![]() In it, he compares a written poem to a blooming poppy. Katsushika Hokusai, a disciple of Bashō, writes another powerful haiku that translation cannot accurately capture. A good example of this is haiku master Yosa Buson ’s comparison of a singular candle with the starry wonderment of the spring sky. Haikus focus on a brief moment in time, juxtaposing two images, and creating a sudden sense of enlightenment. Translated, Issa’s haiku doesn’t meet the 5/7/5 rule, but its power remains. Kobayashi Issa, another great Haiku master, writes this stirring poem that places the kireji at the end. Though sometimes, the kireji comes at the end of a haiku to give it a sense of closure. They are meant to comment on the season or surroundings of the authors and create some sort of contrasting imagery separated by a kireji or “cutting word” (like “Splash!”). Hokkus are collaborative poems which follow the 5/7/5 rule. Historically, haikus are a derivative of the Japanese Hokku. This traditional example comes from Matsuo Bashō, one of the four great masters of Haiku. A practice of artistic discipline, their minimal nature forces writers to pare down to only the essentials-making each word, or even syllable, count. Haikus are known for their ability to paint a vivid picture in just a few words. Traditional and structured, this short form of Japanese poetry is well-known for its rule of 5/7/5: five syllables in the first line, seven in the second, and five again in the third.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |