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Painting by Basho: "Solitary Traveler in Winter Shower"
  
   
 
 
   
 

Contents

Background

Haiku Influence

Appendix A: Kigo-Season Words

Appendix B: Examples of Haiku

Appendix C: Haiku Error Messages

Appendix D: Spam-ku Examples

End Notes

References

  
   
   
 

Background

The haiku, a form of poetry indigenous to Japan, has become one of the most popular forms of lyric expression in the world. So popular in fact, that its name has become part of the vernacular of many languages.1 Today, forms of haiku are practiced in nearly every nation in the world.2 Haiku's impact as an art form has had a profound effect on modern society, most particularly its influence on the society of modern Japan.

Traditional Japanese haiku is, on the surface, a short nature poem.3 However, it must also relate a deep spiritual or emotional significance.4 The haiku describes a brief moment of time and expresses a poignant emotional experience connected to the natural world around us.5 The writer lIarold G. Henderson described haiku most succinctly when he said, "[Haiku] is a record of a moment of emotion in which human nature is somehow linked to all nature."6 Furthermore, haiku is an expression of a way of life, combining the aesthetic, moral, and religious beliefs of Zen Buddhism and Shinto into a brief vivid passage.7,8 Haiku is Zen directed at the natural world around US.9

It is important to understand that traditional haiku is not symbolic.10 One element in the poem does not reflect some greater absolute. There is no direct metaphor or allusion to something else. The haiku creates a sensation within the reader that touches on some higher significance without linear association.11

Structurally, haiku has certain aspects that determine its character. The poem contains three lines consisting of seventeen syllables arranged in a 5-7-5 sequence.12 Each poem also usually contains a characteristic season word and pivot word.13

The kigo (season word) denotes one of the five seasons; spring, summer, autumn, winter, and New Year's.14,15 A common layman's misconception is that the actual words for the seasons must be incorporated into the poem. This is not incorrect, however, words that call up a vision of the season are more often used.16 For example, snow denotes winter, falling leaves for autumn, swimming for summer, and a butterfly for spring.(see Appendix A)

The koke-kotoba (pivot word) is much more difficult to employ in haiku. They are words that suddenly or subtly change the meaning of the poem as you read it,17 in effect creating a double-entendre in the meaning of the poem. For example, if we were to say in English that 'a movie had titanic success' this could either mean that 'the movie had a huge success' or that 'the movie had the success of the movie Titanic', which was colossal. The pivot word, in this example, being 'titanic'. The pivot word therefore creates two meanings that can be expressed simultaneously. Although, in haiku the pivot word works much more subtly.

Kanji is the Japanese form of writing employing the borrowed Chinese characters. The complexity of this written language encompasses many layers. In Japanese, to truly understand the meaning of a word you must understand its visual representation in kanji.18 While spoken, a haiku may seem to have a certain meaning, but when reading the haiku in kanji the poem may take on different or more significant meanings.19 The importance of reading the haiku becomes apparent. This explains why Haiku are most often read rather than spoken aloud.20

Expanding on the visual aspect of the art, a form of painting known as haiga developed to enhance the aesthetics of the poetry. As with the poetry itself, the painting, while brief, was designed to enhance the sensation experienced from the haiku.21 Most of the great Japanese haijin (poets) were accomplished painters who created haiku and haiga together as art.

The haiku did not develop independently as an art form, but is a descendant of many great Japanese literary styles. Renga (linked verse) became popular during the Heian period (794-1185 a.d.).22 lt was a continuous chain of alternating 17 (three lines of 5-7-5) and 14 (two lines of 7-7) syllable verses, called a tanka.23 Renga was a type of lyric game, in which three or more poets would compose the poem. The leading poet would utter the first verse in the 5-7-5 pattern and a following poet would respond with the second verse in the 7-7 pattern.24 A new tanka would follow linking itself to the previous.25 Renga were filled with references to nature, especially seasonal changes and occurrences.26, 27

After centuries of practice renga was losing popularity, until two poets in the 15th century, Sokan and Moritake, created a new form of renga called haikai no renga.28 Haikai no renga was more free spirited and incorporated humor, satire, puns, and parody into its style.29 In fact, the word Haikai translates as 'sportive' or'playful'.30

The three-line verse (5-7-5) that began a renga or haikai no renga is known as a hokku.31 This opening verse was very critical in setting the tone of the poem. In fact, well known hokku were taught and practiced among haikai masters.32 The hokku was not seen as a separate poem (although, in essence, practiced as such) until around the 18th century.33 The term's haikai and hokku were later combined into the modern haiku.34 However, it was not until the 1890's, when all of the elements that make up our conception of the modern haiku, were fully developed.35

The celebrated masters of the traditional Japanese haiku are Matsuo Basho, Yosa Buson and Kobayashi Issa.36 Each made their livelihood as teachers of renga37 and practiced Zen Buddhism, history, philosophy and other scholarly pursuits.38 They had very different styles of philosophy that are evidenced in their art (see Appendix B).

Basho was the aesthetic:39

Winter solitude
in a world of one color
the sound of wind.40


Buson was the artist: 41

Tethered horse;
snow
in both stirrups.42


Issa was the humanist:43

Even with insects
some can sing,
some can't.44

Together they are renowned as the great masters of haiku and are studied in Japanese schools as Shakespeare, Dickens, Chaucer, and other literary masters are studied in western cultures.

 
   
 
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Haiku Influence

Haiku has had a major influence on modern Japanese society. Its influence can be found in nearly every aspect of life. For instance, New Year's day incorporates many different instances of the use of haiku in Japan. Every year, it is the tradition of all Japanese to send nengajo (greeting cards) to their friends, teachers, relatives and business acquaintances.45 These postcards can be decorated with a picture of the animal representing the coming year in the Chinese zodiac, but may often contain various poetry including famous haiku.46

Kakizome is the formal calligraphy performed on January 2nd.47 It is typically the first writing performed during the year.48 The significance of what one writes is seen as a presage for the forthcoming year. Auspicious phrases, company slogans, as well as deeply moving haiku can be some of the kakizome.49

A number of different card games, such as Karuta and Hyakunin Isshu, are traditionally played on New Year's day.50 Karuta is a matching game containing one hundred cards, fifty of which contain a saying or proverb while the other fifty contain a matching illustration. A number of decks contain famous haiku on one set of fifty and matching haiga on the other.51

Hyakunin Isshu is a similar matching game containing two hundred cards, one-hundred containing a hokku (5-7-5 verse) and the other containing the corresponding waki-ku (7-7 verse) and a picture of the poet. 52 Famous hokku are often also famous haiku by poets such as Basho, Buson, and Issa.

Note : There is a gray line that exists between hokku and haiku. Traditionl hokku were not seen as individual poems in their time, but later as haiku developed as its own art form, hokku were then treated as haiku. Therefore many hokku are seen both as haiku and the first verse of a renga or haikai no renga. (Hass, p302-3).

Aside from being placed on greeting cards and playing cards, haiku are often written on signs near sites of historical or religious experience. For instance, at the famous Buddhist temple, Mohtsuji, there are two rocks inscribed with Basho's "Natsukusaya", one in kanji and the other in English:53

Natsu kusaya
tsu wa mono domo ga
yumeno ato.

The summer grass
is all that's left
of ancient warriors' dreams.

Other forms of art have also been influenced by the poetry of haiku. Ceramic pottery, most often the teapot, is made with haiku written upon it.54 Graffiti artists have constructed elaborate wall murals that include haiku poetry.55

In the last few years a new musical form has emerged in Japan; the short song. In railways and subway stations, ultra-short songs are played to signal the arrival and departure of trains. These small songs, that try to say a great deal in a brief time, are directly inspired by haiku. 56 Since Japan supports the highest numbers of rail passengers in the world, these small songs are heard by nearly 40% of the world's rail passengers.57

Haiku has also helped as a positive outlet to many people stricken with economic misfortunes. For example, small business owners in the town of Yasuda gathered to read haiku to express their feelings concerning bank loan policies.58 This use of haiku as a medium for social expression was even exercised in WWII by Japanese citizens, as well as among interned Japanese-Americans.59,60

Haiku is often used as an instrument of teaching, not just about poetry, but science and art as well. When teaching art in Japanese classrooms, some teachers read moving haiku in order to stimulate children's imagination to draw.6 The similarity in the method of observation of natural events, between haiku and science, are brought to light as children are assigned to write haiku's in science classes.62

Haiku has even influenced the modern electronic age. In Japan, error messages on computers, which are often cryptic at best, are often replaced with clever haiku's (see Appendix C), such as the following:

Chaos reigns within.
Reflect, repent and reboot.
Order shall retum.63,64

And often, business e-mail has the distinct flavor of haiku poetry. One-line emails that say or ask a great deal within a few short words, are often called "Corporate Haiku's" by Japanese sararimen (businessmen).65

It is not only Japan that has been influenced by the haiku, but the world itself. Traditional Japanese Haiku has been translated into nearly every language and is practiced as an art form across the world.66 Interest in Haiku is growing so strong, in fact, that during a contest issued by Japan Airlines, over 70,000 submissions were received from over 27 different countries worldwide.67 Interest is particularly strong in the United States, were even elementary schools have translations of haiku for children in textbooks.68 Membership in haiku clubs in the U.S. has risen significantly in the last decade and attendance at national haikukai (haiku parties) has been 2-3 times expected numbers in recent years.69

This new fervor over haiku has been driven by the fast growing popularity of the internet. Haiku sites in English, Japanese, and numerous other languages have surfaced all over the web.70 Online haiku contests take place on many of these sites giving a readily available outlet for haiku practitioner's to patronize.7

Haiku generators (such as "The Genuine Haiku Generator" at
http://www.selendy.com/haiku/) in which haiku's are randomly created by the computer for the viewer's enjoyment have become a sensation. These haiku generators first began in English but have since taken off and have crossed back over into Japanese and other languages.72

One of the most popular variations of online haiku is the Spam-ku. A number of sites, dedicated to the 'delectable?' Hormel Foods' luncheon loaf, have arisen (see Appendix D).73,74 Online haiku enthusiasts submit their poetic efforts concerning the pink meat like substance. For example:

I'm pink,
therefore I'm Spam.
Deep Philosophy.75

Haiku's worldwide popularity is just one instance of how much it has influenced global society. However, its popularity in its homeland is still unrivaled. Everyday, Japanese newspapers are beseeched with hundreds of haiku's, and winners are printed on tea cans that are distributed in vending machines.76 The impact of this short but ubiquitous form of poetry has altered Japan forever. Perhaps Japan's trend with miniaturization is a direct result of this influence. Regardless, it is easy to see the fine but indelible mark haiku has left upon Japanese society.

 
   
 
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Appendix A: Kigo - Season Words


Spring:

magnolia / mirage / blossoms / pilgrimage / whirlpool

Summer:

rainbow / awnings / rose / sparrow / lily

Autumn:

dew / grasshopper/ moonlight / typhoon / thrush

Winter:

charcoal / bear / hawk / ice / carpet

New Year's:

Shuttlecock

 
 

Appendix B: Examples of Haiku


Basho:

Ill on a journey
My dreams wander
Over a Over awithered moor.77

 A caterpilar,
This deep in fall -
Still not a butterfly.79
Faintly the chrysanthemums,
After the water subsides,
Rising again.78		 First snow
Falling
On the half-finished bridge.80
Buson:

Coming back
So many pathways
Through the spring grass.81

 The little girls kerchief
Too low over the eyes -
It is charming.83
Lighting one candle
With another candle-
Spring evening.82		 Still lonelier
Than last year;
Autumn evening.84
Issa:

Don't worry, spiders,
I keep house
Casually.85

 Crescent moon -
Bent to the shape
Of the cold.87
Seen
Through a telescope:
Ten cents worth of fog.86		 A bath when you're born,
A bath when you die,
How stupid.88

 
   
 
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Appendix C: Haiku Error Messages 89,90


Windows NT crashed.
I am the Blue Screen of Death.
No one hears your screams.		 A crash reduces
Your expensive computer
To a simple stone.
A file that big?
It must be very useful.
But now it is gone.		 Three things are certain:
Death, taxes, and lost data.
Guess which has occurred.
ABORTED effort:
Close all that you have worked on.
You ask way too much.		 You step in the stream,
But the water has moved on.
This page is not here.
Yesterday it worked.
Today it is not working.
Windows is like that.		 Out of memory.
We wish to hold the whole sky,
But we never will.
First snow, then silence.
This thousand dollar screen
Dies so beautifully.		 Having been erased,
The document you're seeking
Must now be retyped.
With searching comes loss
And the presence of absence:
"My Novel" not found.		 Serious error.
All shortcuts have disappeared.
Screen. Mind. Both are blank.
The Tao that is seen
Is not the true Tao,
Until you bring fresh toner.		 Something you entered
Transcended parameters.
So much is unknown.
Stay the patient course
Of little worth is your ire
The network is down

 
   
 
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Appendix D: Spam-Ku Examples 91

Y2K stockpile
My tins of baked beans and SPAM
Food and weaponry.		 Myrrh, frankincense, and
SPAM: the gifts of two wise men
and one complete fool.
O Terrible SPAM!
You're not a carcinogen.
You're cancer itself.		 New brand: Chia SPAM.
Meat and greens in every bite.
Hormel, we'd buy it!
Old man seeks doctor:
"I eat SPAM daily," he says
ANGIOPLASTY.		 SPAM: the perfect food
For people who study Zen--
Meat, and yet not meat.
SPAM glistens pinkly;
Cat taps it with wary paw
To see if it's dead.		 SPAM, too, needs a wife.
What consort for my Pork Prince?
Ah! The Velveeta!
Split the SPAM atom
Enormous pink mushroom cloud
World covered in pork. 		Man wearing white shirt
Drops meat, causing greasy stain;
"Out, out, SPAM dot!"
They have no more SPAM
My hands tremble with anger
Clean-up on aisle 5. 		Spock scans the pink meat.
"It's life, Jim,
but not as we know it."
Eat or be eaten.
With SPAM, you can never be
sure who is winning.		 SPAM and Tang dinner.
Meal most feared by astronauts.
"Open the trash, HAL."
Formless spawn of pork,
Leers with gelatinous gaze,
Taunting my lean soul. 		Pink tender morsel,
Glistening with salty gel.
What the hell is it?
If Hormel branched out
With new meat types, we might see
Spicken, Spish, or Speef. 		Highly unnatural,
The tortured shape of this "food"
...A small pink coffin.

 
   
 
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End Notes


1 Yamaguchi, S., translated by Kodaira, T. and A. Marks. The Essence of Modern Haiku: 300 Poems by Seishi Yamaguchi. (Atlanta, Georgia: Mangaijin, 1993.) p x.
2 Yamaguchi p. x.
3 Yamaguchi p. xi.
4 Higginson, W.J. The Haiku Seasons: Poetry of the Natural World. (Tokyo, Japan: Kodansha International, 1997) p 4.
5 Higginson p 4.
6 Henderson H.G. Haiku in English. (North Clarendon, Vermont: Tuttle, 1967.) p 12.
7 Zolbrod, L. Haiku Painting. (Tokyo, Japan; New York, NY; San Francisco CA: Kodansha International, 1982.) p 44.
8 Giroux, J., The Haiku Form. (Nortb Clarendon, Vermont: Tuttle, 1974.) p 34.
9 Blyth, R.H., A History of Haiku: Vol. 1. (Japan: Hokuseido, 1963.) p 4.
10 Blyth p 13-14.
11 Blyth p 13-14.
12 Yamaguchi p x.
13 Yamaguchi p xi.
14 Hass, R. The Essential Haiku. (Hopewell, NJ: Ecco Press, 1994.) p 31~315.
15 Yamaguchi p. xi.
16 Hass p 314-315.
17 Hass p 312-313.
18 Blyth p 7.
19 Blytb p 7.
20 Blytb p 7.
21 Zolbrod p 43-45.
22 Blyth p 40.
23 Blyth p 40.
24 Hass p 299.
25 Hass p 299.
26 Hass p 300.
27 Blyth p 41.
28 Blyth p 44-45.
29 Blyth p 44-45.
30 Blyth p 45.
31 Hass p 302.
32 Hass p 302.
33 Hass p 303.
34 Hass p 304.
35 Hass p 304.
36 Hass pix.
37 Blytb p 40.
38 Hass p ix-x.
39 Hass p ix.
40 Hass p ix.
41 Hass p ix.
42 Hass p 33.
43 Hass pix.
44 Hass p 163.
45 The University of Electro-Communications Tokyo, Japan
http://www.fedu.uec.ac jp/FEDU/Events/data/NYear.html
46 Tbe University of Electro-Communications Tokyo, Japan
47 The University of Electro-Communications Tokyo, Japan
48 The University of Electro-Communications Tokyo, Japan
49 The University of Electro-Communications Tokyo, Japan
50 Tbe University of Electro-Communications Tokyo, Japan
51 The University of Electro-Communications Tokyo, Japan
52 The University of Electro-Communications Tokyo, Japan
53 Pamental, G.L., Daijohbu: Learning from the Japanese. (1996.) p 67.
54 Stechert, K. "Update: Raku Haiku". Home. Vol.35. (1989): p.26.
55 "Art Crimes: The Writing on the Wall" University of Warsaw. http://sunsite.icm.edu.pVgraffiti/index.html
56 Spindle, B. "Play a Simple Melody and the Japanese will board a train" Wall Street Journal. (Nov. 15, 1999) p A1.
57 Spindle p A1.
58 Sapsford, J., "Economic Woes Inspire Japanese to Write some Poignant Haiku." Wall Street Journal. (Oct. 23, 1998) p B1.
59 Mistri, Z.B., "Seventeen Syllables: A Symbolic Haiku" Newberry. Vol. 27. (Spring 1990.) p 197.
60 Cristoforo, M., and V. Kazue. "There is Always Tomorrow: An Anthology of Wartime Haiku." Amerasia Journal. Vol. 19. (1993) p 93.
61 Culler, C., "Drawing on Words." Needham. Vol. 96. (April 1997.) p 24-25.
62 Rillero, P., "Haiku and Science - Observing, Reflecting, and Writing about Nature." Journal of College Science Teaching. Vol. 28. (March/April 1999.) p 55.
63 "Error Messages in Haiku" Costa Mesa. (Jan 1999.)
64 Hyde, A C., and B. Pollins. "Haiku error messages." Potomac. Vol. 27. (Fall, 1998.)
65 Brandt, J., "Electronic Haiku. Industry Week. Vol. 244. (May 15, 1995.) p 6.
66 Hass p 314-315.
67 Hass p 314-315.
68 Hass p 314-315.
69 Mulrine, A., "Saying it in 17 Syllables." U.S. News & World Report. Vol. 122 (June 30, 1997.) p 11.
70 Mulrine p 11.
71 Mulrine p 11.
72 Mulrine p 11.
73 Mirapaul., M. "To a Haiku Writer, Spam Is Poetry in a Can." New York Times. (Nov 12, 1998) p 13.
74 Mulrine p 11.
75 Mirapaul p 13.
76 Mulrine p 11.
77 Blyth p 107.
78 Blyth p 112.
79 Hass p43.
80 Hass p 32.
81 Hass p 83.
82 Hass p 85.
83 Blyth p 257.
84 Blyth p 283.
85 Hass p ix.
86 Hass p 161.
87 Hass p 179.
88 Hass p 196.
89 Salon Magazine. http://www.salon.com/2 1 st/chaV1998/01/26chal.html
90 Bluecat's Den. http://www.thuntek.net/~bluecat/Haiku.html
91 Spam-Ku Archives. http://pemtropics.mit.edu/~jchotsparn/archive.html

 
   
 
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References


1) Yamaguchi, S., translated by Kodaira, T. and A. Marks. The Essence of Modern Haiku: 300 Poems by Seishi Yamagochi. (Atlanta, Georgia: Mangaijin, 1993.)

2) Higgnson, W.J. The Haiku Seasons: Poetry of the Natural World. Tokyo, Japan: Kodansha International, 1997)

3) Henderson H.G. Haiku in English. (North Clarendon, Vermont: Tuttle, 1967.)

4) Zolbrod, L. Haiku Painting. (Tokyo, Japan; New York, NY; San Francisco CA: Kodansha International, 1982.)

5) Giroux, J., The Haiku Form. (North Clarendon, Vermont: Tuttle, 1974.)

6) Blyth, R.H., A History of Haiku: Vol. 1. Tokyo, Japan: Hokuseido, 1963.)

7) Hass, R., The Essential Haiku. (Hopewell, NJ: Ecco Press, 1994.)

8) Pamental, G.L., Daijohbu: Learning from the Japanese. (1996.)

9) The University of Electro-Communications. Tokyo, Japan
http://www.fedu.uec.ac.jp/FEDU/Events/data/NYear.html

10) Stechert, K. "Update: Raku Haiku". Home. Vol. 35. (1989)

11) "Art Crimes: The Writing on the Wall" University of Warsaw.
http://sunsite.icrn.edu.pl/graffiti/index.html

12) Sapsford, J., "Economic Woes Inspire Japanese to Write some Poignant Haiku." Wall Street Journal. (Oct. 23, 1998)

13) Spindle, B. "Play a Simple Melody and the Japanese will board a train" Wall Street Journal. (Nov. 15, 1999)

14) Mistri Z.B., "Seventeen Syllables: A Symbolic Haiku" Newberry. Vol. 27. (Spring 1990.)

15) Cristoforo, M., and V. Kazue. "There is Always Tomorrow: An Anthology of Wartime Haiku." Amerasia Journal. Vol. 19. (1993)

16) Culler, C., "Drawing on Words." Needham. Vol. 96. (April 1997.)

17) Rillero, P., "Haiku and Science - Observing, Reflecting, and Writing about Nature." Journal of College Science Teaching. Vol. 28. (March/April 1999.)

18) "Error Messages in Haiku" Costa Mesa. Jan 1999.)

19) Hyde, A C., and B. Pollins. "Haiku error messages." Potomac. Vol. 27. (Fall, 1998.)

20) Brandt, J., "Electronic Haiku." Industry Week. Vol. 244. (May 15, 1995.) p 6.

21) Mulrine, A., "Saying it in 17 Syllables.", U.S. News & World Report. Vol. 122 (June 30, 1997.)

22) Mirapaul., M. "To a Haiku Writer, Spam Is Poetry in a Can." New York Times. (Nov 12, 1998)

23) Salon Magazine. htp://www.salon.com/21st/chal/1998/01/26chal.html

24) Bluecat's Den. http:/ /www.thuntek.net/~bluecat/Haiku.htm

25) Spam-Ku Archives. http://pemtropics.mit.edu/jcho/spam/archive.html

 
   
 
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