Monthly Archives: June 2010

SUDDENLY, WITH JOY

In hokku, as I have said many times, we do not use metaphor (saying one thing is another) or simile (saying one thing is like another).  There is a specific reason for that.  It is that in hokku, metaphor and … Continue reading

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“TRUE” AND “UNTRUE” HOKKU

In the past I have talked about the four kinds of verse, which can further be reduced to two kinds: 1.  The “facts” of the verse viewed subjectively. 2.  The “facts” of the verse viewed objectively. An important stage in … Continue reading

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AVOIDING DISTRACTIONS

It is important to distinguish the essentials from the nonessentials in learning hokku.  Many people easily get sidetracked, often never finding their way back. There are, of course, ways to improve one’s conscious understanding of hokku.  But it is the … Continue reading

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A SUDDEN SHOWER

Readers will long ago have noticed that I use old hokku — including verses just beyond what is technically the old “hokku” period — quite often.  My purpose in doing so is not just to provide a collection of old … Continue reading

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THE CLEAR WATER

A pleasant and simple summer hokku by Kitō: Little fish Are carried backwards; The clear water. We see the tiny fish in the clear, sunlight water, swimming against the current, which nonetheless is so strong that, still facing upstream, they … Continue reading

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IT WAS THE THIRD OF JUNE…

Today I am going to combine some things I have talked about lately: First is the “Question” hokku, the whole point of which is to ask a question — or raise a question — that remains unanswered. Shiki wrote a … Continue reading

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BEYOND THE HILLS: MORE PRACTICE IN CHINESE-STYLE VERSE

Here is some more on writing five-word Chinese-style quatrains.  For this exercise I have chosen a verse by Li Pin, called “Crossing the Han River.”  I have adjusted the five words of each line to fit English better, but the … Continue reading

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ONE BIG, LAZY CAT IS ALL OF SUMMER

Issa wrote this summer hokku: The big cat – Flopped down on the fan Asleep. It is rather typical Issa, with his connection to animals and his kind of humor. The point of the verse is that it is summer, … Continue reading

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POEMS SPOKEN, POEMS SUNG

We should not forget that both in the West and in parts of the East (as in China), poetry was originally sung — so when we think of song lyrics, we are really thinking about poetry. I have already said … Continue reading

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POETRY: IMAGE, SOUND, SENSE

I often mention the four approaches to verse: 1.  The subject (the writer)  treated subjectively (with the writer’s personal thoughts and opinions added); Example (Emily Dickinson): I died for beauty but was scarce Adjusted in the tomb, When one who … Continue reading

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INTRODUCING “CHINESE-STYLE” POETRY WRITING

As readers know, I often use the ancient concept of the two opposite yet harmoniously-working elements of the universe, Yin and Yang, in explaining hokku.  Jia Dao wrote: Asking the young boy beneath the pine, He says, “Master is off … Continue reading

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THE RED SUN

Sōseki wrote this summer hokku: The red sun Sinks down into the sea; The heat! The sun sinks into the sea every day, so what is different about this that makes it worthwhile and not just a commonplace?  It is … Continue reading

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YIN-YANG HOKKU

In our practice of hokku, we must beware of using the entire body of existing old hokku and its related literature as a fundamentalist uses the Bible.  By this I mean that we should not say, for example, “Jōsō did … Continue reading

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IN SEARCH OF THE ELUSIVE METAPHOR IN HOKKU

There is still a lot of confusion about metaphor and simile in hokku, so here is an old article newly revised to explain the matter more thoroughly: Haruo Shirane writes: “However, many of Basho’s haiku [sic] use metaphor and allegory, … Continue reading

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THE BARE STONES OF HOKKU

Recently I had a pleasant dinner with a long-time friend.  As we sat, we looked through an exhibit catalog of student work, the work being paintings in the Chinese manner. There were two styles — the spontaneous, which was largely … Continue reading

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FROM BELOW THE BRIDGE

Issa, whom we do not often use as a model, wrote this summer hokku: From below The bridge I creep across – A cuckoo! Though Issa says merely “bridge,” we can tell from his timid creeping across it that it is … Continue reading

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SO?

The Germans have a great expression — “Na, und?”  It is the equivalent of the American “So what?” — or more briefly, “So?” That should be our attitude toward those who like to argue and intellectualize about hokku. Suppose, for … Continue reading

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HOKKU — AN OLD-FASHIONED WAY OF BEING NEW

I am always surprised and amazed by those who speak of hokku as though it were something outdated and to be discarded.  The emphasis today is on “new,” “new,” “new” and “different,” “different, “different.” What people with such childish thinking … Continue reading

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A HOKKU IN FIVE WORDS

There is a summer hokku by Kikaku that requires very few words in English translation: Inazuma ya   kinō wa higashi    kyō wa nishi Lightning ya yesterday wa east  today wa west. Lightning; Yesterday east, Today west. Even though … Continue reading

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GRASPING AT FIREFLIES

There is a very interesting old summer hokku by Ryusūi: Mayoigo no   naku naku tsukamu   hotaru kana Lost-child ‘s  crying crying grasping fireflies kana A lost child; He cries and cries And grasps at fireflies. Some verses make … Continue reading

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LEAVES SUDDENLY APPEAR

A summer hokku: Sunrise; Leaves suddenly appear On the paper screen. This too is a verse requiring a small intuitive leap.  Why would leaves suddenly appear on a paper screen?  Because the sun has just risen, casting shadows of plants … Continue reading

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WHITE RAIN

Jōsō wrote a summer hokku: In the white rain, Ants are running Down the bamboos That is a very literal translation.  In English we would not be likely to say “white rain.”  Instead we would probably say, In the clear … Continue reading

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THE VOICE OF THE TURTLE

Today was beautiful where I am.  After days and days of pouring rain and cool temperatures, the sky cleared, the sun shone, and the temperature rose into the low 80s. It made me think of the old lines from the … Continue reading

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ORDINARY AND EXTRAORDINARY HOKKU

Sooner or later (I hope sooner) in the study of hokku, one begins to ask just what makes an extraordinary hokku.  The question is inevitable because all of us, in our practice, are going to write lots of very ordinary … Continue reading

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MUCH IN LITTLE

Etsujin wrote: How serenely they fall When the time comes – Poppy flowers. That is a “statement” hokku.  A “statement” hokku makes a simple, true observation about something; it tells us something we already know but did not know we … Continue reading

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THERE’S A BELL AT THE BOTTOM OF THE SEA

Old hokku sometimes included historical, literary, or cultural allusions that make them very difficult for modern English-language readers to understand.  As I have already explained, we say that such verses “Do not travel well.”  That means they require so much … Continue reading

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ALL BOUGHT AGE

As I mention repeatedly, a sense of transience is very important in hokku, because it is not only all around us, but within us as well.  The writers of hokku express it very simply.  Western poets have a more elaborate … Continue reading

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THIS FLOATING WORLD

A reader, having seen one of the hokku of Bashō, asked me exactly what is meant by the term “floating world.”  Was Bashō in it?  Are we in it? It all depends on the sense in which we understand the … Continue reading

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THE SEASONS OF HOKKU

When we talk about season in hokku, what do we mean exactly? Well, everyone knows that in temperate climates we traditionally have four seasons — spring, summer, autumn, and winter.  Every hokku we write belongs to one of these seasons, … Continue reading

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THE UNANSWERED QUESTION

In hokku aesthetics, we find that it often favors that which is undecided, undetermined, incomplete.  We see that in two verses which superficially appear very different.  The first is by Chora: The summer moon; On the other side of the … Continue reading

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THE SCENT SOAKS INTO YOUR GARMENTS

What I like to call the “old style” hokku — meaning the best hokku in the period before Onitsura and Bashō — often, as we have seen in the hokku of Sōgi, combine two things and then add a third … Continue reading

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THE INTERACTIONS OF YIN AND YANG

Kitō wrote: A summer shower; The exhausted horse Comes back to life. I always see the muscles of the fatigued horse begin twitching with life shortly after the first drops of cool rain strike it. We feel the sudden energy … Continue reading

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WHAT A SOUND

Taigi wrote: A summer shower; What a sound breaks out Atop the forest! The sound of which Taigi speaks is the sudden sound of countless drops of rain striking the countless leaves of the forest canopy.  It is an awesome … Continue reading

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HORSES AND HEAT WAVES

Those who read a posting here only now and then will learn little or nothing.  Those who read here regularly, with attention, will gain over time a good understanding of the basic principles of hokku. For example, I recently discussed … Continue reading

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THOUGHT AND THE FRETTING BOY

I often mention the four approaches to verse: 1.  The subject (the writer)  treated subjectively (with the writer’s personal thoughts and opinions added); 2.  The subject (the writer) treated objectively (without one’s personal thoughts and opinions added); 3.  The object … Continue reading

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THE RAIN IS RAINING ALL AROUND

The fundamental principle of hokku is that it is about Nature and the place of humans as a part of, not apart from, Nature — set in the context of the seasons.  Here is a hokku by Shōha emphasizing the … Continue reading

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BASICS OF FORM AND PUNCTUATION

One cannot compose hokku without a form, and the form of English-language hokku is simple and practical.  One need not worry about what it is to be because it already exists and serves quite well. A hokku in English consists … Continue reading

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