Haiku - 17 syllables. In Japan, haiku is written in one line, but we traditionally have a three-line recording. The first line is 5 syllables, the second is 7, the third is 5 again. And in these 17 syllables you need to fit a complete thought.
True, differences in the phonetics and rhythms of languages make it somewhat difficult to fulfill this condition, and sometimes they deviate a little from this rule, adding or removing one or two syllables. In this case, the main thing is to ensure that the last line is shorter than the others or the same length as the first.
The second feature of haiku is the theme. There are also nuances here. Classic haiku always tells about the cycle of seasons, and also always contains direct or indirect reference to a specific season. In Japan it is a "seasonal word". In Russia, they take this moment more lightly, allowing themselves to deviate from the strict rules. However, the presence of a nature theme is desirable.
A few more words about the topic. In real haiku there are always two levels: general and specific. The general plan is expressed precisely by the “seasonal” and its surroundings, symbolizing the connection with nature, unity. And the specific one - in a way of description: not just falling leaves indicating the onset of late autumn(all 4 seasons are divided into two more, which indicates, in their opinion, that they more subtly feel the transition from one to another), and this particular sheet.
It’s also worth saying a few words about the composition of haiku. The first line sets the topic, the second reveals it, and the third gives the conclusion. Best of all - bright. Like any, the third line should create a feeling of completeness.
note
One of the most common mistakes those who sat down to write haiku - self-obsession. Haiku shows the author through the world around him, rather than the world around him through the author.
Sources:
- Encyclopedia of Cultures
The traditional Japanese poetic form has found quite a few adherents in Europe and America. Perhaps there are now even more authors working in this genre outside of Japan than in the Country itself rising sun. The popularity of haiku among representatives of other cultures has very good reasons.
What is haiku?
The haiku form seems simple and straightforward. This is a poem consisting of only three lines. The first and third lines in European tradition written in five syllables, the middle line consisting of seven syllables. In literary studies, it is believed that haiku comes from a more complex poetic form - tanka, and is also a simpler verse. Early examples of haiku date back to the 16th century. These were mostly comic poems. The most famous authors of this period are Yamazaki Sokana and Arakida Moritake.Matsuo Basho, who wrote mainly landscape lyrics, made haiku a serious genre. In subsequent eras, Japanese poets wrote haiku of a wide variety of content. They widely used folk poetry, historical and literary sources. Modern European haiku is also extremely diverse both in plot and in artistic techniques, but the most interesting authors strive to preserve the features inherent in traditional Japanese poetry.
Conciseness
One of the main advantages of haiku is its brevity. In three lines, a talented author is able to show a picture from life, as he prescribes Japanese tradition, and show your attitude to the world, while the last line represents a conclusion, sometimes paradoxical, from what was said in the first two. The paradoxical conclusion can both clarify the picture painted in the first two lines and create comic effect. The author’s task is to use this technique wisely so that an irreconcilable conflict of meanings does not result.Accuracy
Japanese culture is contemplative at its core, and this trait is reflected in haiku. The author of classical haiku paints a momentary picture, gives a sort of slice of time. In the first two lines, he talks about what is happening here and now, directly before his eyes. On the third line it usually gives general characteristics phenomenon.Expressiveness
Haiku describes not an action, but a state lyrical hero. This is a deeply personal perception of the world. The author’s task is to find the most accurate and succinct words, to convey in a few strokes both the picture itself and his attitude towards it. Haiku - the art of miniaturesIrina Klimina
Hello everyone!
Children love to draw. They also love to compose. different stories about your drawings. Let's try to combine these two points. But we won’t compose for nothing.
Children are unusually able to respond emotionally to words and poetic lines. Remember how a baby calms down and falls asleep to the simple words of a lullaby... I know one wonderful child who was instantly lulled to sleep by the poetry of K. Chukovsky.
And how children listen to fairy tales! True, you also need to read them skillfully, because the voice (timbre, intonation) can be both fascinating and repulsive.
We got a little distracted... Have you noticed that children always want to tell you about their drawing at the end of the lesson? But, as a rule, the story is very verbose, and it is difficult for a child to highlight the main thing. When he starts telling a story, he often gets carried away so much that he can even get away from the very topic of the picture... And we decided to introduce the children to amazing Japanese poems that fit in only three lines.
Have you heard of haiku (haiku? These are Japanese lyrical tercets, which are distinguished by extreme brevity and unique poetics.
Brevity is similar to haiku folk proverbs. Some tercets found circulation in folk speech as proverbs, such as the poem by the poet Basho:
I'll say the word -
Lips freeze.
Autumn whirlwind!
As a proverb it means that “caution sometimes forces one to remain silent.”
But most often, haiku differs sharply from the proverb in its genre characteristics. This is not an edifying saying, a short parable or a well-aimed wit, but a poetic picture sketched in one or two strokes. The poet’s task is to infect the reader with lyrical excitement, to awaken his imagination, and for this it is not necessary to paint a picture in all its details.
Haiku is akin to the art of painting. They were often painted on the subjects of paintings and, in turn, inspired artists; sometimes they turned into a component of the painting in the form of a calligraphic inscription on it. Sometimes poets resorted to ways of depicting akin to art painting. This is, for example, Buson’s tercet:
Crescent flowers around.
The sun is going out in the west.
The moon is rising in the east.
Sometimes the entire haiku is an extended metaphor, but its direct meaning is usually hidden in the subtext.
From the heart of a peony
The bee slowly crawls out.
Oh, with what reluctance!
Basho composed this poem while leaving the hospitable home of his friend.
You can talk about hockey for a very long time. But, I think, if someone is interested in this topic, you can find wonderful examples of Japanese poetry both in the store and on the Internet, after reading which you will not be able to forget them. True, they cannot be read in fits and starts; this requires solitude and a certain amount of time. And for many of us it is worth its weight in gold...
Haiku encourages slow reading in order to better see the poetic image and feel the thought embedded in the words. Oddly enough, hockey is quite understandable to children, and, perhaps, even to a greater extent than us adults, because their worldview is still open to everything new and is not filled with cliches and various restrictions. Children are able to subtly sense the beauty of words and lines, and sometimes they understand better than us the emotional state conveyed in a few short words.
Haiku, thanks to its bright poetic images, are great for drawing as themes. Especially if it concerns seasonal themes. Haiku can be a striking addition to classes on speech development and storytelling.
Another direction in working with haiku is composing tercets. I assure you, it is very interesting and exciting. Just three lines should convey to us the mood and feelings. It seems so easy! But it was not there…
Or you can combine painting and haiku, when a tercet is composed based on the finished painting. Children really enjoy this activity. After all, writing poetry is also a game. Moreover, some of the guys quickly understood the features of the poetic form, but others needed a lot more time...
So, introducing children to haiku helps:
- expanding children's understanding of Japanese culture;
Formation grammatically correct speech, cognitive interest to word construction; the ability to convey in speech different states of an object, action, quality, relationship;
Development of imagination, logical and associative thinking, emotional responsiveness to words and speech in general;
Fostering a love for the native language, its imagery, expressiveness and beauty.
We bring to your attention a small exhibition of our drawings and haiku for them, composed by the guys.
Rainbow Country
Meets Pegasus.
He's flying towards the rainbow! 
Anna B. Rainbow Country (wax crayons)
Outside the window there are stars and a month...
The red cat dreams
When will the New Year come... 
Red cat examines the Christmas tree (watercolor, wax chalk)
The ice shines and sparkles.
I put my purse on the bench.
I'll go now... 
Lyudmila A. History at the skating rink (gouache)
Snowmen made of snow.
We made them!
At night they come to life. 
Kirill Ch. Snowmen (watercolor, wax chalk)
Blue bells
They are in a vase.
My mom loves them very much. 
Sergey K. Flowers for mom (watercolor)
Beautiful music…
Dancers on stage!
They receive applause and flowers! 
Masha P. Ballroom dancing (watercolor)
Young oak
Greets you joyfully
Pink sunrise... 
Dasha D. A story about trees
(watercolor)
Old tree
Says goodbye to autumn.
Sad… 
Big drops
The rain is catching up with me.
I'm running home... 
Ira N. Rain (coal)
Big cat
Walking in our yard.
Where is her house? 
Galia V. Cat on a walk (coal)
Sun, butterflies and flowers
They smile at us.
This is joy. 
Danil V., Dasha D. Collage “I will give a smile to the world” (watercolor, wax crayons)
Haiku is a form of Japanese poetry. It is based on three lines. According to its rules, after three lines of text there is a clear break, which in the Russian translation is sometimes reinforced with the help of an ellipsis.
How to write haiku in Russian? First of all, you should decide on a topic. Typically this type of Japanese poetry is used to describe nature, everyday things and situations. Therefore, we can take everything that surrounds us as the basis for haiku.
To write haiku we will need:
- Dictionary,
- Notebook,
- Preferably a computer with a text editor.
Instructions for writing haiku
- Reflect on the main subject of your short literary work. Write down words that are associated with it in a notepad.
- Break all your thoughts into three parts - three lines. First, define the scene, then expand the description by adding your feelings and observations. Add movement. Keep it extremely simple - this is one of the main rules of writing haiku.
- Now polish your haiku tercet: the first and third lines should consist of five syllables, the second - seven. When answering the question of how to write haiku, the most important thing is to have a sufficient vocabulary (in your head or use dictionaries). By replacing words that are similar in meaning but different in length, you will get the correct form.
Tips and warnings for haiku writers:
- Express only one mood or emotion in haiku. Express everyone's opinion or A New Look on the subject.
- Some authors add pauses to their haiku. They denote them using ellipses, semicolons, dashes, and even circles. This helps you express your thoughts better.
A classic theme for haiku writing is nature. Many traditional Japanese tercets contain words denoting the seasons or characterizing their phenomena (snowfall, fireflies, blooming crocuses, gusts of wind, etc.).
Japanese poems. How to write correctly in Japanese style.
So what is Japanese verse?
Haiku(haiku) - tercet, the first line has 5 syllables, the second 7, the third 5 (allowed, but undesirable when the 3rd has fewer syllables).
It is considered the skill of haiku to describe a moment in three lines. The salt of the moment, something like photography.
The first line answers the question "Where"? The second is to the question “What”? third "When"?.
But it’s not uncommon for haiku to go without an answer to these eternal questions, especially when they are about feelings, states...
But it’s still better to stick to the breakdown by syllables
Example:
Killed a spider
And it became so lonely
In the cold of the night
Tanka- a very ancient form of Japanese poetry, literally "short song".
As a song, it originated a long time ago; in the first recordings that have reached us, dating back to the 8th century, we can already identify very ancient and ancient songs where the sound of a choir can be heard. In the beginning, the tank is the common property of the people. Even when the poet spoke about his own things, he spoke for everyone.
The separation of the literary tank from the song element was accomplished very slowly. It is still chanted, following a certain melody. The tanka is closely connected with the moment of improvisation, poetic inspiration, as if it itself was born on the crest of emotion.
Tanka is a long-liver in the world of poetry; in comparison with it, the European sonnet is very young. Its structure has been proven over the centuries: the tanka says little, but just as much as is needed.
The metric system is simple. Japanese poetry is syllabic. Thangka consists of 5 verses. The first and third have 5 syllables, each of the others has seven: the odd number is characteristic of the tank.
And, as a consequence of this, that slight deviation from the crystal-balanced symmetry that is so beloved in Japanese art constantly arises.
Neither the poem itself as a whole nor any of its constituent poems can be cut into two equal halves.
The harmony of the tank rests on an unstable and very flexible balance. This is one of the main laws of its structure, and it did not arise by chance.
Ancient poetry contained a great variety constant epithets and stable metaphors. Metaphor binds state of mind to a familiar object or phenomenon and thereby conveys visible, tangible concreteness and seems to stop in time.
Tears transform into pearls or crimson leaves (blood tears). Longing and separation are associated with a sleeve wet from tears. The sadness of passing youth is personified in the old cherry tree...
IN a little poem Every word, every image counts; they acquire special weight and significance. Therefore, symbolism was very important - a language of feelings familiar to everyone.
Tanka is a small model of the world. The poem is open in time and space, poetic thought is endowed with extension. This is achieved different ways: the reader must finish the sentence himself, think it through, and feel it.
Example:
I know myself.
That you are to blame for everything
I don't think so.
The face expresses reproach,
But the sleeve is wet from tears.
***
You regret it...
But no regrets
Our busy world.
Having rejected myself,
Maybe you can save yourself.
How to write poetryVJapanesestyle?
Can you write haiku? Or maybe it’s worth a try?!
What is haiku? "Literary encyclopedic Dictionary" tells us that:
“Haiku is a genre of Japanese poetry: a 17-syllable tercet (5+7+5). In the 17th century, Matsuo Basho developed formal and aesthetic principles genre ("sabi" - graceful simplicity, "shiori" - associative creation of harmony of beauty, "hosomi" - depth of penetration). The improvement of form is associated with the work of Taniguchi Buson, the democratization of themes is associated with Kobayashi Issa. At the end of the 19th century, Masaoka Shiki gave a new impetus to development by applying the principle of “sketches from life” borrowed from painting.”
Haiku is a feeling-sensation transferred into a small verbal picture-image.
Interesting fact! Many Japanese now use their mobile phones to write poetry.
“Caution, the doors are closing,” and Tokyo subway passengers make themselves comfortable. And almost immediately, mobile phones are pulled out of pockets and bags.
In the classical forms of Japanese poetry [tanka, haiku, haiku], both the content and the number of syllables are clearly specified,
but today's young poets use the traditional form and fill it with modern content.
And this shape is great for screens mobile phones" (BBCRussian.com).
Start writing haiku! Feel the joy of creativity, the joy of conscious presence here and now!
And to make it easier for you to do this, we offer you a kind of “master class” from famous haijins.
And the first class will be “taught” by James W. Hackett (b. 1929; student and friend of Blyth, the most influential Western haijin, championing “Zen haiku” and “haiku of the present moment.” According to Hackett, haiku is the intuitive feeling of “things as they are,” and this, in turn, corresponds to the manner of Basho, who introduced the importance of the immediacy of the present moment into haiku. For Hackett, haiku is what he called “the path of living awareness” and “the value of every moment of life”). .
Hackett's twenty (now famous) suggestions for writing haiku
(translation from English by Olga Hooper):
1. The source of haiku is life.
2. Ordinary, daily events.
3. Contemplate nature in close proximity.
Of course, not only nature. But haiku is first and foremost about nature, the natural world around us, and only then about us in this world. That’s why it’s said, “nature.” And human feelings will be visible and tangible precisely through showing the life of the natural world.
4. Identify yourself with what you are writing about.
5. Think alone.
6. Depict nature as it is.
7. Don’t always try to write in 5-7-5.
Even Basho broke the “17 syllables” rule. Secondly, the Japanese syllable and the Russian syllable are completely different in content and duration. Therefore, when writing (not in Japanese) or translating haiku, the 5-7-5 formula may be violated. The number of lines is also optional - 3. It can be 2 or 1. The main thing is not the number of syllables or stanzas, but the SPIRIT OF HAIKU - which is achieved by the correct construction of images.
8. Write in three lines.
9. Use ordinary language.
10. Assume. 
To assume means not to express it completely and completely, but to leave something for further construction (by the reader). Since haiku are so short, it is impossible to paint a picture in all the details, but rather the main details can be given, and the reader can guess the rest based on what is given. We can say that in haiku only the external features of objects are drawn, only the most important (at that moment) characteristics of the thing/phenomenon are indicated - and the rest is completed by readers in their imagination... Therefore, by the way, haiku needs a trained reader
11. Mention the time of year.
12. Haiku are intuitive.
13. Don't miss the humor.
14. Rhyme is distracting.
15. Life to the fullest.
16. Clarity.
17. Read your haiku out loud.
18. Simplify!
19. Let the haiku rest.
20. Remember Blyce’s admonition that “haiku is a finger pointing to the moon.”
According to the recollections of Basho’s students, he once made the following comparison: a haiku is a finger pointing to the moon. If a bunch of jewelry glitters on your finger, then the viewer's attention will be distracted by these jewelry. For the finger to show the Moon itself, it does not need any decorations, because without them, the audience's attention will be directed exactly to the point at which the finger points.
This is what Hackett reminds us of: haiku does not need any decorations in the form of rhyme, metaphors, animation of natural things and phenomena, comparisons of them with something in human relations, comments or assessments of the author, and so on. to the moon". The finger must be “clean”, so to speak. Haiku is pure poetry.
Write haiku! And your life will become brighter!
Which is correct?
First of all, which is correct: “hoku” or “haiku”?
If you don’t go into details, you can do it this way and that way. Usually, when talking about haiku, they use the expression “an ancient Japanese poetic form.” So, haiku themselves are a little older than Russian iambic tetrameter, which first appeared in XVII century and entrenched in the 18th century.
I will not dwell on the fascinating history of haiku, describing how, as a result of the development of poetic competitions, traditional tanka demanded the emergence of renga, from which haiku itself developed. Those interested can find information about this in English on the Web (see list of links at the end of the preface).
Russian iambic tetrameter and other meters, which had become established in our country by the middle of the 18th century, supplanted from Russian poetry meters that were based not on the alternation of stressed and unstressed syllables within a separate poetic line, but on the quantitative commensurability of the syllabic volumes of the lines (length expressed in the number of syllables). This system of versification is called syllabic.
Here is an example of a syllabic verse, which is easy to obtain by transforming the syllabic-tonic verse familiar to us:
My uncle, the most fair rules,
When I got seriously ill,
He forced himself to respect
And I couldn't think of anything better.
At first glance, this quatrain is simply a destroyed Pushkin verse. In fact, since ALL the words of the “original” were preserved in this “translation”, the ordering of the verses by the number of syllables is also preserved - in each odd line there are 9, in each even line there are 8. Our hearing, accustomed to relying on stress, does not notice this ordering , but this does not mean that syllabic verse is organically alien to us. As Lieutenant Myshlaevsky said, “it is achieved through training.”
Haiku/haiku is just a type of syllabic poem. The rules by which haiku is written are simple -
1. Each poem consists of three lines
2. The first and third lines have 5 syllables each, the second - 7.
These rules are associated with verse form. They are the basis of the Garden of Divergent Hokku.
Japanese haiku, in addition, followed a number of rules related to the system of images, composition and vocabulary. They were built around kigo (words that directly or indirectly denote the seasons), were divided into two parts (2 first lines + 1 final) and connected a fleeting moment, captured in a psychologically specific experience, and cosmic time. (Read what the specialist says about this - V.P. Mazurik).
One can argue with this - after all, Russian words are not at all the same length as Japanese ones. Even for English haiku, it was proposed to lengthen the traditional lines, but the Russian language is less economical than English. The trouble is that longer lines (for example, according to the pattern 7+9+7), not supported by rhyme or internal placement of pauses or stress, will be difficult to recognize by ear. Usually, when translating haiku (or stylizing them), Russian authors ignore the syllabic principle, so they simply end up with three-line free verse.
Practice a little and you will begin to distinguish five- and seven-syllable lines by ear. (Hint: try to chant each line slowly, syllable by syllable and not paying attention to stress.) And the laconicism of these lines will begin to contribute to the economy of verbal resources. And you will hear haiku music, completely different from the sound of Russian poetry, just as Japanese is not similar classical music on Mozart or Chopin.
Well, if you can’t do without the usual forms, you can write haiku using regular sizes. After all, the 5+7+5 scheme also corresponds to the lines of “normal” iambics (My poor uncle!/ He fell seriously ill - / He’s no longer breathing), trochees (Under my window / You are covered with snow, / Sakura is in bloom!.. - however, here I’m not sure of the emphasis), dactyls (Range with fires, / Blue nights of spring! / May Day), amphibrachians (At twelve o’clock / I see an informer rise / From the coffin) and - with some tension - anapests ("Swing, hand" -/The paralytic wailed, -/"Itchy shoulder!").
And more links on the topic:
.
http://iyokan.cc.matsuyama-u.ac.jp/~shiki/Start-Writing.html
.
http://www.faximum.com/aha.d/haidefjr.htm
.
http://www.mlckew.edu.au/departments/japanese/haiku.htm
.
http://www.art.unt.edu/ntieva/artcurr/japan/haiku.htm
.
http://www.ori.u-tokyo.ac.jp/~dhugal/davidson.html
.
http://www.ori.u-tokyo.ac.jp/~dhugal/haikuhome.html
.
http://www.zplace.com/poetry/foster/wazhaiku.html
How does haiku differ from haiku?
How does haiku differ from haiku?Many have heard these 2 names. On the HAIKU-DO.com forum in the topic THE ABC'S OF HAIKU or "What is this?" I found the following different opinions on this matter:
Version 1:
...Yes, also, there is no difference between haiku and haiku - haiku is more ancient, the outdated name is tercist, today the Japanese only say “haiku”. This was recently explained to me by the Japanese poet and translator Osada Kazuya. It was he who translated several of my haiku into Japanese and published in the magazine Hoppoken 2003 winter vol.122, page 92, emphasizing both the dignity and observance of the 5-7-5 form, and the principle of construction.
But from communication on websites, I realized that many people do not like the synonymy of “haiku and haiku,” and they passionately want to make some gradations in the definitions of well-established eastern forms of poetry. The Japanese themselves do not have this division, so why should we, imitators, invent our own criteria. Personally, these philosophies of modern Russian-speaking “haikuists” seem too far-fetched to me. Why look for a black cat in dark room- she’s simply not there...
I am publishing the article by Yuri Runov in full, because... she is interesting and informative. Enjoy reading!
I have already written before that many people do not understand about haiku and haiku that these are not synonyms. Which is what I want to write about in more detail, and at the same time about where haiku came from. In principle, many people read something on this topic, but somewhere some significant points often slipped past the reader’s consciousness, which gave rise to disputes, struggles of self-conceit, etc.
BACKGROUND OF HAIKU
The ancestor of haiku, as is known, is tanka - and more specifically its first tercise. I was surprised to learn how early this division of the tank into three and two lines began. It turns out that already great poet Tanka Saigyo took part in stringing the stanzas - and this is the 19th century. One poet wrote the first three lines, another added two lines to form a thangka, but at the same time both the couplet and the tercet had to be read as separate verses. Then the first poet or the third would write the next tercet which, with the previous couplet, would form the “reverse” tanka - i.e. First, a new tercet was read and the previous two lines were added to it for a complete tank. Next is a new couplet, etc. And even then, individual themes were assigned to individual stanzas in the collective work of poets.
There is a well-known story when his poet acquaintances came to Saiga and complained that no one knew how to continue the chain of stanzas after this stanza dedicated to the war by the famous poetess of that time Hee no Tsubone:
The battlefield is illuminated -
The month is a bow drawn tightly.
Here Saige himself wrote a new stanza:
I killed my heart within myself.
The hand became friends with the “ice blade”,
Or is he the only light?
Why not haiku? Now read this stanza, adding the poetess’s couplet after it. Here's the tank...
Over the next few centuries, such stringing of stanzas became increasingly popular and around the 16th century it became a favorite pastime of the literate population of Japanese cities. But the more popular it became, the less poetry remained in it - writing renga became a pastime where humor, ridicule, and various verbal tricks were valued. Therefore, this type of poetry began to be called haikai - i.e. humorous mixture. At the beginning of the 17th century, the term haiku (comic poem) also appeared, but then, however, it was forgotten for several hundred years. At this time, individual tercets are already written - not as part of the renga. There are even competitions to see who can write the most haiku in a certain period of time - for example, in a day. The results were phenomenal, but no one really cared about the quality of such poems.
HAIKU
Then Basho appeared, exalting “comic rhymes” to the level of deep poetry. And here the differences between haiku and other types of tercets begin to appear. Haiku was the opening verse of renga and had fairly strict rules applied to it. It had to be connected with the season - because the ranks were divided according to the seasons. It had to be “objective”, i.e. based on observation of nature and should not have been “personal” - for it was not the renga of Basho or Ransetsu - but the collective work of poets. Complicating elements - metaphors, allusions, comparisons, anthropomorphism were also not allowed here. Etc. Just everything that haiku experts in the West consider to be the unshakable rules of haiku. This is where the confusion with haiku and haiku begins.
With all this, haiku had to carry a powerful aesthetic charge - set the tone for the entire chain of strung stanzas. They were written in advance for all possible seasons. Good haiku were highly valued because they were difficult to write - they required real skill, and so many people wanted to write renga. Then the first collections of haiku appeared - specifically to satisfy the mass demand for the initial stanzas. Collections of internal renga tercets simply could not be written in advance - they were created only in response to the previous stanza in the real renga and therefore there have never been collections of these stanzas, except in the renga themselves.
HOKKU AND OTHER TERCEPTHS
But here you need to understand that all the great haiku masters took part in the creation of renga and wrote not only haiku but also internal renga poems - which incredibly expanded the possibilities of tercets - there were tercets that the poet was obliged to write in the first person, there were poems about human affairs and not about nature, both metaphors and anthropomorphization were allowed and used; kigo and kireji became optional in many stanzas. In addition, haiku were composed both as diary entries, and as a gift from a poet to an acquaintance or friend, and as responses to various events. Haiku-like verses and simple stanzas could also be used here. And it all came together general concept haikai poetry - which after a couple of centuries Shiki would replace with the term haiku, which he revived. There’s no way you can write down in haiku this tercet written by Basho while visiting an exhibition of his friend’s drawings:
You're such a good artist
but this bindweed of yours -
He really looks like he’s alive!
THEY WEAR A STRAITJACKET ON A HAIKU
Since the first Western researchers dealt only with collections of haiku, they ignored all other types of tercets and thus established the rules of haiku as the rules of haiku. This is where the ridiculous restrictions imposed to this day on haiku by many authorities in the West came from. After all, some there still consider Issa to be an unbalanced rebel, whose deviations from the “haiku norms” only confirm that they are right, just as exceptions confirm the rules. But Issa was not a rebel at all, he simply at times went beyond the boundaries of haiku, but not haikai poetry - or haiku in the new terminology. By the way, in his famous “Snail on the Slope of Fuji” he, of course, does not look at a real snail on the slope of a real Fuji, but at a snail on a model of Fuji - a sacred mountain - installed in many Japanese temples - this again is not some kind of thoughtful surreal the poem is a sweet joke from a great haiku master. However, everyone is free to see whatever they want in a poem; these are the rules of the game of haiku.
DOWN WITH HOKKU :-)
In Russia we are incomparably more advantageous position than in the West - in all our collections of haiku by great masters, there are not only haiku, but also poems from diaries, poetic offerings, tercets from renga. That’s why we never created these sets of laws for haiku. The only thing that we confuse is haiku and haiku - you can still read “My Hokku” on the websites of our enthusiasts, where there may not be a single poem at all that would have the right to be called haiku (there are no seasonal words, there are no kireji, but there are metaphor, etc.) I would completely abandon the term haiku, as it confuses the brain, and would leave one term - haiku. Haiku is only useful for writing renga. And there everything should be according to the rules, unless we come up with new ones ourselves!
(c) Yuri Runov
Hello to all Like-minded people.
This work is intended to clarify what we mean by haiku/hoku in our “Seven Samurai” competition. This is a "synthetic" guide, which was compiled by me, the Evil Mouselet, based on the analysis of several views on the essence of this form of Japanese poetry.
For the convenience of the reader, I separate the canons of haiku/haiku and advice.
HOKKU - hard form. Despite the fact that many venerable authors believe that haiku can have 10, 21 or 23 syllables, on our site we will adhere to a strict rule and try to maintain the size: the number of syllables line by line is 5-7-5.
RHYTHM OF HOKKU.
The rhythm should be smooth.
Let's say
1st line - stressed - 2 and 4 syllables or 1 and 4,
2nd line - 2, 4, 6 or 1, 4, 6, or 2, 4, 7
That is, there should be no obvious gaps in the rhythm, which happens if syllables 1 and 5 are stressed. Or, if stressed syllables 3 and 4 are also a disruption in the rhythm, a violation of the smoothness of the sound.
It would also not be a rhythmic error to use such a rhythm in the second line:
1-4-7
Early dawn 1-4
pink guest at the window 1-4-7
mallow stretches 1-4
(by haiku Kat Schmidt)
THE MEANING OF HOKKU. The tercet contains: thesis, connective and antithesis.
This means that the first line declares an image, which, through the second line, is associated with a second image, which has some similar characteristics similar to the first image.
For example:
Horned month (teza)
forgotten by someone in a field (link)
brilliant sickle (analogy or antithesis)
IN in this case, the image of the horned month has its analogy in the brilliant sickle. Both are located in a wide expanse of sky-field.
Before us appears a kind of “mirror” image of two opposite, but very similar objects.
Thus, it becomes clear that haiku is a laconic picture that contains two comparable images. Images can be either interrelated or opposite in appearance and meaning.
They create a certain task for the mind or, on the contrary: they contain a revelation, or simply create a mood and bring aesthetic satisfaction.
HOKKU ALLOWS:
All types of visual, real images (both nouns and adjectives and verbs). Objects, animals, plants, geographical features terrain, types of colors...
- all types of sounds: for example, gurgling, creaking, singing, chirping, etc.
- all types of smells and tastes: for example, bitter, sweet, sour, spicy, etc.
- all types of bodily sensations: rough, smooth, slippery, warm, cold, etc.
Direct (visible) expressions of feelings are acceptable: crying, laughter. In the form of verbs: crying, laughing. Something that is accompanied by external accompanying expressions (tears, for example, or sounds - laughs or sighs).
In HOKKU, personal pronouns are allowed: I, you, he, we, they, but their use is undesirable, since haiku cannot be anthropomorphic and personified.
THE following are PROHIBITED IN HOKKU:
- indication of time: tomorrow, yesterday, today. In haiku, all events happen directly, at the moment.
- definitions such as: soul, melancholy, despondency, fun, dream, eternity, etc.
- words like: here, as if, to... expressing comparisons or uncertainty.
In HOKKU, it is NOT advisable to use two or more verbs. It is advisable to do without them altogether, but the use of one present tense verb is quite acceptable and even justified depending on the meaning.
A few words about PUNCTION MARKS.
It is advisable to avoid them, that is, when composing haiku, try to avoid the need for them.
Of course, in some cases semantic pauses have to be highlighted with commas, hyphens, colons, but exclamation marks and question marks are taboo.
The period at the end is not needed, nor is the ellipsis.
*********************some useful tips**********************
Haiku is simplicity. If you don’t have a picture before your eyes that reflects the inner world of the haiku hero, then haiku will not succeed. External world this is a reflection inner world, simultaneously contrasting two worlds and unifying them.
Through simple words, lack of metaphors, through the life of things we show the life of a person. Man is always at the center of the world, but he manifests himself through this world.
That's why:
1) avoid metaphors and comparisons.
2) we avoid “prettyness” and embellishment of the verse. There are few words - many thoughts. A broken cup will tell you more about the grief in the house than the words “How much it hurts me.”
3) we write in the present tense. Buddhists know only "now", do not forget that haiku/haiku was not born in the Christian or Muslim world, it is a worldview system in which great importance is attached to the present.
4) we write about ordinary, daily events in nature and in human life- but we don’t explain them, we select events that brought you a moment of understanding or awareness true essence things around
5) feelings are not named in the poem; they arise when reading the poem.
6) we suggest taking two images and putting them side by side in a verse to create harmony or contrast, using specific, ordinary, natural words.
7) the two-part nature of haiku/haiku is one of its beautiful properties. One image in a haiku may be represented in the first of three lines; the second image can be described in two lines (the first two, or the last two. Diversity interferes with haiku.
8) there are no rhymes in haiku/hoku.
9) you should not artificially divide the haiku into lines, the division should look natural.
10) avoid verbs, they are too straightforward and characteristic of the European way of thinking
11) use seasonal words, do not say “summer”, “autumn”, because the language is so rich.
I wish everyone good luck.
Reviews
Mother! This is a catastrophe! I wrote poems and called them “haiku”, without bothering to find out what it was and so..... To hell with it! Still beautiful!
Ladoga. The rustle of pine needles. Koyonsari.
These blocks have been polished by the wave for thousands of years.
Here is an example of purity and service to art.
Gray sky over gray water and skerries,
White smoke over a sloping stove and gray...
It was said in a boring way, but there was a bright joy in the soul.