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Connections in
Diversity
Tulsa
Community
College
T
The art of achieving maximum poetic effect
by minimum means
HOUSAND OURNEYS
aiku
H
J
Shiki
In the dense mist,
what is being shouted
between hill and boat?
A dog sleeping
at the door of an empty house,
leaves of the willow-trees scattering.
A handle
on the moon –
and what a splendid fan.
Kito
Sokan
—form
THOUSANDJOURNEYS
Haiku
 A haiku poem consists of three lines, with the
first and last line having 5 moras, and the
middle line having 7.
 A mora is a sound unit, much like a syllable,
but is not identical to it.
 In English, haiku adaptations use syllables as
moras.
Basics of haiku form
E
x
a
m
p
l
e
s
The priest cicada
stops singing; his voice goes on
filling the heavens.
Seishi Yamaguchi
Once over the sea,
winter winds can no longer
return home again.
Seishi Yamaguchi
Starting a journey—
the scent of burning dry leaves
Stains the sky lonely.
Richard Wright
Connections in
Diversity
Tulsa
Community
College
T
The art of achieving maximum poetic effect
by minimum means
HOUSAND OURNEYS
aiku
H
J
—spirit
THOUSANDJOURNEYS
Haiku
 The silence of haiku, its wordlessness, its
mysteriousness, also has its roots in Buddhist
culture, especially in Zen.
 Most poetry written by haiku masters has a
quality of actuality, of the moment seized on
and rendered purely.
Cultural roots
 The spirit of haiku required that the language
be kept plain. It also demanded accurate and
original images, drawn mostly from common
life.
 A haiku traditionally contains a kigo, a defined
word or phrase that symbolizes or implies the
season of the poem.
Cultural roots
Choshu
Down the river
the sound of a net thrown—
a hazy moon.
The moon in the water;
broken and broken again,
still it is there.
The moon in the water
turned a somersault
and floated away.
Taigi
Ryota
Connections in
Diversity
Tulsa
Community
College
T
The art of achieving maximum poetic effect
by minimum means
HOUSAND OURNEYS
aiku
H
J
—history
THOUSANDJOURNEYS
Haiku
 Haiku poems date from 9th century Japan to the
present day.
 The three masters of haiku from the 17th
century were Bashō, Issa, and Buson.
Development
 The work of the three masters is still the model
of haiku writing today.
 They were poets who wandered the countryside,
experiencing life and observing nature, and
spent years perfecting their craft.
Development
Ampu
Scooping up the moon
in the wash-basin,
and spilling it.
The skylark:
its voice alone fell,
leaving nothing behind.
The blind sparrow
hops on the flower
of the evening-glory.
Ryuho
Gyodai
Connections in
Diversity
Tulsa
Community
College
T
The art of achieving maximum poetic effect
by minimum means
HOUSAND OURNEYS
aiku
H
J
—the masters
THOUSANDJOURNEYS
Haiku
 (1600s)
 Aesthete and seeker, his poems reflect a
profound loneliness and sense of suffering.
 Considered the first great poet of haiku.
Bashō Matsuo
B
a
s
h
ō
An old silent pond...
A frog jumps into the pond,
splash! Silence again.
Deep autumn—
my neighbor,
how does he live, I wonder
Lightning flash—
what I thought were faces
are plumes of pampas grass.
 (late 1700s)
 Also a visual artist
 His poems reflect an evenness of temper, his
love for the materials of art and for the color
and shape of things, thus being described as
painterly.
Yosa Buson
B
u
s
o
n
Tethered horse;
snow
in both stirrups.
A mountain temple;
the sound of the bell struck fumblingly,
vanishing in the haze.
The halo of the moon –
is it not the scent of plum blossoms
rising up to heaven?
 (late 1700s and early 1800s)
 The humanist of the three masters
 His whose poems reflect pathos and comedy and
anger.
Kobayashi Issa
I
s
s
a
Don’t worry, spiders,
I keep house
casually.
Simply trust:
Do not also the petals flutter down,
just like that?
Not yet having become a Buddha,
the ancient pine-tree
idly dreaming

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The invisible mirror (an intro to haiku)

  • 1. Connections in Diversity Tulsa Community College T The art of achieving maximum poetic effect by minimum means HOUSAND OURNEYS aiku H J
  • 2. Shiki In the dense mist, what is being shouted between hill and boat? A dog sleeping at the door of an empty house, leaves of the willow-trees scattering. A handle on the moon – and what a splendid fan. Kito Sokan
  • 4.  A haiku poem consists of three lines, with the first and last line having 5 moras, and the middle line having 7.  A mora is a sound unit, much like a syllable, but is not identical to it.  In English, haiku adaptations use syllables as moras. Basics of haiku form
  • 5. E x a m p l e s The priest cicada stops singing; his voice goes on filling the heavens. Seishi Yamaguchi Once over the sea, winter winds can no longer return home again. Seishi Yamaguchi Starting a journey— the scent of burning dry leaves Stains the sky lonely. Richard Wright
  • 6. Connections in Diversity Tulsa Community College T The art of achieving maximum poetic effect by minimum means HOUSAND OURNEYS aiku H J
  • 8.  The silence of haiku, its wordlessness, its mysteriousness, also has its roots in Buddhist culture, especially in Zen.  Most poetry written by haiku masters has a quality of actuality, of the moment seized on and rendered purely. Cultural roots
  • 9.  The spirit of haiku required that the language be kept plain. It also demanded accurate and original images, drawn mostly from common life.  A haiku traditionally contains a kigo, a defined word or phrase that symbolizes or implies the season of the poem. Cultural roots
  • 10. Choshu Down the river the sound of a net thrown— a hazy moon. The moon in the water; broken and broken again, still it is there. The moon in the water turned a somersault and floated away. Taigi Ryota
  • 11. Connections in Diversity Tulsa Community College T The art of achieving maximum poetic effect by minimum means HOUSAND OURNEYS aiku H J
  • 13.  Haiku poems date from 9th century Japan to the present day.  The three masters of haiku from the 17th century were Bashō, Issa, and Buson. Development
  • 14.  The work of the three masters is still the model of haiku writing today.  They were poets who wandered the countryside, experiencing life and observing nature, and spent years perfecting their craft. Development
  • 15. Ampu Scooping up the moon in the wash-basin, and spilling it. The skylark: its voice alone fell, leaving nothing behind. The blind sparrow hops on the flower of the evening-glory. Ryuho Gyodai
  • 16. Connections in Diversity Tulsa Community College T The art of achieving maximum poetic effect by minimum means HOUSAND OURNEYS aiku H J
  • 18.  (1600s)  Aesthete and seeker, his poems reflect a profound loneliness and sense of suffering.  Considered the first great poet of haiku. Bashō Matsuo
  • 19. B a s h ō An old silent pond... A frog jumps into the pond, splash! Silence again. Deep autumn— my neighbor, how does he live, I wonder Lightning flash— what I thought were faces are plumes of pampas grass.
  • 20.  (late 1700s)  Also a visual artist  His poems reflect an evenness of temper, his love for the materials of art and for the color and shape of things, thus being described as painterly. Yosa Buson
  • 21. B u s o n Tethered horse; snow in both stirrups. A mountain temple; the sound of the bell struck fumblingly, vanishing in the haze. The halo of the moon – is it not the scent of plum blossoms rising up to heaven?
  • 22.  (late 1700s and early 1800s)  The humanist of the three masters  His whose poems reflect pathos and comedy and anger. Kobayashi Issa
  • 23. I s s a Don’t worry, spiders, I keep house casually. Simply trust: Do not also the petals flutter down, just like that? Not yet having become a Buddha, the ancient pine-tree idly dreaming