haiku - wikipedia article

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HaikuFrom Wikipedia, the free encyclopedia

Haiku (haikai verse) listen (no separate plural form) is a very short form of Japanesepoetry typically characterised by three qualities:

The essence of haiku is "cutting" (kiru).

[1]

This is often represented by the juxtaposition oftwo images or ideas and a kireji("cutting word") between them,

[2]a kind of verbal

punctuation mark which signals the moment of separation and colors the manner in which

the juxtaposed elements are related.

Traditional haiku consist of 17 on (also known as morae), in three phrases of 5, 7 and 5 on

respectively.[3]

Any one of the three phrases may end with the kireji.[4]

Although haiku are

often stated to have 17 syllables,[5]

this is inaccurate as syllables and on are not the same.

A kigo (seasonal reference), usually drawn from a saijiki, an extensive but defined list of

such words.

Modern Japanese haiku (gendai-haiku) are increasingly unlikely to follow the tradition of17 on or to take nature as their subject, but the use of juxtaposition continues to be honored in

both traditional and modern haiku.[6]

There is a common, although relatively recent, perception

that the images juxtaposed must be directly observed everyday objects or occurrences.[7]

In Japanese, haiku are traditionally printed in a single vertical line while haiku in English often

appear in three lines to parallel the three phrases of Japanese haiku.[8]

Previously called hokku, haiku was given its current name by the Japanese writer Masaoka Shiki

at the end of the 19th century.

Contents

1 Syllables on or in haiku

2 Kigo

3 Kireji

4 Examples

5 Origin and development

5.1 From renga to renku to haiku

5.2 Bash5.3 Buson

5.4 Issa

5.5 Shiki

5.6 Haibun

5.7 Haiga

5.8 Kuhi

6 Haiku movement in the West

6.1 Blyth

6.2 Yasuda

6.3 Henderson6.4 Contemporary English-language haiku

7 Worldwide

8 Famous writers

ku - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Haiku

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8.1 Pre-Shiki period

8.2 Shiki and later

9 See also

10 References

11 Bibliography

12 External links

Syllables on or in haiku

Main article: On (Japanese prosody)

In contrast to English verse typically characterized by meter, Japanese verse counts sound units

known as "on" or morae. Traditional haiku consist of 17 on, in three phrases of five, seven and five

on respectively. Among contemporary poems teikei( fixed form) haiku continue to use the

5-7-5 pattern whilejiyuritsu ( free form) haiku do not.[citation needed]

One of the examples

below illustrates that traditional haiku masters were not always constrained by the 5-7-5 pattern.

Although the word "on" is sometimes translated as "syllable," one on is counted for a short

syllable, two for an elongated vowel, diphthong, or doubled consonant, and one for an "n" at the

end of a syllable. Thus, the word "haibun," though counted as two syllables in English, is counted

as fouron in Japanese (ha-i-bu-n); and the word "on" itself, which English-speakers would view as

a single syllable, comprises two on: the short vowel o and the moraic nasal n . This is illustrated by

the Issa haiku below, which contains 17 on but only 15 syllables. Conversely, some sounds, such

as "kyo" () can be perceived as two syllables in English but are a single on in Japanese.

The word onji(; "sound symbol") is sometimes used in referring to Japanese sound units in

English

[9]

although this word is no longer current in Japanese.

[citation needed]

In Japanese, each oncorresponds to a kana character (or sometimes digraph) and henceji(or "character") is also

sometimes used as the count unit.[citation needed]

In 1973, the Haiku Society of America noted that the norm for writers of haiku in English was to

use 17 syllables, but they also noted a trend toward shorter haiku.[10]

Some translators of Japanese poetry have noted that about 12 syllables in English approximate

the duration of 17 Japanese on.[11]

Kigo

Main article: Kigo

A haiku traditionally contains a kigo, a defined word or phrase that symbolizes or implies the

season of the poem, which is drawn from a saijiki, an extensive but defined list of such words.

Kigo are often in the form of metonyms[citation needed]

and can be difficult for those who lack

Japanese cultural references to spot.[citation needed]

The Bash examples below include "kawazu",

"frog" implying spring, and "shigure", a rain shower in late autumn or early winter. Kigo are not

always included in non-Japanese haiku or by modern writers of Japanese "free-form" haiku.[citation needed]


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Kireji

Main article: Kireji

In Japanese haiku a kireji, or cutting word, typically appears at the end of one of the verse's three

phrases. A kirejifills a role somewhat analogous to a caesura in classical western poetry or to a

volta in sonnets. Depending on which cutting word is chosen, and its position within the verse, it

may briefly cut the stream of thought, suggesting a parallel between the preceding and followingphrases, or it may provide a dignified ending, concluding the verse with a heightened sense of

closure.[12]

The fundamental aesthetic quality of both hokku and haiku is that it is internally sufficient,

independent of context, and will bear consideration as a complete work.[citation needed]

The kireji

lends the verse structural support,[13]

allowing it to stand as an independent poem.[14][15]

The use

ofkirejidistinguishes haiku and hokku from second and subsequent verses of renku which,

although they may employ semantic and syntactic disjuncture, even to the point of occasionally

end-stopping a phrase with a shjoshi( sentence ending particle), do not generally employ

kireji.[citation needed]

In English, since kirejihave no direct equivalent, poets sometimes use punctuation such as a dash

or ellipsis, or an implied break to create a juxtaposition intended to prompt the reader to reflect on

the relationship between the two parts.

The kirejiin the Bash examples "old pond" and "the wind of Mt Fuji" are both "ya" (). Neither

the remaining Bash example nor the Issa example contain a kirejialthough they do both balance

a fragment in the first five on against a phrase in the remaining 12 on (it may not be apparent from

the English translation of the Issa that the first five on mean "Edo's rain").

Examples

The best-known Japanese haiku[16]

is Bash's "old pond":

(transliterated into 17 hiragana)

furuike ya kawazu tobikomu mizu no oto (transliterated into romaji)

This separates into on as:

fu-ru-i-ke ya (5)

ka-wa-zu to-bi-ko-mu (7)

mi-zu no o-to (5)

Translated:[17]

old pond . . .

a frog leaps in

waters sound

An alternative translation, which preserves the syllable counts in English at the cost of taking

greater liberty with the sense:[18]

at the age old pond


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a frog leaps into water

a deep resonance

Another haiku by Bash:

hatsu shigure saru mo komino wo hoshige nari

[19]

This separates into on as:

ha-tsu shi-gu-re (5)

sa-ru mo ko-mi-no wo (7)

ho-shi-ge na-ri (5)

Translated:

the first cold shower

even the monkey seems to wanta little coat of straw

This haiku by Bash illustrates that he was not always constrained to a 5-7-5 on pattern. It

contains 18 on in the pattern 6-7-5 ("" or "" is treated as two on.)

fuji no kaze ya gi ni nosete Edo miyage[20]

This separates into "on" as:

fu-ji no ka-ze ya (6)

o-o-gi ni no-se-te (7)

e-do mi-ya-ge (5)

Translated:

the wind of Mt. Fuji

I've brought on my fan!

a gift from Edo

This haiku by Issa[21] illustrates that 17 Japanese on do not always equate to 17 English syllables

("nan" counts as two on and "nonda" as three.)

edo no ame nan goku nonda hototogisu

This separates into "on" as,

e-do no a-me (5)

na-n go-ku no-n-da (7)ho-to-to-gi-su (5)

Translated:


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how many gallons

of Edo's rain did you drink?

cuckoo

Though traditionally haikus have been written to express natural beauty and tranquility, this

unusual haiku focuses on strong human emotion, particularly sadness.

On the jagged cliff,

sadly gazing far below,

his troubles end here

Origin and development

From renga to renku to haiku

Main articles: Renga and Renku

Hokku is the opening stanza of an orthodox collaborative linked poem, or renga, and of its laterderivative, renku (orhaikai no renga). By the time of Matsuo Bash (16441694), the hokku had

begun to appear as an independent poem, and was also incorporated in haibun (a combination of

prose and hokku), and haiga (a combination of painting with hokku). In the late 19th century,

Masaoka Shiki (18671902) renamed the standalone hokku to haiku.[22]

The latter term is now

generally applied retrospectively to all hokku appearing independently of renku or renga,

irrespective of when they were written, and the use of the term hokku to describe a standalone

poem is considered obsolete.[23]

Bash

Main articles: Matsuo Bash and Hokku

In the 17th century, two masters arose who elevated haikaiand gave it a new popularity. They

were Matsuo Bash (16441694) and Ueshima Onitsura (ja) (16611738). Hokku is the first verse

of the collaborative haikaiorrenku, but its position as the opening verse made it the most

important, setting the tone for the whole composition. Even though hokku had sometimes

appeared individually, they were always understood in the context ofrenku.[24]

The Bash school

promoted standalone hokku by including many in their anthologies, thus giving birth to what is now

called "haiku". Bash also used his hokku as torque points within his short prose sketches and

longer travel diaries. This sub-genre ofhaikaiis known as haibun. His best-known work, Oku noHosomichi, orNarrow Roads to the Interior, is counted as one of the classics of Japanese

literature[25]

and has been translated into English extensively.

Bash was deified by both the imperial government and Shinto religious headquarters one

hundred years after his death because he raised the haikai genre from a playful game of wit to

sublime poetry. He continues to be revered as a saint of poetry in Japan, and is the one name

from classical Japanese literature that is familiar throughout the world.[26]

Buson

Main article: Yosa Buson

The next famous style of haikai to arise was that of Yosa Buson (17161783) and others such as

Kit, called the Tenmei style after the Tenmei Era (17811789) in which it was created. Buson


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Grave of Yosa Buson

attempted to revive the values of Bash, and rescue haiku and renku

from the stultified condition into which it had sunk since Bash's

day.[citation needed]

Buson is recognized as one of the greatest masters of haiga (an art

form where painting is combined with haiku or haikai prose). His

affection for painting can be seen in the painterly style of his haiku.[27]

Issa

Main article: Kobayashi Issa

No new popular style followed Buson. However, a very individualistic,

and at the same time humanistic, approach to writing haiku was

demonstrated by the poet Kobayashi Issa (17631827), whose

miserable childhood, poverty, sad life, and devotion to the Pure Land

sect of Buddhism are evident in his poetry. Issa made the genre

immediately accessible to wider audiences.

Shiki

Main article: Masaoka Shiki

Masaoka Shiki (18671902) was a reformer and modernizer. A prolific writer, even though

chronically ill during a significant part of his life, Shiki disliked the 'stereotype' haikai writers of the

19th century who were known by the deprecatory term tsukinami, meaning 'monthly', after the

monthly or twice-monthly haikaigatherings of the end of the 18th century (in regard to this period

ofhaikai, it came to mean 'trite' and 'hackneyed'). Shiki also criticized Bash.[citation needed]

Like

the Japanese intellectual world in general at that time, Shiki was strongly influenced by Western

culture. He favored the painterly style of Buson and particularly the European concept ofplein-air

painting, which he adapted to create a style of haiku as a kind of nature sketch in words, an

approach called shasei(), literally 'sketching from life'. He popularized his views by versecolumns and essays in newspapers.

Hokku up to the time of Shiki, even when appearing independently, were written in the context of

renku.[24]

Shiki formally separated his new style of verse from the context of collaborative poetry.

Being agnostic,[28]

he also separated it from the influence of Buddhism. Further, he discarded the

term "hokku" and proposed the term haiku as an abbreviation of the phrase "haikai no ku"

meaning a verse ofhaikai,[29]

although the term predates Shiki by some two centuries, when it

was used to mean anyverse of haikai.[citation needed]

Since then, "haiku" has been the term usually

applied in both Japanese and English to all independent haiku, irrespective of their date of

composition. Shiki's revisionism dealt a severe blow to renku and surviving haikai schools. The

term "hokku" is now used chiefly in its original sense of the opening verse of a renku, and rarely to

distinguish haiku written before Shiki's time.[citation needed]

Haibun

Main article: Haibun

Haibun is a combination of prose and haiku, often autobiographical or written in the form of a

travel journal.


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Haiga

Main article: Haiga

Haiga is a style of Japanese painting based on the aesthetics of haikai, and usually including a

haiku. Today, haiga artists combine haiku with paintings, photographs and other art.

Kuhi

The carving of famous haiku on natural stone to make poem monuments known as kuhi()

has been a popular practice for many centuries. The city of Matsuyama has more than two

hundred kuhi.

Haiku movement in the West

The earliest westerner known to have written haiku was the Dutchman Hendrik Doeff

(17641837), who was the Dutch commissioner in the Dejima trading post in Nagasaki, during the

first years of the 19th century.[30] One of his haiku:[31]

inazuma no

kaina wo karan

kusamakura

lend me your arms,

fast as thunderbolts,

for a pillow on my journey.

Although there were further attempts outside Japan to imitate the "hokku" in the early 20th century,

there was little understanding of its principles.[citation needed]

Early Western scholars such as Basil

Hall Chamberlain (18501935) and William George Aston were mostly dismissive of hokku's

poetic value. One of the first advocates of English-language hokku was the Japanese poet Yone

Noguchi. In "A Proposal to American Poets," published in the Readermagazine in February 1904,Noguchi gave a brief outline of the hokku and some of his own English efforts, ending with the

exhortation, "Pray, you try Japanese Hokku, my American poets!" At about the same time the poet

Sadakichi Hartmann was publishing original English-language hokku, as well as other Japanese

forms in both English and French.

In France, haiku was introduced by Paul-Louis Couchoud around 1906. Couchoud's articles were

read by early Imagist theoretician F. S. Flint, who passed on Couchoud's (somewhat idiosyncratic)

ideas to other members of the proto-Imagist Poets' Club such as Ezra Pound. Amy Lowell made a

trip to London to meet Pound and find out about haiku. She returned to the United States where

she worked to interest others in this "new" form. Haiku subsequently had a considerable influenceon Imagists in the 1910s, notably Pound's "In a Station of the Metro" of 1913, but, notwithstanding

several efforts by Yone Noguchi to explain "the hokku spirit," there was as yet little understanding

of the form and its history.[citation needed]

A translation of Bash's Oku no Hosomichito Spanish was done in 1957 by the Mexican poet and

Nobel Prize winner Octavio Paz in collaboration with Japanese diplomat Eikichi Hayashiya.

Blyth

Main article: Reginald Horace Blyth

R.H. Blyth was an Englishman who lived in Japan. He produced a series of works on Zen, haiku,

senry, and on other forms of Japanese and Asian literature. In 1949, with the publication in

Japan of the first volume ofHaiku, the four-volume work by Blyth, haiku were introduced to the


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post-war English-speaking world. This four-volume series (194952) described haiku from the

pre-modern period up to and including Shiki. Blyth's History of Haiku (1964) in two volumes is

regarded as a classical study of haiku. Today Blyth is best known as a major interpreter of haiku to

English speakers. His works have stimulated the writing of haiku in English.

Yasuda

Main article: Kenneth Yasuda

The Japanese-American scholar and translator Kenneth Yasuda published The Japanese Haiku:

Its Essential Nature, History, and Possibilities in English, with Selected Examples in 1957. The

book includes both translations from Japanese and original poems of his own in English, which

had previously appeared in his book titledA Pepper-Pod: Classic Japanese Poems together with

Original Haiku. In these books Yasuda presented a critical theory about haiku, to which he added

comments on haiku poetry by early 20th-century poets and critics. His translations apply a 575

syllable count in English, with the first and third lines end-rhymed. Yasuda considered that haiku

translated into English should utilize all of the poetic resources of the language.[citation needed]

Yasuda's theory also includes the concept of a "haiku moment" based in personal experience, andprovides the motive for writing a haiku. His notion of the haiku moment has resonated with haiku

writers in North America, even though the notion is not widely promoted in Japanese haiku.

Henderson

Main article: Harold G. Henderson

In 1958,An Introduction to Haiku: An Anthology of Poems and Poets from Bash to Shikiby

Harold G. Henderson was published by Doubleday Anchor Books. This book was a revision of

Henderson's earlier book titled The Bamboo Broom (Houghton Mifflin, 1934). After World War

Two, Henderson and Blyth worked for the American Occupation in Japan and for the ImperialHousehold, respectively, and their shared appreciation of haiku helped form a bond between the

two.

Henderson translated every hokku and haiku into a rhymed tercet (a-b-a), whereas the Japanese

originals never used rhyme. Unlike Yasuda, however, he recognized that seventeen syllables in

English are generally longer than the seventeen on of a traditional Japanese haiku. Because the

normal modes of English poetry depend on accentual meter rather than on syllabics, Henderson

chose to emphasize the order of events and images in the originals.[citation needed]

Nevertheless,

many of Henderson's translations were in the five-seven-five pattern.

Contemporary English-language haiku

Main article: Haiku in English

Today, haiku are written in many languages, but most poets outside of Japan are concentrated in

the English-speaking countries and in the Balkans.[citation needed]

It is impossible to single out any current style or format or subject matter as definitive. Some of the

more common practices in English are:

Use of three (or fewer) lines of 17 or fewer syllables;

Use of a season word (kigo);

Use of a cut (sometimes indicated by a punctuation mark) paralleling the Japanese use of

kireji, to implicitly contrast and compare two events, images, or situations.


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While the traditional Japanese haiku has focused on nature and the place of humans in it, some

modern haiku poets, both in Japan and the West, consider a broader range of subject matter

suitable, including urban contexts.

Brian P. Cleary's "Report Card" provides an excellent example of contemporary American haiku for

children:

Four days of the year,

One tiny piece of paper

Turns my stomach sour.

The loosening of traditional standards has resulted in the term "haiku" being applied to brief

English-language poems such as "mathemaku" and other kinds of pseudohaiku. Some sources

claim that this is justified by the blurring of definitional boundaries in Japan.[32]

Worldwide

In the early 21st century, there is a thriving community of haiku poets worldwide, mainlycommunicating through national and regional societies and journals in Japan, in the English-

speaking countries (including India), in Northern Europe (mainly Sweden, Germany, France,

Belgium and the Netherlands), in central and southeast Europe (mainly Croatia, Slovenia, Serbia,

Bulgaria, Poland and Romania), and in Russia. Haiku journals published in southeast Europe

include Letni asi(Slovenia), Vrabac(Croatia), Haiku Novine (Serbia), andAlbatros (Romania).[33]

In the early 20th century, Nobel laureate Rabindranath Tagore composed haiku in Bengali. He also

translated some from Japanese. In Gujarati, Zeenabhai Ratanji Desai 'Sneharashmi' popularized

haiku[34]

and remains a popular haiku writer.[35]

In February 2008, the World Haiku Festival was

held in Bangalore, gathering haijin (

, haiku poets) from all over India and Bangladesh, as wellas from Europe and the US.

[citation needed]In South Asia, some other poets also write Haiku from

time to time, most notably including the Pakistani poet Omer Tarin, who is also active in the

movement for global nuclear disarmament and some of his 'Hiroshima Haiku' have been read at

various peace conferences in Japan and the UK.

Some groups, such as the Haiku International Association, try to promote exchanges between

Japanese and foreign haiku poets.

The President of the European Council Herman Van Rompuy is a notable haijin and known as

"Haiku Herman". He published a book of haiku in April 2010.[36][37][38]

Famous writers

Pre-Shiki period

Arakida Moritake

(14731549)

Matsuo Bash

(16441694)

Nozawa Bonch (c.16401714)

Takarai Kikaku

(16611707)

Ueshima Onitsura (ja)

(16611738)

Yokoi Yay (17021783)Fukuda Chiyo-ni

(17031775)

Yosa Buson (17161783)

Ryokan Taigu

(1758-1831)

Kobayashi Issa(17631827)

Shiki and later


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Masaoka Shiki

(18671902)

Kawahigashi

Hekigot (ja)

(18731937)

Takahama Kyoshi

(18741959)

Samukawa Sokotsu

(18751954)

Taneda Santka

(18821940)

Ozaki Hsai (18821926)

Ogiwara Seisensui

(18841976)

Natsume Sseki

(18671916)

Rynosuke Akutagawa

(18921927)

See also

Haiku in English

Estonian haiku

Hokku (predecessor to

Haiku)

Japanese language

Japanese poetry

Japanese phonology

Jueju (Classical Chinese

"cut verse")Kigo (season word)

Kireji ("cutting word")

Kural (Tamil verse form)

List of Japanese

language poets

List of Japanese poetry

anthologies

List of kigo

List of National Treasures

of Japan (writings)

Masaoka ShikiInternational Haiku

Awards

Matsuyama Declaration

Micropoetry

Renku (collaborative

verse form)

Saijiki (kigo list)

Senry (haiku-like verse

form)

Tanka

Waka (poetry)

References

^ Yamada-Bochynek, Yoriko (1985). Haiku East and West. Bochum: Universitatsverlag Brockmeyer.

p. 255. ISBN 978-3883394046.

1.

^ Hiraga, Masako K. (1999). "Rough Sea and the Milky Way: 'Blending' in a Haiku Text," in

Computation for Metaphors, Analogy, and Agents, ed. Chrystopher L. Nehaniv. Berlin: Springer. p. 27.

ISBN 978-3540659594.

2.

^ Lanoue, David G. Issa, Cup-of-tea Poems: Selected Haiku of Kobayashi Issa, Asian Humanities

Press, 1991, ISBN 0-89581-874-4 p.8

3.

^ Shirane, Haruo. Traces of dreams: landscape, cultural memory, and the poetry of Bash. Stanford

University Press, 1998. ISBN 978-0-8047-3099-0 p100

4.

^ e.g. in Haiku for People (http://www.toyomasu.com/haiku/) Toyomasu, Kei Grieg. Retrieved

2010-04-27.

5.

^ Sterba, Carmen. "Thoughts on Juxtaposition" (http://simplyhaiku.com/SHv5n3/features/Sterba.html).

Simply Haiku: A Quarterly Journal of Japanese Short Form Poetry. Simply Haiku. Retrieved 9 April

2013.

6.

^ Haruo Shirane Beyond the Haiku Moment(http://www.haikupoet.com/definitions

/beyond_the_haiku_moment.html)

7.

^ Van den Heuvel, Cor. The Haiku Anthology, 2nd edition, Simon & Schuster, 1986, ISBN

0-671-62837-2 p.11

8.

^ T. Kondo, "In support of onji rather than jion," Frogpond (http://www.hsa-haiku.org/frogpond.htm):

Journal of the Haiku Society of America', 1:4, 30-31 (1978).

9.

^ 1973 definition of haiku (http://www.hsa-haiku.org/archives/HSA_Definitions_2004.html#Old_Haiku)

on the website of the Haiku Society of America

10.

^ definition of haiku (http://www.hsa-haiku.org/archives/HSA_Definitions_2004.html#Haiku) on the

website of the Haiku Society of America

11.

^ Shirane, Haruo (2004). Early Modern Japanese Literature: An Anthology, 1600-1900. Columbia

University Press. p. 521. ISBN 978-0-231-10991-8.

12.

^ Brief Notes on "Kire-ji" (http://www.haiku.jp/haiku/nyumon_English_03.htm), Association of Japanese

Classical Haiku. Retrieved 2008-10-16.

13.

^ Steven D. Carter. Three Poets at Yuyama. Sogi and Yuyama Sangin Hyakuin, 1491, in Monumenta

Nipponica, Vol. 33, No. 3. (Autumn, 1978), p.249

14.

^ Konishi Jin'ichi; Karen Brazell; Lewis Cook, The Art of Renga, in Journal of Japanese Studies, Vol. 2,

No. 1. (Autumn, 1975), p.39

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^ Higginson, William J. The Haiku Handbook, Kodansha International, 1985, ISBN 4-7700-1430-9, p.916.

^ Translated by William J. Higginson in Matsuo Bash: Frog Haiku (Thirty Translations and One

Commentary) (http://www.bopsecrets.org/gateway/passages/basho-frog.htm), including commentary

from Robert AitkensA Zen Wave: Bashs Haiku and Zen (revised ed., Shoemaker & Hoard, 2003)

17.

^ "Journeys In Japan: Haiku Poetry, Autumn Foliage Otsu & Ogaki" (http://www3.nhk.or.jp/nhkworld

/english/tv/journeys/archives20121205.html). Nhk.org.jp. first broadcast December 11, 2012.

18.

^Works of Basho, Winter(http://www.ict.ne.jp/~basho/works/winter/04.html) on Iga and Basho ict.ne.jp

website.

19.

^Works of Basho, Summer(http://www.ict.ne.jp/~basho/works/summer/03.html) on Iga and Bashoict.ne.jp website.

20.

^ "Issa archive" (http://haikuguy.com/issa/search.php?keywords=gallons&year=1813). Haikuguy.com.

Retrieved 2012-01-06.

21.

^ Higginson, William J. The Haiku Handbook, Kodansha International, 1985, ISBN 4-7700-1430-9,

p.20

22.

^ van den Heuvel, 1986, p.35723.

^ab

Hiroaki Sato. One Hundred Frogs, Weatherhill, 1983, ISBN 0-8348-0176-0 p.11324.

^ Yuasa, Nobuyuki. The Narrow Road to the Deep North and other travel sketches, Penguin 1966,

ISBN 0-14-044185-9 p.39

25.

^ Rimer, J. Thomas.A Reader's Guide to Japanese Literature, Kodansha International 1988, ISBN

4-7700-1396-5 pp.69-70

26.

^ Ross, Bruce. Haiku Moment: An Anthology of Contemporary North American Haiku, Tuttle

Publishing, 1993, ISBN 0-8048-1820-7 p.xv

27.

^ Henderson, Harold G.An Introduction to Haiku: An Anthology of Poems and Poets from Basho to

Shiki, Doubleday Anchor Books, 1958, p.163

28.

^ Earl Miner, Japanese Linked Poetry. Princeton University Press, 1980. ISBN 0-691-01368-3 pbk.29.

^Haiku in the Netherlands and Flanders (http://kulturserver-nds.de/home/haiku-dhg/Netherlands.htm)

by Max Verhart, in the German Haiku Society website

30.

^ Otterspeer, W. Leiden Oriental connections, 1850-1940, Volume 5 of Studies in the history of Leiden

University. Brill, 1989, ISBN 9789004090224. p360

31.

^ Grumman, Bob.A Divergery of Haiku, ToxanAtomyzdin Modern Haiku 34:2, 2003, 202632.

^ "Aozora project" (http://www.tempslibres.org/aozora/en/centre.html). Aozora.33.

^ Article on Sneh Rashmi (http://www.gujaratisahityaparishad.com/prakashan/photo-gallery/sahitya-sarjako/SnehaRashmi.html) on website of Gujarati Sahitya Parishad (Gujarati Literary Council). In it,

we read: " " ("By

pioneering and popularizing the famous form of Japanese poetry called Haiku in Gujarati, he has

gained a place in history").

34.

^ Ramanathan S. & Kothari R. (1998). Modern Gujarati Poetry: A Selection. Sahitya Akedami. ISBN

81-260-0294-8, ISBN 978-81-260-0294-8

35.

^ "Herman Van Rompuy publishes haiku poems" (http://www.telegraph.co.uk/news/worldnews/europe

/eu/7595054/Herman-Van-Rompuy-publishes-haiku-poems.html). Telegraph.co.uk. 16 April 2010.

36.

^ "EU's "Haiku Herman" launches first poetry book" (http://www.reuters.com/article

/idUSTRE63E3RN20100415). Reuters. April 15, 2010.

37.

^ Charter, David (April 16, 2010). "Haiku Herman Van Rompuy: poet, president and fish out of water"(http://www.timesonline.co.uk/tol/news/world/europe/article7099088.ece#cid=OTC-RSS&attr=797093).

London: Times Online.

38.

Bibliography

Henderson, H G.An Introduction to Haiku. Hokuseido Press, 1948.

Higginson, William J. and Harter, Penny. The Haiku Handbook, How to Write, Share, and

Teach Haiku. Kodansha, 1989. ISBN 4-7700-1430-9

Blyth, R. H.A History of Haiku. Vol. 1, From the Beginnings up to Issa. Tokyo: Hokuseido

Press, 1963. ISBN 0-89346-066-4Sato, Hiroaki. One Hundred Frogs, from renga to haiku to English. Weatherhill, 1983. ISBN

0-8348-0176-0

Shirane, Haruo. Traces of Dreams, Landscape, Cultural Memory, and the poetry of Bash.


of 12 2013-09-23 9:45


12/12

Stanford University Press, 1998. ISBN 0-8047-3099-7 (pbk)

Sieffert, Ren.Bash et son cole Haka. Les ditions Textuel, 2005. ISBN 2-84597-140-0

Takahashi, Matsuo. Haiku, The Poetic Key to Japan. P.I.E BOOKS, 2003. ISBN

4-89444-282-5C0072

Ueda, Makoto. The Master Haiku Poet, Matsuo Bash. Kodansha, 1982. ISBN

0-87011-553-7

Yasuda, Ken. Japanese Haiku: Its Essential Nature, History, and Possibilities in English.

Tuttle, 1957. ISBN 0-8048-1096-6

External links

Haiku (http://www.dmoz.org//Arts/Literature/Poetry/Forms/Haiku_and_Related_Forms//) at

the Open Directory Project

Haiku for People (http://www.toyomasu.com/haiku) Haiku definitions and guidelines,

translations of Japanese haiku

Shiki Haikusphere and NOBO list (http://web.archive.org/web/20110722071611/http:

//haiku.cc.ehime-u.ac.jp/)

Haiku International Association (http://www.haiku-hia.com/index_en.html)Museum of Haiku Literature, Tokyo (http://www2.famille.ne.jp/~haiku/index-e.html)

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