Tag Archives: R. H. Blyth

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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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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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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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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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 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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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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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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“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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TAO YUAN-MING’S SPRING

R. H. Blyth called this work by Tao Qian (Tao Yuan-ming, c. 365-427) and translated by Arthur Waley “the best translation… of the best poem in the world.” Swiftly the years, beyond recall, Solemn the stillness of this fair morning. … Continue reading

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SPARROWS, VERANDAS, AND TWO QUITE DIFFERENT VIEWS

I recently mentioned some criticisms of R. H. Blyth that appear on a site called “Simply Haiku.”  One can dismiss them (as I did — with quotes from Blyth to refute those I quoted) as simply wholesale misrepresentation and misunderstanding. … Continue reading

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DROPPING CAMELLIAS AND “EXPLANDED” TRANSLATIONS

I wrote yesterday of R. H. Blyth and his method of translating hokku.  He wrote six volumes of such translations, nearly all of which had to do with hokku, though he used the terminology of the Japan of his day … Continue reading

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HYAKUCHI: VANISHING COWS AND A SNEEZE

I have written before about the telegraphic brevity of old hokku, which often comes as a surprise to those who are accustomed to seeing it in English translations or to seeing modern English-language hokku. Here, for example, is R. H. … Continue reading

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WRIGHT OR WRONG?

The automatic statistics of this site tell me that frequently people come here hoping to see something illuminating about the “haiku” of Richard Wright — just why, I am not certain, given that this site favors hokku and generally considers … Continue reading

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COLD MIDNIGHT RAIN

R. H. Blyth makes a significant point regarding the order of elements in hokku.  To do so, he uses a verse by Ryōta, which I shall give here in my translation: Who is awake, The lamp still lit? Cold midnight … Continue reading

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HOKKU IS NOT “WRITING POETRY”

I have written previously about this statement by R. H. Blyth on hokku.  He tells us that a hokku “…is the result of the wish, the effort, not to speak, not to write poetry, not to obscure further the truth … 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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A BARREL OF INDIGO

Shiki, the “founder” of haiku as separate from hokku, wrote a verse that has (at least) two possible interpretations: The first is as a hokku would be written: A tub of indigo Poured out; The waters of spring. Seen this … 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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UNHURRIED BUTTERFLIES

Wafū wrote: Chō kiete    tamashii ware ni    kaeri keri Butterfly having-gone    spirit me to  returned The butterfly gone, My spirit Came back to me. What does he mean?  He means that he was so absorbed in watching … Continue reading

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FAILURE OF TRANSMISSION

It is interesting to note that the term haiku did not begin to catch on in the West until the middle of the 1900s.  Prior to that time, when Americans or Europeans spoke of the brief Japanese verse form, they … Continue reading

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SPRING AND NEW BEGINNINGS

In old hokku, spring began with the Lunar New Year, which came on varying dates between the end of January and the middle of February.  This year, for example, the Lunar New Year will happen on February 14th. In modern … Continue reading

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TWO ROADS DIVERGED….

Yesterday I discussed the well-intentioned but rather futile effort of James W. Hackett to halt and reverse the “aesthetic devolution” of the modern haiku.  As readers here know, I do not teach or advocate haiku, so some explanation is necessary … Continue reading

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NO SKY, NO EARTH

Hashin wrote a winter hokku that has always been a favorite: Ten mo chi mo    nashi ni yuki no     furishikiri Sky too  earth too    are-not at snow ‘s    falling-ceaselessly No sky, no earth; The ceaseless … Continue reading

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SEASONAL HARMONY

In hokku the concept of harmony is very important.  If a verse is composed of elements that are inharmonious with one another, the hokku will fail.  But beyond that, the hokku should be in harmony with the season in which … Continue reading

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A MIRROR REFLECTING

I have talked about the simplicity of hokku, and of its poverty that allows us only a few ordinary words.  And I have talked about the selflessness of hokku, in which the writer does not try to draw the attention … Continue reading

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UNKNOWING

There is something very mysterious and significant about a question. In the Zen sect, one major practice is the continual asking of an internal question — “Why did Bodhidharma come from the West?” perhaps, or “What was my true face … Continue reading

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HOKKU AS SPIRITUAL VERSE

Hokku at its best was and is spiritual verse. That does not mean “religious” in any dogmatic sense.  It is not about dogmas and beliefs.  It is spiritual in that it re-unites — if only briefly — subject and object, … Continue reading

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