we all know that this is for real and there's no choice in it
witness miracles.
the truth be told and that just
is right. The late come.
posted by greg @ 5:04 AM
Haiku You Ku
You should relax.
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Friday, September 22, 2006
the truth be told and that just
is right. The late come.
7 Comments:
I think you have a syllable violation...
got it thanks.
From HaikuHut.com:
Although many times a 5-7-5 pattern is prescribed as a ‘firm’ rule in rudimentary definitions of haiku this is not supported by research, translation, or history, even in Japanese haiku.
man, Stipe never gave a damn about 5-7-5. Basho didn't care either. isn't it time to loosen up yet?
I can't believe I quoted from HaikuHut.com
Can we break convention on the You Ku? The future only knows......
so i'm doing a little bit of research on richard wright right now, and it turns out toward the end of his life he went manic haiku-wise, composing thousands (of 5,7,5s) before he died, published finally in 1998 as "Haiku: This Other World." there's some pretty amazing stuff in there. anyways, in case anyone cares, someone named yoshinubu hakutani writes an afterword to "this other world," claiming:
The genesis of the haiku can be seen in the "waka" (Japanese song), the oldest verse form, of thirty-one syllables in five lines (5,7,5,7,7). As an amusement at court someone would compose the first three lines of a "waka" and another person would be challenged to provide the last two lines to complete the verse. The haiku form, a verse of seventeen syllables arranged 5,7,5, with such exceptions as 5,7,6 and 5,8,5, etc., corresponds to the first three lines of the "waka." "Hyakunin Isshu" ("One Hundred Poems by One Hundred Poets," A.D. 1235) a "waka" anthology compiled by Fujiwara no Sadaiye, contains haiku-like verses. Sadaiye's "Chiru Hana wo" ("The Falling Blossoms"), for example, reads:
Chiru hana wo
Oikakete yuku
Arashi kani
{Translation:
The falling blossoms:
Look at them, it is the storm
That is chasing them.}
The focus of this verse is the poet's observation of a natural object, the falling blossoms. To this beautiful picture Sadaiye adds his feeling about the phenonemon: it looks as though a storm is pursuing the falling flower petals.
This seventeen-syllable verse form was preserved by noblemen, courtiers, and high-ranked samurai for nearly three centries after the publication of "Hyakunin Isshu." Around the beginning of the sixteenth century, the verse form became popular among the poets. It constituted a dominant element of another popular verse called "renga," linked song. "Renga" was a continuous chain of fourteen (7,7) and seventeen (5,7,5) syllable verses, each independently composed, but connected as one poem. The collection of "renga," "Chikuba Kyojin Shu" ("Chikuba's Mad Men's Collection") contains over two hundred "tsukeku" (adding verses) linked with the first verses of another poet. As the title of this collection suggests, the salient characteristic of "renga" was a display of ingenuity and coarse humor. "Chikubu Kyojin Shu" also collected twenty "hokku" (starting verses). Because the "hokku," which was an earlier term for haiku, was considered the most important verse of a "renga" series, it was usually composed by the senior poet attending a "renga" session. The fact that this collection included far fewer "hokku" in proportion to "tsukeku" indicates the poets' interest in the cosmic nature of the "renga."
By the 1680s, when Matsuo Basho (1644-1694) wrote the first version of his celebrated poem on the frog jumping into the old pond, an older poetic genre from which haiku evolved, "haikai," had become a highly stylized expression of poetic vision. Basho's poem was totally different from most of the "haikai" poems written by his predecessors: it was the creation of a new perception and not merely an ingenious play on words. As most scholars observe, the changes and innovations brought about in "haikai" poetry were not accomplished by a single poet. Basho's contemporaries, with Basho as their leader, attempted to create the serious "haikai," a verse form known in modern times as haiku. The haiku, then, was a unique poetic genre in the late seventeenth century that was short but could give more than wit or humor: a haiku became a crystallized expression of the poet's vision and sensibility.
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