Monthly Archives: April 2010

THE ESSENCE OF HOKKU

Because it is so important to understanding hokku, here is a repeat of an earlier posting: I have never been an admirer of Confucius, yet one can say of the teaching of hokku what Confucius said: “The Master said, “Do … Continue reading

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POETS OF THE DEAD WORLD

It is difficult to write hokku while living in a big city.  The reason is that to build a city, natural life is removed — trees and grasses, bushes and weeds, soil and streams and all the creatures that live … Continue reading

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CONTEMPLATIVE VERSE

One of the major influences on the writers of hokku was the old collection of the “Three Hundred Tang Poems.”  These were the famous classics of the Chinese Tang Dynasty that were to Japanese writers what college anthologies of poetry … Continue reading

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RAIN DRIPPING INTO A BASIN

I periodically emphasize that I do not translate old hokku here just to be translating them, but rather to show through them how hokku are to be written today in English and other languages. Some time ago I discussed this … Continue reading

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LIKE CLOUDS — OR IS IT GEESE, OR MAYBE….

Someone recently kindly asked me to participate in an online group project to translate — or at least present Englished versions of — all the hokku of Bashō.  I declined for a number of reasons, among them the fact that … Continue reading

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CHERRY BLOSSOMS COME BLOWING

Bashō wrote a very spring-like verse almost too pretty for hokku: From the four directions, Cherry blossoms come blowing in; Lake Nio. We could be a bit less literal and make it: From all directions, Cherry blossoms come blowing; Lake … Continue reading

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ON THE OLD DOOR

I repeatedly remind readers that hokku is very simple.  Here is a good example — a verse by Shōha: Furuki to ni    kage utsuriyuku   tsubame kana Old  door on   shadow changing swallow kana In essence, this is … Continue reading

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A WILLOWY WALDEN

Not long ago I introduced two short-verse “alternative” forms.  Both were intended for those times when a hokku is too small in space for what needs to be said. We find such an example in English translations of one of … Continue reading

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THE GREEN WILLOW ROAD

Buson the artist-writer was also a classicist heavily influenced by Chinese poetry.  Put very simply, Chinese poetry in general has a feeling of great distances, while Japanese poetry more often concentrates on the small and near.  Nonetheless, one sometimes finds … Continue reading

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Grown Old

The woman Seifu wrote: Doll faces; Unavoidably, I have grown old. The interest here is in harmony of opposites.  The faces of the dolls look still the same age, but the writer, by contrast, finds herself inevitably grown old — … Continue reading

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MY DESERT IS WAITING

Today I came across a wonderful example of excessive, exotic romanticism.  It is the beginning of a description of the 1929 movie “The Desert Song”: “GREEDILY the copper coin of the sun was tossed by some invisible hand into the … Continue reading

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HOKKU AS ILLUSION AND AS REALITY

Buson wrote: A Korean ship Passes without stopping; The haze. It is virtually impossible to recognize in English translation, but this verse is an example of the romantic tendency in Buson’s hokku — romantic in the sense of “evoking an … Continue reading

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THE HOKKU, THE WALDEN, AND NOW THE LOREN

Kyorai, one of Bashō’s students, wrote: Hito aze wa    shibashi naki yamu    kawazu kana One path wa for-a-while  cries silent   frogs kana An aze is specifically a path through rice paddies. When Blyth translated this, he changed … Continue reading

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APRIL AND LILACS

Yesterday I took a walk in the cool sun of spring, and passed a lilac bush in bud.  And then for all that evening, this line kept coming into my head: When lilacs last in the dooryard bloom’d… It is … Continue reading

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YOURS TRULY INTRODUCES THE WALDEN

Buson wrote a spring verse that is very tricky to put into English: Hana ni kurete   waga ie tōki   no-michi kana Blossoms at darkened   my home far   field-road kana Blyth, who often preferred to convey the … Continue reading

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