How to spell haiku examples. What is a haiku and how to write it. History of haiku in the West

where the bell once sank

Where are you, moon, now?
Like a sunken bell
Hidden at the bottom of the sea.

A house in seclusion.
Moon... Chrysanthemums... In addition to them
A piece of a small field.

In a mountain village

Nuns story
About the former service at the court ...
Deep snow all around.

Mossy gravestone.
Under it - is it in reality or in a dream? -
A voice whispers prayers.

Everything is spinning dragonfly ...
Can't get caught
For stalks of flexible grass.

The bell is silent in the distance,
But the scent of evening flowers
Its echo floats.

Falling down with a leaf...
No, look! Halfway
The firefly fluttered.

Fisherman's hut.
Messed up in a pile of shrimp
Lone cricket.

Ill go down goose
On the field on a cold night.
Sleep lonely on the way.

Even a wild boar
Will spin, carry away
This winter whirlwind of the field!

sad me
Drink more sadness
Cuckoos distant call!

I clapped my hands loudly.
And where the echo sounded
The summer moon is blazing.

On a full moon night

A friend sent me a gift
Risu, and I invited him
Visit the moon itself.

Deep antiquity
A breeze ... Garden near the temple
Covered with dead leaves.

So easy-easy
Sailed out - and in the cloud
The moon thought.

White fungus in the forest.
Some unfamiliar leaf
Sticking to his hat.

Glittering dewdrops.
But they have a taste of sadness,
Don't forget!

That's right, this cicada
Is it all out of foam? -
One shell remained.

Fallen leaves.
The whole world is one color.
Only the wind hums.

Planted trees in the garden.
Quiet, quiet, to encourage them,
Whispering autumn rain.

So that a cold whirlwind
To drink the aroma, they opened again
Late autumn flowers.

Rocks among cryptomeria!
How to sharpen their teeth
Winter cold wind!

Everything was covered in snow.
Lonely old woman
In the forest hut.

planting rice

Didn't take my hands off
Like a spring breeze
Settled in a green sprout.

All the worries, all the sadness
of your troubled heart
Give it to the flexible willow.

Closed her mouth tightly
Sea shell.
Unbearable heat!

In memory of the poet Tojun

Stayed and left
Bright moon... Remained
Table with four corners.

Seeing a painting for sale
works by Kano Motonobu

…Motonobu's own brushes!
How sad is the fate of your masters!
The twilight of the year is approaching.

Under an open umbrella
I make my way through the branches.
Willows in the first fluff.

From the sky of their peaks
Only river willows
Still pouring rain.

Saying goodbye to friends

The ground is slipping from under your feet.
I grab onto a light ear ...
The moment of parting has come.

Transparent Waterfall…
Fell into the light
Pine needle.

Hanging in the sun
Cloud... Randomly on it -
Migratory birds.

Autumn mist
Broke and drives away
Friends conversation.

death song

On the way, I fell ill.
And everything is running, circling my dream
Through the scorched fields.

A strand of dead mother's hair

If I take her in my hands,
Melts - so hot are my tears! -
Autumn frost of hair.

Spring morning.
Over every nameless hill
Transparent haze.

I am walking along the mountain path.
Suddenly it became easy for me.
Violets in dense grass.

On the mountain pass

To the capital - there, far away -
Only half of the sky remains...
Snow clouds.

She is only nine days old.
But they know both fields and mountains:
Spring has come again.

Where it once rose

buddha statue

Cobwebs in the sky.
I see the image of the Buddha again
At the foot of the empty.

Soaring larks above
I sat down in the sky to rest -
On the crest of the pass.

Visiting Nara City

On Buddha's birthday
He was born into the world
Little deer.

Where it flies
The cry of the dawn cuckoo,
What's there? - Remote island.

Flute Sanemori

Temple of Sumadera.
I hear the flute plays by itself
In the dark thicket of trees.

KYORAI (1651–1704)

How is it, friends?
A man looks at cherry blossoms
And on the belt is a long sword!

On the death of a younger sister

Alas, in my hand
Weakening imperceptibly,
My firefly went out.

ISSE (1653–1688)

Seen everything in the world
My eyes - and returned
To you, white chrysanthemums.

RANSETSU (1654–1707)

autumn moon
Pine painting with ink
In blue skies

A flower... And another flower...
This is how the plum blossoms
That's how the heat comes.

I looked at midnight
Changed course
Heavenly river.

KIKACU (1661–1707)

Midges light swarm
Flying up - floating bridge
For my dreams.

Beggar on the way!
In summer, all his clothes -
Heaven and earth.

To me at dawn in a dream
My mother came... Don't drive her away
With your cry, cuckoo!

How beautiful are your fish!
But if only, old fisherman,
You could try them yourself!

paid tribute
Earthly and calmed down
Like the sea on a summer day.

JOSO (1662–1704)

And fields and mountains
The snow stole everything...
It immediately became empty.

Moonlight pours from the sky.
Hid in the shadow of the idol
Blinded owl.

ONITSURA (1661–1738)

Nowhere water from the vat
Throw me out now...
Cicadas are singing everywhere!

CHIYO (1703–1775)

During the night the bindweed wrapped around
Around the tub of my well...
I'll take water from a neighbor!

On the death of a little son

O my dragonfly hunter!
Where in the unknown
Are you running today?

Full moon night!
Not even the birds locked up
Doors in their nests.

Dew on saffron flowers!
She spills on the ground
And become plain water...

O bright moon!
I walked and walked to you
And you are far away.

Only their cries are heard...
Egrets are invisible
Morning on fresh snow.

Plums spring color
Gives its fragrance to a person ...
The one who broke the branch.

KAKEI (1648–1716))

The autumn whirlwind is raging!
Barely born month
It's about to be swept from heaven.

SICO (1665–1731)

O maple leaves!
Wings you burn
Flying birds.

BUSON (1716–1783)

From this willow
The evening dusk begins.
Road in the field.

Here they come out of the box...
How could I forget your faces? ..
It's time for holiday dolls.

Heavy bell.
And on its very edge
A butterfly is drowsing.

Only the top of Fuji
Not buried underneath
Young leaves.

Cool breeze.
Leaving the bells
The evening chime floats.

Old well in the village.
The fish rushed after the midge ...
Dark splash in the depths.

Thunderstorm downpour!
Holding onto the grass a little
A flock of sparrows.

The moon is shining so bright!
Suddenly bumped into me
Blind - and laughed ...

"The storm has begun!" -
Robber on the road
Warned me.

Cold to the heart penetrated:
On the crest of the wife of the deceased
I stepped in the bedroom.

I hit with an ax
And froze ... What flavor
It blew in the winter forest!

To the west moonlight
Moves. Color shadows
They go east.

Summer night is short.
Glittered on the caterpillar
Drops of dawn dew.

KITO (1741–1789)

I met a messenger on the way.
Spring wind playing
An open letter rustles.

Thunderstorm downpour!
dead fallen
The horse is alive.

You walk on the clouds
And suddenly on a mountain path
Through the rain - cherry blossom!

ISSA (1768–1827)

So the pheasant screams
It's like he discovered it.
First star.

The winter snow melted.
Illuminated with joy
Even the faces of the stars.

There are no strangers between us!
We are all brothers to each other
Under cherry blossoms.

Look, nightingale
Singing the same song
And in front of the gentlemen!

Flying wild goose!
Tell me your travels
What years did you start?

Oh cicada, don't cry!
There is no love without parting
Even for the stars in the sky.

Snow melted -
And suddenly the whole village is full
Noisy kids!

Ah, don't trample the grass!
There were fireflies
Yesterday at night.

Here comes the moon
And the smallest bush
Invited to the feast.

That's right, in a former life
You were my sister
Sad cuckoo…

Tree - on a log house ...
And the birds are carefree
There's a nest up there!

Don't quarrel along the way
Help each other like brothers
Migratory birds!

On the death of a little son

Our life is a dewdrop.
Let only a drop of dew
Our lives are still...

Oh, if the autumn whirlwind
So many fallen leaves brought
To warm the hearth!

Quietly, quietly crawl
Snail, down the slope of Fuji
Up to the very heights!

In thickets of weeds,
See how beautiful
Butterflies are born!

I punished the child
But tied him to a tree there,
Where the cool wind blows

Sad world!
Even when the cherry blossoms...
Even then…

So I knew in advance
That they are beautiful, these mushrooms,
Killing people!

Hello to all Associates.

This work is intended to clarify what in our competition "Seven Samurai" we will understand by haiku / haiku. This is a "synthetic" guide, which is compiled by me, the Evil Mouse, based on the analysis of several views on the essence of this form of Japanese poetry.

For the convenience of the reader, I separate haiku/haiku canons and advice.

HOKKU is a solid form. Despite the fact that many venerable authors believe that haiku can be 10, 21 or 23 syllables, we will adhere to a strict rule on our site and try to keep the size: the number of syllables line by line is 5-7-5.
HOKKU RHYTHM.

The rhythm must be smooth.
Let's say
1 line - stressed - 2 and 4 syllables or 1 and 4,
2nd line - 2, 4, 6 or 1, 4, 6, or 2, 4, 7
That is, there should be no obvious gaps in rhythm, which happens if syllables 1 and 5 are stressed. Or, if stressed syllables 3 and 4 are also a failure in rhythm, a violation of the smoothness of sound.
It is also not a rhythmic mistake to use such a rhythm in the second line:
1-4-7

Early Dawn 1-4
pink guest at the window 1-4-7
mallow stretches 1-4
(by haiku Kat Schmidt)

THE MEANING OF HOKKU. Three lines include: a thesis, a bunch and an antithesis.
This means that the first line declares an image, which, through the second line, is associated with the second image, which has some similar features similar to the first image.
For example:

Horned month (teza)
forgotten by someone in the field (bundle)
shiny serpen (analogy or antithesis)

In this case, the image of the horned month has its analogy in the brilliant sickle. Both are in a wide expanse of sky-field.
Before us there is a kind of "mirror" image of two opposite, but very similar objects.

Thus, it becomes clear that haiku is a laconic picture that contains two comparable images. Images can be either interconnected or opposite in appearance and meaning.
They create a certain task for the mind, or vice versa: they contain a revelation, or simply create a mood and bring aesthetic satisfaction.

IN HOKKU ALLOWED:

All kinds of visual, real images (both nouns and adjectives and verbs). Objects, animals, plants, geographical features of the area, types of colors ...
- all kinds of sounds: for example, murmuring, creaking, singing, chirping and so on.
- all kinds of smells and tastes: for example, bitter, sweet, sour, spicy, etc.
- all kinds of bodily sensations: rough, smooth, slippery, warm, cold, etc.

Direct (visible) expressions of feelings are allowed: crying, laughter. In the form of verbs: crying, laughing. That which is accompanied by external accompanying expressions (tears, for example, or sounds - chuckles or sighs).

Personal pronouns are allowed in Hokku: I, you, he, we, they, but their use is undesirable, since haiku cannot be anthropomorphic and personified.

IN HOKKU IT IS PROHIBITED:
- indication of time: tomorrow, yesterday, today. In haiku, all events take place directly, at this moment.
- definitions, such as: soul, melancholy, despondency, fun, dream, eternity, etc.
- words like: here, as it were, to ... expressing comparisons or uncertainties.

In HOKKU, the use of two or more verbs is UNDESIRABLE. It is desirable to do without them at all, however, the use of one present tense verb is quite acceptable and even justified, depending on the meaning.

A few words about punctuation marks.
It is advisable to avoid them, that is, when composing haiku, try not to need them.
Of course, semantic pauses in some cases have to be distinguished by commas, hyphens, colons, but the exclamation mark and the question mark are taboo.
The period at the end is not needed, as is the ellipsis.

********************* Some useful tips*************************

Hokku is simplicity. If you do not have before your eyes a picture that reflects the inner world of a haiku hero, then haiku will fail. The outer world is a reflection of the inner world, at the same time the opposition of two worlds and their unity.
Through simple words, the absence of metaphors, through the life of things, we show the life of a person. Man is always at the center of the world, but he manifests himself through this world.
That's why:
1) avoid metaphors and comparisons.
2) we avoid the "beautifulness" and decorations of the verse. Few words, many thoughts. A broken cup will tell you more about the grief in the house than the words "How it hurts me."
3) write in the present tense. Buddhists only know "now", do not forget that haiku / haiku was not born in the Christian or Muslim world, it is a worldview system in which great importance is attached to the present.
4) we write about ordinary, daily events in nature and in human life - but we don’t explain them, we choose events that brought you a moment of understanding or awareness of the true essence of things around
5) feelings are not named in the poem, they arise when reading the verse.
6) we suggest taking two images and putting them side by side in a verse to create harmony or contrast, using specific, ordinary, natural words.
7) two-part haiku/haiku is one of its excellent properties. One image in a haiku can be represented in the first of three lines; the second image can be described in two lines (the first two, or the last two. Diversity interferes with the haiku.
8) There are no rhymes in haiku/haiku.
9) do not artificially break the haiku into lines, the division should look natural.
10) avoid verbs, they are too straightforward and characteristic of the European way of thinking
11) use seasonal words, do not say "summer", "autumn", because the language is so rich.

I wish you all good luck.

Traditional Japanese lyric poetry

How to write Haiku?!

Step 1: Learn Japanese
Check out haiku that have been translated from Japanese. One of the most famous haiku poems by Matsuo Basho is translated into Russian as follows:

old old pond
Suddenly a frog jumped
Water splash heard

In Russian, haiku are usually written in three lines. The first line should be five syllables, the second seven, and the third five again.

Step 2: Select season
Choose the time of year you want to write about. Your haiku should include one word that describes the state of nature at that time of the year.

Step 3: Choose two looks
For the first two lines of the poem, choose two images that appeal to feelings. Images can refer to the current moment, to memories or imagination.

Step 4: Add a third line
Add a third line that connects the patterns from the first two lines in a new and unexpected way. For example, the third line of Basho's poem concludes with the frog's unexpected jump into the water.

“... What I did not express
Stronger than what he said
(Ruboko Sho)

Haiku is a national Japanese form of poetry, a genre of poetic miniature, simply, concisely, succinctly and reliably depicting nature and man in their indissoluble unity.
Traditional Japanese haiku is a 17-syllabic poem, written in one hieroglyphic column (line) and consisting of three rhythmic parts of 5-7-5 syllables. Internally, a haiku is divided, as a rule, into two semantic parts 12 + 5 or 5 + 12. Translations and haiku composed in other languages ​​are usually written in three lines.
sazaregani asi hainoboru shimizu kanna
little crab
Ran on the leg.
Pure water.
(MATSUO BASHO)
As a rule, the smaller of these parts contains "kigo" - a seasonal word or phrase that makes it clear at what time of the year the verse takes place. This can be a direct indication of the season - “autumn evening”, or a word that is “fixed” with one or another seasonal meaning, for example, “moon”, “irises”, “crab”, etc.
Haiku emerged as a genre in the process of developing a poetic game of adding alternating three lines and two lines, called "haikai no renga" (literally "comic renga"), later called "renku".
An important element of renku was the first three-line, called haiku (initial stanza). Hokku had special qualities compared to other stanzas in the chain: the presence of kigo, as well as "kireji" - a pause between two parts of a brevity. In addition, haiku had understatement, incompleteness, ambiguous interpretation, and thus encouraged the reader or participant in the addition of renku to co-create in the process of unfolding the chain of images.
Gradually, haiku began to be perceived as separate serious works and gave rise to an independent genre of haiku, which occupied one of the main places in Japanese poetry.
Today, haiku has won a huge number of fans around the world. They also write haiku in Russian. If you are also interested in this genre, then try to follow a few rules when writing haiku, given below.

Formal moments: number of syllables, kireji, kigo

Number of syllables and lines
The issue of the number of haiku syllables written in Russian (and others) has long been considered resolved. Russian syllables and sound units in Japanese are different things, you can only stick to the general layout of syllables, remembering, however, about brevity and conciseness. Write in three lines. Do not exceed the 5-7-5 formula by more than one and a half times, i.e. place no more than 10 syllables in each line and try to make one of the lines a little longer than the other two.
seasonal words
After many years of long literary discussions and attempts to move away from the canon, most modern Japanese poets nevertheless agreed to recognize the obligatory presence of seasonal words in haiku. In their opinion, kigo are necessary because they entail certain associations that significantly expand the semantic and emotional capacity of the poem. In addition, the tradition of using seasonal words was formed much earlier than haiku - in tanka poetry, and is an important part of Japanese artistic culture.
In our country, with its inherent difference in seasonal manifestations, there is not yet, and there cannot be a single dictionary of seasonal words, as is customary in Japan. However, it is still recommended to include in a haiku a word or a phrase denoting the state of nature at the moment described in the haiku. It is not the seasonal words themselves that are important, but the images they evoke. For example, “we plant potatoes” - late spring; "Bengal lights" - New Year, etc. At the same time, it is important to find precise and concise words that transfer the reader to the same situational space of action of the haiku that the author meant.
If you want to write about some exceptional natural phenomenon that is unique to your area, city or village, then write a haibun (a small prose sketch topped with a haiku), otherwise only those living next to you will understand you.
cutting word
The separating word (kireji) has no analogues outside the Japanese language and is replaced by Russian punctuation marks - dash, comma, exclamation and question marks, colon, ellipsis. As for punctuation and punctuation in other parts of the haiku, only those punctuation marks can be used without which it is not possible to realize the poetic intention. Also, only lowercase letters are allowed.
two-part
Don't write a haiku in three different sentences - a three-verse will look "torn" if there is a final syntactic break at the end of each line. Haiku should be read easily and naturally.
It is also not recommended to write a haiku in one complete sentence. Divide the haiku into two related parts, separating them with punctuation marks and semantic breakdown. Try not to use both parts of the verse to say the same thing: the farther the parts are separated from each other - with internal attraction to each other - the stronger the current will run from one pole of the verse to the other. For example:
Indian summer…
over the street preacher
laughing children
(VLADISLAV VASILIEV)
The eye sees a picturesque, slightly ironic scene, presented without pressure on the reader's perception, even with some mystery - the two parts of the verse are quite far apart, but looking closely, you can see the connecting threads that make the interline space sound: the warmth of Indian summer in the first line and the laughter of children in the third, Indian summer as the last island of the seasonal life of nature and the preacher as an intermediary between people and "truth". “Be like children” - comes to mind under the laughter of children ... Who comes to people and announces about the other world, about a better life, etc. at a time when this world is still so good and enchanting in its last burst of warmth before the autumn cold, the flowering of herbs, the festival of the color of leaves that have not yet flown ...

Do not write too much, but do not cut off the right

A haiku has a minimum of words. So each one means a lot. When creating a haiku, only the most necessary, accurate words are selected.
I go in the morning;
no footprints in the snow
everything is behind.
(PAUL COOPER)
If you can do without a word in a haiku, try to do without it. Avoid repetition of words, word roots, meaning - any oil - unless it is a conscious idea.
It is said that haiku is a meeting place between the author and the reader. Such co-creation is possible only if both of them are in the same semantic and cultural field. What is understandable from a half-word to a person of one nation - and haiku all the time deals with "half-words" - may not be understandable to a person living in another country with other customs, habits, and traditions.
In the same way, it can turn out to be an empty net to describe the experience of a person from a different “emotional planet” than the reader. So if you want to write a haiku that other people can understand, first think about how to build a bridge from the image that appears in your imagination to the image that the potential reader should have.
Late autumn.
I'm alone thinking
“How is my neighbor doing?”
(MATSUO BASHO)

Show, don't tell!

Paint a picture showing the bare minimum, but put a bit of semantic gunpowder into it. Focus on one or two interrelated details so that you can grab the end of the thread and unwind the entire ball. The reader himself must ask himself the question "Why?" or "Why?" and find the answer yourself.
Here at the end
to all my sorrows
green grass...
(TANEDA SANTOKA)
First summer rain.
I open and...
I fold my umbrella.
(FELIX TAMMY)
Let's go back to Basho's haiku about the little crab:
little crab
Ran on the leg.
Pure water.
“The spiritual unity of man and nature, the idea of ​​a single essence of the world is revealed in the image of a small living creature - a crab that touched its leg. This image also creates an additional feeling of transparency, freshness and interacts with the image of pure water. In the first two lines, the author's attention is focused on the image of a crab, and the space of the haiku is, as it were, compressed to a minimum. The last line pushes the boundaries of the depicted. The image contained in it speaks not only about the transparency of water, it also serves the purpose of removing the emotional content of haiku from the frame of the image of a single phenomenon into a plane that is not spatially limited.
The feeling should not be directly expressed in the outward appearance of the haiku; it is not described or even named, but only shown by its manifestations. The means of artistic expression play a significant role in creating an atmosphere that leads to the perception of this feeling. (T.B. Breslavets. "Poetics of Matsuo Basho").

Write about real, not fictional events, use simple words

No need to speak pompously, snobbishly, or use "words" that are understandable only to you. Show everything as it is. But connect the images within the haiku so that they can hurt, touch the reader, make him think. Imagine that you are the director of a motion picture, and all you have is three moments and images that can be shot without special effects; you also have smells, touches, heat, cold, pain - everything that can be felt with the senses ... How would you tell then. Or rather, they showed. For example, the fact that in the evening news came to you that your girlfriend left you, you didn’t sleep all night, and in the morning you went to burn dry fallen leaves on a fire in the yard - because you have nothing more to burn, you don’t even have letters left ?. .
Pain subsided by morning -
having calmed down, I burn near the house
autumn leaves...
(TIIDA DAKOTSU)
Or maybe it was the pain from a tooth or from an old wound? And it's possible. But it is up to the reader to decide which of the paths to choose, you only need to draw this map of semantic roads in three lines ...

Haiku was called the poetry of sincere feeling and deep thought in the Middle Ages.
In order to change the reader even for a second, to combine in three lines the eternal and the transient, the natural and the human, the lofty and the mundane - to say a lot through the little, while showing the close interconnection of everything that exists, a haiku must be able to thicken sensation, memory, feeling. Such semantic concentration and precision can be achieved in several ways.

Don't chew, don't talk

Important principles of haiku poetry are understatement, ambiguity, and afterfeeling.
The author of the haiku does not name the feeling, but evokes it, pushing the reader to expand his chain of associations. At the same time, the created image must itself resonate with the consciousness (or subconscious) of the reader, without explanation and chewing. The effect caused by a haiku is comparable (according to Alexei Andreev) to the effect of an unfinished bridge: you can cross it to the “opposite shore” only by completing it in your imagination.
Intuitive penetration beyond the visible and tangible edge of the world is ensured thanks to the extremely precisely selected measure of understatement, emptiness around the specific strokes of the everyday shown in three lines of haiku.
The feeling that you want to convey should be, as it were, “poured” in the haiku itself, and not indicated by the words “what anguish”, “I feel so bad”, “love is gone”, “I fell into world sorrow”, etc.
And here she is again
the one who once quietly said:
"Late fall..."
(TAKAHAMA KYOSHI)
Haiku through words should lead to the gates of cognition, after which the words themselves become unnecessary and there is an internal pause of non-verbal intuitive cognition. Haiku, like poetry, uses the words of language to enter the space of non-language. (According to the doctrine of silence in Zen, which influenced haiku poetry, the word is an imperfect means of communication, it can only suggest, hint.)
I cook potatoes.
In the silent expanse of the universe
the baby is crying...
(KAWAHIGASI HEKIGODO)
After reading, the reader must experience an emotional response, after which associations based on personal and possibly non-personal experience begin to unfold in a second wave.
Don't give the reader a ready-made Big Mac, let the ingredients of your haiku be fresh, full of natural energy, and let them combine only in the mind of the reader.
Full moon.
Whenever the one who scolded me,
Was with me today...
(ISSA)
and in the biggest house
There is no place
for plucked water lilies
(KONSTANTIN KARABCHEEV)

Use the technique of contrast and opposition -
objects, planes, phenomena, sensations...

Heavy bell.
And on its very edge
A butterfly is drowsing.
(BUSON)
dripping on the roofs
transferred to the summer aviary
hippos
(VYACHESLAV KANIN)
Stuck in a traffic jam.
Slowly swims
White cloud.
(YURI RUNOV)
Autumn showers.
Accidentally stuck to a boulder
butterfly wing...
(TAKAHAMA KYOSHI)

compare, compare

Place related objects and phenomena nearby. Just forget about the words “like”, “as if”, “as if”, “similar” - just find those points in time and space where the coincidence happens by itself.
whitewash in the park
tree trunks...
first mini
(OLEG TENGU)
Showing white teeth
The monkey screams hoarsely ...
The moon rises over the mountain.
(TAKARAI KISAKU)
Through the light mist
the bright sun breaks through.
Downtrodden on earth...
(TIIDA DAKOTSU)
Palm Sunday
handing out
fluffy kittens
(OLEG TENGU)
With a broken moon
in late autumn the geese became friends
on my pond...
(TIIDA DAKOTSU)
Figurative parallelism is a slightly complicated version of comparison: the connection of similar images in terms of emotional coloring.
The clouds lay
Between friends. geese
Goodbye in the sky.
(MATSUO BASE)
IN THE MOUNTAIN VILLAGE
Nuns story
About the former service at the court ...
Deep snow all around.
(MATSUO BASHO)
love flame -
I'm going straight across the field
spreading the daisies...
(TAKAHAMA KYOSHI)
The year ends.
Cozy curled up cat
on my knees...
(NATSUME SOSEKI)

General string reception

The second line can be read both from the first and from the third:
full moon
between the balcony bars
cat muzzle
(LEONID POPOV)
There is also a similarity between the cat's face and the moon.
broken glass
Along the brake lane
Leaves are rolling
(ANDREY SHLYAKHOV)
magazine closed
at the most interesting point
turn
(LENA TALAYEVA)
all night long
without moving
snow falls
(ALEKSEY GROHOTOV)

Puns, use of homonyms, puns

There are much fewer homonyms in Russian than in Japanese, but they can also be used. Only thoughtfully.
wind in the garden
grabbed by a live thread
a couple of cabbages
(A. GROHOTOV)

Allusions, literary and cultural-historical associations

Dream or reality?
The flutter of a handful
Butterflies...
(BUSON)
“Buson has a tangibly authentic feeling of a butterfly squeezed in a handful, but this particular butterfly can be perceived more broadly - as human life in general, and for a more prepared reader, the words “dream” and “butterfly”, placed side by side, will inevitably cause an association with the famous parable of Zhuangzi. Tom once dreamed that he was a butterfly, and when he woke up, he could not understand whether he was Zhuangzi who dreamed that he was a butterfly, or whether he was a butterfly who dreamed that she was Zhuangzi. Thus, the meaning of the poem expands more and more - so a stone thrown into the water leaves behind circles diverging to the sides on the water. (T. Sokolova-Delyusina. "Japanese poetry").
In the sea, on stones, she cut her legs:
Mermaid bay.
(NATALIA KHARAG)
The fact that the legs were injured not just in some kind of bay, but precisely in the Mermaid, immediately takes the specific event out of the experience of an individual person - Andersen's fairy tale is recalled ... "The Mermaid" is read as a cultural and historical reminiscence, i.e. is perceived as a device widely used in classical Japanese poetry. The verse is perceived naturally and easily - precisely because of the gracefully and lyrically executed appeal to the Cultural.
Outgoing spring
In Waka Bay
Caught up with.
(MATSUO BASE)
Waka Bay is especially beautiful in spring.
My own voice
brings back to me
autumn swirl...
(FIND MEISETSU)
This verse refers to the haiku written by Basho, adding a new dimension to what the Banana Elder said:
I'll say the word
Lips freeze.
Autumn whirlwind!

Unusual in the usual

Try to show the unusual in a familiar situation. Medieval Japanese haijins have many verses based on this principle, often accompanied by an exclamation, such as "and suddenly - wisteria color."
But before it wasn't
Near Fuji these mountains!
Clear autumn evening.
(TAKARAI KISAKU)
spring evening...
plane emphasizes
pink cloud
(KONSTANTIN MIKYTYUK)
The plane, as it were, draws the attention of a close viewer to the beauty of the cloud. But - as it were, this fact is presented neatly, through a "natural coincidence."
fall...
petals are falling
get up on your head!
(GRIGORY BORUKAEV)
Right by lightning
barefoot peasant women walk -
flood field...
(TAKAHAMA KYOSHI)
Flies frolic.
Rays on the ink
spring sun...
(FIND MEISETSU)
map in a puddle
In all countries
flood
(MARINA HAGEN)

"The Fourth Line"

yellow butterfly
Fluttered away. It's time
To cook dinner.
(KITSUNE)
“Yellow butterfly…” Yellow is the color of separation. "... the butterfly ... flew away."
On the surface, a simple meaning - distracted, and now to work. But look at the fourth line - "it's time to fly away." Is it time for youth, games, love, life - everyone feels in their own way. This is volume (free variability of perception). Not without reason Kitsune left the word "it's time" on the second line. Punctuation marks are also important. They give the original natural reading. When the reader turns into a haiku reader, he begins to see the fourth line and all sorts of meanings (removing all punctuation when reading). Upon re-reading, the prepared reader will see another variation:
yellow butterfly
the time has flown away
To cook dinner
Together with the butterfly flew away and "it's time to cook dinner." An amazing transformation of the adverb "it's time" into a noun.

Briefly about what not to do when writing a haiku

1. Do not write in rhyme, it gives a sense of false completion, and in haiku there is always an ajar and inviting door of innuendo.
2. Do not write instructively, grandiloquently or sententiously, do not give judgments.
3. Do not invent haiku "out of your head", do not operate with the immaterial, abstract, but make the surrounding world and your own experience, even if imaginary, the subject of haiku.
4. Don't try to explain something in a haiku, just show it.
5. Do not write aphorisms, imposing the only idea that you have.
6. Don't write a diary or a story about how I spent my summer.
7. Don't write about times other than the present, or write through the lens of the present - haiku should make it feel like events are unfolding before your eyes.
8. Try to avoid explicit metaphors, comparisons, personifications, etc. A metaphor is admissible if both its metaphorical and its literal reading are equally possible.
9. Reception for the sake of reception, prettiness for the sake of prettiness, etc. makes the haiku flat and devoid of immediacy. Wordplay, graphic tricks, etc. are good only if they are meaningful - as in any artistic text.
the gate slammed
close at night
chamomile petals
(ETHEL JANOVA)
undressed
blew out
dandelions in a vase
(KONSTANTIN MIKYUTIK)
Shards of the sky
Hastily glued together
Black branches.
(VALERIA APRIL)

Look for the secret. Unfinished bridge

When two intelligible images are compared or contrasted in a haiku, everything is clear with this, a bridge is built and allows us to pass from one visible space to another. But there are haiku in which only one shore is visible - the one from which everything begins, on which one end of the bridge stands. The other one is lost in the mysterious haze of the unspoken in the verse. We can only feel the depth and alluring beauty of being through the skillfully created interlines of haiku, but decompose the elusive aroma hovering around such a verse into its components - it’s not so easy, you can only breathe it in ... We must listen very intently, gently and deeply, almost meditatively to the world, to nature, to one's soul, and then, perhaps, it will be revealed to the beholder...
fragrant dress
Thrown to the floor carelessly.
Spring twilight.
(BUSON)
Newspaper headlines
I look thoughtlessly
old spring...
(TAKAHAMA KYOSHI)
All day I was silent.
Went to the sea, looked -
tidal waves...
(TANEDA SANTOKA)
surf crashes.
girl with phone
looks at the water
(GLEB SECRETTA)

And finally - one oriental parable, echoing haiku poetry.
The new imperial garden had been preparing for the opening for three years. Finally, all the work was completed, and the emperor invited all the nobility to admire the beauty of the garden.
Everyone was delighted and showered with compliments. But the emperor was interested in the opinion of Master Lin-chi, who was considered an unsurpassed connoisseur of this art form. When the emperor spoke to Ling-chi, everyone present turned around, and silence reigned. Ling Chi replied:
- Strange, but I do not see a single dry leaf. How can life exist without death? Because there are no dry leaves here, the garden is dead. I think it was swept very carefully this morning. Order to bring some dry leaves.
When the leaves were brought and scattered, the wind began to play with them. The rustle of leaves - and the garden came to life! Master said:
- Now everything is all right. Your garden is beautiful, but it was too well maintained.

Art becomes greatest when it does not reveal itself.

Haiku (sometimes haiku) are short, non-rhyming poems that use the language of sensation to express emotions and images. Haiku are often inspired by the elements of nature, moments of beauty and harmony, or strong emotions experienced. The genre of haiku poetry was created in Japan, and later began to be used by poets all over the world, including Russia. After reading this article, you will be able to get to know haiku better, as well as learn how to compose haiku yourself.

Steps

Understanding the Structure of Haiku

Familiarize yourself with the sound structure of haiku. Traditional Japanese haiku is made up of 17 ons, or sounds, divided into three parts: 5 sounds, 7 sounds, and 5 sounds. In Russian, "he" is equated to a syllable. Since its inception, the haiku genre has undergone some changes, and today many haiku authors, neither Japanese nor Russian, adhere to the 17-syllable structure.

• Syllables in Russian can consist of a different number of letters, in contrast to Japanese, in which almost all syllables are the same length. Therefore, a haiku of 17 syllables in Russian can be much longer than a similar Japanese one, thus violating the concept of deeply describing an image with several sounds. As mentioned, the 5-7-5 form is no longer considered mandatory, but this is not specified in the school curriculum, and most students learn haiku based on conservative standards.
• When writing a haiku, if you cannot decide on the number of syllables, then refer to the Japanese rule that haiku should be read in one breath. This means that the length of haiku in Russian can vary from 6 to 16 syllables. For example, read Kobayashi Issa's haiku translated by V. Markova:
  • Ah, don't trample the grass! There were fireflies Yesterday at night.

1. Use a haiku to compare two ideas. Japanese word kiru, which means cutting, refers to the very important principle of breaking a haiku into two parts. These parts should not depend on each other grammatically and figuratively.

   • In Japanese, haiku are often written on the same line, with contrasting ideas separated by kireji, or cutting word, which helps to define ideas, the relationship between them and give the poem grammatical completeness. Usually kireji placed at the end of a sound phrase. Due to the lack of a direct translation, kireji in Russian it is denoted by a dash, ellipsis, or simply by meaning. Notice how Buson separated the two ideas in one of his haiku:
     • I hit with an ax and froze ... What a scent wafted in the winter forest!
   • In Russian, haiku is usually written in three lines. Matched ideas (of which there should be no more than two) are "cut" by the end of one line and the beginning of another, or by punctuation marks, or simply by a space. Here is how it looks like in the example of the Russian translation of Buson's haiku:
     • Plucked peony - And I'm lost. Evening hour
   • One way or another, the main thing is to create a transition between the two parts, as well as to deepen the meaning of the poem by adding the so-called "internal comparison". Successfully creating such a two-part structure is one of the most difficult tasks in haiku writing. Indeed, for this it is necessary not only to avoid too obvious, banal transitions, but also not to make this transition completely indefinite.

Choose a Haiku Topic

1. Concentrate on some acute experience. Haiku traditionally focuses on the details of the setting and environment related to the human condition. Haiku is something like contemplation, expressed as an objective description of images or sensations, not distorted by subjective judgments and analysis. Use the moments when you notice something that you immediately want to draw the attention of others to write haiku.

   • Japanese poets have traditionally tried to convey, through haiku, fleeting images of nature, such as a frog jumping into a pond, raindrops falling on leaves, or a flower blowing in the wind. Many people go on special walks, known in Japan as ginkgo walks, to find inspiration for composing haiku.
   • Modern haiku do not always describe nature. They can also have completely different themes, such as the urban environment, emotions, relationships between people. There is also a separate subgenre of comic haiku.

2. Include mention of the seasons. Mention of the seasons or their change, or "seasonal word" - kigo in Japanese, has always been an important element of haiku. Such a reference may be direct and obvious, that is, a simple mention of the name of one or more seasons, or it may take the form of a subtle allusion. For example, the poem may mention the flowering of wisteria, which, as you know, happens only in summer. Notice the kigo in the following haiku by Fukuda Chie-ni:

   • During the night the bindweed wrapped around Around the tub of my well... I'll take water from a neighbor!

3. Create a story transition. Following the principle of juxtaposing two ideas in a haiku, use perspective shifts when describing a chosen topic to divide the poem into two parts. For example, you describe how an ant crawls on a log, then contrast this picture with a larger image of the entire forest, or, for example, the time of year in which the described scene takes place. Such a comparison of images gives the poem a deeper metaphorical meaning than a one-sided description. As an example, let's take Vladimir Vasiliev's haiku:

   • Indian summer… Over the street preacher Children laugh.

Use the language of feelings

Become a Haiku Poet

1. Look for inspiration. Following ancient traditions, leave the house in search of inspiration. Go for a walk, concentrating on your surroundings. What details stand out to you? Why are they remarkable?

   • Always carry a notepad with you so you can write down the lines that pop into your head. After all, you will not be able to predict at what moment a pebble lying in a stream, a rat running along the rails, or whimsical clouds flying across the sky will inspire you to write another haiku.
   • Read haiku by other authors. The brevity and beauty of this genre has served as a source of inspiration for thousands of poets from all over the world. Reading other people's haiku will help you become familiar with the various techniques of the genre, as well as inspire you to write your own poetry.

2. Practice. Like any other art form, haiku writing requires practice. The great Japanese poet Matsuo Basho once said, "Repeat your poems aloud a thousand times." Therefore, rewrite your poems as many times as necessary to achieve perfect expression of your thoughts. Remember that you don't have to follow the 5-7-5 form. Also remember that haiku written according to literary standards must include kigo, a two-part form, and also create an objective picture of reality in the language of sensation.

   Connect with other poets. If you are seriously interested in haiku poetry, then you should join a club or community of lovers of this genre. There are such organizations all over the world. It is also worth subscribing to a haiku magazine or reading haiku magazines online to help you become more familiar with the structure of haiku and the rules for composing them.

• Haiku is also called "unfinished" poetry. This means that the reader must himself, in his soul, finish the poem.
• Some modern authors write haiku, which are small fragments of three or fewer words.
• Haiku has its roots in haikai no renga, a genre of poetry in which poems were composed by groups of authors and were hundreds of lines long. The haiku, or the first three lines of the renga poem chain, indicated the season and contained the word "cutting" (which is why haiku is sometimes erroneously called haiku). Having become an independent genre, haiku continues this tradition.