Tag Archives: hokku

THE IMPORTANCE OF HERON LEGS: GRASPING THE ESSENCE OF AN EVENT

Buson wrote a pleasant summer hokku: An evening breeze; The water laps against The heron’s legs. R. H. Blyth made a very pertinent comment on this verse, a remark precisely in keeping the principles of modern hokku: “Buson’s intuitions are … Continue reading

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THE HOT AFTERNOON: IMPROVING HOKKU FOR UNITY AND HARMONY

We are moving (depending on where you are), from spring to summer.  In my region we have already had some very warm days, and so it is a good idea, in my postings about hokku, to now use the “summer” … Continue reading

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THREE VIEWS OF CHERRY BLOSSOMS

There is a famous spring hokku by Bashō: A cloud of blossoms – Is the bell Ueno? Asakusa? Through a cloud of blooming cherry trees, the writer hears the sound of a distant, unseen temple bell.  He wonders if it … Continue reading

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KEEPING THE BEST, DISCARDING THE REST: GOOD TASTE IN HOKKU

Long-time readers here will recall that the hokku I teach is derived only from the best aspects of the old Japanese hokku — those that tend to objectivity, poverty, simplicity, and selflessness.  That is why not everything one may find … Continue reading

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BOBBITY, BOBBITY, BLYTH

R. H. Blyth once translated a verse by Meisetsu, a late writer (1847-1926) influenced by Shiki, (the fellow who began calling verses that were generally really hokku in form “haiku”): Ryūboku ya  taburi-taburi to   haru no kawa Translating it … Continue reading

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IS HOKKU “NATURE VERSE,” OR “SEASON VERSE,” OR “TIME VERSE”?

I have recently seen the statement made that hokku is not Nature verse — that instead, it is “time verse,” with its foundation in the four seasons. The answer to that, of course, is that hokku is all of the above; … Continue reading

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NEW BRIDGES AND SPONGING RELATIVES: HUMAN QUIRKS AND SENRYU

You will recall that in addition to hokku, there is another and visually very similar kind of verse called senryu. How does one tell a senryu from a hokku?  First, senryu does not have a seasonal setting. Second, while hokku … Continue reading

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THE LONG DAYS OF SPRING: BUSON AND SHIKI

 There are some hokku that do not seem quite right but nonetheless have value for what they are. There is, for example, this spring verse by Buson: Osoki hi no   tsumorite tōki   mukashi kana Long day ‘s accumulating … Continue reading

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ISLANDS IN THE SEA: TRANSLATING SHIKI

R. H. Blyth, to whom I often refer, called the following verse by Shiki ”Shiki at his best” (Shiki would have called it a “haiku,” in keeping with his odd ideas of reform, even though it is a hokku in form … Continue reading

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HOKKU SEASON WORDS: OLD AND NEW

A noteworthy difference between hokku as it was practiced in old Japan and hokku as it is practiced today in English is the method of dealing with season. The seasons are essential to hokku, one of its defining characteristics.  Every … Continue reading

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SPRING AND SUPERFICIALITY: DETERMINING DEPTH IN HOKKU

One of the most difficult things for the beginning student of hokku to grasp is the difference in what we might call “levels” of hokku.  It is common for someone unfamiliar with the principles of hokku to read hundreds of … Continue reading

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MORNING LIGHT / LUMINE MATINAL

Winter: Morning light; Melting frost Drips from the trees. Hiberno: Lumine matinal; Gelo disgelante Ab le arbores gutta. How quickly time passes!  Already more than half of January is gone, and in less than two weeks we shall be at … Continue reading

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WOLVES HOWLING: HARMONY OF CONTRAST

Per Jōsō: Lupos ululante Omnes insimul; Le vespere nivee. By Jōsō: Wolves howling All together; The snowy evening. In hokku habemus harmonia de similaritate, ma anque harmonia de contrasto.  Iste verso per Jōsō nobis mostra le harmonia de contrasto.  Como? In hokku … Continue reading

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LE MATINO NIVEE DE CHIYO-NI / THE SNOWY MORNING OF CHIYO-NI

Un de le hokku hibernales le plus bones es iste, de Chiyo-ni: In campo e monte Nihil mova; Le matino nivee. Iste verso nobis mostra le character Yin del hiberno (movimento es Yang, immobilitate es Yin). Videmus anque le Yin … Continue reading

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KEEPING THE SEASON WELL

(I posted this some three years ago) Winter, as I have written earlier, is the most austere season of the year. Because of that, it is a time when contrasts have great significance — warmth amid cold, food amid hunger, … Continue reading

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AUTUMN ENDING — WINTER BEGINNING

  Autumn ends; Even the crows Are silent. David

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THE NARROW PATH: A HOKKU BY BUSON

As a writer of hokku, Buson had his flaws.  He was sometimes too consciously literary, at others too obviously painterly (he was, after all, an artist).  That is why numbers of his verses fail to quite make it as good … Continue reading

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THE ROAD GOES EVER ON: AUTUMN AND JOURNEYING

I have always had the feeling, when autumn has arrived, that it is time to begin reading Tolkien’s works The Hobbit and The Lord of the Rings.  And that in spite of the fact that the first book in the … Continue reading

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HAPPY HALLOWEEN FROM KOBAYASHI ISSA

Issa wrote: Withered pampas grass; “Now once there was an old witch….” That verse does not come off quite the same in English, because of the term “pampas grass” that we must use for what Issa knew as susuki — … Continue reading

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RAIN BEATS ON RAIN

Gyōdai wrote one of the simplest and best hokku, which in my region would be an autumn verse: Ochiba ochikasanarite ame ame wo utsu Falling-leaves fall-pile up rain rain wo beats Leaves fall And pile up; Rain beats on rain. … Continue reading

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THE SOUND OF WATER

Near and far – The sound of water, The falling leaves. (Variation on an old hokku by Bashō)

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SUBTLE STATES OF MIND: THE REASON FOR HOKKU

As all regular readers here know, a hokku is a sensory event set in the context of a particular season.  That is basic knowledge.  But did you ever ask yourself why?  What, after all, is the point of recording sensory, … Continue reading

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WHAT IS A FROG DOING IN AUTUMN?

As long-time readers here know, hokku is seasonal verse.  Every verse is an event set in the context of a particular season. In old hokku (which was Japanese), this became too systematized, so that if one wrote about frogs, it … Continue reading

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AUTUMN WILLOWS

Seibi has an interesting hokku that reminds one of Thoreau’s close observation of Nature: The morning sun; Already it penetrates The autumn willows. This is another of those verses in which meaning requires knowing the principles of hokku.  We might … Continue reading

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OTHER PEOPLE’S AUTUMN

I often say here that Japanese hokku sometimes tends to a vagueness not found in English-language hokku.  Some verses can be so unclear as to leave their meaning perpetually in doubt.  Those are just bad hokku, in spite of the … Continue reading

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TRANSLATING LANGUAGE, TRANSLATING CULTURE

When we read or write hokku in English, we should be careful to avoid romanticism and exoticism, both of which lead us into illusions and fancy and away from the aesthetics appropriate to hokku. That is why, when I translate … Continue reading

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AUTUMN DREAMS, AUTUMN SNORES

A pleasant hokku for the early part of autumn is this by Suiō, in spite of its unconventional arrangement. The autumn night; Dreams and snores And grasshoppers chirring. It is evocative of the warm, drowsy, earlier part of autumn, when … Continue reading

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AUTUMN-WINTER IN THE HOKKU YEAR

As I have written before, in hokku we make use of two calendars: First, there is the “natural” calendar, which varies depending on where one lives.  For example, in my state,  autumn comes earlier in the mountains than in the lowlands. … Continue reading

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UNTANGLING THE CONFUSING OF HOKKU WITH HAIKU

From time to time I like to remind readers that the careless use of the term “haiku” to describe what historically is really hokku is not only anachronistic but also irresponsible, inaccurate, and confusing.  Here is a slightly modified earlier … Continue reading

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THE FOX BETWEEN TWO WORLDS

There is a kind of old hokku that I almost never discuss here.  It belongs to the category of verses based on folk belief or myth.  Even these verses have their seasonal connections. Here is one by Buson: Withered grasses; … Continue reading

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ENTERING AUTUMN

Here is a timely repeat of an earlier posting: Summer is ending, autumn is beginning. I have already mentioned the transitional verse by Kyoroku that leads us into the season: August; First on the ears of millet – The autumn … Continue reading

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GATHERED COOLNESS: THE AUTUMN MOON

  A very old autumn hokku by Teishitsu (c. 1609-1673): A solid lump Of coolness; The midnight moon. In English today we would likely say, A solid ball Of coolness; The midnight moon. You will recall that the sun is … Continue reading

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THE BLACKBIRD OBSCURED: WALLACE STEVENS AND POETS OF PRIVATE LANGUAGE

Today I would like to talk briefly (you will soon see the reason for brevity) about what I call “poets of private language,” “PPLs” for short.  A poet of private language is one who writes poetry that is often so obscure … Continue reading

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WITHOUT NATURE IN BALANCE THERE IS NO HOKKU (OR PEOPLE)

I do not like to talk about politics here unless they affect the environment or free speech or freedom of and from religion.  But I listened to the Romney speech last night and was appalled to hear no mention of concern … Continue reading

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THE WHEEL OF THE YEAR: SUMMER’S END

Today there seems a great pause in the air, a quiet sense that we have come to a change: Summer’s end; Crows stalking about Silently. Every year I like to post this article again to mark that time when one … Continue reading

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BIG ANT, BIG HEAT: INTERNAL REFLECTION IN HOKKU

If one does not have an understanding of the basic principles of hokku, it is often difficult to appreciate a verse because one simply does not “get” it.  This was a major factor in the rise of modern haiku in … Continue reading

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ABSENCE AND PRESENCE AND SUMMER HEAT

The windbell silent; The heat Of the clock. This summer hokku by Yayū is somewhat unusual, first because it includes a clock.  We already know that “modern technology” is not a part of hokku, and if we allow ourselves to … Continue reading

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THE GREAT GATSBY FRAGMENT

Last night, for no obvious reason, these words popped into my head: “So we beat on, boats against the current, borne back ceaselessly into the past.” They appeared in my mind suddenly, completely without context, and at first I could … Continue reading

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A LEAKY ROOF

A pleasant spring hokku by Bashō: Spring rain; A roof leak trickles Down the wasps’ nest.  This reminds me of Blyth’s remark that to write hokku one should live in a house which either has a leaky roof or one with … Continue reading

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THE STRANGE TALE OF HOW AN EXCELLENT REVIEW BECAME A SCATHING REVIEW

Some of you, in looking about on the Internet,  may have come across search topic headings like these: MH Book Review—David Coomler‘s HOKKU – Welcome to ModernHaiku http://www.modernhaiku.org/bookreviews/coomler2003.html Hokku: Writing Traditional Haiku in English: The Gift to be Simple, by David Coomler(Springfield, Ill … Review … Continue reading

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THE SCENT OF — WELL, ACTUALLY THE JAPANESE APRICOT

Here are a few spring hokku by Bashō. I have divided all but the last into three parts:  First, the romanized Japanese and a rather literal translation; second, a “formal” translation of the original; third, a rewritten “American” version. (M)ume … Continue reading

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TAIGI AND THE FALLEN BLOSSOMS

Today’s hokku is a spring hokku by Taigi.  To get the meaning of it in English I will take some liberties, then explain the original: Everything swept up Is cherry blossom; The evening temple.  The original says “Dust/rubbish all cherry-blossom; … Continue reading

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CAT DANCING

Issa wrote: Harusame ya neko ni odori wo oshieru ko Spring rain ya cat with dance wo teaches child Spring rain; The little girl teaches the cat To dance.  The little girl, unable to go out and play, has inflicted herself on the cat, … Continue reading

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“GETTING” R. H. BLYTH

If you want to understand what R. H. Blyth meant by connecting Zen and hokku, it can be stated very simply. To Blyth, Zen was the elimination of the boundary between self and other, between subject and object.  I have … Continue reading

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HOKKU ROOTS: BAI JUYI’S SIXTY-SIX

Today I will talk briefly about a poem by the Chinese writer Bai Juyi (772 -846, also written as Po Chu-yi). You may recall from previous discussions of Chinese poetry here that most Chinese poems  are written in couplets (pairs … Continue reading

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MELTING SNOW

As regular readers here know, I treat many of the verses of Shiki as hokku because they are hokku in form and content, in spite of his use of the revisionist term “haiku” for what he wrote. Knowing that, we are … Continue reading

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LINGERING SNOW: TAIGI’S BAMBOOS

Somewhat unusual in its scope of scale and distance, this verse by Taigi is reminiscent of Chinese poetry in its feeling of vastness: it gives one the sense of hiking up into cold, silent and remote hills: Far from any … Continue reading

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THE ESSENTIAL IMPORTANCE OF YIN AND YANG IN HOKKU

I often talk about Yin and Yang in hokku.  In fact I talk about them so much that another name for the kind of hokku I teach might be “Yin-Yang” hokku.  That is how important it is — so important … Continue reading

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THE BASICS OF HOKKU AESTHETICS

In a previous posting, you will recall, I said that one may have a verse in the outward form of a hokku, with everything in it correct, and still not have a hokku.  That is because to be a real … Continue reading

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THE SPRING HOKKU CALENDAR

Because the practice of hokku is so intimately connected with the seasons, I like to regularly remind readers where we are in the “old” hokku calendar in its traditional Western version, the Wheel of the Year, which very closely approximates … Continue reading

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