Poems:

Prepared by:
by Bashō and Buson
Kathlene Mae Desaliza BSEd ENGLISH 3

What to expect:

1. Define what Haiku is.

2. Recognize Japanese haiku poets: Matsuo Bashō and Yosa Buson.
3. Identify haikus written by the aforementioned poets.
4. Select and interpret haikus by Matsuo Bashō and Yosa Buson.

Pre-Discussion:

1. What is Haiku?
2. Who are Matsuo Bashō and Yosa Buson?
3. What are examples of their works?
4. Interpret selected haikus of Matsuo Bashō and Yosa Buson.

Lesson Outline

Haiku poems started out as a popular activity in the 9th-12th centuries in Japan
called "tanka." A tanka was a progressive poem, where one person would write the first
three lines with a 5-7-5 structure, and the next person would add a section with a 7-7
structure. The chain would continue in this fashion.
 The first verse was called a "hokku" and set the mood for the rest of the verses.
Sometimes there were hundreds of verses and authors of the hokku were often admired
for their skill. In the 19th century, the hokku took on a life of its own and began to be
written and read as an individual poem.

The term haiku is derived from the first element of the word haikai (a humorous
form of renga, or linked-verse poem) and the second element of the word hokku (the
initial stanza of a renga). The hokku, which set the tone of a renga, had to mention in its
three lines such subjects as the season, time of day, and the dominant features of the
landscape, making it almost an independent poem. The hokku (often interchangeably
called haikai) became known as the haiku late in the 19th century, when it was
entirely divested of its original function of opening a sequence of verse. Today the
term haiku is used to describe all poems that use the three-line 17-syllable structure,
even the earlier hokku.

The haiku first emerged in Japanese literature during the 17th century, as a terse
reaction to elaborate poetic traditions, though it did not become known by the
name haiku until the 19th century.

Japanese haiku is usually unrhymed poetic form consisting of 17 syllables in a

5-7-5 line pattern, and some of its specific reference came in the aspect of nature and to
a particular event, presented as if it were happening in the immediate present to allow
the reader to experience the poet's emotion.

Originally, the form was restricted in subject matter to an objective description of

nature suggestive of one of the seasons, evoking a definite, though unstated, emotional
response. The form gained distinction early in the Tokugawa period (1603–1867) when
the great master Bashō elevated the hokku to a highly refined and conscious art. He
began writing what was considered this “new style” of poetry in the 1670s, while he was
in Edo (now Tokyo).

Beginning writers can learn to write haiku by,

a. first composing purely objective haiku--simple, straightforward descriptions

of
b. circumstances that arouse emotion;
c. closely observing life to train the senses to become "aware,";
d. connecting non-related subjects through word association;
e. compressing the verse by using internal comparisons, ellipses, and
suggestion;
f. experimenting constantly with various styles, forms, subject matter, and
g. manners of presentation; and
h. composing something every day, constructing word sketches and using
the
 i. raw materials of immediate life experience, if possible.

Traditionally, haikus contained three parts: two images and a concluding line
which helps juxtapose them.

Haiku Grammar

[subject] [phrasal verb]

[past participle] [object]

[independent clause]

There are three basic rules for writing haiku:

1. 5-7-5 Structure
2. Seasonal Elements
3. A "Cutting" Word

Instead of a "syllable,"  as a unit of pronunciation which is usually based around a

vowel, Japanese has a slightly different concept called on, linguists refer to this in
English as "mora" or "morae" (if there's more than one) known as haku in Japanese,
are rhythmic units of timing or count. For example, hai–ku has two syllables in English
and in Japanese it has three moras ha–i –ku. Since the moras do not translate well into
English, the haiku has been adapted to where syllables are used as mora. The 5-7-5
structure sounds attractive in Japanese because it fits with the language's
pronunciation.
Haiku in any language should keep the 5-7-5 syllable pattern as that English and
Japanese have varied poetic capacities. A good haiku shows you natural scenery, and
a single word (sunflowers, snowman, dust, frogs) should leave no doubt in your mind
about the season in this scenery,  it is a way of looking at the physical world and seeing
something deeper, like the very nature of existence. It should leave the reader with a
strong feeling or impression.

A haiku still (modern or Traditional) focuses on one brief moment in time,

employs provocative, colorful imagery, and provides a sudden moment of illumination.

Matsuo Bashō
 Among the earliest haiku poet is Bashō,
in full Matsuo Bashō, pseudonym of Matsuo
Munefusa, (born 1644, Ueno, Iga province,
Japan—died Nov. 28, 1694, Ōsaka), the
supreme Japanese haiku poet and a Buddhist
monk, who greatly enriched the 17-syllable
haiku form and made it an accepted medium of
artistic expression.

Interested in haiku from an early age,

Bashō at first put his literary interests aside and
entered the service of a local feudal lord. Basho
spent his childhood as a servant for Todo
Yashitado.  After Yashitado past away, Basho moved to Edo, Japan where he furthered
his education in literature in which he had shown interest in before serving his lord.
After completing his education, Basho became a teacher of literature to twenty young
disciples. After his lord’s death in 1666, however, Bashō abandoned
his samurai (warrior) status to devote himself to poetry. Moving to the capital city of Edo
(now Tokyo), he gradually acquired a reputation as a poet and critic.

Basho would get almost all of the rest of his poetry content from adventures into
the Japanese countryside. Falling ill with a stomach sickness, Basho died with his
disciples around him on November 28th, 1694 in Oshaka, Japan.

His poetry reflects two of the most important Zen ideals: Wabi (means
satisfaction with simplicity in austerity) and Sabi (appreciation of the imperfect). Both
foster the subject of nature and his frequent topics in enormous simplicity at the level of
theme. There are neither analyses of politics, love triangles, nor family dramas but to be
attuned with the very simplest things life has to offer.

Following the Zen philosophy he studied, Bashō attempted to compress

the meaning of the world into the simple pattern of his poetry. Some critics believe
his renga were his finest work. When Bashō began writing renga the link between
successive verses had generally depended on a pun or play on words, but he insisted
that poets must go beyond mere verbal dexterity and link their verses by “perfume,”
“echo,” “harmony,” and other delicately conceived criteria. He made about 1000 haiku
poems through the lifetime, traveling around Japan.

A Selection Of Bashō’s Haiku

1.
In 1679 he wrote his first verse in the “new style” for which he came to be known:

Japanese:
枯朶に烏
のとまりけり
秋の暮
On a withered branch
A crow is perched
An autumn evening.

Romanization:
kare eda ni
karasu no tomarikeri
aki no kure

Written in the autumn of 1680, Matsuo Bashō was then living in Edo (Tokyo) and
teaching poetry to a group of 20 disciples. It was still autumn and the leaves are turning
red and gold. Winter is about to come.In this wonderfully simple poem, a crow alights
upon a withered branch, and Bashō is moved by the sight to write this haiku. Beyond
the obvious phonetic assonance of repeating “Ks” is the symbolism of a solitary crow.
Normally we associate these noisy and annoysome birds with flocks.  In Japanese
mythology the crow symbolizes the will of Heaven.

Perhaps we can imagine Matsuo Bashō sitting on a log in one of the many
gardens of Edo surrounded by his student disciples. He is dressed in black, or they are.
It is a cool autumn evening and the leaves are gathering at their feet. The students wait
in anticipation of what the master is going to say.

Bashō’s poetry was developing its simple and natural style. The point of view in
many of Bashō’s haiku is that life (the human condition) is best described as a
metaphor. Perhaps at the age of 36 when this haiku was written he was feeling both the
effects of age and the anticipation of death.

2.
Japanese:
 古池
蛙飛び込む
水の音
Romanization:
furu ike ya
kawazu tobikomu
mizu no oto

English Translation: The old pond-

a frog jumps in,
sound of water

In this haiku poem, there are only three images. One is a static image of an old
pond. The second one is a dynamic image of a frog jumping into the pond. Lastly, there
is an auditory image that presents the sound that is generated from a frog jumping into
the pond-water. 

Structure of The Old Pond

The Old Pond’ consists of a total of 17 syllables. In the first phrase, there are 5
syllables and in the second phrase, there are 7 syllables. The last phrase has 5
syllables. Structurally, a haiku poem has a “kireji” or cutting word. Here, the cutting word
is in the first phrase. It is “ya” that marks a shift in the poem. Another important element
of a haiku is “kigo”. “Kigo” means a word or phrase associated with a particular season,
used in traditional forms of Japanese poetry. In this haiku, the “kigo” is the “frog”.

Generally, in Asia, the frog is associated with the Monsoon season. But, here, as
Bashō portrays the scene, there are no sounds except that of the water. So, the kigo in
this poem refers to the Spring season.

Literary Devices in The Old Pond

There are some important literary devices in this haiku poem. Firstly, the “pond”
is a metaphor for the subconscious mind. It can also be a metaphorical reference to the
soul. Whereas, the “old pond” seems to be an example of personification. Here, Bashō
personifies the pond. Thereafter, in the second phrase, the frog acts as a metaphor.
Here, it embodies any external stimulus that incites the human mind to think. Lastly, the
“water’s sound” contains an onomatopoeia. The poet uses the sound to portray an
image. Moreover, there is also metonymy in this phrase. Here, the poet presents the
effect to refer to the cause.

Analysis of The Old Pond

Line 1
The old pond – The haiku, using Fumiko Saisho’s translation, begins with the image of
the old pond. It can be somewhere in a forest or far from human habitation. Bashō
associates no other sound with this image. So, the pond is probably at a distance, in
tranquility and silence. Moreover, it is old. Being an ancient creature, it has survived the
ravages of time. Burdened with the experience of the long years, the pond exists as a
sage. The poet somehow connects himself with this pond. There is a closeness in their
nature. Both are silent and at peace.
The old pond seems to be a symbol of the subconscious mind. It is there inside
everyone. Like the old pond, it exists in silence. Moreover, the poet refers to the
subconscious mind of an old person. Here, the old man is undoubtedly the poet himself.
 

Line 2
a frog jumps in – Suddenly a frog breaks the tranquility of the pond. It doesn’t start to
croak in its usual pattern. The frog simply jumps into the pond. Why does the frog jump
into the pond? One has to ask this question first before moving to the climax of this
haiku. The frog might have jumped into the pond, not for breeding or laying eggs as it’s
not the season of monsoon. So, one thing is clear that the frog does it for its biological
instinct. It seems as if the water of the pond rejuvenates the frog. So, it jumps into the
pond naturally without any biological urge or chemical upsurge inside its body. Like the
frog, a person also needs solace to give time to his mind and soul. Thus, the frog
jumping into the water can be a symbolic reference to meditation.
 

Line 3
sound of the water – In the last line of the haiku, the sound becomes an interesting
part of the imagery. The sound is not artificial. An external stimulus is responsible for
the creation of sound. When the frog jumps into the water, it generates a short-staying
sound. It isn’t shrill. Yet it’s not deep. The texture of the water’s sound lies somewhere
in the middle. The poet’s mind gets alert after hearing the song but it doesn’t break his
concentration. Rather it heightens his trance and takes him to a next level. One can
think about it differently.
While cooking a very special dish, one has to use every material in a specific amount. If
anything goes beyond its certain concentration, the dish doesn’t taste good. The
opposite is also true. Here, in this haiku, the sound of the water is that special ingredient
that must be used in a sound amount. Thus, it can heighten the level of the poet’s
mediation.

3.
Japanese:
草の戸も　 English Translation:
住替る代ぞ
ひなの家
A owner of the old thatched hut
Romanization: Is also changed to another
Kusa no to mo It’s the Doll’s Festival.
Sumikawaru yo zo
Hina no ie

Basho gave his house before going on a journey. Apparently it seems that the
new residents were a family with girls.

4.
Japanese:
夏草や　
兵どもが　 English Translation:
夢の跡
Romanization:
Natsukusa ya
Tsuwamonodomo ga
Yume no ato

of a Samurai’s dream.
One of the most famous haiku in the Narrow Road, written in Hiraizumi at the site
where the destroyed capital of the Northern Fujiwara once stood. Nothing is left of all,
but Basho may have been even more moved by the fact that this is where his favorite
hero Yoshitsune was treacherously killed by the last Fujiwara lord. So the "warrior's
dream" can both refer to the Fujiwara and Yoshitsune. Important in the above is the
connection between the dream and the grass, and the fact who is the dreamer. To think
Sato is correct: the grass is the spot where the warrior's once used to dream ("used to"
is also a nice solution for the awkward "aftermath").
Yuasa dramatizes too much by making the grass "all that remains" of the
warrior's dreams, as does Hamill, and Britton is
pure fantasy by making the heroic deeds, which
are not in the original, into dreams.

Yosa Buson

Original surname Taniguchi, (born 1716, Kema,

Settsu province, Japan—died Jan. 17, 1784,
Kyōto), Japanese painter of distinction but even more renowned as one of the
great haiku poets.

Buson came of a wealthy family but chose to leave it behind to pursue a career in
the arts. He travelled extensively in north-eastern Japan and studied haiku under
several masters, among them Hayano Hajin, a haikai master whom he apprenticed (at
the age of twenty-one), which included some practice of haiga, or painting, (an art form
for which Buson is now equally, if not better, known), lasted until the death of Soa in
1742. Thereafter began a period of ten years of wandering — and it is here that for us
the real life of the artist begins. At the end of the first year he emerges from the pupal
stage by symbolically changing his name from Saicho to Buson, a name whose
compounds means “cease to be” and “village”.

In the 1750s, he settled in Kyoto, where he continued his career as a painter and
changed his surname to Yosa. In 1751 he settled in Kyōto as a professional painter,
remaining there for most of his life. He did, however, spend three years (1754–57) in
Yosa, Tango province, a region noted for its scenic beauty. There he worked intensively
to improve his technique in both poetry and painting. During this period he changed his
surname from Taniguchi to Yosa. Buson’s fame as a poet rose particularly after 1772.
Buson’s poetry, perhaps reflecting his interest in painting, is ornate and sensuous, rich
in visual detail. “Use the colloquial language to transcend colloquialism,” he urged, and
he declared that in haiku “one must talk poetry.” Buson is influenced by Chinese poetry,
his experimental poems have been called “Chinese poems in Japanese,” To Buson this
required not only an accurate ear and an experienced eye but with an intimacy of
Chinese and Japanese classics, two of them contain passages in Chinese.

When he returned from Honshu in his forties, he eventually settled down in Kyoto
and married, having one child. He experimented with longer poetry whilst teaching and
writing at the Sumiya where he also developed his haiga or pictorial art that went with
his poems. Buson lived a long and healthy life, spending the rest of his days in Kyoto,
producing a body of work that has been translated into many languages. He died at the
age of 68, already considered one of the masters of the Japanese haiku and was buried
at Konpuku-ji in the city of Kyoto.

And under that name he has given us more than 2500 haiku.

A Selection Of Buson’s Haiku

1.
Under pear blossoms
in moonlight reading a letter—
a woman

The pear shape plays with the image of a woman. The white of the blossoms
plays on the light of the moon, and gives a hint that the blossoms are fragrant.
The woman could be reading in her garden--as though she is performing some kind of
secret act away from those that may live in the house.
The blossoms are noticed first, which is a seasonal image. Perhaps love is blooming
between the writer of the letter and the woman – this faceless, unnamed woman is
reading several letters, however, she can only read one letter at a time. Therefore even
if she had several, she would still just be reading one within the “snapshot” moment of a
haiku. With a lone figure more intent on the words in front of her instead of on the
flowers, a sense of the common that is somehow not common is created. Ultimately,
this is why the idea of the lone woman works, the image gives the taste of the unusual
by leaving the questions of why she is trying to read a letter by only moonlight; what is
so important about this letter that she doesn’t wait until she can read it in better light;
and who this woman is and what she looks like go unanswered.

2.
The light of a candle
is transferred to another candle-
spring twilight.

Theme:
I believe this poem is about a candle that has the power to be transferred to another
type of candle.  I think it means that the light of the sun in the winter is transferred to the
light in the spring, creating spring twilight. I believe it is about the changing of seasons;
from winter to spring.

Mood:
The mood of this poem is hopeful and thoughtful.  The theme of the light of a candle
being passed on to other things makes me feel like the light will be carried on and never
burn out, and I believe this is a sign of hope.

Poetic Devices:
Metaphor:
I believe the phrase ‘the light of a candle’ is referring to the light of the sun and the light
of the moon.  The author compared the light of the sun and moon to a flame of a candle.
I think metaphors really add a visual to a poem and make you think more about their
meaning.

Euphony:
In my opinion, the line “spring twilight” is an example of the strategy euphony.  The
words sound graceful and beautiful and give the poem a tone of elegance.

Symbol:
I believe the author uses the first candle as a symbol for the sun, and then the light is
transferred to another ‘candle’ which represents the moon.  I think this is a very creative
way to think about the changing of a spring day, and it really captivated my attention.

3.
Blown from the west,
fallen leaves gather
in the east.

This easily fit into the early life of Buson. After all, he was born in the
environment of Osaka in the West of Japan but despite the relative wealth he was born
into, Buson took a risk by focusing on poetry and moved to Tokyo in Eastern Japan.
Hence, he was blown from the West and at first, he became a fallen leave in Tokyo
(Edo) despite in time moving to the highly cultural city of Kyoto.

4.
The dewy grass
silently cries
in the sunset
The above poem involved a type of serendipity. There was a blog entry from an
anonymous Japanese man, he has viewed the poem as a landscape of a field with long
grey spears of last year’s grass under which the vibrant green of new grass is springing
up—all of which is wet with dew and that the falling dew was like somebody silent crying
or weeping. He then went on to say how he preferred the image of a dying sun to a
setting sun as an emotional correlation to the idea of weeping. For then the poem would
become more of a death poem or a death haiku. The poetic haiku tradition calls on the
poet to compose their death poem, a last poetic statement to be recited or written
shortly before death.

5.
The Kappa
loves his house ―
the summer moon
The kappa is a mythic half human-half turtle trickster with a bowl of water on its
head who can be made to work for humans when enticed by cucumbers. Within this
poem the common, the summer moon, becomes the dwelling place of the fantastical,
the kappa; therefore, while looking at the mundane moon Buson has envisioned and
invoked a feeling of mystery—in this case, because of the word love, a comfortable
mystery.

6.
Under young green leaves
white water
yellow barley.
Within this poem the vivid layers of primary colors are reminiscent of the
paintings Buson did for Going Festival Floats with their swirling blues and deep golds.
Here the three dimensional positioning of the leaves, the water and the barley also give
the poem a landscape feel. Furthermore, the items within the poem reveal the passing
of time—the verdant new leaves still freshly energetic at the start of summer, the still
heavy run-off from the snows melting from the mountain tops and the now yellowed
barley left over from the spring growing season. Within this moment of the haiku, there
is also the triumph of youth, the young leaves, which are positioned over the old, the
barley. This capturing of the moment is essential to haiku and was one of the principal
touchstones of Matsuo Basho’s poetic philosophy. Basho was extremely important to
Buson, who looked at his own haiku as that of reviving Basho’s poetical movement.
 There are, however, some major differences between Basho and Buson. Haruo
Shirane writes: Unlike Basho, who advocated “Awakening to the high, returning to the
low” (kouga kizoku) and sought “lightness” (karumi), or the poetics of everyday life,
Buson advocated “departing from the common,” an exploration of the worlds through
Chinese literature and painting as well as the Japanese classics, wandering freely in a
world of elegance and imagination that he found far superior to the life immediately
around him (540).

Summary

Haiku is derived from the first element of the word haikai and the second element
of the word hokku, became known as the haiku late in the 19th century. It is an
unrhymed poetic form consisting of 17 syllables in a 5-7-5 line pattern. Originally, the
form was restricted in subject matter to an objective description of nature suggestive of
one of the seasons, evoking a definite, though unstated, emotional response.
 Traditionally, haikus contained three parts: two images and a concluding line
which helps juxtapose them. There are three basic rules for writing haiku: 5-7-5
Structure, Seasonal Elements, a "Cutting" Word. Instead of a "syllable,"  as a unit of
pronunciation which is usually based around a vowel, Japanese has a slightly different
concept called on, linguists refer to this in English as "mora" or "morae" (if there's more
than one) known as haku in Japanese, are rhythmic units of timing or count.

Among the earliest haiku poet is Bashō, in full Matsuo Bashō,

pseudonym of Matsuo Munefusa, (born 1644, Ueno, Iga province, Japan—died Nov.
28, 1694, Ōsaka), the supreme Japanese haiku poet and a Buddhist monk, who greatly
enriched the 17-syllable haiku form and made it an accepted medium of artistic
expression.

Basho would get almost all of the rest of his poetry content from adventures into
the Japanese countryside. His poetry reflects two of the most important Zen ideals:
Wabi (means satisfaction with simplicity in austerity) and Sabi (appreciation of the
imperfect) and attempted to compress the meaning of the world into the simple pattern
of his poetry. He made about 1000 haiku poems through the lifetime, traveling around
Japan. A Crow on a Withered Branch, Old Pond, Thatched Hut, and Summer Grass are
among his affluent works.

Yosa Buson’s original surname Taniguchi, (born 1716, Kema, Settsu province,

Japan—died Jan. 17, 1784, Kyōto), Japanese painter of distinction but even more
renowned as one of the great haiku poets. Buson’s fame as a poet rose particularly
after 1772.

He practice haiga, or painting, under that name he has given us more than 2500
haiku. Buson’s poetry, perhaps reflecting his interest in painting, is ornate and
sensuous, rich in visual detail. Buson is influenced by Chinese poetry, his experimental
poems have been called “Chinese poems in Japanese,” To Buson this required not only
an accurate ear and an experienced eye but with an intimacy of Chinese and Japanese
classics, two of them contain passages in Chinese.

“Use the colloquial language to transcend colloquialism,” he urged, and he

declared that in haiku “one must talk poetry.” And under that name he has given us
more than 2500 haiku. White Blossoms of the Pear, The Light of a Candle, Blowing
From the West, Dewy Grass, The Kappa, and Yellow Barley are among his sensuous
works.
References

https://eric.ed.gov/?id=ED019266

https://www.britannica.com/art/haiku

https://www.tofugu.com/japan/haiku/

https://www.britannica.com/biography/Basho-Japanese-poet

https://youtu.be/90-2Dg2CJdw
https://examples.yourdictionary.com/examples-of-haiku-poems.html

https://matsuobashohaiku.home.blog/2019/09/19/a-crow-on-a-withered-branch/

https://www.poetryfoundation.org/poets/yosa-buson

https://www.britannica.com/biography/Buson

https://poemanalysis.com/haiku/the-old-pond/

https://kyotojournal.org/fiction-poetry/yosa-buson-haiku-master/

https://mypoeticside.com/poets/yosa-buson-poems

https://allpoetry.com/White-blossoms-of-the-pear#

https://dc.uwm.edu/cgi/viewcontent.cgi?article=1753&context=etd

https://www.quora.com/In-the-Haiku-by-Basho-what-is-the-dream-of-warriors

http://moderntokyotimes.com/yosa-buson-and-japanese-poetry-in-the-footsteps-of-matsuo-basho/