Haiku Extravaganza

POETRY CENTRAL  Volume 4, Number 5      ~Haiku Extravaganza~

The early forms of haiku can be traced back to 15th century Japan.  Written in Japanese, of course, the syllabic structure of the haiku was fixed in three lines with the first line having 5 syllables or beats, the second line 7, and the final line 5 syllables (5-7-5).

Haikus, or “rengas” were commonly written by several poets at one time, a sort of group participation, built up until the poem reached 100 verses. In the 16th century, humor was added into haikus including parodies and even vulgar language and plays on words.

The first great haiku poet was Basho Matsuo (1644-1694).  While he continued in the classic tradition, Basho brought the beautiful nuance of nature and its interplay in human experience right into the brevity and power-packed compression of three lines of poetry. He used haiku to show that often the most insignificant and seemingly useless objects and experiences often held the most dignity and value.  Here is an example of a stunning Basho haiku (remember, the English translation does not fit the 5-7-5 which originally appeared in Japanese):

Sleep on horseback

The far moon in a continuing dream,

Steam of roasting tea.

This haiku brilliantly compares the quality of waiting (sleep) to receiving a good thing (tea), as the “continuing dream” is maintained and kept in focus, including the far moon (denoting distance).  Whatever good thing that awaits Basho, it is highlighted in the most everyday celebration of drinking roasted tea. 

In the 18th century, Buson Yosa (1716-1783) was a master poet who was noted for his expert technique in writing haiku.  His haikus tried to show the essence of scenes and situations in ordinary life, transcended into ultimate snapshots relating to our feelings and impressions of life.  Below is a favorite:

Short summer night.
A dewdrop
On the back of a hairy caterpillar.

Note how the the haiku opens with a scene or some visual image.  Then, the second line, out of nowhere, presents an entirely different image.  Finally, the last line returns us full circle and we see the whole splendid scene, the tiniest water droplet on the back of a caterpillar, and we think, how insignificant… and how very important and beautiful.

Yoshi Takahama (1874-1959) is an example of a modern haiku poet.  His style was fluid and varied and often very direct, evoking a striking conclusion.  A favorite:

A snake slipped away.
Only his eyes having looked at me
Remain in grass.  

WRITING HAIKUS

Much can be written on style and form.  What follows is simply a personal bias.  I have always liked the haiku poetry form because it restricts the author to put into words a very packed and powerful sentiment, thought, emotion, or simply visual image, that unfolds almost instantly.  This takes practice and an eye toward capturing the essence of a feeling or image.  Also, brilliant haikus are often found to have a distinct witty, almost snarky side to them.  It’s a fun way to use humor in a different kind of way.  To say something funny, in a brief, off-handed way. 

So, in writing haikus, I would first say that one should strive for simplicity in words.  It doesn’t do any good to use complicated words that have to be looked up.  Long syllabic-rich words (like simultaneously) are virtually ruled out. 

Second, don’t rhyme your haikus.  It’s really never been part of the tradition of haiku and I think it detracts from the focus and puts improper emphasis on the language versus the impulse and image behind the words.

Then, I would say that observing some of the original aims and purposes of the haiku, historically and culturally speaking, adds to the richness  In writing a haiku, think first of what you want to do.  Do you want to use a scene in nature to compare one thing, such as a tree, to another thing quite differently, like an elephant?  But in that comparison, the whole of the haiku might encapsulate that single thought by showing how two things as disparate as a tree and an elephant have something in common.

Okay, I’ll try:

A low bowing branch  

Of the muscular oak tree

Elephant trunk droops.

Or thereabouts!  For contrast, you can think of different entities, sounds, images, feelings, (whatever!), then look for some universal aspect (or otherwise) that contrasts one to the other.  Often, opposing forces or views are used to bring this out.  Such as:

Long hard rain
Hanging in the willows
Tender new leaves   (not mine)

Finally, techniques of association allow for the consideration of how different things can find commonality or become “one,” everything a part of something else, a very prominent early goal in haiku poetry. 

ancestors
the wild plum
blooms again (not mine) 

Over a year ago I hosted a haiku extravaganza here, where folks put in their haikus in the comment boxes.  We wrote over 200 at that time.  I’d like to continue that here.  Don’t be afraid to experiment.  Ultimately, it really doesn’t matter if you exactly follow the form (5-7-5), but it might be fun to see if we can come up with some great haiku, and what I will do is choose three of my favorites and post them in a separate article.

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Written by Edward Nudelman, Books Correspondent for POETRY CENTRAL

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