7. Five Modern Haiku
by George Wharton Edwards
SUMMARY
A
haiku is a concise Japanese poem with 17 syllables arranged in 5-7-5 format.
Originating in the 17th century from the renga tradition, haiku gained
independence in the 19th century. It must include a seasonal reference, a
pivotal element. A cutting word divides distinct images or ideas. Matsuo Basho,
Yosa Buson, Kobayashi Issa, and Masaoka Shiki, known as "the great
four," set the standard for haiku in Japan. Their works inspire modern
haiku writers worldwide. While non-Japanese poets embrace the form, they often
deviate from strict Japanese conventions. Haiku enjoys popularity in Nepali
literature, with notable writers like Abhi Subedi, Padma Devkota, and Ram Kumar
Pande.
The
first haiku vividly portrays the fragility of an apple blossom as it sways on a
sun-drenched branch, burdened by the presence of buzzing bees. The imagery
captures a delicate moment in nature, highlighting the blossom's vulnerability
under the collective weight of the industrious insects. The poet, Richard
Wright, encapsulates a transient yet significant interaction between the
natural elements, offering a poignant reflection on the interconnectedness of
life in the natural world. The haiku's concise and evocative language invites
readers to appreciate the beauty and transience of this fleeting scene,
creating a poignant resonance with the cycles of nature.
The
second haiku by Alexis Rotella presents a vivid image of contemplation amid a
stark urban landscape. The "neon (colorless) window" implies a city
setting, where artificial lights contrast with the absence of natural hues. The
"crystal (clear) gazer" suggests someone with a perceptive, unclouded
gaze, perhaps reflecting on the world outside. This individual "stares
into winter rain," a solitary act that symbolizes introspection and a
connection with the seasonal melancholy. The juxtaposition of the vivid term
"neon" with the parenthetical "colorless" adds depth,
highlighting the artificiality of urban life. Overall, the haiku captures a
moment of quiet observation and introspection amidst the cold, urban
environment.
The
third haiku by Huguette Ducharme, a profound transformation is captured in just
three lines. The first line, "A two-three steps," implies the initial
attempts of a baby learning to walk, taking only a couple of steps at a time.
This evokes a sense of early development and tentative progress. The second
line, "This morning baby becomes," signifies a significant milestone,
marking the transition from crawling to walking. It's a pivotal moment in a
child's growth. The concluding line, "A pedestrian," beautifully
encapsulates this shift, portraying the child now as a walker, navigating the
world on two feet. The haiku beautifully celebrates the ordinary yet
extraordinary journey of a child's first steps.
Don
Eulert's haiku paints a vivid scene of a high desert winter. The opening line,
"High desert winter," sets the stage, evoking an image of a cold,
arid landscape. The following line, "creaks from a run of new frogs,"
introduces an unexpected element of life and activity in this seemingly
desolate environment. The imagery of "new frogs" suggests a fresh
generation, bringing a sense of renewal and vitality to the winter setting. The
onomatopoeic "Grak! Grak" in the final line mimics the croaking sound
of an old frog, emphasizing the presence of both young and old members of this
amphibian community. Overall, the haiku beautifully captures the dynamic and
resilient nature of life in the desert, even during the winter months.
Ezra
Pound's haiku is a vivid portrayal of a fleeting moment amidst a bustling
crowd. The first line, "The apparition of these faces in the crowd,"
conjures an image of faces emerging and disappearing in the midst of a busy
gathering. This evokes a sense of transience and impermanence. The second line,
"Petals on a wet, black bough," introduces a metaphor likening the
faces to delicate flower petals resting on a rain-soaked, dark branch. This
comparison conveys a sense of fragility and vulnerability. The contrast between
the ephemeral faces and the enduring, rain-soaked bough encapsulates the
transient nature of human existence amid the enduring backdrop of the world.
A. Multiple Choice Questions
1. A
Japanese haiku is a poem in exactly seventeen................
a) lines
b) words
c) syllables
d) stanzas
2.
.........................word is the most important feature of a haiku.
a) technical
b) metaphorical
c) symbolic
d) seasonal
3.
The word 'neon' signifies..........................object.
a) very bright
b) red colour
c) white colour
d) colourless
4.
The word 'Grak Grak' is an example of..................
a) onomatopoeia
b) simile
c) archaism
d) neology
5.
Ezra Pound's haiku is slightly.....................form Japanese haiku.
a) strong
b) short
c) long
d) different
Extra MCQs
1. What is the traditional syllable arrangement of a haiku?
a) 7-5-7
b) 5-7-5
c) 5-5-7
d) 7-7-5
2. When did haiku gain independence from the renga tradition?
a) 17th century
b) 19th century
c) 18th century
d) 20th century
3. What is a pivotal element that a haiku must include?
a) Rhyme scheme
b) Seasonal reference
c) Metrical pattern
d) Alliteration
4. What is the role of a cutting word in a haiku?
a) Introduces a new idea
b) Separates distinct images or ideas
c) Adds emphasis to a specific word
d) Indicates the end of a line
5. Who are the four renowned haiku poets known as "the
great four"?
a) Richard Wright, Alexis Rotella, Huguette
Ducharme, Don Eulert
b) Matsuo Basho, Yosa Buson, Kobayashi Issa,
Masaoka Shiki
c) Ezra Pound, Abhi Subedi, Padma Devkota,
Ram Kumar Pande
d) None of the above
6. Which poet's haiku focuses on an apple blossom and buzzing
bees?
a) Matsuo Basho
b) Yosa Buson
c) Kobayashi Issa
d) Richard Wright
7. What does the phrase "neon (colorless) window"
suggest in the second haiku?
a) A brightly lit window in a city
b) A window lacking vibrant colors
c) A window with neon lights
d) A window with no glass
8. What is the significance of the term "crystal (clear)
gazer" in the second haiku?
a) Someone with a perceptive gaze
b) Someone looking at crystals
c) Someone with a cloudy vision
d) Someone with a colorful imagination
9. What action does the baby take in the third haiku?
a) Crawling
b) Walking
c) Running
d) Jumping
10. What does the term "pedestrian" signify in the
third haiku?
a) Someone walking on the street
b) Someone riding a bicycle
c) Someone driving a car
d) Someone learning to walk
11. In the fourth haiku, what does the phrase "a run of new
frogs" suggest?
a) Frogs running away from the rain
b) A group of young frogs
c) Frogs hopping on wet ground
d) Frogs leaping into a pond
12. What sound is represented by "Grak! Grak" in the
fourth haiku?
a) Croaking of frogs
b) Birds chirping
c) Rainfall
d) Wind blowing
13. How does the poet describe the faces in the crowd in the
fifth haiku?
a) Apparitions
b) Ghosts
c) Portraits
d) Masks
14. What do the faces in the fifth haiku remind the poet of?
a) Flower petals
b) Falling leaves
c) Raindrops
d) Snowflakes
15. What is the setting described in the fifth haiku?
a) A bustling city street
b) A quiet countryside
c) A crowded market
d) A deserted alleyway
16. What emotion or feeling is conveyed by the haiku by Richard
Wright?
a) Joy
b) Fragility
c) Gloom
d) Excitement
17. What is the predominant theme in the haiku by Alexis
Rotella?
a) Nature
b) Urban life
c) Childhood
d) Winter
18. What is the significance of the term "crystal (clear)
gazer" in the haiku by Alexis Rotella?
a) Someone with a mystical ability
b) Someone with a focused gaze
c) Someone with a cloudy vision
d) Someone who collects crystals
19. What is the key transformation described in the haiku by
Huguette Ducharme?
a) A baby learning to speak
b) A baby learning to walk
c) A baby learning to crawl
d) A baby learning to read
20. How does the haiku by Don Eulert portray the winter
landscape?
a) Stark and active
b) Warm and serene
c) Cold and desolate
d) Colorful and vibrant
B. Short Questions
1. What visual image do you find in Richard Wright's haiku?
In
Richard Wright's haiku, the visual image is that of an apple blossom trembling
on a sunlit branch under the weight of bees. This image portrays a delicate and
ephemeral moment in nature. The reader can envision the tender, pale petals of
the apple blossom, contrasted against the vibrant backdrop of a sunlit branch.
The sunlight illuminates the scene, creating a warm and inviting atmosphere.
The blossoms sway gently, conveying a sense of movement and fragility.
The
presence of bees adds another layer to the image. One can imagine the bees,
diligently collecting nectar from the blossom, their wings buzzing in a
harmonious rhythm. This image evokes a sense of industriousness and the
interconnectedness of nature. The juxtaposition of the delicate blossom and the
industrious bees captures a profound moment of harmony between the natural
elements.
Overall,
the haiku's visual imagery invites the reader to immerse themselves in this
fleeting yet significant interaction between the blossom and the bees. It
encapsulates the beauty of a small, intimate scene in the natural world,
highlighting the delicate balance that exists between the fragility of life and
the industriousness of nature. The vivid imagery in Richard Wright's haiku
serves to evoke a sensory experience, allowing the reader to appreciate the
intricacies and interplay of elements in this fleeting moment.
2. How did Alexis Rotella make a contrast between animate and
inanimate things?
Alexis
Rotella skillfully contrasts animate and inanimate elements in her haiku
through vivid imagery and juxtaposition. In her haiku, she introduces the
concept of a "neon (colorless) window," which immediately sets the
stage for this contrast. The term "neon" typically conjures images of
bright, vibrant colors associated with artificial lights. However, by adding
the parenthetical "colorless," Rotella immediately challenges this
expectation. This contrast between the vivid, artificial neon lights and their
ultimate lack of true color creates a striking visual dichotomy.
Furthermore,
Rotella employs the term "crystal (clear) gazer," which introduces
the idea of a person gazing out of the window. This person is described as a
"gazer," implying a sentient, contemplative being. The term
"crystal" evokes notions of clarity, transparency, and precision. It
suggests a focused, unclouded perception, highlighting the animate nature of
the observer.
This
juxtaposition of the "neon (colorless) window" and the "crystal
(clear) gazer" effectively contrasts the inanimate, artificial elements of
the urban environment with the animate, sentient presence of the individual. It
captures the interplay between the sterile, man-made world and the living,
perceptive consciousness within it. This contrast ultimately serves to
emphasize the profound solitude and introspection of the observer as they
contemplate the world beyond the window, creating a poignant reflection on the
human experience in an urban landscape.
3. What kind of joy is expressed by Huguette Ducharme in the
haiku?
Huguette
Ducharme expresses the joy of witnessing a significant developmental milestone
in the haiku. The haiku begins with the line, "A two-three steps,"
which suggests the initial attempts of a baby learning to walk. This moment is
filled with a palpable sense of anticipation and excitement, as the child takes
those tentative first steps. The use of numbers, "two-three," implies
a countdown or a progression, emphasizing the significance of each step in this
journey.
The
line, "This morning baby becomes," further underscores the
transformative nature of this moment. It signifies a pivotal transition,
marking the shift from being dependent on crawling to gaining the newfound
ability to walk independently. This milestone brings forth a sense of
accomplishment, not only for the child but also for those witnessing this
achievement.
The
concluding line, "A pedestrian," beautifully encapsulates the joy of
this newfound mobility. The word "pedestrian" typically refers to
someone walking on a road or pathway. In this context, it celebrates the
child's entry into the world of walkers, navigating their surroundings on two
feet. It signifies a moment of triumph and elation for both the child and those
who share in this milestone.
Overall,
Huguette Ducharme's haiku conveys a sense of joy that arises from witnessing
and celebrating the transformative moment when a baby takes their first steps.
It captures the profound sense of accomplishment and the boundless potential
that comes with this significant developmental leap.
4. Which image is dominant in Don Eulert's haiku?
In
Don Eulert's haiku, the dominant image is that of a high desert winter. The
opening line, "High desert winter," immediately establishes the
setting and serves as a focal point for the entire haiku. This line paints a
vivid picture of the environment, conjuring imagery of a cold, arid landscape
characteristic of a high desert in winter.
The
mention of the desert implies a barren, rugged terrain, typically associated
with sparse vegetation and challenging weather conditions. This sets the stage
for the subsequent imagery and atmosphere described in the haiku.
The
line, "creaks from a run of new frogs," introduces an unexpected
element of life and activity within this seemingly desolate environment. This
image of "new frogs" suggests a fresh generation, bringing a sense of
renewal and vitality to the winter setting. The use of the word
"creaks" adds an auditory dimension, implying a chorus of frog calls
amidst the quietude of the winter landscape.
The
final line, "and an old Grak! Grak," further reinforces the dominance
of the high desert winter image. It introduces the vocalization of an old frog,
providing both an auditory and visual element to the scene. This onomatopoeic
representation of the frog's call vividly evokes the soundscape of the desert.
Overall,
the dominant image in Don Eulert's haiku is that of a high desert winter, with
additional emphasis on the presence of both young and old frogs, showcasing the
resilience and adaptability of life in this harsh environment.
5. How does Ezra Pound bring transformation in the form of
haiku?
Ezra
Pound brings transformation to the form of haiku through a departure from
traditional Japanese conventions, infusing his own style and thematic focus. In
his haiku, Pound introduces a distinctive approach that deviates from the
conventional 5-7-5 syllable structure typically associated with haiku.
Firstly,
Pound's haiku, "The apparition of these faces in the crowd: / Petals on a
wet, black bough," exemplifies a departure from the strict syllabic
pattern. Rather than adhering to the 5-7-5 format, he prioritizes concise and
evocative imagery, emphasizing the essence of the moment over rigid syllable
counts.
Furthermore,
Pound's choice of imagery and metaphor diverges from traditional haiku themes
rooted in nature. Instead, he incorporates urban imagery, depicting faces in a
crowd contrasted with the visual of petals on a wet branch. This juxtaposition
of human presence with natural elements introduces a fresh perspective and
thematic focus not commonly found in classical Japanese haiku.
Additionally,
Pound's haiku showcases a shift towards a more introspective and contemplative
tone. The use of the word "apparition" suggests a sense of fleeting,
ephemeral presence, inviting deeper reflection on the transient nature of human
existence.
Overall,
Ezra Pound's transformation of the haiku form lies in his willingness to break
from conventional syllabic constraints, introduce urban imagery, and infuse his
work with a contemplative, introspective sensibility. This departure from
tradition allows for a more individualistic and innovative approach to the
haiku form, demonstrating his unique contribution to the evolution of this
poetic genre.
6. Which of the above haikus has used onomatopoeic words? Give
answers with examples.
The
haiku by Don Eulert is the one that uses onomatopoeic words.
The
line "and an old Grak! Grak" in Don Eulert's haiku is an example of
onomatopoeia. The term "Grak! Grak" imitates the croaking sound made
by an old frog. Onomatopoeic words are those that phonetically imitate or
resemble the sound that they describe. In this case, "Grak! Grak"
vividly replicates the distinct croaking sound of a frog, allowing the reader
to audibly sense the presence of the amphibians in the high desert winter.
This
onomatopoeic element adds an auditory dimension to the haiku, enhancing the
reader's sensory experience. It immerses them in the environment described by
the poet, allowing them to imagine the sound of the frogs in the winter
landscape.
The
use of onomatopoeia in this haiku also serves to create a more vivid and
immersive imagery, bringing the scene to life for the reader. It adds a layer
of realism and immediacy to the description, allowing the reader to almost hear
the croaking of the frogs in the high desert setting.
Overall,
Don Eulert's haiku effectively employs onomatopoeia to enhance the sensory
experience and vividly depict the presence of frogs in the winter landscape,
contributing to the overall atmosphere and imagery of the poem.
7. Poets often use visual (vision), olfactory (smell), gustatory
(taste), auditory (sound), and kinesthetic (movement) images. Which of these
five images have been used in the above haikus? Give answer with examples of
images.
In
the above haikus, various sensory images are employed to evoke a rich and vivid
experience for the reader. Specifically, visual, auditory, and kinesthetic
images are prevalent.
Visual
imagery is prominently featured in several haikus. For instance, in Richard
Wright's haiku, the poet paints a visual image of an "apple blossom"
trembling on a sunlit branch. The reader can vividly picture the delicate
petals and the sun-drenched backdrop. Similarly, Alexis Rotella's haiku
introduces visual imagery with the mention of a "neon (colorless)
window," conjuring an image of an illuminated window in an urban setting.
Auditory
imagery is also present in the haikus. In Don Eulert's haiku, the use of
onomatopoeic words like "Grak! Grak" mimics the croaking sound of
frogs. This auditory element immerses the reader in the high desert
environment, allowing them to almost hear the frogs' calls.
Kinesthetic
imagery, which pertains to movement, is subtly present in Huguette Ducharme's
haiku. The line "A two-three steps" evokes a sense of movement, as
the baby takes tentative steps in the process of learning to walk. This image
conveys a feeling of progress and development.
While
the haikus do not specifically incorporate olfactory or gustatory imagery, they
predominantly focus on visual and auditory elements to create a vivid sensory
experience for the reader. These sensory images serve to enhance the reader's
immersion in the scenes described by the poets, allowing them to connect more
deeply with the moments captured in the haikus.
8. Write a short note on the use of metaphors used in the above
haikus.
Metaphors,
which are figures of speech that involve comparing one thing to another in
order to convey a deeper meaning, are not explicitly present in the provided
haikus. Instead, the haikus primarily rely on vivid imagery and sensory
descriptions to evoke emotions and paint vivid scenes.
For
example, in Richard Wright's haiku, the phrase "Trembling on a sunlit
branch" is not a metaphor but a literal description of an apple blossom
swaying in the sunlight. Similarly, in Alexis Rotella's haiku, the terms
"neon (colorless) window" and "crystal (clear) gazer" are
not metaphors, but rather descriptions that juxtapose elements of urban life
and introspection.
In
Huguette Ducharme's haiku, the phrase "A two-three steps" is a
straightforward description of a baby's attempts at walking, without utilizing
metaphorical language. The haiku focuses on capturing the developmental
milestone in a literal sense.
Don
Eulert's haiku, while rich in imagery, also does not incorporate metaphors. The
lines "creaks from a run of new frogs" and "an old Grak!
Grak" are descriptive of the sounds of frogs in a high desert winter,
without resorting to metaphorical comparisons.
Finally,
in Ezra Pound's haiku, the lines "The apparition of these faces in the
crowd" and "Petals on a wet, black bough" are presented as vivid
observations rather than metaphors. The imagery conveys the fleeting nature of
human existence, without the use of metaphorical language. The provided haikus
predominantly rely on vivid and evocative descriptions rather than metaphors to
convey their intended meanings and emotions.
C. Long Questions
1. Which of the above haikus is an ideal example in terms of
line/syllable arrangement and cutting?
Among
the provided haikus, the one that serves as an ideal example in terms of
line/syllable arrangement and cutting is the haiku by Richard Wright:
"An
apple blossom
Trembling
on a sunlit branch
From
the weight of bees."
This
haiku adheres closely to the traditional haiku structure, with a 5-7-5 syllable
arrangement in its three lines. The first line contains 5 syllables, the second
line contains 7, and the third line concludes with 5, maintaining the
prescribed syllabic pattern of a haiku.
Additionally,
the haiku effectively employs a "cutting" technique, which separates
distinct images or ideas. In this haiku, the poet employs a vivid image of an
apple blossom swaying on a sunlit branch, juxtaposed with the weight of bees.
This contrast creates a clear division between the delicate beauty of the
blossom and the industrious activity of the bees, emphasizing the dynamic
interaction between nature and its inhabitants.
Furthermore,
the haiku adheres to the traditional thematic focus on nature, incorporating
elements of the natural world - apple blossoms and bees - which is a
characteristic feature of classical haiku.
In
summary, Richard Wright's haiku stands out as an ideal example in terms of
line/syllable arrangement and cutting. It maintains the 5-7-5 syllable
structure, utilizes a cutting technique to create a distinct separation of
images, and focuses on elements from the natural world, embodying the essence
of a traditional haiku.
2. Write a paragraph on 'Haikus Then and Now.
Haikus,
originating from Japan, have evolved significantly over time, adapting to
different cultural contexts and artistic interpretations. Initially, haikus
were a product of the renga tradition in the 17th century, with the first three
lines, known as hokku, setting the tone for the entire poem. It wasn't until
the 19th century that haikus gained independence as a distinct poetic form.
Traditional haikus adhered strictly to a 5-7-5 syllable structure, typically
focused on nature and incorporating a seasonal reference. Matsuo Basho, Yosa
Buson, Kobayashi Issa, and Masaoka Shiki, known as "the great four"
haiku poets, set the standard for this form in Japan. Their works continue to
inspire modern haiku writers worldwide.
In
contemporary times, haikus have transcended their Japanese origins, with poets
from diverse cultural backgrounds embracing and adapting the form. Non-Japanese
poets have brought their unique perspectives, often deviating from the rigid
syllabic and thematic constraints of traditional haikus. This evolution has led
to a broader interpretation of the haiku, allowing for greater creative freedom
and experimentation. Themes range from introspective reflections to urban life,
capturing a wide array of human experiences. Additionally, contemporary haikus
frequently utilize enjambment, juxtaposition, and other literary techniques to
convey nuanced emotions and imagery.
Moreover,
the digital age has facilitated the global dissemination of haikus through
various online platforms, creating a vibrant and dynamic community of haiku
enthusiasts. Social media platforms and online forums serve as spaces for poets
to share their work, exchange feedback, and participate in collaborative
projects. This digital landscape has not only widened the reach of haikus but
also fostered a sense of interconnectedness among poets across the globe.
In
essence, the evolution of haikus from their traditional Japanese roots to their
contemporary manifestations reflects the adaptability and enduring appeal of
this poetic form. It has transcended cultural boundaries, allowing for a rich
tapestry of voices and perspectives to contribute to the ongoing legacy of
haiku poetry.
3. Introduce each of the above haiku poets in short.
Haiku
is a concise form of poetry originating from Japan. It consists of three lines
with a syllable pattern of 5-7-5, totaling 17 syllables. Haikus often capture a
moment in nature, revealing profound insights through vivid imagery. They
emphasize simplicity, evoking emotions or reflections in a brief, contemplative
manner. The form has evolved over time, finding resonance across cultures and
styles.
1.
Richard Wright (1908-1960):
Richard
Wright was an American author and poet known for his powerful contributions to
African American literature. While primarily recognized for his novels, such as
"Native Son" and "Black Boy," Wright also ventured into
haiku poetry. His haikus often reflect a keen observation of nature and a deep
appreciation for the interconnectedness of life. Despite his relatively brief
foray into haiku, Wright's work in this form showcases his ability to distill
complex emotions and images into concise and evocative verses.
2.
Alexis Rotella (1947-):
Alexis
Rotella is an accomplished American haiku poet, as well as an artist and writer
of various other poetic forms. Her haikus are notable for their vivid imagery
and exploration of both urban and natural landscapes. Rotella's haikus often
incorporate contemporary themes and a keen awareness of the human experience.
She has played a significant role in popularizing haiku in the English-speaking
world and has won numerous awards for her contributions to the genre.
3.
Huguette Ducharme (Unknown-):
Huguette
Ducharme is a Canadian poet known for her succinct and poignant haikus. While relatively
less known compared to some of her contemporaries, Ducharme's work stands out
for its simplicity and ability to capture significant moments in everyday life.
Her haikus often explore themes of growth, transition, and the profound beauty
found in ordinary experiences. Though details about her life are limited,
Ducharme's contributions to haiku continue to be appreciated by enthusiasts of
the form.
4.
Don Eulert (Unknown-):
Don
Eulert is an American haiku poet recognized for his ability to vividly capture
natural scenes and moments. His haikus often showcase a deep appreciation for
the natural world, particularly in environments like the high desert. While
there is limited biographical information available about Eulert, his haikus
resonate with readers through their immersive and evocative imagery, reflecting
his keen sensitivity to the intricacies of the natural world.
5.
Ezra Pound (1885-1972):
Ezra
Pound was an influential American modernist poet, critic, and translator. While
not primarily known for haiku, he experimented with the form and made notable
contributions to its development in English literature. Pound's haikus often
depart from traditional Japanese conventions, showcasing his innovative
approach to poetic expression. His work in haiku reflects his broader
contributions to modernist poetry and his willingness to challenge established
literary norms.
4. Try to compose a few haikus so as to recite them in the
class.
Haiku
is a concise form of poetry originating from Japan. It consists of three lines
with a syllable pattern of 5-7-5, totaling 17 syllables. Haikus often capture a
moment in nature, revealing profound insights through vivid imagery. They
emphasize simplicity, evoking emotions or reflections in a brief, contemplative
manner. The form has evolved over time, finding resonance across cultures and
styles.
Nature's fleeting dance,
Blossoms tremble 'neath the bees,
Sunlit branch takes chance.
Amidst emerald leaves,
Whispers of a gentle breeze,
Nature's lullaby.
Silent snow descends,
Blanketing the world in white,
Winter's hushed embrace.
Best of Luck
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