Personal Musings on Haiku

[sooZen]

Haiku has no rules yet has many. Because the original form was in another language other than English, we make do with our three line format (usually) but it should be without the 5-7-5 syllables that are native and natural to the original language.

Other than Basho or Issa, one of my favorites is Paul Reps. Reps was highly misunderstood by the 'haikuists' of his day because of the form of his haiku (haiku is plural as well as singular.) Paul created his own forms and usually a original pictorial with the form that was very brief, succinct and had a 'aha!' moment. Since I am not of a particular secular or religious belief (I am a zennist not a buddhist) I loved his use of Zen to convey the moment.

Haiku is the moment, a capturing of time and never in the past or future. There is still argument aplenty among those that write haiku about its format or whether or not analogy or other writing 'tricks' can or should be used. Some say "Nay!" others use analogy to a good end. I tend to think that haiku is not set in any stone but is the stone and is constantly worn and shaped by modern haikuists.

Most of all, haiku should be a brief snapshot of a space and time, not just a long sentence and always fun...

SooZen

[mtmynd]

the stone sculpts itself
hands only assist
what's left, right?

[sooZen]

Less is more in haiku. Here is a great article by a woman I consider to be a master:

http://www.ahapoetry.com/haiartjr.htm

of course, one does not alway agree with a master, just learns one way or another.

'Hai' translates as fun...have a hai day.

Peace,
SooZen

[Artguy]

I prefer Kerouacs "pop" form...

[sooZen]

Hiya Kurt...yes, I like Jacks' take on haiku also for haiku is like any art form and should be evolving. He took it places that haikuists had not gone before and yet retained the essence which is to me, a good thing.

SooZ

[WIREMAN]

Jack's trip was the continuation
American Haiku's set to Zoot's Jazz

flashing fifties nano second
smoke em if ya got em
jazz cellar wailin' horn

[stilltrucking]

sunshine on my face
smile on her face
one true word world

[Doreen Peri]

To me, the challenge is creating the snapshot, the image, the moment, using strictly the 5-7-5 form.

I like word puzzles. That's what I call structured poetry.

Sonnets, richtameters, haiku, villanelles, etc..... they all intrigue me because, to me, there is a specific exact format which the poem should follow.

Some may not think of haiku as structured poetry, especially since Kerouac and others, have put their ideas out about how to execute the form, but I like to think of it that way.

5-7-5

To me, that's the challenge. To create it so it flows within that structure.

By definition, also, haiku should have images from nature. I don't always stick to that, though.

[Doreen Peri]

Here's an article written by a friend of mine, Nancy Ness, who teaches haiku and other poetry forms .....

I thought you all might enjoy it.

http://poetry-magazine.com/poetry/poetry-009/08page.htm

[sooZen]

Doreen, thanks for the link. I have to agree with Nancy that haiku is a subject of disagreement as to form. The 5-7-5 syllabic constraints or 'rule' originally came from a misunderstanding of the differences in Japanese to English translations. The Japanese onji or syllables are very different from ours.

Like many, when I first started writing the haiku form, I was 'taught' that it should be in three lines with a 5-7-5 syllabic format. This is generally how it is taught in our educational system.

Even Basho, probably the greatest haijin of all didn't always follow the rule in his native language.

Here is a great article by a modern, well respected haijin:

Defining the haiku form

My own quick definition might be:

What is the proper form for haiku in English? Well, a simple definition might be a poem that captures a ‘moment in time’, usually involving nature, and as perceived or experienced by the poet. It is recorded in less than seventeen syllables, usually in three lines, and usually with the center line longer than the others, sometimes with a seasonal reference, or ‘kigo’. 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.

One component that does appear critical is a ‘break’, 'cutting word' , or 'turn', which usually occurs between the second and third lines, but can occur also in the second line, but a ‘break’ or shift of perspective that juxtaposes the other images in the poem is considered by many as an important aspect of haiku. There are many ‘schools’ of haiku, both in Japanese and the English, and there always have been. In fact Basho, considered by most scholars to be the Father of the modern haiku, told his students to: “Learn the rules, so that you can break the rules”. Today three lines, two lines, single line, and ‘Zip’ poems all offer the sincere student of this poetic form realistic options to pursue in finding their personal approach to haiku.

Haiku has long been associated with Zen Buddhism, but it has always stood apart from any religious or philosophical bent, and so maintains its universality. Perhaps the association with Zen can best be explained by the fact that both place high value on the ‘present moment’, and human interactions with nature. In any case a knowledge of, or practice of Zen is unnecessary to understanding or creating fine haiku.

A close cousin to the haiku is the senryu, which has many of the same goals, but deals humorously or even sarcastically with ‘human nature’, and does not require a reference to nature or seasonal reference. In point of fact, the lines between senryu and haiku are consistently blurred, and most scholars and poets do not consider one form higher than the other.

This is a very basic overview and definition of haiku/senryu, and it hardly an all encompassing discussion of the form or its origins. There is no single expert in haiku, and the masters sometimes broke their own rules with little more comment than a shrug of the shoulders. It is at once a highly disciplined form, yet one that remains flexible, and has continued to evolve; particularly the English version of this Japanese poetic form, that itself is thought to have evolved from far older Japanese forms; Tanka, Sedoka, and Renga.

In pursuit of knowledge about haiku a true ‘haijin’, or ‘haiku poet’, is nothing more than a lifetime student, and what Bob Dylan once said is highly relevant advice in pursuing an understanding of haiku; “Don’t follow leaders. Watch your parking meters.” Don’t let any Basho wannabe, or self appointed ‘expert’ crush your enthusiasm with their ‘rules’, but rather continue to search, study, and refine your work ‘in the present moment’.

There are numerous web sites that discuss various nuances, definitions, and preferences of technique in the creation of Haiku. As well as many books, by Robert Haas, William J. Higginson, and R. H. Blyth.

Michael Rehling


For me, the beauty of haiku is its very simplicity and a simplicity that is not easy to achieve. To capture a moment, juxtaposing two or more images with an 'aha!' feeling leaving the reader with a long view that goes beyond those few words (the fewer the better, in my humble opinion.) My haiku hero Paul Reps sometimes used as few as three and yet his haiku evokes such images that they burn in the mind's eye.

Personally, I find the 5-7-5 form to be very good 'practice' not unlike sitting in meditation but getting beyond this form or constraint is very freeing...haiku can be structured, if you make it so, but I think that misses the essence of what haiku really is all about.

Peace,
SooZen

[stilltrucking]

The ultimate "English Haiku" challenge is to write effective verse in fewer syllables than the standard 17. The Western writer must make a choice. If he/she opts to conform to the rigid structure of form, then a 17 syllable Haiku will adhere to the Japanese onji format. If one prefers to adapt to the doctrine of brevity, an abbreviated version is genre of choice.

Contemporary haiku writers are now penning their verse in 3-5-3

format as well. These 11 syllables more closely approximate the same Japanese message using a total of 17. Some brave Western poets have attempted to narrow down their syllable count even further to a 2-3-2 pattern, but usually find that effective writing on this level is difficult within English grammar constraints. Unlike Japanese renditions, rearranging English syllables would alter the intended meaning of most short verses.

great article, thnaks

[stilltrucking]

double post.

[WIREMAN]

Basho taught me the beauty
of a horse pissin' in a barn
while yer sleeping....LOL

Form like in the pouring of
concrete, keeps the mix
constrained, the thing is
to take the essence and like
a "Jam" let it roll and become
it's own creation...."Original!"
Never wear a turtle neck when
writing................................

[Marksman45]

In all poetry that I write, I eschew entirely the division of metre by syllables. Even in structured formats, as rarely as I use them, such as haiku and limericks.

Instead of the syllable, I use the musical concept of the Beat.
So a haiku would consist of 5, 7, and 5 beats on each line, respectively.
A syllable may equal one beat; but it may also equal a half beat, or a quarter beat, or a double beat, or a dotted (1.5) beat, or any of a myriad of strange beats (three-sevenths beat, nine-sixteenths beat, five-thirteenths beat...).
Some words are mere "ornaments" or "grace notes" ("hyper-metric" in poetic terms) and have no bearing on the beat count (example, the use of the word "well" in blues & folk poetry at the beginning of a phrase, as in "well, since my baby left me")
Occasionally a rest may even be thrown in to make things interesting


Actually, now that I think of it, I go about every art form from a musical standpoint

[Doreen Peri]

Mars -very well stated.... I think of it musically, as well. The "beat" you are referring to is probably a "foot" in formal poetic terms. I do the same thing with rests, dotted notes (1.5), etc. The use of "well" in your example... I think of that as a pick-up note. It's all music to me. The way the piece sounds, no matter whether it's structured verse or not... that's what makes poetry poetry. If it's not musical, if the beats, the sounds, the rhythms are not in place, to me, it's not poetry at all. A piece might have lovely or hard-hitting images and metaphors and philosophically speak of insights about life, but without the music of it, it's simply prose broken into lines.

SooZ - thanks for this thread.... For your thoughts, as well as the article you posted!

Still T - good to see you! We haven't seen you much lately! Glad you enjoyed the article I referenced.

Mark - pour that concrete.... let the words flow! Jam on, man!