Dunes
(An Introduction)
BY Adelaide B. Shaw
Haiku, like dunes of sand, has shifted over time. The four great masters wrote as individuals with their own style and traditions. Buson’s approach differed from Bashō who came before him. Issa wrote in another way. Shiki went back to Buson and haiku evolved even further, including the change from hokku to haiku.
When translators first introduced haiku to the West, it was their translations, explanations and interpretations of haiku elements that came to be accepted as traditions. Yet, translations and explanations differed, and it was, and is, difficult to arrive at a definition of traditional haiku which is agreeable to all haiku poets. R.H. Blyth, for example, wrote of syllables; William J. Higginson wrote of sound units, not syllables. Richard Gilbert has written of -on and -ji; while robin d. gill writes of syllabets.
Rather than just discuss traditional haiku, this new section of Troutswirl will explore the traditions of haiku as well as how they’ve played a role in traditional, contemporary, and innovative haiku.
What are the traditions of English-language haiku? How were they established? Are they relevant today? Which traditions are necessary for a haiku to be traditional? What is ignored, tweaked or added to be labeled contemporary or innovative? Does English-language haiku have its own set of traditions? Should it? Can it not?
These, and many other questions, will be discussed in Dunes.
Dunes is overseen by Adelaide B. Shaw.
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Some open questions to readers: Where would you like to see this section go? What areas and topics concerning English haiku traditions—its shifting dunes—would you like to see explored and dug into?
{ 18 comments }
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I think, sadly, what we have to live with are two different definitions of ‘haiku’ :
1
The popular, Western, definition, which uses (confuses really) the term ‘haiku’ to designate any Japaneseque short form poem, whatever rules, or not, are employed.
2
The Japanese definition (in my own view the benchmark,) which has certain structural requirements; seasonality (including cultural events which celebrate both nature and humanities’ response to the annual effects of the big wheel turning,) being so very important to the Taoist/Zen (et al) substrate of Japanese aesthetics – Japan’s intrinsic ethos.
This is where senryu and zappai are useful categories, as they provide a local habitation and place for all the non-haiku poems (including much jetsom and flotsam!) which use SOME of the constructive elements of a haiku proper, but for non-haiku porpoises, typically.
spring lake
only my song
disturb the wind
But, I suppose, at the end of the day (when all is said and done,) ‘a rose is a rose by any other name’ – right? In other words, a haiku (or whatever) either works or it does not.
Tom, This is one of my favorites from the Frech (I don’t speak French and have to rely on translations)…
Song
By the wayside leaves
so tired of being leaves
they fell.
By the wayside Jews
so tired of being Jews
they fell.
Edmond Jabes
It’s been a long time since I pulled out my notes…I took these down decades ago…more years than I care to remember. Funny, I was so hungry for what this poetry contained, half the time I never copied down the author or where I got the poem from. Knowing a bit of the history of what brought this poetry about it important to understanding it. I am in your debt for bringing me back to it. Many thanks. Merrill
There will be no attempt by me to “nail down” the truth or define any absolutes for haiku. It is hoped that we can explore the traditions of haiku that have come down through the years, which ones are still very much in use, which ones, if any, have been set aside. All opinions and ideas will be welcome.
Adelaide
Tom, I will try to look him up…I have been greatly influenced by the French writers during WWII and how language was changed during that time and the influence of cultures on language.
And Adelaide, I have to tell you I hope that many of these questions lead to broadening our concepts of haiku, not binding them in ways that restrict growth. I’m always a bit uncomfortable with trying to “nail down” truth. The more voices with different points of view the more thought and the deeper the thought will enrich us. Many thanks for putting this together.
I hope this works out Adelaide, I am interested in the project.
ps: you are right, Paul Mac does look like a teady bear
I know that this is sad, but I never met him. Maybe at the next HNA event, if
I ever show up without canceling my fleight?
Regarding “individual destiny” Bonnefoy’s point remains and it’s not what Merrill Ann Gonzales thinks it was. The Dunes project is very important partly because it will lead to deeper appreciations for the variety of understandings expressed by the variety of forms. Call these understandings “stances” implicit in the kinds of haiku — stances toward the world as a whole, but almost, more immediately, stances toward the reader, towards the poet’s community. Bonnefoy is of course speaking from within a special community of French intellectuals, his immediate audience. I for one have learned much from Bonnefoy about a variety of things. You should look him up! I was fascinated to hear of the impact haiku had had on this important and celebrated writer.
I wish Adelaide all the very best with this new series too!
Would be keenly following the discussions.
_kala
I have to tell you, I am truly grateful for all the responses! And the depths they go to. Wonderful…I just copied it all down and can’t wait to read the article from The Japan Times, “Spring blooms early in art world”…
Many thanks.
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