The Mistaught Haiku. The Japanese haiku is an ancient and revered form that has spread worldwide. It is no

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1 Zahoor 1 Sahrain Zahoor Mrs. Hanson Advanced Composition February 24, 2014 The Mistaught Haiku Abstract The Japanese haiku is an ancient and revered form that has spread worldwide. It is no doubt that it is beautiful in form, but it surely has a mysterious nature and many myths surrounding its name. However, through an investigation of the syllable myth and an exploration of the true, classical haiku, it is possible to firmly grasp the concept of the haiku to the point of mastery. In order to properly comprehend haikus, it is crucial to first understand the characteristics of the verse, its true format and the implicit ties to Japanese culture that is evident throughout ideal haikus. Introduction The haiku poem is much like its name implies: open-ended, short and exotic. It is a uniquely beautiful form of verse; however, its beauty and name have been tarnished by a sole perpetrator: misunderstanding. Misunderstanding of the essence of haiku has caused not only the beauty of the poem to almost disappear, but has also caused its value to lessen severely in the centuries since the conception of the haiku (Henderson). Present-day society has harshly conformed this free-verse, free-spirited poem into a strictly confined and uniform structure. It is an unfortunate fact that

2 Zahoor 2 teachers, especially those from an English-speaking background or those having a Western upbringing, are the ones to typically push this once-distinct form into this box and thus undermine its meaning and value. To remove the haiku from it would be to discover the true haiku and the reason for its significance in the world of literature. This aforementioned theory of a true haiku is simply a haiku that accurately personifies the many unique aspects of the poem that have been shielded from public and is sometimes even hidden from the eyes of its typical audience, which is comprised largely of Japanese young and older adults (Henderson). Besides enhancing the poem, the oftentimes hidden qualities of a haiku have a multitude of benefits for whomever wishes to reap the advantages of mastering the most ambiguous yet simplistic form of literature. To obtain this understanding of the haiku, one must first comprehend the general purpose(s) and characteristics of haiku writing, be able to correctly format a haiku and take into account the original, classical Japanese haiku. An Overview of the General Characteristics of Haiku The most common reason that causes people to incorrectly write a haiku is that they severely lack knowledge and understanding of the true purpose behind haiku writing (Cheney). This includes realizing what makes a poem a haiku. Ironically enough, there are not many components of a haiku to begin with, and so the notion that it is a complicated structure is entirely false. It is clearly impossible and improbable for one to try to incorporate elements that he or she does not fully understand into a literary piece. Thus, the first step in mastering haikus is understanding the few basic components of the verse in addition to the significance of these elements in a poem (Cheney). It may be helpful, especially for a beginner, to ask oneself when

3 Zahoor 3 first attempting to understand haikus is: what qualities do these components bring to the poem, and how would removing these devices affect the poem overall? Albeit haiku generally do not follow the norm regarding the rules of literature, a haiku is undoubtedly a piece of literature. And as many have argued, it can be considered the perfected piece of literature because it embodies the necessary characteristics to enhance any piece of writing and is entirely devoid of any unnecessary, extraneous information that takes away from a literary piece. However, it is important to keep in mind that there are certain elements that make the haiku especially unique, which distinguishes itself amongst other literary forms (Bhushan). Characteristics that make haikus unique are as follows: concision, concrete imagery and the natural world as the subject matter (Cheney). These are the defining elements of a haiku, meaning without either of the three, the poem is unequivocally incomplete and not a true haiku. The fact that these three crucial elements are the exact ones left out of most modern-day haiku shows the severity of the lack of understanding in present day. But this lack of understanding does not stop at literary elements, it also extends out to people s perception of the haiku. The literal definition of a haiku, as said by the Haiku Society of America, is, recording the essence of a moment keenly perceived, in which nature is linked to human nature (Van Den Heuvel). From this the perception of haiku changes in its entirety; one can see the haiku as not only a poem, but an image capturing a particular moment in time. Moreover, it can also be seen as a bridge between two seemingly distinct yet intricately intertwined worlds: human nature and surrounding nature. The stress on the importance of nature can only be fully appreciated and understood when looking at this theme in the context of the culture to which the haiku originally belongs to: Japanese society (Henderson). Such is the reason why it is only logical that there is a

4 Zahoor 4 massive understanding gap between people who do not know or realize the cultural context of haiku poems and Japanese natives. Regardless of students knowledge of the basic components and any cultural connections a haiku may have, there is an even more primitive measure of understanding the mistaught haiku: knowing the definition of it. Most students have memorized a dictionary definition: a one or two sentence explanation that unrealistically and inaccurately describes a haiku. This dictionary definition does not bring any merit to students who have memorized it, as these students are not able to comprehend and truly understand the haiku form and rules from such a simplistic, modernized definition (Niece). This definition, unfortunately endorsed by most English teachers, creates a definite standard of what a haiku must be and what it cannot be. It does not leave room for any interpretation or perspective to be taken into account on the reader s behalf, and this is both destructive and misleading as it goes against the whole nature of haiku. The poem, by nature, is objective; it focuses on the importance of the reader s subconscious perception and it is purposefully open-ended in order to leave room for the reader to dwell on the few, but concise, verses of poem (Niece). Unlike most pieces of literature, especially creative ones, haikus do not prove a point in the sense that they are devoid of any plot or characters that could add to a certain theme within a piece of writing (Niece). Haiku are highly suggestive and are much like sketches: they paint an initial picture in the reader s mind but, largely due to their shortness, leave the coloring and perfection of the picture to the audience (Henderson). One literary element that must always be used in haikus is imagery (Cheney). This is why haiku poets often have a mastery of imagery, so much so that the ideal haiku is more of an image than a collection of words (Marshall and Simpson). The purpose of this imagery is to encourage

5 Zahoor 5 self-reflection on the reader s part. An image or a photograph often evokes much deeper meaning for people than words because an image is left for interpretation whereas words are largely definite and less open-ended in meaning. In this sense, it is no hyperbole that a picture speaks a thousand words. Moreover, while language is the standard medium to convey a message, language is weak and can be pinned down to a certain meaning, and this is why haiku writers should never solely rely on it (Marshall and Simpson). The argument that a haiku is an image explains why a haiku cannot be read nor written in a rush. It takes time and immaculate effort to paint a picture. It also explains why the poem has such a unique versatility to it that allows it to transcend all barriers. An image and a haiku both cross the barriers of race, language or creed. They each share a certain adaptability because they are loved equally and undeniably across the world. This universal love for the haiku has been called an international appeal and has caused the haiku to be able to flourish in various cultures (Brower). This includes, but is not limited to, Indian and Hispanic poetry (Bhushan and Brower). Both of these cultures have a multitude of various dialects and unique traditions that are immensely different from one another. Yet the haiku has been successfully adapted and welcomed into each culture, a clear proof of its versatility. There is no reason as to why a haiku cannot or should not be written in English or in any other language besides Japanese (Henderson). The following is an example of a pure and true haiku written in English: So far so low A drowsy thrush? A waking nightingale? Silence. We do not know (Van Den Heuvel).

6 Zahoor 6 This excerpt, taken from the classical A Night-piece by Edward Shanks, in itself is a haiku. However, Shanks original poem is far lengthier than these three lines (Henderson). This is perhaps the best way to explain a haiku: it is a poem that captures the essence of the picture but does not fill in minute details (Henderson). It is the climax, the highest and most superior part of a poem. Shanks work goes on to fill in the details of the picture, but when writing a haiku, that is considered extraneous information and a job left for the reader. Formatting Contrary to overwhelming popular belief, there is no definite form or structure to haikus. The biggest misconception and often-fed lie is that a haiku must be written in the 5 syllable / 7 syllable / 5 syllable format (Niece). This is not the case: Just because a poem is written in format does not mean it is a haiku (Cheney). It is unfortunate that teachers themselves teach students to write haiku in this format. While the reason they do this is so that they may simplify the somewhat-complex nature of the haiku (as it is complicated for Westerners), it is crucial that teachers do spend time to enlighten students on the various haiku writing to show them that it is versatile in nature. The truth is that most haiku, especially those that are most venerated, do not follow this so-called rule of the syllables (Cheney). However, the syllable myth is not entirely fiction. It originated in the 1900 s when translated Japanese haiku appeared in magazines in the format (Cheney). These first poems that were published had set the standard for what haiku, at least in English, should be written as and the format it should take on. Unfortunately, these poems were not intended to set any sort of false standard and cause the misconception they did.

7 Zahoor 7 The ideal haiku is one that conveys the message in the fewest words possible. This means minimalizing word count and maximizing the words meaning (Cheney). From this we know that it truly does not matter how many syllables are in each line of the haiku; so long as the total number of syllables does not exceed 17, the number in each line can be proportioned however the author wishes (Niece). However, it is crucial to keep in mind that less is more. The Classical Haiku and Ties to Japan Although the haiku has spread internationally, its ties to Japan continue to be of importance when trying to properly write a haiku. In order to be able to write a true haiku, one must look at the classical Japanese one first. Skipping this step is risking losing the fundamental elements of a haiku. This also includes understanding the significance of nature in Japanese society and how that integral part of culture is reflected in haikus. In the words of W.H.Auden: All one can do, it seems to me, is to give students as wide a variety of translated Japanese haiku as possible till they acquire an understanding of how the mind of a Japanese haiku-poet works. Then, of course, a gifted student may find...that the form can be adapted to one's own kind of sensibility. In the history of literature it is extraordinary how profitable misunderstanding of poems in foreign language has been (Henderson). For a teacher attempting to educate students on haiku writing, it would be highly recommended that he or she begin with giving a sample of multiple distinct haikus to students for them to analyze. Each haiku may look very different, but there will be the few similar characteristics that are necessary in all haikus and those include the fundamental components such as imagery, concision and the natural world as the main subject (Cheney).

8 Zahoor 8 The various styles of Japanese haiku writing is reflected in any language that haikus are written in. But it is impossible to grasp the significance of haikus and what it truly means to the Japanese without first acknowledging the differences in the mindset of the Japanese man and of in the English man. Thus it is helpful to somewhat understand Japanese history, traditions, and such relating to Japanese culture. There is no real training available to understand and write haikus. It is an art that can be completely self-taught through a study of classical Japanese haikus. And as with any work that is translated, meaning is lost in the vigorous transition from one language to another. As said by the revered Japanese scholar Harold Henderson, One word of warning is this... If, in reading translations, you come across a haiku that does not convey to you any emotion at all, do not blame yourself or the poet. Blame it on the translator! (Henderson). Translating a haiku from Japanese to English will inevitably cause it to lose some, or much, depending on the translator, of its meaning. Therefore, those who read translated haikus must take special caution to avoid bad translation and to especially avoid teaching bad translations for that undermines the true meaning of the original Japanese haiku. For both teachers and students who wish to teach or study haiku, it is important to be able to differentiate between a well translated and a poorly translated haiku. In fact, it is best to first observe English haikus and when a true understanding of the haiku is obtained, one can move on to read translated haiku. A translated haiku, even one that is translated well, will still lose some of its meaning in the process of translation. But while some of its meaning is inevitably lost, the true characteristics of the haiku should remain intact. These are the basics of the poem and is what should be studied first. As time progresses (which, alongside practice, will surely bring a better understanding of haikus), additional components of the poem such as the way in which

9 Zahoor 9 haikus have been urbanized by modern poets who have added their own variation to the prose -- can be added to the student s knowledge to form the ideal haiku -- a short lyrical masterpiece. An Analysis of a Sample Haiku The following is an example of a true haiku poem written by a modern haiku poet on a single location: the North Coast of California. A wall of water Curves and crashes A whale ( Haiku Aha! Poetry ). The first poem begins with a reference to nature, but interestingly enough, the poet likens nature to the human and man-made world saying, a wall of water. Not only does this phrase create a powerful image for the reader, it is open-ended and allows the reader to interpret it freely. Depending on the type of reader, the phrase may have a positive or negative connotation. One may view a wall of water to be intimidating while another may see it as beauty and a natural wonder. The next line also continues to add onto the image painted in the previous line, but the second line, curves and crashes is almost a paradox. For most people, a curve is elegant, natural and gradual whereas a crash is abrupt and destructive. The second verse can be thought of as a pathway from the first, allowing readers to choose follow whichever interpretation they see fit but at the same time it challenges their perspective does water bring destruction or construction? The final line is two simple words (contrary to the popular belief that the final line must contain five syllables), a whale. It is the conclusion to the poem, tying the entire lyrical

10 Zahoor 10 masterpiece to the first line and overall motif of nature. It is also both the solution presented in the second line as well as another question. Is a whale a cause for the curves and crashes of the water, or is a whale the victim of harms caused by man onto nature? This paradoxical and contradictory nature of haiku is common throughout the entire genre of prose. Ironically, a haiku can be read/understood in an almost backwards fashion, starting from the end of the haiku. This haiku s story is as follows: a whale arises from the curves and crashes of a wall of water. The above is a modern haiku, but perfectly exemplifies all the classical qualities of a true haiku. Significance of Learning Haiku To connect all this information back to the needs of the Annandale community, specifically the Atoms Writing Center, the haiku can be enormously useful when teaching any type of poetry or even, arguably, literature. As shown in the previous sections, a haiku embodies the components most important in any type of written word. For students who come to the Atoms Writing Center with any type of assignment related to poetry at any of the levels taught at Annandale High School (this may be an analytical essay on a certain poem, forming a thesis on the literary elements in a poem, writing an original piece or even simply interpreting the meaning of a famous work), understanding the haiku would be incredibly useful in completing the task. Moreover, haikus can help students understand themes and imagery, crucial elements of literature. The fundamentals of haikus could be the main subject of a poetry workshop as it is a concise subject that is relatively easy to teach once one truly understands haikus. However, the benefits of teaching haikus would last for much longer than a short workshop because (if done correctly) teaching students the true haiku would instill skills that could be applied to a multitude of various subjects and many different writing styles. Conclusion

11 Zahoor 11 The Japanese haiku has been mistaught, mistreated and misunderstood. It is poem of near-perfection, taking the most unique and interesting aspects of poetry and creating a simplistic and captivating mix of modern and classical poetry. Anyone can perfect their writing of haikus by understanding the purpose and characteristics of these short poems, knowing the true way to format such poems and be able to identify the significance of the haiku s ties to Japan. The misinterpreted haiku has many unique aspects that are hidden from the public eye. But through a study of the true, ideal and classical haiku it is possible to write the perfect haiku. A haiku is truly an image made of words, therefore once a student perfects their haiku writing, they have obtained new lens to look at and understand any piece of literature in a new light.

12 Zahoor 12 Works Cited An Introduction to Haiku: An Anthology of Poems and Poets from Basho to Shiki. Doubleday: Anchor Books, Print. Bhushan, Satya. Haiku in India. Japan Review, Issue 3 (1992): pp Web. 12 Dec < Brower, Gary L. The Japanese Haiku in Hispanic Poetry. Monumenta Nipponica (1968): pp Web. 12 Dec < stable/ >. Cheney, Matthew A. "Expanding Vision: Teaching Haiku." English Journal 91.3 (2002): JSTOR. Web. 12 Dec < "Haiku - Aha! Poetry." Jan < Henderson, Harold G. On the Reading of Haiku, Especially in Translation. New England Review (Winter-Spring, 2004): pp Web. 12 Dec < Marshall, Ian and Megan Simpson. Deconstructing Haiku: A Dialogue. College Literature 33.3 (Summer, 2006): pp Web. 12 Dec < Niece, Richard. "The Mistreated Haiku and His Dizygotic Brother, Senryu." Clearing House 51.5 (1978): JSTOR. Web. 12 Dec < Van Den Heuvel, Cor, ed. The Haiku Anthology. N.p.: Norton and Company, Print.