEIBJLVQPFUJDTBSFJHOPSFE Chiboo Kigo G QBSUJDVMBS OPUF JT 5SVNCVMMT BSHVNFOU BHBJOTU UIF QSPQPTBM 0iSBUIFSUIBOEFWFMPQNFOUPGBTJOHMF HMPCBMsaijiki UIFTPMVUJPO UPUIFkigoQSPCMFNJTBTFUPGHPPE MPDBMsaijikiu ăJTBSHVNFOU XIJDITFFNTUPUBLFJOUPDPOTJEFSBUJPOCPUIUIFVOEFSTUBOEJOHPGkigo JOSFMBUJPOTIJQUPQMBDFBTXFMMBTUIFDVMUVSBMBOEDMJNBUJDEJWFSTJUJFTPGB DPVOUSZMJLFUIF6OJUFE4UBUFT JTEJTNJTTFECZ5SVNCVMM -PDBMJ[FE saijikiNBZJODSFBTFUIFDVMUVSBMEFQUIPGBIBJLVPOBMPDBMMFWFM CVUEPFTOUUIFHMPSZPGUIFkigoTZTUFN BĕFSBMM MJFQSFDJTFMZJOJUTVOJWFS- TBMJUZ *GPOFQVSQPTFPGBsaijikiJTUPTIPXIPXWBSJPVTQPFUTBQQSPBDIB TFBTPOBMFTTFODF JTJUOPUVOsaijikiMJLFUPBEWPDBUFBQSPMJGFSBUJPOPGsaiji- kiUIBUXPVMETFSWFUPPTTJGZEJWFSHFOUBQQSPBDIFTBOENFBOJOHT 5BLFO UPBMPHJDBMFYUSFNF XPVMEOUMPDBMsaijikiCFDPNFNPSFBOENPSFFTPUFSJD MFBEJOHUPQFSTPOBMDBUDIXPSETBOE"FTPQJBOMBOHVBHF ăFQSPCMFNIFSFJTUIBUXIBU5SVNCVMMEFTDSJCFTBTiVOJWFSTBMJUZuJTOPU USVMZVOJWFSTBM"T5SVNCVMMIJNTFMGBDLOPXMFEHFT FWFOUIFNPTUCBTJD PGkigoNBZIBWFBVOJWFSTBMVOEFSTUBOEJOHJO+BQBOPS+BQBOFTFDVMUVSF CVUMPTFUIBUVOJWFSTBMJUZXIFOUSBOTMBUFEUPBOPUIFSDVMUVSF5SVNCVMM QPTJUT iXFTUFSO DPVOUSJFTQBSUJDVMBSMZ "NFSJDBBSF SBSFMZ DVMUVSBMMZ E!!"#! 37 IPNPHFOPVTDPNQBSFEUP+BQBOu BOETFFNTUPJHOPSFUIBUXFTUFSO TUVEFOUTBOESFBEFSTPGIBJLV FWFOXIFOHJWFOTVQFSCUSBOTMBUJPOT BSF TUJMMBUBDVMUVSBMEJTBEWBOUBHFBOENVTUSFBE SFTFBSDIBOEEJTDPWFSUIF DVMUVSBMNFBOJOHTPGkigoUPVOEFSTUBOEUIFJSIPNPHFOPVTVOJWFSTBMJUZ o$en using a saijikiBTBOBJEF5PUIJTFOE BsaijikiJTOPUTJNQMZBSFGFS- FODFHVJEFGPSBVUIPST CVUBMTPBUPPMGPSSFBEFST QSPWJEJOHUIFNXJUI BEFFQFSVOEFSTUBOEJOH)PXFWFS BT.JDIBFM%ZMBO8FMDIQPJOUTPVU ăFQSPCMFNXJUIUIFDPEJđDBUJPOPGkigoJTUIBUUIFZBSFDPEJđFESFMBUJWF UPBDFSUBJOQMBDF*O+BQBO kigoBSFUSBEJUJPOBMMZSFMBUJWFUP,ZPUP TPMJNJUT FYJTU FWFOJO+BQBOXSJUJOHDIFSSZCMPTTPNQPFNTJO+VOFJO)PLLBJEP CSFBLTUIFASVMFUIBUTQSJOHJTNVDIFBSMJFSGVSUIFSTPVUI 8FMDI #FDBVTFkigoDBOOPUCFTBJEUPCFVOJWFSTBMJOVOEFSTUBOEJOH MPDBMBOE SFHJPOBMVOEFSTUBOEJOHNVTUCFUBLFOJOUPDPOTJEFSBUJPOGPSUIFkigo to IBWFUSVFSFTPOBODFBOEGPSUIFIBJLVUPTVDDFFEBMPOHUIFWFSUJDBMBYJT ăJTJTCFDPNJOHUSVFFWFOJO+BQBOFTFIBJLV *UJTUIJTDPEJđDBUJPOBOEUIFJTTVFTUIBUJUQSFTFOUTXIJDIIBTMFEUP BGBJSMZSFDFOUJOOPWBUJPOJO+BQBOchiboo kigo%S(BCJ(SFWFXSJUFT UIBUsaijiki PGchiboo kigoDPMMFDUiSFHJPOBMkigo TPNFUJNFTFWFOJOEJBMFDU GSPNSVSBMBSFBTPG+BQBO/BUVSBMQIFOPNFOBBSFJODMVEFE BOENPSF JOUFSFTUJOH UIFMPDBMGFTUJWBMT GPPEBOEPUIFSOFDFTTJUJFTPGUIFEBJMZMJGFu ăFTFSFHJPOBMsaijikiTFFNUPTPMWFUIFJTTVFTPGDPEJđDBUJPOBOEPWFS IPNPHFOJ[BUJPOPGkigo FWFOXJUIJO+BQBOFTFDVMUVSF %FQFOEFOUBOE*OEFQFOEFOUChiboo Kigo O8FTUFSOIBJLV JUDBOCFBSHVFEUIBUUIFSFBMSFBEZFYJTUUXPWBSJFUJFT IPGchiboo kigoEFQFOEFOUBOEJOEFQFOEFOUBMUIPVHI VQUPUIJTQPJOU UIFZIBWFOPUCFFOJEFOUJđFEBTTVDI#PUIFRVBMMZSFQSFTFOUUIFTFBTPO PGUIFIBJLVIPXFWFS EFQFOEFOUchiboo kigoSFRVJSFFYUSBJOGPSNBUJPO GSPNUIFIBJLVUPCFVOEFSTUPPE.PSFPĕFOUIBOOPU UIJTJTCFDBVTF a writer is using a kigoUIBUIBTNVMUJQMFVTFTBDSPTTSFHJPOT+JN,BDJBO writes: 38 M!"#$% H&'() 44.3 ăFPOTFUPGSBJONFBOTTPNFUIJOHDPNQMFUFMZEJĈFSFOUUPQFPQMFJO*O- EJB JO&OHMBOE JOUIF1BDJđD/PSUIXFTU:FUJUXPVMECFSFBTPOBCMFUP FYQFDUUIFQPFUTPGUIFTFSFHJPOTUPXSJUFIBJLVCBTFEPOTVDIFYQFSJFODFT JO&OHMJTI*UTFFNTVOMJLFMZUIBUUIFTBNFkigoXPVMETVċDFGPSFBDIPG UIFN ,BDJBO ăFSFGPSF UIFkigoiPOTFUPGSBJOuXPVMEOFFEBOPUIFSJNBHFPSSFGFSFODF JOUIFIBJLVGPSJUUPUSVMZCFVOEFSTUPPEBTBkigoQBSUJDVMBSUPJUTSFTQFD- UJWFSFHJPOăJTEPFTOPUOFDFTTBSJMZNBLFJUBXFBLkigo BTJUDBOTUJMM DBSSZUIFFNPUJPOBMSFTPOBODFPGUIFTFBTPO*UTJNQMZNFBOTUIBU EVFUP UIFMJNJUBUJPOTPGMBOHVBHFBOEUIFDPOEFOTFEOBUVSFPGUIFIBJLVGPSN B QPFUNVTUNBLFFYUSBFĈPSUUPFTUBCMJTIBDMFBSSFHJPOGPSUIFJSkigo0ODF UIBUSFHJPOJTFTUBCMJTIFE UIFkigoDBSSJFTUIFSFTPOBODFQBSUJDVMBSUPUIBU region, and works as chiboo kigo. 'PS FYBNQMF UIF GPMMPXJOH IBJLV CZ #JMMJF 8JMTPO GSPN UIF POMJOF Alaska saijiki: PVUPGUIFNJTU B5MJOHJUXBSDBOPF đMMFEXJUIUPVSJTUT ăFQISBTFiUPVSJTUuJT JOEFFE BkigoăFSFJTBTQFDJđDTFBTPOGPSUPVS- JTUTJO"MBTLB BOEUIFsaijikiSFBET iEVSJOHUIFTVNNFS UIFSFBSFPĕFO UIPVTBOETNPSFUPVSJTUTJOEPXOUPXO+VOFBVUIBO"MBTLBOTuăFJTTVF PGDPVSTF JTUIBUUIFQISBTFiUPVSJTUuPSiUPVSJTUTFBTPOuJTOPUMJNJUFE UP"MBTLBăFSFBSFNBOZSFHJPOTXJUIUPVSJTUTFBTPOT BOECFDBVTFUIJT XPSEBMPOFEPFTOPUDPOOPUF"MBTLB 8JMTPOJTSFRVJSFEUPQSPWJEFBE- EJUJPOBMJOGPSNBUJPO JOUIJTDBTFUIFOBNFPGBOJOEJHFOPVTUSJCF DMFBSMZ MPDBUJOHUIFQPFNJO"MBTLBJOPUIFSXPSET UIFkigoiUPVSJTUuJTEFQFO- EFOUVQPOUIFXPSEi5MJOHJUuUPQMBDFUIFIBJLVXJUIJOBSFHJPO0ODF UIBUSFHJPOIBTCFFOFTUBCMJTIFE iUPVSJTUuCFDPNFTBDMFBSkigoPGUIBUSF- HJPOăFNPSFQPFUTGSPN"MBTLBUIBUVTFUIJTkigo UIFNPSFEFQUIXJMM CFBEEFEUPUIFXPSE BOEUIFNPSFFBDIIBJLVXJMMBDIJFWFPO4IJSBOFT WFSUJDBMTDBMF )PXFWFS UIFSF BSF JOEFQFOEFOU kigo UIBU BSF BMM CVU FYDMVTJWF UP B E!!"#! 39 QBSUJDVMBSSFHJPOăFTFkigoNJHIUCFBTPCWJPVTBTSFHJPOBMMZTQFDJđD ĔPSBBOEGBVOB PSNJHIUCFBTTVCUMFBTBMJOHVJTUJDSFHJPOBMJTNăFZEP IPXFWFS HSPVOEUIFIBJLVJOCPUIBTFBTPOBOEQMBDF BOESFQSFTFOUUIF JEFBMPGchiboo kigoJOXFTUFSOIBJLV0OFTVDISFHJPOUIBUJTMJUUFSFEXJUI TVDIkigoJTUIF4BO'SBODJTDP#BZ"SFB'PSFYBNQMF 1BUSJDJB+.BDI- NJMMFSTIBJLV )PNBO (BMMBHIFS BOE.BDINJMMFS UIFQBQFSZCJUT PGWFMFMMBWFMFMMB IPXĔFFUJOHUIJTMJGF ăFJOEFQFOEFOUchiboo kigoPGUIJTQBSUJDVMBSIBJLVJTiWFMFMMBWFMFMMBu "T.BDINJMMFSFYQMBJOTJO!e San Francisco Bay Area Nature Guide and Saijiki, #ZUIFXJOETBJMPSTBSFTNBMMKFMMZđTIPGBEFFQUSBOTQBSFOUCMVFUIBUDMVT- UFSUPHFUIFSJOMBSHFSBĕTăFZBSFCPSOJOUIF1BDJđD0DFBOPWFSUIFNJE 1BDJđD3JEHFw*GUIFZDPNFUPPDMPTFUPTIPSF
Recommended publications
  • Haiku Attunement & the “Aha” Moment
    Special Article Haiku Attunement & the “Aha” Moment By Edward Levinson Author Edward Levinson As a photographer and writer living, working, and creating in Japan spring rain for 40 years, I like to think I know it well. However, since I am not an washing heart academic, the way I understand and interpret the culture is spirit’s kiss intrinsically visual. Smells and sounds also play a big part in creating my experiences and memories. In essence, my relationship with Later this haiku certainly surprised a Japanese TV reporter who Japan is conducted making use of all the senses. And this is the was covering a “Haiku in English” meeting in Tokyo where I read it. perfect starting point for composing haiku. Later it appeared on the evening news, an odd place to share my Attunement to one’s surroundings is important when making inner life. photographs, both as art and for my editorial projects on Japanese PHOTO 1: Author @Edward Levinson culture and travel. The power of the senses influences my essays and poetry as well. In haiku, with its short three-line form, the key to success is to capture and share the sensual nature of life, both physical and philosophical. For me, the so-called “aha” moment is the main ingredient for making a meaningful haiku. People often comment that my photos and haiku create a feeling of nostalgia. An accomplished Japanese poet and friend living in Hokkaido, Noriko Nagaya, excitedly telephoned me one morning after reading my haiku book. Her insight was that my haiku visions were similar to the way I must see at the exact moment I take a photo.
    [Show full text]
  • Kigo-Articles.Pdf
    Kigo Articles Contained in the All-in-One PDF 1) Kigo and Seasonal Reference: Cross-cultural Issues in Anglo- American Haiku Author: Richard Gilbert (10 pages, 7500 words). A discussion of differences between season words as used in English-language haiku, and kigo within the Japanese literary context. Publication: Kumamoto Studies in English Language and Literature 49, Kumamoto University, Kumamoto, Japan, March 2006 (pp. 29- 46); revised from Simply Haiku 3.3 (Autumn 2005). 2) A New Haiku Era: Non-season kigo in the Gendai Haiku saijiki Authors: Richard Gilbert, Yûki Itô, Tomoko Murase, Ayaka Nishikawa, and Tomoko Takaki (4 pages, 1900 words). Introduction to the Muki Saijiki focusing on the muki kigo volume of the 2004 the Modern Haiku Association (Gendai Haiku Kyôkai; MHA). This article contains the translation of the Introduction to the volume, by Tohta Kaneko. Publication: Modern Haiku 37.2 (Summer 2006) 3) The Heart in Season: Sampling the Gendai Haiku Non-season Muki Saijiki – Preface Authors: Yûki Itô, with Richard Gilbert (3 pages, 1400 words). An online compliment to the Introduction by Tohta Kaneko found in the above-referenced Muki Saijiki article. Within, some useful information concerning the treatments of kigo in Bashô and Issa. Much of the information has been translated from Tohta Kaneko's Introduction to Haiku. Publication: Simply Haiku Journal 4.3 (Autumn 2006) 4) The Gendai Haiku Muki Saijiki -- Table of Contents Authors: Richard Gilbert, Yûki Itô, Tomoko Murase, Ayaka Nishikawa, and Tomoko Takaki (30 pages, 9300 words). A bilingual compilation of the keywords used in the Muki Saijiki Table of Contents.
    [Show full text]
  • POETRY Haikai, the Poetics of Intensity and Perception
    Haikai, the poetics of intensity and perception Arlindo Rebechi Junior Professor of the School of Architecture, Arts and Communication (FAAC), of the São Paulo POETRY State University (UNESP), and of the Graduate Program in Communication – UNESP. PhD in Brazilian Literature from the School of Philosophy, Letters and Human Sciences (FFLCH) of the University of São Paulo (USP). E-mail: [email protected] Abstract: This short article has the purpose Resumo: Este breve artigo tem o propósito of presenting the Japanese poetry known de apresentar a poesia japonesa conheci- as haikai. Its most prevalent representative da como haikai. Seu principal mestre foi was Matsuo Bashô (1644-1694) and he was Matsuo Bashô (1644-1694), responsável responsible for providing a new status to por dar um novo estatuto ao haikai ao the haikai, creating a school called Shômon criar uma escola chamada Shômon, em where he made many disciples. que formou muitos discípulos. Keywords: Matsuo Bashô; Japanese poetry; Palavras-chave: Matsuo Bashô; poesia haikai. japonesa; haikai. 127 comunicação & educação • Year XXIV • issue 1 • Jan/Jun 2019 Haikai is simply what is happening here, now. Matsuo Bashô1 1. HAIKAI: THE LITTLE JAPANESE POETIC COMPOSITION To understand the poetic form of the haikai, we need to know its antecedents. Present in a central position in Japanese poetry of classical tradition, the tanka is a kind of short poem whose metric composition follows the 5-7-5-7-7 scheme, alternating its verses sometimes with five syllables, sometimes with seven syllables. 1. Bashô, in response to Over time, a division between the first three verses (the 5-7-5 triplet) and the his zen master Bucchô, apud FRANCHETTI, last two verses (the 7-7 couplet) – respectively, the upper stanza (kami-no-ku) and Paulo.
    [Show full text]
  • Observe the Japanese Consciousness of Beauty by Kigo
    Advances in Social Science, Education and Humanities Research, volume 85 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics (MSETASSE 2016) Observation of the Japanese Consciousness of Beauty by Kigo Study Shen Wen, a 1Jiangxi college of foreign studies,NanChang,330099, China [email protected] Keywords: Kigo; Haiku; Consciousness; Beauty; Religious customs Abstract. Season language is the soul of haiku. The natural geographical environment and traditional farming production make the Japanese nation forms the genesis of life, cultural psychological structure of the nation that bears a unique way of thinking, emotions, values and aesthetic appeal in depth. Kigo in haiku implies the natural aesthetics that Japanese people interact with nature communion, which conveys the profound nature of the Japanese people's unique aesthetic view and philosophy of language likes season’s word. 1. Introduction Haiku is a traditional form of Japanese literature rhyme, it is not only the shortest metrical poetry in the world's literature, but also is unique to Japanese Literature Poetry. Traditional haiku requires seventeen syllables, as かとにま つははたちあふ よ ちいさし. This haiku is to the effect that: before the door stand tall sunflower, old mother stand still under it, expecting the child back, I am so eager to go home. In addition, the haiku also requires the existence of a season word. Kigo is an important factor in the haiku sentence, it is like "Poetry eye" in the poem, which is the key to understanding haiku. So, in this first sentence of haiku, kigo is "Li Kui”, a kind of ornamental flowers.
    [Show full text]
  • Kigo: Seasonal Words Four-Monthly Poetry
    Issue 1 New Year / Spring April 2014 Kigo: Seasonal Words Four-Monthly Poetry TABLE OF CONTENTS EDITOR’S WELCOME ...............................................p.1 100 HAIKU ...............................................p.2 CONTRIBUTORS .............................................p.34 A FEW KIGO .............................................p.44 CALL FOR SUBMISSIONS .............................................p.45 Kigo: Seasonal Words Four-monthly Poetry ISSN 2055-3420 © Chuffed Buff Books Ltd., 2014 Editorial and design by S Philip Cover image © Knumina Studios / shutterstock.com, 2014 All haiku appear under copyright of their respective authors. No work may be republished or used in any way without written permission. Published by Chuffed Buff Books Ltd., London, UK www.chuffedbuffbooks.com Issue 1 New Year / Spring April 2014 Kigo: Seasonal Words Four-Monthly Poetry elcome to the inaugural issue of Kigo: Seasonal Words! This three-times-a-year poetry e-zine is Wdedicated to the art of haiku. A project fuelled by a passion for the poetic, it is free to submit to and free to download. A new issue will be available in PDF format each April, August and December. The focus of this first issue is ‘New Year/Spring’. Transition, emergence and rebirth. From the dark days of winter to the fresh blossoming of spring, the following 100 haiku reflect the nature, feeling and tone of these seasons. Also included are brief biographical notes of the forty international contributors whose work adorns these pages. I guarantee you will find interesting
    [Show full text]
  • Japan and the Culture of the Four Seasons Nature, Literature and the Arts
    Rethinking Nature in Contemporary Japan From Tradition to Modernity edited by Bonaventura Ruperti, Silvia Vesco and Carolina Negri Japan and the Culture of the Four Seasons Nature, Literature and the Arts Haruo Shirane (Columbia University, New York City, USA) Abstract This paper examines the major functions of the representations of nature in traditional Japanese culture with an emphasis on the following: 1) the codification of nature and the seasons in a wide range of Japanese cultural phenomena, beginning with classical poetry (waka) and scroll paintings (emaki), from at least the tenth century onward; 2) the cause, manner, and function of that codification, particularly the social and religious functions; 3) a major historical change in the repre- sentation of nature in the late medieval period (fourteenth to sixteenth centuries) to include more farm-village based views of nature and the seasons; and 4) the dynamic of intertwining courtly and popular representations of nature in the early modern period (seventeenth to nineteenth centuries). Summary 1 Talismanic Representation. – 2 The Function of Seasonal Words. – 3 Satoyama (Farm Village at the Foot of a Mountain). – 4 Seasonal Pyramid. – 5 Seasonal Words in the Modern Period. Keywords Nature. Four seasons. Japanese culture. Social and talismanic functions. This essays aims to deal with the major functions of nature in traditional Japanese culture. The analysis will be drawn from my recent book title Japan and the Culture of the Four Seasons.1 Let us begin with a large Japanese screen painting (byōbu-e 屏風絵) from around the sixteenth century (fig. 1). The painting below has no title, leav- ing us to guess the content.
    [Show full text]
  • 1. Why Does Haiku Attract So Many People?
    HPR2012 Keynote Speech Why Haiku is Popular? Akito Arima Good morning, ladies and gentlemen, my fellow haiku poets! It is my great honor and pleasure to be here at this beautiful Asilomar and to have this opportunity to talk about our traditional genre of literature called haiku. I would like to begin with a question, why so many people, not only in Japan, but people elsewhere in the world are attracted to haiku. Then I would like to talk about the subject and the form of haiku in Japan, my speculation on animism as the basis for haiku and mutual understanding among different cultures, and finally about the spread of haiku to the West and its influence on Western poetry. So let me begin. 1. Why Does Haiku Attract So Many People? There are millions of haiku poets in Japan. One or two teachers lead each of hundreds of groups of haiku poets and publish a monthly or bimonthly haiku journal. The largest journal is Hototogisu, which is said to have several hundred thousand subscribers, and the smaller groups or journals may have a hundred members or subscribers. Suppose each haiku group has 1,000 members. Since there are roughly 1,000 haiku groups in Japan, we can try a simple calculation: 1,000 multiplied by 1,000 makes one million. Besides that, many haiku poets write haiku without belonging to a group, and submit their haiku to newspaper columns and haiku magazines. Why are there so many haiku poets in Japan? The three greatest reasons are these: (1) Because haiku is short and has the fixed form of 5-7-5 Japanese syllables.
    [Show full text]
  • The History of Australian Haiku and the Emergence of a Local Accent
    The History of Australian Haiku and the Emergence of a Local Accent Author: Rob Scott, B.A. Dip Ed. College of the Arts, Writing, Communication and Culture Discipline Group, Victoria University Submitted in fulfillment of the requirements of the degree of Masters by Research March, 2014. Table of Contents The History of Australian Haiku and the Emergence of a Local Accent ....................................................... i Table of Contents ............................................................................................................................................................... ii Abstract .................................................................................................................................................................................iv Acknowledgements ........................................................................................................................................................... v Student Declaration .........................................................................................................................................................vi Prologue to Thesis ............................................................................................................................................................. 1 Australia’s First Haiku? ............................................................................................................................................... 1 Chapter 1 – Introduction to Thesis ............................................................................................................................
    [Show full text]
  • Basho's Haiku
    Introduction THE HAIKU POETRY OF MATSUO BASHO¯ stormy sea— stretching out over Sado, Heaven’s River araumi ya / sado ni yokotau / amanogawa Basho¯ was standing on the western shores of Japan looking out upon the night sea. He was pausing on his long journey to the “deep north” of Japan, and he could hear the crashing of the waves. Miles beyond lay Sado Island. Sado was known as a place of riches, where gold was being mined. But even more it was known as a place where numerous people, including the Emperor Juntoku, the Buddhist leader Nichiren, and the great medieval No¯ dramatist Zeami, had endured the enforced soli- tude of exile. The poem begins with an exclamation of the vio- lence and vastness of the water, the cutting word ya functioning somewhat like an exclamation point. Then our consciousness is brought to a focus on the melancholy island, small in the cold sweep of ocean. The island lies in contrast to the ocean that sur- rounds it, yet it harbors centuries of the emotional storm of exile. Then our consciousness is pulled up and out across the sky, as Heaven’s River (the Milky Way) reaches from horizon to horizon. As a metaphorical river, it flows in eternal tranquillity above the storms of the sea and of human life, sparkling with a scattered brightness more pure than gold. Basho¯, the island, and everything on earth seem to be alone yet together under the 1 © 2004 State University of New York Press, Albany 2 Basho¯’s Haiku stream of stars.
    [Show full text]
  • Form__-Haiku-Tanka-Haynaku
    Form: Haiku & Tankas Haiku A haiku is a compact poem of three lines divided into syllabic units of 5-7-5. It shares with the reader the experience or observations of a poet. It talks about a mood or a moment, by juxtaposing images. The poem is composed by using simple words. The haiku focuses on a single moment, usually giving a very brief description of some event or object belonging to nature. In a haiku there is a word related to a particular season. It is called a kigo in the Japanese language. There are three lines in a Haiku. Line one - 5 syllables An old silent pond... Line two - 7 syllables A frog jumps into the pond, Line three - 5 syllable splash! Silence again. 3 classical examples in translation: (syllabification may be lost) Autumn moonlight— Lightning flash— A summer river being crossed a worm digs silently what I thought were faces how pleasing into the chestnut. are plumes of pampas grass. with sandals in my hands! ~Basho Matsuo ~Basho Matsuo ~Yosa Buson Tanka Tanka are 31-syllable poems that have been a popular form of poetry in Japan for at least 1300 years. As a form of poetry, tanka is older than haiku, and tanka poems evoke a moment or mark an occasion with concision and musicality. In Japanese, tanka is often written in one straight line, but in English and other languages, they are usually divided into the five syllabic units: 5-7-5-7-7. Usually, each line consists of one image or idea. A tanka is lyrical in nature, and it provides room to the poet to share his feelings.
    [Show full text]
  • Biblio:Basho-27S-Haiku.Pdf
    Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging in Publication Data Matsuo Basho¯, 1644–1694. [Poems. English. Selections] Basho¯’s haiku : selected poems by Matsuo Basho¯ / translated by David Landis Barnhill. p. cm. Includes bibliographical references and index. ISBN 0-7914-6165-3 — 0-7914-6166-1 1. Haiku—Translations into English. 2. Japanese poetry—Edo period, 1600–1868—Translations into English. I. Barnhill, David Landis. II. Title. PL794.4.A227 2004 891.6’132—dc22 2004005954 10 9 8 7 6 5 4 3 2 1 Basho¯’s Haiku Selected Poems by Matsuo Basho¯ Matsuo Basho¯ Translated by, annotated, and with an Introduction by David Landis Barnhill STATE UNIVERSITY OF NEW YORK PRESS for Phyllis Jean Schuit spruce fir trail up through endless mist into White Pass sky Contents Preface ix Selected Chronology of the Life of Matsuo Basho¯ xi Introduction: The Haiku Poetry of Matsuo Basho¯ 1 Translation of the Hokku 19 Notes 155 Major Nature Images in Basho¯’s Hokku 269 Glossary 279 Bibliography 283 Index to Basho¯’s Hokku in Translation 287 Index to Basho¯’s Hokku in Japanese 311 Index of Names 329 vii Preface “You know, Basho¯ is almost too appealing.” I remember this remark, made quietly, offhand, during a graduate seminar on haiku poetry.
    [Show full text]
  • How to Make Haiku English
    HOW TO MAKE HAIKU ENGLISH HOW TO MAKE HAIKU I adore the wind It makes me feel excited When it blows at me Guy Peppiatt Age 6, male, UK (2008) My golden dandelion Has flown asunder All over the world ©JAL Foundation Inna Yegaj, Age 5, female Russia (2008) What is Haiku? 'Haiku', or 'play verse' began in 17th century Japan as a result of ©JAL Foundation poetry contests. It was once considered to be a simple play on words or reason and was seen as second rate literature. However, Masaoka Shiki(1867-1902), a great modern Haiku poet advocated that 'Haiku is Literature.' Since then, Haiku has been one of the most important traditional literary forms in Japan. Haiku is a form of poetry that captures a moment in the poet's life in a very short, descriptive verse. The poem freezes a moment in time, leaving room for your imagination. Each word melts seamlessly into the other, transporting the reader into a poetical realm conjured up by three verses alone. A contemplative poetry, Haiku values nature, color, seasons, contrast and surprises. It has developed as a verse that expresses deep feeling for nature including human beings. This follows the traditonal Japanese idea that man is a part of the natural world, and should live in harmony with it. Matsuo Basho(1644-1694)is known as the greatest poet in the history of Haiku. He was born into a poor samurai family in southern Japan. When he was quite young he started studying Haiku and shortly afterwards opened his own school, where 2000 students studied under him.
    [Show full text]