Tag Archives: nature

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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VANISHING AMERICA: THE OGALLALA AQUIFER

Most of you have heard of John Steinbeck’s famous novel The Grapes of Wrath, an account of the terrible days of the Dust Bowl in the United States.  Some of you may know that the transformation of midwestern agricultural fields … 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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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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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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ONE BLOSSOM’S WORTH: TWO “PLUM” HOKKU

The connection of plum blossoms and spring, historically, is well known.  As I have written before, however, the ume no hana spoken of in old Japanese hokku — conventionally translated as “plum blossoms,” were not really plum blossoms as we … Continue reading

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THE WORLD IS TOO MUCH WITH US: HUMAN SEPARATION FROM NATURE

One of the old standards of English poetry is THE WORLD IS TOO MUCH WITH US, by the romantic poet William Wordsworth (1770-1850).  The romantic movement tended to emphasize personal feelings, and often associated those feelings with Nature — mountains and … 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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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 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 BEGINS: INCLINING TOWARD THE TRANQUILITY OF HOKKU

In previous postings I have discussed the relationship between Zen and hokku (yes, there is one).  Today I would like to talk briefly about where Zen and hokku differ. First, Zen is more inclusive than hokku.  Hokku deliberately restricts its … 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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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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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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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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“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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“PARTING” HOKKU AND THE LONG POETIC TRADITION

It used to be common — and still is, to some extent — for people in the modern haiku movement to see Masaoka Shiki (1867-1902) as a “rebel” of the end of the 19th century.  But actually, Shiki was in … Continue reading

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THE VALIDITY OF HOKKU

Yesterday I discussed a kind of “fundamentalism” one finds among those who talk about hokku and haiku, and I wrote, essentially, that it does not matter to me (except historically) what any of the old hokku writers had to say … Continue reading

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AVOIDING HOKKU AND HAIKU AS “RELIGIOUS” FUNDAMENTALISM

Every now and then, I like to clarify my approach to the hokku — that is, to teaching the writing of new hokku — for readers who may be novices here. As many of you know, I have been teaching … Continue reading

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MORE ON THE CHARACTERISTICS OF HOKKU — A REVIEW

A reader has asked me to clarify a few points in this list (borrowed from R. H. Blyth) of the characteristics of hokku.  Though he asked about only three, perhaps it might be helpful to give some explanation of all, … Continue reading

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THE WIND OF AUTUMN

Sometimes I like to take an old hokku and modify it to make it fit an American environment: An abandoned house; The wind of autumn Over the bare floor.  This is a “harmony of similarity” hokku, in which we feel … Continue reading

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WIDENING COMMUNICATION: INTERLANGUAGES

As regular readers here know, I watch the site statistics.  Because of that, I have long been concerned that many people who do not have English as their first language are obviously trying to read this site, but with varying … Continue reading

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BASIC HOKKU PRINCIPLES: HARMONY OF SIMILARITY

THIS IS A BILINGUAL POSTING IN ENGLISH AND INTERLINGUA ISTE ES UN ARTICULO BILINGUE IN INTERLINGUA E IN ANGLESE Il ha un hokku interessante del comenciamento de autumno: Le autumno comencia; Depost un banio, Le lassitude.  Iste nos monstra harmonia … Continue reading

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JOHN KEATS AND HOKKU?

Do you remember the key to writing and understanding hokku? THE KEY TO UNDERSTANDING HOKKU IS TO REALIZE THAT WHATEVER MANIFESTS THE NATURE OF THE SEASON IS APPROPRIATE TO THAT SEASON, AND WHAT DOES NOT MANIFEST THE NATURE OF THE … Continue reading

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A CAMELLIA FLOWER

A spring hokku by Bashō: In falling, It spilled its water – The camellia flower. Camellias are flowers of the cold and wet beginning of spring.  As they age, they fall with a “plop.”  This one, in falling, has spilled … Continue reading

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TO EVERY THING THERE IS A SEASON

Unlike most other kinds of verse, the hokku is linked with the season in which it is written.  In fact one can say truthfully that whatever the obvious subject of a hokku, the real subject is the season in which … Continue reading

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THROUGH THE BARLEY

Mokudō wrote a very simple yet very effective spring hokku: Harukaze ya   mugi no naka yuku   mizu no oto Spring wind ya barley ‘s center goes water ‘s sound I give the Japanese transliteration only to show how … Continue reading

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GROWING YANG IN ONITSURA

I have discussed this early spring hokku by Onitsura previously, but I would like to deepen what was already said a bit: Dawn;On the tip of the barley leaf,Spring frost. It is obvious that this is an early spring hokku … Continue reading

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IMBOLC: THE FIRST HINTS OF SPRING

This year Imbolc came appropriately where I am, with a day of cold air but brilliant sunlight.  Imbolc in the old calendar is the beginning of spring, and so it is associated with the growing Yang energies, expressed symbolically in … Continue reading

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THE “ESSENTIAL WORDS” TECHNIQUE IN NIGHT MOORING AT MAPLE BRIDGE

My purpose is not to discuss Chinese poetry in any academic sense.  Instead, it is to show how certain characteristics of old Chinese Nature poetry may be used in writing English Nature poetry. The most significant of these tools is, … Continue reading

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MORE ON USING “CHINESE” TECHNIQUE IN ENGLISH POETRY

In looking over past statistics for this site, I noticed that one of the most frequented postings was on writing “Chinese poetry” in English.  Of course what is meant by that is poetry written in English, but using the form … Continue reading

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THE LAST OF HOKKU HERE?

I have long made no secret of the fact that in my view, the hokku tradition of Japan was greatly distorted when it was introduced to the West as “haiku.”  Instead of paying attention to R. H. Blyth, Westerners instead … Continue reading

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THERE IS HOKKU AND THERE IS HOKKU

From time to time I like to explain, so there will be no confusion, just what it is that I teach as hokku. It is not precisely the same as old Japanese hokku.  Most people would, in fact, feel old … Continue reading

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