Japanese poetry form. Japanese poems
Japanese poetry. How to write in Japanese correctly.
So what is Japanese verse?
Haiku(haiku) - three-line, first line 5 syllables, second 7, third 5 (allowed, but undesirable when there are fewer syllables in the 3rd).
The skill of haiku is considered to describe the moment in three lines. Salt of the moment, something like a photograph.
The first line answers the question "Where"? The second to the question "What"? third "When"?.
But haiku is not uncommon without an answer to these eternal questions, especially when they are about feelings, states ...
But the breakdown by syllables is still better to stick to
Example:
Killed the spider
And it got so lonely
In the cold of the night
Tanka- a very ancient form of Japanese poetry, literally "short song".
As a song, it originated a long time ago, in the first records that have come down to us, dated to the 8th century, one can already distinguish very ancient and ancient songs where the sound of the choir is heard. At the beginning, the tanka is the common property of the people. Even when the poet spoke about his own, he spoke for everyone.
The separation of the literary tank from the song element was very slow. It is still chanted to this day, following a certain melody. The moment of improvisation, poetic inspiration is closely connected with the tank, as if she herself was born on the crest of emotion.
Tanka is a long-liver in the world of poetry; in comparison with it, the European sonnet is very young. Its structure has been adjusted for centuries: not much is said in tanka, but just as much as necessary.
The metric system is simple. Japanese poetry is syllabic. Tanka consists of 5 verses. The first and third have 5 syllables, each of the others has seven: the tank is characterized by an odd number.
And, as a consequence of this, that slight deviation from the crystal-balanced symmetry, which is so loved in Japanese art, constantly appears.
Neither the poem itself as a whole nor any of its component verses can be divided into two equal halves.
The harmony of the tank rests on an unstable and very mobile balance. This is one of the main laws of its structure, and it did not arise by chance.
In ancient poetry, a great many constant epithets and stable metaphors were kept. A metaphor binds a state of mind to a familiar object or phenomenon and thereby communicates a visible, tangible concreteness and seems to stop in time.
Tears transform into pearls or crimson leaves (blood tears). Longing, separation is associated with a sleeve wet from tears. The sadness of the departing youth is personified in the old cherry tree...
In a small poem, every word, every image counts, they acquire special weight, significance. Therefore, symbolism was very important - the language of feelings familiar to everyone.
Tanka is a small model of the world. The poem is open in time and space, poetic thought is endowed with extension. This is achieved in different ways: the reader must himself finish, think, feel.
Example:
I know myself.
That you're the one to blame
I don't think.
The face expresses reproach,
But the sleeve is wet from tears.
***
You regret it...
But no regrets
Our busy world.
Rejecting yourself,
Maybe you can save yourself.
How to write poetryVJapanesestyle?
Can you write haiku? Or maybe worth a try?
What is a haiku? The Literary Encyclopedic Dictionary tells us that:
“Haiku is a genre of Japanese poetry: 17-complex three-line (5 + 7 + 5). In the 17th century, Matsuo Basho developed the formal and aesthetic principles of the genre ("sabi" - graceful simplicity, "shiori" - the associative creation of harmony of beauty, "hosomi" - depth of penetration). The improvement of the form is associated with the work of Taniguchi Buson, the democratization of the subject - Kobayashi Issa. At the end of the 19th century, Masaoka Shiki gave a new impetus to development by applying to them the principle of “sketches from nature” borrowed from painting.
Haiku is a feeling-sensation transferred into a small verbal picture-image.
Interesting fact! Many Japanese now use their cell phones to write poetry.
“Beware, the doors are closing,” and Tokyo subway riders are making themselves comfortable. And almost immediately mobile phones are pulled out of pockets and bags.
In the classical forms of Japanese poetry [tanka, haiku, haiku], both the content and the number of syllables are clearly specified,
but modern young poets use the traditional form and fill it with modern content.
And this shape is great for mobile phone screens.” (BBCRussian.com).
Start writing haiku! Feel the joy of creativity, the joy of conscious presence here and now!
And to make it easier for you to do this, we offer you a kind of "master class" from famous haijins.
And the first session will be "led" by James W. Hackett (b. 1929; student and friend of Blyce, the most influential Western haijin, advocating "Zen haiku" and "haiku of the present moment." According to Hackett, haiku is an intuitive sense of "things as they are," and this, in turn, is in line with the manner of Basho, who introduced the immediacy of the present moment into haiku as an important one. For Haket, haiku is what he called "the path of living awareness" and "the value of every moment of life") .
Hackett's Twenty (Famous) Suggestions for Writing Haiku
(translated from English by Olga Hooper):
1. The source of haiku is life.
2. Normal, daily events.
3. Contemplate nature in close proximity.
Of course, not only nature. But haiku is first of all nature, the natural world around us, and only then we are in this world. That is why it is said, "nature". And human feelings will be seen and felt through the demonstration of the life of the natural world.
4. Identify yourself with what you write about.
5. Think alone.
6. Depict nature as it is.
7. Don't try to always write 5-7-5.
The rule of "17 syllables" was violated even by Basho. Secondly, the Japanese syllable and the Russian syllable are completely different in content and duration. Therefore, when writing (not in Japanese) or translating haiku, the 5-7-5 formula may be violated. The number of lines is also optional 3. It can be 2 or 1. The main thing is not the number of syllables or stanzas, but the SPIRIT of HAIKU - which is achieved by the correct construction of images.
8. Write in three lines.
9. Use regular language.
10. Assume. 
Assume means do not say it completely and to the end, but leave something for further construction (by the reader). Since the haiku are so short, it is impossible to paint a picture in them in all the details, but you can give, as it were, the main details, and the reader can guess the rest, based on this. It can be said that in a haiku only the external features of objects are drawn, only the most important (at the moment) characteristics of a thing/phenomenon are indicated - and the rest of the readers fill in their imagination themselves ... Therefore, by the way, a haiku needs a trained reader
11. Mention the season.
12. Haiku are intuitive.
13. Watch out for humor.
14. Rhyme is distracting.
15. Life in its entirety.
16. Clarity.
17. Read your haiku out loud.
18. Simplify!
19. Let the haiku rest.
20. Remember Blyce's warning that "a haiku is a finger pointing to the moon."
According to the memoirs of Basho's students, he once made the following comparison: a haiku is a finger pointing to the moon. If a bunch of jewelry shines on the finger, then the viewer's attention will be diverted to these jewelry. In order for the finger to show exactly the Moon itself, he does not need any decorations, because. without them, the attention of the audience will be directed exactly to the point where the finger points.
This is what Hackett recalls: haiku does not need any embellishments in the form of rhyme, metaphors, animation of natural things and phenomena, comparisons of them with something in human relations, comments or assessments of the author, and so on. to the moon". The finger should be "clean", so to speak. Haiku is pure poetry.
Write haiku! And your life will become brighter!
How right?
First of all - which is correct: "haiku" or "haiku"?
If you do not go into subtleties, you can do this and that. Usually, when talking about haiku, they use the expression "ancient Japanese poetic form." So, the haiku themselves are not much older than the Russian iambic tetrameter, which appeared for the first time in the 17th century and gained a foothold in the 18th century.
I will not dwell on the fascinating history of haiku, describing how, as a result of the development of poetic competitions, traditional tanka demanded the appearance of renga, from which haiku proper developed. Those interested can find information about this in English on the Web (see the list of links at the end of the preface).
The Russian iambic tetrameter and other meters, which had become established in our country by the middle of the 18th century, forced out from Russian poetry the meters that were based not on the alternation of stressed and unstressed syllables within a single poetic line, but on the quantitative commensurability of the syllabic volumes of lines (length expressed in the number of syllables). Such a system of versification is called syllabic.
Here is an example of a syllabic verse, which is easy to obtain by transforming the syllabic-tonic verse familiar to us:
My uncle, the most honest rules,
When you fell ill in earnest,
He made himself respect
And I couldn't think of a better one.
At first glance, this quatrain is just a destroyed Pushkin verse. In fact, since ALL the words of the "original" were preserved during this "translation", the ordering of the verses by the number of syllables is also preserved - there are 9 of them in each odd line, and 8 in each even line. Our hearing, accustomed to relying on stresses, does not notice this ordering , but this does not mean that the syllabic verse is organically alien to us. As lieutenant Myshlaevsky said, "it is achieved by training."
Haiku/haiku is just a kind of syllabic poem. The rules for writing haiku are simple -
1. Each poem consists of three lines
2. In the first and third line - 5 syllables each, in the second - 7.
These rules are associated with the verse form. They are the basis of the Garden of Divergent Haiku.
Japanese haiku, in addition, followed a number of rules related to the system of images, composition and vocabulary. They were built around kigo (words that directly or indirectly denote the seasons), were divided into two parts (2 first lines + 1 final) and linked a fleeting moment captured in a psychologically concrete experience and cosmic time. (Read what the specialist says about this - V.P. Mazurik).
One can argue with this - after all, Russian words are not at all the same length as Japanese ones. Even for English haiku, it was proposed to lengthen the traditional lines, and in fact the Russian language is less economical than English. The trouble is that longer lines (for example, according to the 7 + 9 + 7 scheme), which are not supported by rhyme or internal arrangement of pauses or stresses, will hardly be recognized by ear. Usually, when translating haiku (or stylizing them), Russian authors ignore the syllabic principle, so they end up with just three-line free verse.
Practice a little and you will begin to distinguish between five- and seven-syllable lines by ear. (Hint: try to chant each line slowly, syllable by syllable and not paying attention to stress.) And the conciseness of these lines will begin to save verbal resources. And you will hear haiku music, completely different from the sound of Russian verse, just as Japanese classical music is not like Mozart or Chopin.
Well, if you can’t do without the usual forms, you can write haiku using the usual sizes. After all, the 5 + 7 + 5 scheme also corresponds to the lines of "normal" iambs (My poor uncle! / He fell ill in earnest - / No longer breathing), trochees (Under my window / You covered yourself with snow, / Sakura is in bloom! .. - however, here I'm not sure about the accent), dactyls (Fly up like fires, / Blue nights of spring! / May Day), amphibrachs (At twelve o'clock / I look - rises / From the coffin a snitch) and - with some tension - anapaests ("Swing, hand" - / The paraplegic lamented, - / "Razzut your shoulder!").
And more related links:
.
http://iyokan.cc.matsuyama-u.ac.jp/~shiki/Start-Writing.html
.
http://www.faximum.com/aha.d/haidefjr.htm
.
http://www.mlckew.edu.au/departments/japanese/haiku.htm
.
http://www.art.unt.edu/ntieva/artcurr/japan/haiku.htm
.
http://www.ori.u-tokyo.ac.jp/~dhugal/davidson.html
.
http://www.ori.u-tokyo.ac.jp/~dhugal/haikuhome.html
.
http://www.zplace.com/poetry/foster/wazhaiku.html
What is the difference between haiku and haiku?
What is the difference between haiku and haiku?Many have heard these 2 names. On the forum HAIKU-DO.com in the topic ABC HAIKU or "What is it?" I found different opinions on this:
Version 1:
...Yes, there is no difference between haiku and haiku - haiku is an older, outdated name of three lines, today the Japanese only say "haiku". This was recently explained to me by the Japanese poet and translator Osada Kazuya. It was he who translated several of my haiku into Japanese and published them in Hoppoken 2003 winter vol.122, p. 92, emphasizing both the dignity and observance of the 5-7-5 form and the principle of construction.
But from communication on the sites, I realized that many people do not like the synonymy of “haiku and haiku”, and they passionately want to make some kind of gradation in the definitions of quite well-established oriental forms of poetry. The Japanese themselves do not have this division, so why should we, imitators, invent our own criteria. Personally, these philosophies of modern Russian-speaking “hikuists” seem to me too far-fetched. Why look for a black cat in a dark room - it is simply not there ...
I am publishing the article by Yuri Runov in full, because she is interesting and knowledgeable. Enjoy reading!
I have written before that about haiku and haiku, many do not understand that they are not synonymous. What I want to write about in more detail, and at the same time about where the haiku came from. In principle, many read something on this topic, but somewhere some significant points often slipped past the reader's consciousness, which gave rise to disputes, a struggle of conceit, and so on.
BACKGROUND OF THE HAIKU
The progenitor of haiku is known to be tanka - and more specifically, its first three-line. I was surprised when I found out how early this division of the tank into three and two lines began. It turns out that already the great tanka poet Saigyo took part in stringing stanzas - and this is the XII century. One poet wrote the first three lines, another added two lines to form a tanka, but at the same time both the couplet and the three-line had to be read as separate verses. Then the first poet or the third wrote the next three-line, which, with the previous couplet, would form the "reverse" tanka - i.e. first, a new three-verse was read and the previous two lines were added to it for a full tank. Then a new couplet, and so on. And even then, separate themes were assigned to individual stanzas in the collective work of poets.
There is a story when his acquaintances poets came to Saiga and complained that no one knew how to continue the chain of stanzas after this stanza dedicated to the war, by the famous poetess of that time Hee no Tsubone:
The battlefield is illuminated -
The moon is a tightly drawn bow.
Here Saige himself wrote a new stanza:
He killed his heart.
The hand made friends with the "ice blade",
Or is he the only light?
Why not haiku? Read now this stanza, adding after it the couplet of the poetess. Here is the tank...
Over the next few centuries, such stringing of stanzas became more and more popular and around the 16th century became a favorite pastime of the literate population of the cities of Japan. But the more popular it became, the less poetry remained in it - writing renga became fun, where humor, ridicule, and various verbal tricks were appreciated. Therefore, this type of poetry began to be called haikai - i.e. humorous mix. At the beginning of the 17th century, the term haiku (a comical poem) also appeared, but then, however, it was forgotten for several hundred years. At this time, separate three-verses were already being written - not as part of the renga. There are even competitions to see who writes the most haiku in a certain period of time - for example, in a day. The results were phenomenal, but no one was particularly worried about the quality of such poems.
HAIKU
Then Basho appeared, exalting "comic rhymes" to the level of deep poetry. And here the differences between haiku and other types of three-verses begin to appear. Haiku is the opening verse of a renga, to which fairly strict rules were applied. He must have been connected with the season - because the renga were divided into seasons. It must necessarily be "objective", i.e. based on the observation of nature and was not supposed to be "personal" - for it was not a Basho or Ransetsu renga - but a collective work of poets. Complicating elements - metaphors, allusions, comparisons, anthropomorphism were also not allowed here. Etc. Exactly what haiku experts in the West consider to be the inviolable rules of haiku. This is where the confusion with haiku and haiku begins.
With all this, haiku was supposed to carry a powerful aesthetic charge - to set the tone for the entire chain of stringed stanzas. They were written in advance for all possible seasons. Good haiku were very much appreciated, because they were difficult to write - real skill was required, and so many people wanted to write renga. Then the first collections of haiku appeared - especially to meet the mass demand for the initial stanzas. Collections of internal three-line renga simply could not be written in advance - they were created only in response to the previous stanza in a real renga, and therefore there were never any collections of these stanzas, except in the rengas themselves.
HOKKU AND OTHER THREE LINES
But here you need to understand that all the great haiku masters took part in the creation of renga and wrote not only haiku, but also the inner verses of renga - which incredibly expanded the possibilities of three-line - there were three-line, which the poet was obliged to write in the first person, there were poems about human affairs and not about nature, both metaphors and anthropomorphization were allowed and used, becoming optional in many stanzas of kigo and kireji. In addition, haiku were composed both as diary entries, and as a gift from the poet to an acquaintance or friend, and as responses to various events. Haiku-like verses could be used here, but also simple stanzas. And all this was united by the general concept of haikai poetry - which in a couple of centuries Shiki will replace with the term haiku revived by him. There is no way you can write down in haiku this three-verse written by Basho when visiting an exhibition of his friend's drawings:
You are such an artist
but this bindweed of yours -
he really is alive!
THE HAIKU IS PUT ON A STRAITJACKET
Since the first Western scholars dealt only with collections of haiku, they ignored all other types of three-verses and thus approved the rules of haiku as haiku rules. From this came the ridiculous restrictions imposed to this day on haiku by many authorities in the West. After all, some there still consider Issa an unbalanced rebel, whose deviations from the "haiku norms" only confirm their correctness, as exceptions confirm the rules. But Issa was not a rebel, he just went beyond haiku at times, but not haikai poetry - or haiku in a new terminology. By the way, in his famous "Snail on the slope of Fuji" he, of course, does not look at the real snail on the slope of the real Fuji, but at the snail on the layout of Fuji - the sacred mountain - installed in many Japanese temples - again, this is not some kind of thoughtful surrealistic the poem is but a sweet joke of a great haiku master. However, everyone is free to see in the verse what he wants, these are the rules of the haiku game.
DOWN HOKKU :-)
In Russia, we are in an incomparably more advantageous position than in the West - in all our collections of haiku by great masters, there are not only haiku, but also verses from diaries, poetic offerings, three lines from renga. That is why we never created these codes of laws for haiku. The only thing that we confuse is haiku and haiku - until now, on the websites of our enthusiasts, you can read "My Haiku", where there may not be a single poem at all that would have the right to be called haiku (there are no seasonal words, there is no kireji, but there are metaphor, etc.). I would generally refuse the term haiku, as confusing the brains, and would leave one term - haiku. Hokku is only useful for writing renga. And there everything must be according to the rules, if we ourselves do not come up with new ones!
(c) Yuri Runov
Creators - teachers, doctors, artists, writers,
artisans and samurai.
The author is not trying to paint a picturesque picture, but
notices something unusual in familiar objects.
Japanese poet draws, outlines with few words
what you yourself must think, draw in
imagination.
haiku building
1 line - 5 syllables2 line - 7 syllables
3rd line - 5 syllables
From branch to branch
Quietly running drops ...
Spring rain.
Basho
Haiku are distinguished by their extreme brevity and peculiar poetics. It depicts the life of nature and the life of man in their united,
Haiku are distinguished by their extreme brevity and peculiarpoetics. It depicts the life of nature and the life
man in their fused, indissoluble unity against the background
seasons.
There is no rhyme, but sound and rhythmic
organization of the three-line - subject
great care of Japanese poets.
The first two lines describe the phenomenon. And the third line sums up the conclusion, the result, often unexpected.
What can you write about in hockey?About the native land, about work, about entertainment, about
art, about nature (about winter cold, about summer
heat), insects, animals, birds, trees,
herbs.
When composing haiku, the poet was obliged to mention what
time of year is in question. And haiku books are also usually
divided into 4 chapters: “Spring, “Summer”, “Autumn”, “Winter
As an obligatory element of the text, kigo, "seasonal word" is used - the narration is conducted in the present tense.
As a required text elementkigo, "seasonal word" is used - narration
conducted in the present. Spring poems - melt water, flowers on
plum and cherry, the first swallows, the nightingale,
singing frogs.
Summer poems - cuckoo, green grass,
lush peonies.
Autumn poems - chrysanthemums, scarlet leaves
maple, scarecrows in the field, sad trills
cricket.
Winter poems - cold wind, snow, frost,
blazing hearth. The classic of haiku writing is skill, with
which the poet is able to describe in three lines the moment
"Here and now".
Say a lot with a few words
signs - the main principle of haiku poetry. Brevity makes haiku related to folk
proverbs
Haiku is akin to the art of painting. They
often written on the plots of paintings and
inspired artists,
become part of the picture.
Matsuo Basho (1644-1694)
Matsuo Basho (1644-1694)Matsuo Basho - Recognized Master
Japanese poetry. Hokku Basho is
truly masterpieces
among the haiku of other Japanese
poets. Basho is a pseudonym
great poet. At the birth of Basho
was named Kinzaku, upon reaching
coming of age - Munefusa; more
Basho's only name is Jinshichiro. Matsuo
Basho is a great Japanese poet,
poetry theorist. Basho was born in 1644
year in a small castle town
Ueno, Iga Province (Honshu Island).
On a high embankment - pines,
And between them the cherries show through, and
castle
In the depths of blooming
trees. "All the excitement, all the sadness" ... Willow - a tree,
bent over by the water, by the road. All branches
willows down. Not without reason in poetry willow -
a symbol of sadness, sadness, longing. Sadness, longing
- this is not your way, the poet tells us, give
this load willow, because all of it is the personification
sadness.
Yesa Buson (1718-1783)
Yesa Buson (1718-1783)With the name of another
Masters, Yesa Busona (1718-1783)
connected expansion of the subject
haiku. Often in three lines
he knew how to write poems
tell the whole story.
So in the verses "Change of clothes with
summer," he writes.
Hiding from the master's sword...
Oh, how glad the young spouses
Light winter dress
change. Kobayashi Issa (1763-1827) - born in
mountain village in a peasant family.
His mother died when he was a child,
his stepmother treated him cruelly,
so he's fourteen years old
went "to the people", for many years he struggled with
need. Only in his declining years received
inheritance and was able to live in abundance, a lot
wandered, left rich
poetic heritage: more than six
thousand haiku, diaries, comic poems.
Ah, don't trample the grass!
There were fireflies
Yesterday at night. Sakura and maple are the favorite plants of the Japanese. Sakura represents Japanese
idea of beauty: everything beautiful is sad, because
short-lived. Japanese cherry blossoms only a week a year. In late March
the beginning of April. Then all the Japanese leave their affairs and celebrate Hanami, the cherry-viewing festival. In October, when autumn comes, scarlet
the Japanese momiji maples flash with color, and then all the Japanese again
celebrate the festival of admiring the maple leaves - Momijigari.
Arivara Narihira
In sequencepetals fall
terry sakura,
Fluttering in the wind.
Matsuo Basho.
Spring passednight
white dawn
turned around
A sea of cherry blossoms. In my native country
cherry blossoms
color
And grass in the fields! In any three-line protagonist is
Human. The poets of Japan in their haiku try
tell how a person lives on earth, what
thinks about how sad and happy. Japanese poets
teach us to take care of all living things, to pity all living things, because
that pity is a great feeling. Who does not know how to truly regret, he will never become kind
man. scarlet leaves
On maple leaves
Maples are flying in the air. The rain subsides quickly.
The cold will come.
And the wind howls.
I look out the window -
And I will see in the snow
My native city.
The flowers withered
Clouds covered the sky...
I'm very sad.
Cold wind.
Soul turned to ice
Lonely.
Here are the trills of the cricket
Sad, sad sound.
Autumn comes.
The fire is burning
And in a stone hearth.
Life is continuous.
I look at the sky
The cranes are flying.
Soul sang!
The nightingale sings
Brooks flow away
West to the river.
melt water
Brought spring with her.
And they all sang!
On a bare branch
Raven sits alone.
Autumn evening. 1. Old, frog, into the water, pond, in silence, jumped,
splash. (Base)
2. I, and, breathed, with what, in, an ax, hit, winter,
aroma, froze, forest (buson)
3. An hour, I stand, and, lost, a peony, like, evening,
plucked (buson)
4. Herbs, oh news, autumn, fox, brought, forest,
redhead, in, wilted. (buson)
5. Empty, house, neighbor, nest, and abandoned, left.
Internet resources:
http://scrapbazar.ru/catalogue/files/211/1_big.jpg -backgroundhttp://www.design-warez.ru/uploads/posts/2009-09/1252424867_6321519_71.jpeg - background
http://img-fotki.yandex.ru/get/6206/90468072.432/0_7f12b_4f790d75_XL - crocuses
http://img-fotki.yandex.ru/get/9795/16969765.1fc/0_8c9ab_e01a6d91_L.png - bubbles
CRIB TIP ===========================
In Japanese poetics, there is a term "afterfeeling". The deep echo born of a tanka does not subside immediately. The feeling, compressed like a spring, opens up, the image, sketched in two or three strokes, arises in its original integrity. The ability to awaken the imagination is one of the main properties of Japanese lyrics of small forms.
A short poem (just a few words) can become a powerful condenser of thought and feeling. Each poem is a small poem. She calls to think, to feel, to open inner vision and inner hearing. Sensitive readers are co-creators of poetry.
Tanka, literally "short song", originated in the depths of folk melos in ancient times. It is still chanted to this day, following a certain melody. Tanka is only five verses. The tank's metric system is extremely simple. Japanese poetry is syllabic. A syllable consists of a vowel or a consonant combined with a vowel; there are not many such combinations. Frequent repetitions create a melodious euphony. The tanka contains many constant poetic epithets, stable metaphors. There is no final rhyme, it is replaced in abundance by the finest orchestration, the echo of consonances at the beginning and in the middle of the verses.
(from the preface by Vera Markova to the book "Japanese quintuples. A drop of dew")
Tanka (aka waka or uta) is a traditional genre of Japanese poetry, a five-line syllabic 5-7-5-7-7 syllables.
*(Deviations from the canon of the form are allowed in the competition for a 5-syllable line - 4-6 syllables, for a 7-syllable line - 6-9 syllables. However, the form 5-7-5-7-7 is preferable.)
At my gate
Ripe fruits on the elm trees,
Hundreds of birds nibble them, having arrived,
Thousands gathered different birds, -
And you, my love, no and no ...
Unknown author (translated by A. Gluskina.)
“According to the classical canon, tanka should consist of two stanzas.
The first stanza contains three lines of 5-7-5 syllables respectively,
and the second - two lines of 7-7 syllables.
The result is a five-line 31 syllable. This is about form. I draw your attention to the fact that a line and a stanza are two different things.
The content should be like this.
The first stanza represents a natural image,
the second is the feeling or sensation that this image evokes. Or vice versa." (Elena
One of the most accurate definitions of yugen can be recognized as tanka Fujiwara Toshinari, who created his own doctrine of yugen in poetry:
In the dusk of the evening
Autumn whirlwind over the fields
Pierces the soul...
Quail complaint!
Selenye Deep herbs.
Yugen is a feeling of the fragility of the existing, but the poets loved the state of "wandering in uncertainty" (tadayou). If avare is light yang, then yugen is impenetrable yin...
TANKA 5-7-5-7-7 - short song
*has no rhymes
* The first three lines in tanka are haiku or haiku
* In general, the first three lines should be one sentence.
* must be TWO stanzas (not a formal space division).
- The first stanza represents a natural image,
- the second is the feeling or sensation that this image evokes.
* has styles:
avare - light yang,
yugen - impenetrable yin, intimate, secret, mystical
tadayou - wandering in uncertainty
*! past tense, not allowed in tanka
*! There is a controversial issue about pronouns. (FUJIWARA SADAIE also uses them)
"... Only I have not changed here,
Like this old oak tree "(M. Base) - Here you have both the pronoun and the past tense
+++
Deep in the mountains
tramples a red maple leaf
moaning deer
I hear his cry... in me
all autumn sadness
Haiku haiku 5-7-5
* The text of the haiku is divided in the ratio of 12:5 - either on the 5th syllable or on the 12th.
* the central place is occupied by a natural image, explicitly or implicitly correlated with human life.
* the text should indicate the season - for this, kigo is used as a mandatory element - "seasonal word"
* Haiku is written only in the present tense: the author writes down his immediate impressions of what he just saw or heard.
*haiku has no name
*does not use rhyme
* The art of haiku writing is the ability to describe a moment in three lines.
* every word, every image counts, they acquire special weight, significance
* Saying a lot with just a few words is the main tenet of haiku.
* haiku each poem is often printed on a separate page. This is done so that the reader can thoughtfully, slowly, feel the atmosphere of the poem.
++++
On a bare branch
the raven sits alone.
Autumn Evening (Matsuo Basho)
RUBAI - a quatrain that rhymes like
* aaba, - the first, second and fourth rhyme
........ less often -
* aaaa, - all four lines rhyme.
++++
In one hand are flowers, in the other - a permanent glass,
Feast with your beloved, forgetting the whole universe,
Until the tornado of death suddenly rips you off,
Like rose petals, a shirt of mortal life.
(Omar Khayyam)
I went out into the garden in sorrow and am not happy in the morning,
The nightingale sang to Rose in a mysterious way:
"Show yourself from the bud, rejoice in the morning,
How many wonderful flowers this garden gave!
(Omar Khayyam)
SINKWINE 2-4-6-8-2
* used for didactic purposes, as an effective method for the development of figurative speech
* useful as a tool for synthesizing complex information, as a cutoff for assessing the conceptual and vocabulary of students.
* Sincwine
Line 1 - noun denoting the theme of syncwine
Line 2 - 2 adjectives that reveal some interesting, characteristic features of the phenomenon of the subject stated in the topic of syncwine
Line 3 - 3 verbs that reveal actions, influences inherent in a given phenomenon, subject
4 line - a phrase that reveals the essence of a phenomenon, an object, reinforcing the previous two lines
Line 5 - noun, acting as a result, conclusion
Reverse cinquain - with a reverse sequence of verses (2-8-6-4-2);
Mirror cinquain - a form of two five-line stanzas,
where the first is traditional,
and the second is reverse syncwines;
Sincwine butterfly - 2-4-6-8-2-8-6-4-2;
Crown of syncwines - 5 traditional syncwines forming a complete poem;
A garland of syncwines is an analogue of a wreath of sonnets,
*crown of cinquains, to which the sixth cinquain is added,
where the first line is taken from the first syncwine,
the second line from the second, and so on.
Strict observance of the rules for writing syncwine is not necessary.
For example, to improve the text in the fourth line, you can use three or five words, and in the fifth line, two words. Other parts of speech are also possible.
Writing a syncwine is a form of free creativity that requires the author to be able to find the most significant elements in the information material, draw conclusions and briefly formulate them.
In addition to the use of syncwines in literature lessons (for example, to summarize the work completed), the use of syncwine is also practiced as the final task for the material covered in any other discipline.
WEDDING - an ultra-short poetic form
* a poem of two lines with a total of six syllables.
3+3 or 2+4.
*should be no more than five words
* should not contain punctuation marks.
++++
Japanese
butterfly
(Alexey Vernitsky)
Where are we
it's good there
(Oleg Yaroshev)
Continuation
Self-learning to write Japanese poetry pt. 1
Senryū (jap. ;; "river willow") is a genre of Japanese poetry that arose during the Edo period. The form coincides with the haiku, that is, it is a three-verse, consisting of lines of 5, 7 and 5 syllables long. But, unlike the lyrical genre of haiku, senryu is a satirical-humorous genre, far from admiring the beauty of nature. Characteristically, senryu usually do not contain kigo, an indication of one of the four seasons required for classical haiku.
In Japan, in the culture of laughter, humor has always prevailed over satire. T. Grigorieva writes about this in the book “Japanese Artistic Tradition”. Therefore, senryu haiku were not persecuted by the authorities, as would be the case with satirical works. Satire can be in opposition to the authorities even when it does not affect social issues: due to the constant denunciation of morals, if the spiritual authorities consider this a violation of the monopoly of the upper classes on criticism. But the senryu did not engage in moral denunciation of ordinary human vices either. It is rather, even in satirical verses, the genre of a joke, an anecdote, a sketch.
Although outwardly, in terms of their content, senryu are similar to European jokes, there is a fundamental difference between senryu and the European laughter tradition. The senryu had a serious ideological justification, and the senryu masters did not consider themselves poets inferior in aesthetics to the poets of past eras. The Japanese word for laughter is okashi. Here is what T. Grigorieva writes about the comic culture of Japan in the 18th century: “It is not surprising that Hisamatsu puts okashi on a par with avare, yugen, sabi. They are equal. Each time has its own feeling: the severity of Nara, the beauty of Heian, the sadness of Muromachi, the laughter of Edo. Society pushed away what it was losing interest in and brought to the fore what it needed. The criterion of beauty remained constant.
Senryu got its name from the name of the poet Karai Senryu (;;;;, 1718-1790), thanks to which the genre gained popularity.
Links useful
http://haiku.ru/frog/def.htm Alexey Andreev WHAT IS HAIKU?
http://www.haikupedia.ru/ Haikupedia - encyclopedia of haiku
http://tkana.zhuka.ru/kama/ugan/ Yugen style
meeting on the star bridge V. competition poems
Haiku competition (judging rules)
Ryoanji Garden Contests
goodbye forever... acro tank... attempt 6
http://termitnik.dp.ua/poem/152528/ Termitnik of poetry
Classics (Acro-tank) Konstantin
Thania Vanadis
Tsunami San
Dictionary of Russian kigo - seasonal words
1. Haiku or haiku - (initial stanza) unrhymed three-line lines of 17 syllables (5 + 7 + 5).
2. Tanka - (short song) non-rhyming five lines of 31 syllables (5+7+5+7+7). The roots of poetry are in the human heart.
3. Kyoka - (crazy poetry), the size of a tank.
4. Rakushu - a satirical view of the tank.
5. Teka or nagauta - (long song), tank size, up to 100 lines.
6. Busoku-sekitai - (the soul of nature - the soul of man) in translation - "The Footprint of the Buddha" - non-rhyming six lines of 38 syllables (5 + 7 + 5 + 7 + 7 + 7).
7. Sedoka - (song of rowers) non-rhyming six lines of 38 syllables (5 + 7 + 7 + 5 + 7 + 7).
8. Shintaishi - (new verse) - beginning like a tanka, the total volume is unlimited - romantic poetry was approved by the poet Shimazaki Toson at the beginning of the 20th century.
9. Cinquain - non-rhyming five lines of 22 syllables (2 + 4 + 6 + 8 + 2) - was invented and put into use at the beginning of the 20th century by the American poetess A. Krepsi.
SEDOKA - A genre of Japanese poetry - six lines, in which the syllables in the lines are arranged as follows: 5-7-7-5-7-7
The eyes are sad
Wrinkles like trails.
Left by life...
Where is the surgeon
What makes plastic surgery
Bodies and souls?
CLARA RUBINA, LITO MEMBER,
...
We coexist
Very long time.
But they didn't make it
Speak up.
It would be nice for us in paradise
Be in the same squadron.
ALEXANDER FREIDLES, LITO MEMBER,
...
The rain is drizzling.
My pride cries
In my thoughts saying goodbye to you -
A prisoner of feeling.
A little trembling soul.
Wash away the tears from your face.
KIRA KRUZIS - LITO MEMBER.
PS:
Do not use the cheat sheet as the basis of everything..
it was collected from what was at that time on the Internet
(she was made for me)
Traditional Japanese poetry, represented mainly by two classical genres, tanka and haiku, established in rigid, almost unchanged forms, existed for many centuries as a closed, isolated aesthetic system.
Classical tanka in written (and oral and even longer) form have existed since the 8th century. and have gone through many changes. The themes of such tanka are strictly regulated and, as a rule, they are songs of love or separation, songs written just in case or on the way, in which human experiences occur against the background of the change of seasons of the year and, as it were, are fused (or rather, inscribed) in them.
Classical tanka contain five lines of 5 - 7 - 5 - 7 - 7 syllables, respectively, and this small space does not allow translating into other languages the entire associative array that occurs in a reading (or writing) Japanese. Since tanka carry keywords responsible for the emergence of certain associations, by translating into other languages all the meanings of these words, one can achieve an approximate recreation of the original logical chain. It should also be noted that tanka, although they are a poetic form, do not have rhymes.
The shape of the tanka has gone through a lot in its lifetime, there were ups and downs, various collections were compiled, the very first of which was the Collection of Myriad Leaves (Manyoshu, 759), containing 4500 poems. Gradually, tanka anthologies began to be published by decree of the emperor, and tanka themselves as a genre developed under the watchful eye of court poets.
By the end of the 19th century, the tanka turned into rather monotonous repetitions of the same thing, which caused bitterness among adherents of traditions, and a desire to renounce and indignation among pro-Western poets. But it so happened that at the turn of the 19th and 20th centuries, two completely different poets (Yosano Akiko and Ishikawa Takuboku) were able to bring new feelings and views to the tightly regulated volume of the tanka, creating images that, although intertwined with the classical ones, carried freshness and cleanliness. .
In Japanese poetry, there is another, no less important genre, which is called haiku (haiku). Haiku are three lines of 17 syllables, traditionally written in one line.
The origin of the Japanese genre of three-verses (originally called Hokku, then Haikai, and from the end of the 19th century - Haiku) is of an artificial nature and is an exception to the rule. Three-line haiku of only 17 syllables originated from the Japanese classic five-line Tanka or Waka of 31 syllables through yet another genre, namely "connected stanzas" - Renga. Waka (lit. "Japanese song") is a general concept that mainly includes Tanka (lit. "short song") and some other forms (Sedoka six-line and Nagauta "long song"), but is often used in the narrow sense as a synonym for Tank. Waka poetry arose in antiquity and is widely represented in the first poetic anthology of the Japanese "Collection of Myriad Leaves" (Manyoshu, VIII century). Haiku (literally "opening lines") is the bridge connecting Waka poetry and Haiku poetry, i.e. the two most common genres of Japanese poetry. Other poetic genres, although they exist, cannot be compared with Tanka and Haiku in terms of the degree of prevalence and influence on the life of the Japanese. haiku japanese tanka
The first haiku date back to the 15th century. The original Haiku, which at that time were called Haikai, were always humorous, they were, as it were, comic verses of a semi-folklore type on the topic of the day. Later, their character completely changed.
For the first time, the genre of Haikai (joking poems) is mentioned in the classical poetic anthology "Collection of old and new songs of Japan" (Kokin waka shu, 905) in the section "Haikai uta" ("Joke songs"), but this was not yet the genre of Haiku in full sense of the word, but only the first approximation to it. In another well-known anthology, "The Collection of Mount Tsukuba" (Tsukubashu, 1356), the so-called Haikai no Renga appeared, that is, long chains of poems on a given topic, composed by one or more authors, in which the first three lines were especially appreciated - Hokku . The first anthology of the actual Haikai no renga "Collection of Crazy Songs of Chikuba" (Chikuba keginshu) was compiled in 1499. At that time, Arakida Moritake (1473-1549) and Yamazaki Sokan (1464-1552) were revered as outstanding poets of the new genre.
The emergence of the haiku genre dates back to the 15th-16th centuries. The initial three-line of Tank's five-line, called Hokku, received an independent meaning and began to develop as a separate genre. Hokku is the first three lines of a long chain of Renga poems, a kind of amoeba form usually created by two or more poets, a poetic roll call of voices of three and two lines on a given topic.
Renga is, in fact, a five-line tank of 31 syllables, divided into two parts (pre-caesura and post-caesura), a kind of beginning and continuation, which are repeated a given number of times. The essence of the poem lies not so much in the text itself, but in the subtle, but still felt connection between the poems, which in Japanese is called Kokoro (lit. soul, heart, essence). The connection between the first and second parts of the poem, i.e., three-line and two-line, was described, for example, by the word Nioi ("smell", "aroma").
Renga - a chain of three lines and couplets (17 syllables and 14 syllables), sometimes infinitely long up to a hundred or more lines, built according to one metric law, when the prosodic unit is a stanza consisting of a group of five and a group of seven syllables (5-7- 5 and 7-7) per line. The quintuple was divided into two parts: the "upper" Kami-no-ku, 5-7-5 syllables per line, and the "lower" Shimo-no-ku, 7-7 syllables per line. These parts were connected in a sequence of three - and couplets, which were supposed to be created on a given topic, were supposed to be semantically connected. There were also Renga with the inversion construction of stanzas - first a couplet, then a three-line. Often Renga were composed impromptu at poets' meetings, which could last for days. All three-line and two-line lines (often written by different authors on the principle of roll call) are connected by a common theme, but do not have a common plot.
Each of them, which is an independent work on the theme of love, separation, loneliness, inscribed in a landscape picture, can, without prejudice to its meaning, be isolated from the general context of the poem (examples of this form are known in Eastern poetry, for example, chains of panuts, performed by two half-choirs, in Malay poetry). But at the same time, each verse is connected with the previous and subsequent verses: it is, as it were, a chain of weakly expressed questions and answers, where in each subsequent three-line or couplet there is a valuable turn of the topic, an unexpected interpretation of the word.
The Renga genre originated in the 12th century. as a pleasant pastime, a literary game, then developed into a sophisticated serious art with many complex rules. At the end of the XIII century. in the historical monument "The current mirror" (Ima kagami), which describes the birth of this genre, the term Kusari renga "poetic chains" appeared.
Depending on the length, such "chains" were called: Tanrenga ("short renga"), Kasen ("thirty-six stanzas" under the name "thirty-six geniuses of Japanese poetry" - Sanjurokkasen), Hyakuin ("hundred-strophe"), etc. "Chains " could be composed by several people, turning into a kind of dialogue in which a special artistic unity should have arisen. It was necessary to focus only on the previous verse. Depending on how many people took part in the creation of the "chain", they were divided into Dokugin ("one person"), Ryo:gin ("two") and Sangin ("three").
There was a canon of topics (Dai) for composing Renga: moon, flowers, wind. Between individual verses it was necessary to maintain a special kind of indirect connection. The most valued Renga of the Mikohidari school, which included, for example, the best poet Fujiwara Teika (1162-1241). Renga were also divided into "having a soul" (Usin renga), that is, serious, and comic, "without a soul" (Musin renga). The first large collection of Renga is the anthology Tsukuba shu: ("Collection [mountain] Tsukuba", 1357) compiled by Nijo Yoshimoto and Kyu:sei (1284-1378). In the XV century. they began to talk about the "Seven Sages of Renga", as the famous poet Sogi Shinkei (1406-1475) called them, one of the sages, belongs to a theoretical treatise on Renga Sasamegoto ("Whisper", 1488), in which he explained the meaning of the main aesthetic categories. The best in the history of the genre, Japanese critics consider Shinsen Tsukuba shu: ("The newly compiled collection of [mountain] Tsukuba"). The art of adding Renga consists not only in creating perfect stanzas, but also in the art of counterpoint and the composition of the entire chain as a whole, so that the theme plays and shimmers with all colors in compliance with the rules and canons and at the same time is original, like no one else, nowhere contradicting harmony whole.
Rang chains were composed impromptu at poetry meetings, when two or more poets chose one of the canonical themes and composed three-line and couplet lines in turn.
In the chains of Renga, the techniques developed in the poetry of Waka (Engo, yojo), etc., could find a relatively more complete expression, since the large volume of Renga as a whole and at the same time preserving the poetic form of Tanka and many of its properties made it possible to view the deployment of a set of associations on relatively broad material. A similar poetic dialogue goes back to the roll call songs from the anthology Manyoshu (Mondo). Gradually, the three lines that were part of the Renga acquired an independent meaning and began to function as works of the new poetic genre of Haiku, and the Renga genre eventually disappeared from the scene, completely losing its independent meaning. Already in the XVI century. the Renga genre actually ceased to exist.
The largest Haiku poet and the best theorist and historian of the genre at the turn of the 19th - 20th centuries. Masaoka Shiki (1867-1902) believed that the Renga genre played its formative role in the Haiku genre and ceased to exist with the publication of Sokan's collection "The Collection of Dog Mountain Tsukuba" (Inu tsukuba shu, 1523), an anthology of comic Haiku - haikai. Humor, jokes, and teasing were at first the constructive elements that breathed new strength into the fading genre, so the earliest Haikai three-line poems are exclusively joking. The first comic verses appear already in the 12th century;
The term Haiku was put forward at the end of the 19th - beginning of the 20th century. the fourth great poet and theorist Haiku Masaoka Shiki, who attempted to reform the traditional genre. In the XVII-XVIII centuries. Haiku poetry was influenced by the Zen Buddhist "aesthetics of understatement", forcing the reader and listener to participate in the act of creation. The effect of understatement was achieved, for example, grammatically (Taigendome), so one of the intonational-syntactic means of Haiku - the last line ends with an unconjugated part of speech, and the predicative part of the statement is omitted. In Haiku poetry, the aesthetic principles formulated by Basho in the form of conversations with students and recorded by them were played by the aesthetic principles of Sabi ("sadness") and Wabi ("simplicity", "simplification"), Karumi ("lightness"), Toriawase ("compatibility of objects") , Fuei ryuko ("eternal, unchanging and current, current").
But this is a topic for other works. The Disappearance of Renga and the Heyday of Haiku Historically, the first three lines of Renga, bearing the name Haiku and often standing in the second, inversion, place after the couplet, are the forerunners of the three-line haiku. With the disappearance of the Renga genre from the poetic scene, the three-line Haiku genre comes to the fore and becomes the most revered and massive genre in Japanese poetry along with Tanka. This extremely short poetic form of only 17 syllables seems to be vulnerable to influences and deformation.
At first glance, unstable, burdened with a whole system of obligatory formants, it turned out to be much more viable. The Renga genre in this case played the role of an initiator, with the help of it, the Tanka, which previously existed as a single formation (although it had a tendency to break), received the opportunity to split into two parts with the introduction of two-voice. The centrifugal role was played by the possibility of using the two parts of the Tank as separate independent parts of the poem, and the first part, the three-line, began to exist independently. Then, having fulfilled its formative role, the Renga genre left the stage.
The main property of Haiku as a poem is that it is dramatically short, shorter than the five-line Tanka, and such compactness of space creates a special type of timeless, poetic-linguistic field. The main theme of Haiku is nature, the cycle of the seasons, outside of this theme Haiku does not exist. The quintessence of this theme is the so-called Kigo - the "seasonal word", emblematic of the season, its presence in the seventeen-syllable poem is felt by the bearer of the tradition as strictly obligatory. No seasonal word - no Haiku. The "seasonal word" is a nerve knot that awakens in the reader rows of certain images.
Literature
- 1. Blyth R. H. Haiku: in four volumes. V.: Eastern Culture; V.2: Spring; V.3: Summer-Autumn; V.4: Autumn-Winter. Tokyo: The Hokuseido Press, 1949--1952. - ISBN 0-89346-184-9
- 2. Blyth R. H. A History of Haiku. Vol. 1, From the Beginnings up to Issa. Tokyo: Hokuseido Press, 1963. - ISBN 0-89346-066-4
- 3. E.M. Dyakonova. A Thing in Haiku Poetry / A Thing in Japanese Culture. - M., 2003. - From 120--137.
Shumov Anton
How is poetry created? Where are the sources of its influence on the reader? Why can only a few mean lines move a person to tears, immerse him in thought, make him suffer or rejoice? And, what is quite surprising, what is the mechanism of influence on the soul of short poems that are so famous in Japanese poetry? By studying the history of creation and the content of short poetic forms, we can not only discover the amazing poetic world, but also study the history, culture, life and even the secrets of the Land of the Rising Sun. This work and its presentation will help you feel the unique world of the East.
Download:
Preview:
Shumov Anton,
11th grade student
MBOU "Mezen secondary school"
Supervisor-
Korshakova Ludmila Nikolaevna,
teacher of Russian language and literature
Introduction
I have always been interested in poetry. Her world is so attractive and interesting. How is poetry created? Where are the sources of its influence on the reader? Why can only a few mean lines move a person to tears, immerse him in thought, make him suffer or rejoice? And, what is quite surprising, what is the mechanism of influence on the soul of short poems that are so famous in Japanese poetry? By studying the history of creation and the content of short poetic forms, we can not only discover the amazing poetic world, but also study the history, culture, life and even the secrets of the Land of the Rising Sun.
Purpose of the study
Penetration into the world of Japanese verses and quintuples, discovery of their inner meaning and content.
Research method
Complex, partial search
- Work with articles about Japanese poetry, culture, poems from poetry collections, bibliographic information about Japanese poets
- Analysis and interpretation of poems, definition of haiku and tanka themes.
- Creation of an electronic collection of short forms of Japanese poetry.
Short verse forms in Japanese poetry.
I take a brush, trying to capture my feelings on paper,
but my abilities are so insignificant!
I want to find the words, but my heart shrinks...
and I just look and look at the night sky...
Matsuo Basho
I think that everyone taught and read poetry. But no one knows what it is poetry . People have learned only to feel, to perceive it, incomprehensible to themselves, sublime, spiritualized moments of their being. Poetry seemed to be born from an exclamation of surprise.
The word "poetry" in Greek it means both “to create”, and “to make”, and “to produce”, and simply “to compose”. And the most amazing - "do not waste time." Time is fleeting, fleeting, instantaneous. Elusive. It can only be caught in a word, imprinted in a phrase, it leaves only a trace, and this trace is the lines of a couplet, a three-line, a five-line, or four lines of rhyme, or fourteen lines of a simple and masterfully sophisticated stanza. Few poets are able to capture the flow of time or its immobility, static. Of the Russian poets, A. Akhmatova mastered this to perfection. And for Japanese poetry - this is a prerequisite. Poetry is the capture in the word of the rapture of awareness of one's own being. This is a captured moment, in which delight and joy, sadness and sadness in the form of surprise.
About what is Japanese poetry , the poet of the tenth century, the author of the first treatise on the poetry of Kino Tsurayuki, well said: “Songs of Yamato! You grow from one seed, the heart, and become myriads of speech petals, myriads of words. And when you hear the voice of a nightingale singing among the flowers, or the voice of a frog living in the water, one wants to ask: what of all life on earth does not sing its own song?» Indeed, Japanese poetry is poetry that grows from the heart, it is the poetry of feelings, heartfelt love for the native nature, a subtle sense of the beauty of the world around.
I think that the extraordinary beauty of the images created by Japanese poetry owe their integrity to the peculiarities of writing. Japanese hieroglyphs contain not a separate concept, but an image. And the habit of thinking in images is an integral feature of the thinking of the Japanese.
The people love and willingly create short songs - concise poetic formulas, where there is not a single superfluous word. From folk poetry, these songs pass into literary, continue to develop in it and give rise to new poetic forms.
This is how national poetic forms were born in Japan: five-line - tanka and three-line - haiku.
It is surprising that Japanese poetry is based on the alternation of a certain number of syllables. There is no rhyme, but much attention is paid to the sound and rhythmic organization of the poem. The art of writing haiku (non-rhyming verses) is, first of all, the ability to say a lot in a few words. The Japanese lyric poem haiku (haiku) is characterized by extreme brevity and peculiar poetics.
Tanka (literally "short song") was originally a folk song and already in the seventh-eighth centuries, at the dawn of Japanese history, it becomes the trendsetter of literary poetry, pushing into the background, and then completely crowding out the so-called long poems "nagauta" Epic and lyrical songs of various lengths survive only in folklore. Hokku separated from tanka many centuries later, during the heyday of the urban culture of the "third estate". Historically, it is the first tanka stanza and has received from it a rich legacy of poetic images.
The ancient tanka and the younger haiku have a long history, in which periods of prosperity alternated with periods of decline. More than once these forms were on the verge of extinction, but they have withstood the test of time and continue to live and develop even today.
Japanese poetry as a world of grass or flowers:
Plum blossoms still have the same scent -
As if your sleeve touched them, -
Just like that spring...
Have a month to find out:
Perhaps the old spring has returned again?
Reading this poem, I feel not only the aroma of plum flowers, but also the invisible presence of the poet's beloved, whose sleeve lightly touches the branch ... Her image awakens a wave of memories in the lyrical hero. Perhaps the feelings have already faded away, or the beloved has disappeared, or love has passed - but “that spring”, which left strong impressions and experiences, still lives in the heart, as well as hopes for the return of passion. In the poem, one can clearly feel the desire of the hero to repeat, to relive once again the time when he was happy, when feelings have not yet lost their brightness and novelty.
Japanese poetry fascinates and attracts with its singularity. Surprising simplicity, involvement in the mystery of being. It is like a timid touch of a girl on the petals of a flower given to her, in the harmony of which she unconsciously but sensitively guesses the harmony of her soul and her body and sees in it the pattern of her destiny.
This is a whole world - huge, complex, diverse and very beautiful, striking with its refined harmony. And the melody of Japanese poetry sounds in the general motive of human poetry, fitting into it, like a lily of the valley or a dandelion fits into a single harmony of the plant world along with huge trees - they are parts of a single whole, their being is determined by a single principle, mysterious and complex.
Short poems can be composed quickly, under the influence of immediate feeling. You can aphoristically, concisely express your thought in them so that it is remembered and passed from mouth to mouth. They are easy to use for praise or, conversely, caustic mockery.
So bright red mouth
Prince Emma, as if
He wants to spit out the peony.(Esa Buson)
But in this three-line, there is, in addition to mockery of the possessive person, also some kind of elusive poetic note - a mention of a peony flower.
It is interesting to note that the desire for laconicism, love for small forms are generally inherent in Japanese national art, although it is also excellent at creating monumental images.
The dimensions of the haiku are so small that in comparison with it, the European sonnet seems monumental. It contains only a few words, and yet its capacity is relatively large. The art of writing haiku is, above all, the ability to say a lot in a few words. Brevity makes haiku related to folk proverbs. Some three-verse lines have become popular in folk speech as proverbs, such as the poem by the poet Basho:
I'll say the word
Lips freeze.
Autumn whirlwind!
As a proverb, it means that "caution sometimes makes you keep silent."
But most often, haiku differs sharply from the proverb in its genre features. This is not an edifying saying, a short parable or a well-aimed joke, but a poetic picture sketched in one or two strokes. The task of the poet is to infect the reader with lyrical excitement, to awaken his imagination, and for this it is not necessary to paint a picture in all its details.
And I want to live in autumn
To this butterfly: drinks hastily
Dew from the chrysanthemum.(Matsuo Basho)
In this poem, time is felt - autumn, which predicts a quick winter, immobility and even death to all living things. And the haste of a butterfly is an aspirationenjoy the last gifts of the outgoing summer - chrysanthemum, its beauty and dew drops. But behind all the visible images, you feel how another, hidden, appears - the image of a lyrical hero, closely merged with the image of the poet himself. This is a person who has entered the age of autumn, understanding that there is not so much time left for a full life, therefore his desire to enjoy every moment of the passing is great. And he learns this from a butterfly, which speaks of the sensitive heart of the hero and the ability to notice the beauty around.
Similar motifs pervade the following poem by Basho:
"Autumn has already arrived!"
The wind whispered in my ear
Creeping up to my pillow.
Reading it, you think: did the wind tell the hero about the coming autumn? Or maybe it's his imagination? Maybe a sleepless night, filled with thoughts of the past and the passing, created this image? And here it is, the image of an inexorable autumn, the coldness of the heart, the sadness of memories ...
The collection of haiku cannot be “skimmed through with the eyes”, leafing through page after page. If the reader is passive and not attentive enough, he will not perceive the impulse sent to him by the poet. Japanese poetics takes into account the counter work of the reader's thought. So the blow of the bow and the reciprocal trembling of the string together give rise to music.
Oh, how many of them are in the fields!
But everyone blooms in their own way -
This is the highest feat of a flower!
This haiku Basho, in my opinion, just contains a light edification: be attentive, purposeful, do not try to be “like everyone else” in this “field” of life. Try to prove yourself, your "I", show the world your originality, uniqueness, learn from nature, from these flowers of independence and self-sufficiency!
Haiku is miniature in size, but this does not detract from the poetic or philosophical meaning that a poet can give it, does not limit the scope of his thought. Some poets, and primarily Issa, whose poetry most fully reflected the people's worldview, lovingly depicted the small, the weak, asserting the right to life for him. When Issa stands up for a firefly, a fly, a frog, it is easy to understand that in doing so he stands up for a small, destitute man who could be wiped off the face of the earth by his lord, the feudal lord.
Thus, the poet's poems are filled with social sound.
Here comes the moon
And every little bush
Invited to the feast, —
says Issa, and we recognize in these words the dream of the equality of people.
Giving preference to the small, haiku sometimes painted a picture of a large scale:
Raging sea space!
Far away, to the island of Sado,
The Milky Way creeps.
This poem by Basho is a kind of peephole. If we close our eyes to it, we will see a large space. The Sea of Japan will open before us on a windy but clear autumn night: the glitter of stars, white breakers, and in the distance, at the edge of the sky, the black silhouette of Sado Island.
Or take another poem by Basho:
On a bare branch
Raven sits alone.
Autumn evening.
The poem looks like a monochrome ink drawing. Nothing superfluous, everything is extremely simple. With the help of a few skillfully chosen details, a picture of late autumn is created. There is a lack of wind, nature seems to freeze in sad immobility. The poetic image, it would seem, is a little outlined, but it has a large capacity and, bewitching, leads away. It seems that you are looking into the waters of the river, the bottom of which is very deep. At the same time, it is extremely specific. The poet depicted a real landscape near his hut and through it - his state of mind. He does not speak of the loneliness of the raven, but of his own.
The reader's imagination is left with a lot of scope. Together with the poet, he can experience a feeling of sadness inspired by autumn nature, or share with him the longing born of deeply personal experiences.
Sad scent!
Blossoming plum branch
In a wrinkled hand. ( Esa Buson)
In this short but very penetrating lyrical miniature, it seems to me that the lyrical hero's regret about the past youth is felt, the fragrance is called "sad", because it awakens thoughts about the distant past, and the flowering branch, bright and elegant in its young flowering, is a strong contrast with the "wrinkled hand". The philosophical subtext of the poem is obvious - old age and youth, having met, feel opposition and slight sadness. The victorious flowering of youth speaks of the transient, earthly, that everything goes away sooner or later, one generation replaces another.
Haiku poetry was an innovative art. If, over time, tanka, moving away from folk origins, became a favorite form of aristocratic poetry, then haiku became the property of ordinary people: merchants, artisans, peasants, monks, beggars ... It brought with it common expressions and slang words. It introduces natural, colloquial intonations into poetry.
The scene in haiku was not the gardens and palaces of the aristocratic capital, but the poor streets of the city, rice fields, high roads, shops, taverns, inns...
Hokku teaches to look for hidden beauty in the simple, inconspicuous, everyday. Beautiful are not only the glorified, many times sung cherry blossoms, but also the modest, imperceptible at first glance flowers of colza, shepherd's purse, a stalk of wild asparagus ...
Take a close look!
Shepherd's purse flowers
You will see under the fence.
(Basho)
Hokku teaches to appreciate the modest beauty of ordinary people. Here is a genre picture created by Basho:
Azaleas in a rough pot,
And nearby crumbles dry cod
A woman in their shadow.
This is probably a hostess or a servant somewhere in a poor tavern. The situation is the most miserable, but the brighter, the more unexpected, the beauty of a flower and the beauty of a woman stand out.
In the book of selected haiku - the whole nature of Japan, the original way of life, customs and beliefs, work and holidays of the Japanese people in their most characteristic, living details.
That is why haiku is loved, known by heart and still being composed.
On the way I got sick
And everything is running, circling my dream
Through scorched meadows.
Basho's poetry is distinguished by a sublime structure of feelings and at the same time by amazing simplicity and truth of life. For him there were no mean things. Poverty, hard work, the life of Japan with its bazaars, taverns on the roads and beggars - all this was reflected in his poems. But the world for him remains beautiful and wise.
Get up off the ground again
Fading in the mist, chrysanthemums,
Crushed by heavy rain.
I admire the poet's ability to turn this ordinary landscape sketch into a subtle allegory: no matter what life's hardships and storms break you, no matter how rains bend you to the ground - rise, be persistent and strong, do not give up, be able to please others with your strength and beauty , be an example of the weak.
The poet looks at the world with loving eyes, but the beauty of the world appears before his eyes covered with sadness.
How tender are the young leaves
Even here in the weeds
At the forgotten house.
I am amazed by the poet's ability to see something deep, hidden in the ordinary. The tenderness of young leaves and weeds... isn't it Beauty and Ugly that oppose each other in our world? And Beauty wins, being able to show its strength and invincible youth even against an unsightly background. But there is one more image in this verse: a forgotten house. It is covered with such palpable sadness that you involuntarily feel goosebumps running through your skin, because you clearly see empty windows, a rickety porch, a sagging roof ... And you feel silence ... The silence of oblivion.
Poetry for Basho was not a game, not fun, not a means of subsistence, as for many contemporary poets, but a high vocation throughout his life. He said that poetry elevates and ennobles a person.
At the beginning of the eighteenth century, the poetic genre of haiku fell into decline. Buson, a wonderful poet and landscape painter, breathed new life into him. During his lifetime, the poet was almost unknown, his poems became popular only in the nineteenth century.
Buson's poetry is romantic. Often in three lines of a poem, he was able to tell a whole story. So, in the verses "Change of clothes with the onset of summer" he writes:
Hiding from the master's sword...
Oh, how glad the young spouses
Change the winter dress with a light dress!
According to feudal orders, the master could punish his servants with death for "sinful love." But the lovers managed to escape. The seasonal words "change of warm clothes" well convey the joyful feeling of liberation on the threshold of a new life.
In the poems of Buson, the world of fairy tales and legends comes to life:
young nobles
The fox turned...
Spring wind.
Foggy evening in spring. The moon shines dimly through the haze, cherry blossoms, and fairy-tale creatures appear among people in the half-darkness. Buson draws only the contours of the picture, but the reader is presented with a romantic image of a handsome young man in an old court outfit.
Conclusion.
Today, the popularity of three lines has increased even more. Some critics considered them secondary, obsolete, already unnecessary for the people, forms of the old art. Life has proved the unfairness of these statements. The Japanese three-line necessarily requires the reader to work with the imagination, to participate in the creative work of the poet. This is the main feature of haiku. To explain everything to the end means not only to sin against Japanese poetry, but also to deprive the reader of the great joy of growing flowers from a handful of seeds generously scattered by Japanese poets.
9 http://www.yaponika.com/hokku/kikaku
10 http://www.yaponika.com/tanka/arivara-narikhira
11 http://www.yaponika.com/tanka/kamo-mabuti
12 http://www.yaponika.com/tanka/otomo-yakamoti
13 http://www.yaponika.com/tanka/odzava-roan
14 Takahama Kyoshi. Haiku Tokuhon (Anthology of Haiku). T., 1973.
15 Yamamoto. Kenkichi. Basho zenhokku (Basho Complete Hokku Collection). T. 2, T., 1974.
16 Kido Seizo. Renga sironko (The theory of verse in "linked stanzas"). Tt. 1-2, T., 1993.
