Japanese three-line haiku for schoolchildren

Japanese three-line haiku
Japanese culture is often classified as a "closed" culture. The originality of Japanese aesthetics, the unusual charm of Japanese
customs and beauty of the monuments of Japanese art. One of the manifestations of the "mysterious Japanese soul" - haiku poetry - is introduced to us in her material by the lecturer-methodist Svetlana Viktorovna Samykina, Samara.

As soon as I got well,
Exhausted, until the night ...
And suddenly - wisteria flowers!
Basho
Just three lines. Few words. And the reader's imagination has already painted a picture: a tired traveler who has been on the road for many days. He is hungry, exhausted, and finally, lodging for the night! But our hero is in no hurry to enter, because suddenly, in an instant, he forgot about all the hardships in the world: he admires the flowers of wisteria.
Haiku, or haiku. How do you like. Homeland - Japan. Date of birth - Middle Ages. Once you open a haiku collection, you will forever remain a prisoner of Japanese poetry. What is the secret of this unusual genre?
From the heart of a peony
The bee slowly creeps out...
Oh, with what reluctance!
Basho
This is how sensitively the Japanese treats nature, reverently enjoys its beauty, absorbs it.
Perhaps the reason for this attitude should be sought in the ancient religion of the Japanese people - Shintoism? Shinto preaches: be grateful to nature. She is ruthless and harsh, but more often - generous and affectionate. It was the Shinto faith that instilled in the Japanese sensitivity to nature, the ability to enjoy its endless changeability. Shinto was replaced by Buddhism, just as Christianity replaced paganism in Rus'. Shinto and Buddhism are a stark contrast. On the one hand, there is a sacred attitude to nature, veneration of ancestors, on the other hand, a complex oriental philosophy. Paradoxically, these two religions coexist peacefully in the Country rising sun. The modern Japanese will admire the cherry blossoms, cherries, autumn maples blazing with fire.
From human voices
Fearfully tremble in the evenings
Cherry beauties.
Issa
In Japan, flowers are very fond of, and they prefer simple, field flowers with their timid and discreet beauty. A tiny garden or flower bed is often planted near Japanese houses. An expert on this country, V. Ovchinnikov, writes that one must see the Japanese islands in order to understand why their inhabitants consider nature to be the measure of beauty.
Japan is a country of green mountains and sea bays, mosaic rice fields, gloomy volcanic lakes, picturesque pine trees on the rocks. Here you can see something unusual: bamboo, bowed under the weight of snow, is a symbol of the fact that north and south adjoin in Japan.
The Japanese subordinate the rhythm of their lives to events in nature. Family celebrations are timed to coincide with the cherry blossoms, the autumn full moon. Spring on the islands is not quite like our European one, with melting snow, ice drifts, floods. It starts with a wild burst of flowering. Pink sakura blossoms delight the Japanese not only with their abundance, but also with their fragility. The petals are so loosely held in the inflorescences that at the slightest breath of a breeze a pink waterfall flows to the ground. On such days, everyone rushes out of town, to the parks. Listen to how the lyrical hero punishes himself for breaking the branch of a flowering tree:
Throw a stone at me.
Plum blossom branch
I'm broken now.
Kikaku
The first snow is also a holiday.
In Japan, it doesn't happen often. But when he walks, it becomes very cold in the houses, since the houses of the Japanese are light gazebos. And yet the first snow is a holiday. The windows open and, sitting at the small braziers, the Japanese drinks sake, admires the snow flakes that fall on the paws of the pines, on the bushes in the garden.
First snow.
I would pour it on a tray
Everyone would look and look.
Kikaku
Maple trees blazed with autumn foliage - in Japan, a holiday of admiring the crimson foliage of maples.
Oh, maple leaves.
Wings you burn
Flying birds.
Siko
All haiku is conversion. To whom?
To the leaves. Why to maple leaves the poet addresses? He loves their bright colors: yellow, red - burning even the wings of birds. Imagine for a moment that a poetic invocation was addressed to oak leaves. Then a completely different image would have been born - an image of stamina, endurance, because the leaves of oaks cling tightly to the twigs until winter frosts.
In the classic three-line, some season should be reflected. Here Issa spoke about autumn:
Peasant in the field.
And showed me the way
Picked radish.
About the transience of a sad winter day, Issa will say:
open your beak,
The wren did not have time to sing.
The day is over.
And here you, no doubt, remember the hot summer:
flocked together
To the sleeping mosquitoes.
Dinner time.
Issa
Think about who's in for dinner. Of course, mosquitoes. The author is ironic.
Let's see what the structure of haiku is like. What are the laws of this genre? Its formula is simple: 5 7 5. What do these numbers mean? We can invite children to explore this problem, and they will certainly find that the numbers above indicate the number of syllables in each line. If we carefully look at the collection of haiku, we will notice that not all three-verse lines have such a clear construction (5 7 5). Why? The children themselves will answer this question. The fact is that we read Japanese haiku in translation. The translator must convey the author's idea and at the same time maintain a strict form. This is not always possible, and in this case he sacrifices form.
Facilities artistic expressiveness this genre is chosen sparingly: few epithets, metaphors. There is no rhyme, no strict rhythm is observed. How does the author manage to create an image in a few words, with stingy means. It turns out that the poet works a miracle: he awakens the imagination of the reader himself. The art of haiku is the ability to say a lot in a few lines. In a sense, each three-verse ends with an ellipsis. After reading a poem, you imagine a picture, an image, you experience it, you rethink, you think out, you create. That is why we are working for the first time in the second grade with the concept of "artistic image" on the material of Japanese three-verses.
Willow leaned over and sleeps.
And it seems to me, a nightingale on a branch -
This is her soul.
Basho
We discuss the poem.
Remember how we usually see willow?
This is a tree with silver-green leaves, bent by the water, by the road. All willow branches are sadly lowered down. No wonder in poetry willow is a symbol of sadness, sadness, longing. Remember the poem by L. Druskin “There is a willow ...” (see the textbook by V. Sviridova “ Literary reading» Grade 1) or Basho:
All the worries, all the sadness
Of my troubled heart
Give it to the flexible willow.
Sadness, longing is not your way, the poet tells us, give this load to the willow, because it is all the personification of sadness.
What can you say about the nightingale?
This bird is inconspicuous, gray, but how it sings!
Why is the nightingale the soul of the sad willow?
Apparently, we have learned about the thoughts, about the dreams, about the hopes of the tree from the song of the nightingale. He told us about her soul, mysterious and beautiful.
Do you think the nightingale sings or is silent?
This question (as is often the case in a literature lesson) can have several correct answers, because everyone has their own image. Some will say that the nightingale, of course, sings, otherwise how would we know about the soul of the willow? Others will think that the nightingale is silent, because it is night, and everything in the world is sleeping. Each reader will see his picture, create his own image.
Japanese art is eloquent in the language of innuendo. Understatement, or yugen, is one of his principles. Beauty is in the depths of things. Be able to notice it, and for this you need a delicate taste. The Japanese don't like symmetry. If the vase on the table is in the middle, it will automatically move to the edge of the table. Why? Symmetry as completeness, as completeness, as repetition, is uninteresting. So, for example, the dishes on the Japanese table (service) will be sure to different pattern, different color.
Often, ellipsis appears in the haiku finale. This is not an accident, but a tradition, a principle of Japanese art. For a resident of the Land of the Rising Sun, the thought is important and close: the world is forever changing, therefore there can be no completeness in art, there can be no peak - a point of balance and peace. The Japanese even have catchphrase: "The empty spaces on the scroll are filled with more meaning than the brush traced on it."
The highest manifestation of the concept of "yugen" is a philosophical garden. It is a poem of stone and sand. American tourists see it as a "tennis court" - a rectangle covered with white gravel, where stones are scattered in disorder. What does the Japanese think about, peering into these stones? V. Ovchinnikov writes that words cannot convey the philosophical meaning of the rock garden, for the Japanese it is an expression of the world in its endless variability.
But back to literature. The great Japanese poet Matsuo Basho raised the genre to an unsurpassed height. Every Japanese knows his poems by heart.
Basho was born into a poor samurai family in the province of Iga, which is called the cradle of old Japanese culture. These are incredibly beautiful places. The poet's relatives were educated people, and Basho himself began to write poetry as a child. Unusual it life path. He took tonsure, but did not become a real monk. Basho settled in little house near the city of Edo. This hut is sung in his poems.
IN A THAT-COVERED HUT
Like a banana moaning in the wind,
How drops fall into a tub,
I hear all night long.
In 1682, a misfortune happened - Basho's hut burned down. And he began a long journey through Japan. His fame grew, and many disciples appeared throughout Japan. Basho was a wise teacher, he did not just pass on the secrets of his skill, he encouraged those who were looking for their own path. The true style of haiku was born in controversy. These were disputes of people truly dedicated to their work. Bonte, Kerai, Ransetsu, Shiko are the students of the famous master. Each of them had his own handwriting, sometimes very different from the handwriting of the teacher.
Basho walked the roads of Japan bringing poetry to the people. In his poems - peasants, fishermen, tea pickers, the whole life of Japan with its bazaars, taverns on the roads ...
Dropped for a moment
Threshing rice peasant,
Looks at the moon.
During one of his travels, Basho died. Before his death, he created the "Dying Song":
On the way I got sick
And everything is running, circling my dream
Through scorched meadows.
Another famous name— Kobayashi Issa. Often his voice is sad:
Our life is a dewdrop.
Let only a drop of dew
Our life is still...
This poem was written on the death of his little daughter. Buddhism teaches not to worry about the departure of loved ones, because life is a dewdrop ... But listen to the poet's voice, how much inescapable grief there is in this "and yet ..."
Issa wrote not only in high philosophical themes. Own life, fate was reflected in the work of the poet. Issa was born in 1763 into a peasant family. The father dreamed of his son becoming a successful merchant. To do this, he sends him to study in the city. But Issa became a poet and, like his brothers in the poetic guild, he walked around the villages, earning a living by composing haiku. Issa got married at the age of 50. Beloved wife, 5 children. Happiness was fleeting. Issa loses all loved ones.
Maybe that's why he is sad even in the sunny time of flowering:
Sad world!
Even when the cherry blossoms...
Even then…
That's right, in a former life
You were my sister
Sad cuckoo…
He marries two more times, and the only child who continued his family will be born after the death of the poet in 1827.
Issa found his way in poetry. If Basho cognized the world, penetrating into its innermost depths, looking for connections between individual phenomena, then Issa in his poems sought to accurately and fully capture the reality surrounding him and his own feelings.
Spring again.
New stupidity is coming
Replace the old one.
cool wind,
Crouched to the ground, contrived
Get me too.
Shh... just for a moment
Shut up, meadow crickets.
It's starting to rain.
Issa makes the subject of poetry everything that his predecessors diligently avoided mentioning in poetry. He connects the low and the high, arguing that every little thing, every creature in this world should be valued on an equal footing with a person.
Light pearl
The new year shone for this
Little louse.
Roofer.
Ass wraps around him
Spring wind.
Interest in the work of Issa in Japan is great today. The hockey genre itself is alive and dearly loved. Until now, in mid-January, a traditional poetry competition is held. Tens of thousands of poems on a given topic enter this competition. Such a championship has been held annually since the fourteenth century.
Our compatriots on Internet sites create their own, Russian haiku. Sometimes these are absolutely amazing images, for example, of autumn:
New autumn
Opened the season
Toccata of rain.
And gray rain
Long fingers weave
Long autumn...
And "Russian" haiku make the reader think, build an image, listen to the ellipsis. Sometimes these are mischievous, ironic lines. When the Russian team lost the football championship, this haiku appeared on the Internet:
Even in football
You have to be able to do something.
Too bad we didn't know...
There are also "ladies'" haiku:
There's nowhere to go
Shorten skirt:
The legs are gone.
Forgot who I am.
We haven't fought in such a long time.
Remind me, honey.
And here are the more serious ones:
I'll hide it securely
Pain and resentment.
I flash a smile.
Do not say anything.
Just stay with me.
Just love.
Sometimes "Russian" haiku echo well-known plots and motifs:
The barn is not on fire.
Quietly the horse sleeps in the stable.
What is a grandmother to do?
Of course, you caught the roll call with Nekrasov.
Tanya-chan lost her face
Crying about the ball rolling into the pond.
Get a grip, daughter of the samurai.
Eneke and Beneke ate sushi.
Whatever the child amuses, if only
Didn't drink sake.
And haiku lines are always the way to the reader's own creativity, that is, to your personal inner solution to the topic proposed to you. The poem ends, and here the poetic comprehension of the theme begins.

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This article is part of a group of manuals from the cycle “Thematic planning for textbooks by V.Yu. Sviridova and N.A. Churakova "Literary reading" grades 1-4.

The beauty of poetry enchants almost all people. No wonder they say that music can tame even the most ferocious beast. This is where the beauty of creativity sinks deep into the soul. How are the poems different? Why are the Japanese three-line haiku so attractive? And how to learn to perceive their deep meaning?

The beauty of Japanese poetry

The light of the moon and the fragile tenderness of the morning snow inspire Japanese poets to create three lines of unusual brightness and depth. Japanese haiku is a poem characterized by lyricism. In addition, it may be unfinished and leave room for imagination and thoughtful reflection. Haiku (or haiku) poetry does not tolerate haste or harshness. The philosophy of these creations of the soul is directed directly to the hearts of the listeners and reflects the hidden thoughts and secrets of the writer. The common people are very fond of creating these short poetic formulas, where there are no superfluous words, and the syllable harmoniously passes from folk to literary, continuing to develop and give rise to new poetic forms.

The emergence of a national poetic form

The original poetic forms, so famous in Japan, are five-line and three-line lines (tanka and haiku). Tanka is literally interpreted as a short song. Initially, this was the name of folk songs that appeared at the dawn of Japanese history. Nagauts, which were distinguished by their excessive length, were forced out into the tank. Epic and lyrical songs of variable length have been preserved in folklore. Many years later, Japanese haiku separated from tanka during the heyday of urban culture. Hokku contains all the wealth In the history of poetry in Japan there were periods of both prosperity and decline. There were also moments when Japanese haiku could disappear altogether. But over a long period of time, it became obvious that short and capacious poetic forms are a necessity and an urgent need for poetry. Such forms of poetry can be composed quickly, under a storm of emotions. You can put your hot thought into metaphors or aphorisms, making it memorable, reflecting praise or reproach with it.

Characteristic features of Japanese poetry

Japanese haiku poetry is distinguished by its desire for conciseness, conciseness of forms, love for minimalism, which is inherent in Japanese national art, which is universal and can create minimalistic and monumental images with equal virtuosity. Why is Japanese haiku so popular and attractive? First of all, this is a concise thought, reflected by the thoughts of ordinary citizens who are wary of the traditions of classical poetry. Japanese haiku becomes the bearer of a capacious idea and most of all responds to the demands of growing generations. The beauty of Japanese poetry is in the depiction of those objects that are close to every person. It shows the life of nature and man in harmonious unity against the backdrop of the changing seasons. Japanese poetry is syllabic, with a rhythm based on the alternation of the number of syllables. Rhyme in haiku is unimportant, but the sound and rhythmic organization of the three-line is primary.

The size of the poems

Only the unenlightened think that this original verse has no parameters and no limitations. Japanese haiku has a fixed meter with a certain number of syllables. Each verse has its own number: in the first - five, in the second - seven, and in the third - only seventeen syllables. But this does not limit poetic liberty in any way. A real creator will never reckon with the meter in achieving poetic expressiveness.

The small size of haiku makes even a European sonnet monumental. The art of writing Japanese haiku lies precisely in the ability to express thoughts in a concise form. In this respect, haiku is similar to folk proverbs. The main differences between such proverbs and haiku lie in genre features. Japanese haiku is not an edifying saying, not a well-aimed witticism, but a poetic picture, framed in a few strokes. The task of the poet is in the lyrical excitement, the flight of the imagination and the detail of the picture. Haiku japanese examples has even in the works of Chekhov. In his letters, he describes the beauty of moonlit nights, stars and black shadows.

Necessary elements of the work of Japanese poets

The way of creating Japanese three-line poems requires the maximum activity of the writer, complete immersion in creativity. It is impossible to simply skim through the collection of haiku without focusing attention. Each poem requires thoughtful reading and philosophical reflection. A passive reader will not be able to feel the impulse inherent in the content of creation. Only with the joint work of the thoughts of the reader and the creator, true art is born, just as the swing of the bow and the trembling of the string give birth to music. The miniature size of haiku does not at all make it easier for the creator, because it means that you need to fit the immensity into a small number of words, and there is simply no time for a lengthy presentation of your thoughts. In order not to expound the meaning hastily, the writer looks for a climax in every phenomenon.

Heroes of Japanese haiku

Many poets express their thoughts and emotions in haiku by giving the main role to a particular object. Some poets reflect the people's worldview with a loving depiction of small forms and the assertion of their right to life. Poets stand up in their creations for insects, amphibians, simple peasants and gentlemen. Therefore, the examples of Japanese haiku three-line examples have a social sound. The emphasis on small forms allows you to paint a picture of a large scale.

The beauty of nature in verse

Japanese haiku about nature is akin to painting, as it often becomes the transmission of the plot of paintings and a source of inspiration for artists. Sometimes haiku is a special component of a painting, which is presented as a calligraphic inscription under it. A prime example Buson's terse is considered to be such a work:
"Curse flowers around. The sun goes out in the west. The moon rises in the east."

Describes the wide fields covered yellow flowers colza, which seem especially bright in the rays of sunset. The fiery solar ball effectively contrasts with the pallor of the rising moon. There are no details in haiku showing the effect of lighting and a palette of colors, but it offers a new look at the picture. The grouping of the main elements and details of the picture depends on the poet. The laconic manner of depiction makes Japanese haiku related to ukiyo-e color engraving:

The spring rain is pouring!
They talk along the way
Umbrella and mino.

This Buson haiku is a genre scene in the spirit of ukiyo-e woodblock prints. Its meaning is in the conversation of two passers-by under the spring rain. One of them is covered with an umbrella, and the second is dressed in a straw cloak - mino. The peculiarity of this haiku is the fresh breath of spring and subtle humor, close to the grotesque.

Images in the poems of Japanese poets

The poet who creates Japanese haiku often prefers not visual, but sound images. Each sound is filled with a special meaning, feeling and mood. The howl of the wind, the chirping of cicadas, the cries of a pheasant, the singing of a nightingale and a lark, the voice of a cuckoo can be reflected in the poem. This is how haiku is remembered, describing a whole orchestra that sounds in the forest.

The lark sings.
With a ringing blow in the thicket
The pheasant echoes him.
(Basho)

Readers do not have a three-dimensional panorama of associations and images, but a thought awakens with certain directions. The poems resemble a monochrome ink drawing, without unnecessary details. Only a few skillfully selected elements help to create a brilliant picture of late autumn in its brevity. One feels the pre-wind silence and the sad immobility of nature. The light contour of the image nevertheless has an increased capacity and fascinates with its depth. And even if only nature is described in the poem, the state of the poet's soul, his painful loneliness, is felt.

Flight of the reader's imagination

The appeal of haiku lies in the feedback. Only this poetic form allows you to have equal opportunities with writers. The reader becomes a co-author. And he can be guided by his imagination in depicting the image. Together with the poet, the reader experiences sadness, shares anguish and plunges into the depths of personal experiences. Over the long centuries of existence, ancient haiku have not become less profound. Japanese haiku rather does not show, but hints and prompts. The poet Issa expressed his longing for the dead child in haiku:

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

At the same time, dew is a metaphor for the frailty of life. Buddhism teaches the brevity and ephemeral nature of human life and its low value. But still, the father cannot come to terms with the loss of a loved one and cannot treat life like a philosopher. His silence at the end of the stanza says more than words.

Inconsistency in hockey

An obligatory element of Japanese haiku is reticence and the ability to independently continue the line of the creator. Most often, the verse contains two significant words, and the rest is formalities and exclamations. All unnecessary details are discarded, leaving the bare facts without embellishment. Poetic means are selected very sparingly, since, if possible, metaphors and epithets are not used. It also happens that Japanese haiku verses are but at the same time direct meaning lies in the subtext.

From the heart of a peony
The bee crawls slowly...
Oh, with what reluctance!

Basho wrote this poem at the moment of parting with his friend's house and clearly conveyed all the emotions.

The Japanese position of haiku was and remains an innovative art that belongs to ordinary people: merchants, artisans, peasants and even beggars. Sincere feelings and natural emotions inherent in every person, make the representatives of the most different classes related.

JAPANESE THREE LINES

FOREWORD

The Japanese lyric poem haiku (haiku) is characterized by extreme brevity and peculiar poetics.

The people love and willingly create short songs - concise poetic formulas, where there is not a single superfluous word. From folk poetry, these songs pass into literary, continue to develop in it and give rise to new poetic forms.

This is how national poetic forms were born in Japan: the five-line tanka and the three-line haiku.

Tanka (literally "short song") was originally a folk song and already in the seventh-eighth centuries, at the dawn of Japanese history, it became the legislator of literary poetry, pushing into the background, and then completely crowding out the so-called long verses "nagauta" (presented in the famous eighth-century poetic anthology Man'yoshu). Epic and lyrical songs of various lengths survive only in folklore. Hokku separated from tanka many centuries later, during the heyday of the urban culture of the "third estate". Historically, it is the first tanka stanza and has received from it a rich legacy of poetic images.

The ancient tanka and the younger haiku have a long history, in which periods of prosperity alternated with periods of decline. More than once these forms were on the verge of extinction, but they have withstood the test of time and continue to live and develop even today. This example of longevity is not the only one of its kind. The Greek epigram did not disappear even after the death of the Hellenic culture, but was adopted by Roman poets and is still preserved in world poetry. The Tajik-Persian poet Omar Khayyam created wonderful quatrains (rubai) back in the eleventh and twelfth centuries, but even in our era, folk singers in Tajikistan compose rubai, putting new ideas and images into them.

Obviously, short poetic forms are an urgent need for poetry. Such poems can be composed quickly, under the influence of direct feeling. You can aphoristically, concisely express your thought in them so that it is remembered and passed from mouth to mouth. They are easy to use for praise or, conversely, caustic mockery.

It is interesting to note in passing that the desire for laconicism, love for small forms are generally inherent in Japanese national art, although it is also excellent at creating monumental images.

Only haiku, an even shorter and more concise poem that originated among ordinary citizens who were alien to the traditions of old poetry, could push the tanka out and for a time snatch its championship from it. It was hockey that became the bearer of a new ideological content and was best able to respond to the demands of the growing "third estate".

Haiku is a lyric poem. It depicts the life of nature and the life of man in their fused, indissoluble unity against the backdrop of the cycle of the seasons.

Japanese poetry is syllabic, its rhythm is based on the alternation of a certain number of syllables. There is no rhyme, but the sound and rhythmic organization of the three-line is a matter of great concern for Japanese poets.

Hokku has a stable meter. Each verse has a certain number of syllables: five in the first, seven in the second, and five in the third, for a total of seventeen syllables. This does not preclude poetic liberties, especially among such bold and innovative poets as Matsuo Basho (1644-1694) was. He sometimes did not take into account the meter, trying to achieve the greatest poetic expressiveness.

The dimensions of the haiku are so small that in comparison with it, the European sonnet seems monumental. It contains only a few words, and yet its capacity is relatively large. The art of writing haiku is, above all, the ability to say a lot in a few words. Brevity makes haiku related to folk proverbs. Some three-verse lines have become popular in folk speech as proverbs, such as the poem by the poet Basho:

I'll say a word

Lips freeze.

Autumn whirlwind!

As a proverb, it means that "caution sometimes makes you keep silent."

But most often, haiku differs sharply from the proverb in its genre features. This is not an edifying saying, a short parable or a well-aimed joke, but a poetic picture sketched in one or two strokes. The task of the poet is to infect the reader with lyrical excitement, to awaken his imagination, and for this it is not necessary to paint a picture in all its details.

Chekhov wrote in one of his letters to his brother Alexander: “... you will get a moonlit night if you write that on the mill dam a glass from a broken bottle flashed like a bright star and the black shadow of a dog or a wolf rolled like a ball ...”

This way of depicting requires maximum activity from the reader, draws him into the creative process, gives impetus to his thoughts. The collection of haiku cannot be “skimmed through with the eyes”, leafing through page after page. If the reader is passive and not attentive enough, he will not perceive the impulse sent to him by the poet. Japanese poetics takes into account the counter work of the reader's thought. So the blow of the bow and the reciprocal trembling of the string together give rise to music.

Haiku is miniature in size, but this does not detract from the poetic or philosophical meaning that a poet can give it, does not limit the scope of his thought. However, of course, he cannot give a multilateral image and develop his thought extensively, to the end, within the limits of the haiku port. In each phenomenon, he is looking only for its climax.

Some poets, and primarily Issa, whose poetry most fully reflected the people's worldview, lovingly depicted the small, the weak, asserting the right to life for him. When Issa stands up for a firefly, a fly, a frog, it is easy to understand that by doing so he stands up for a small, destitute man who could be wiped off the face of the earth by his lord feudal lord.

Thus, the poet's poems are filled with social sound.

Here comes the moon

And every little bush

Invited to the feast

says Issa, and we recognize in these words the dream of the equality of people.

Giving preference to the small, haiku sometimes painted a picture of a large scale:

Raging sea space!

Far away, to the island of Sado,

The Milky Way creeps.

This poem by Basho is a kind of peephole. If we close our eyes to it, we will see a large space. The Sea of ​​Japan will open before us on a windy but clear autumn night: the glitter of stars, white breakers, and in the distance, at the edge of the sky, the black silhouette of Sado Island.

Or take another poem by Basho:

On a high embankment - pines,

And between them the cherries show through, and the palace

In the depths of flowering trees...

In three lines - three perspective plans.

Haiku is akin to the art of painting. They were often written on the subjects of paintings and, in turn, inspired artists; sometimes they turned into a component of the picture in the form of a calligraphic inscription on it. Sometimes poets resorted to methods of depiction akin to the art of painting. Such, for example, is Buson's three line:

Colza flowers around.

The sun is fading in the west.

The moon is rising in the east.

Wide fields are covered with yellow colza flowers, they seem especially bright in the rays of sunset. The pale moon rising in the east contrasts with the fireball of the setting sun. The poet does not tell us in detail what kind of lighting effect this creates, what colors are on his palette. He only offers to take a fresh look at the picture that everyone has seen, maybe dozens of times ... Grouping and choosing picturesque details - this is the main task of the poet. He has only two or three arrows in his quiver: not one must fly past.

This laconic manner is sometimes very reminiscent of the generalized way of depiction used by the ukiyoe masters of color engraving. Different types arts - haiku and color engraving - marked with features general style era of urban culture in Japan of the seventeenth - eighteenth centuries, and this makes them related to each other.

The spring rain is pouring!

They talk along the way

Umbrella and mino.

This is Buson's three line - a genre scene in the spirit of ukiyoe woodcuts. Two passers-by are talking on the street under the net spring rain. One is wearing a straw raincoat - mino, the other is covered with a large paper umbrella. That's all! But the breath of spring is felt in the poem, it has subtle humor, close to the grotesque.

Often the poet creates not visual, but sound images. The howling of the wind, the chirping of cicadas, the cries of a pheasant, the singing of a nightingale and a lark, the voice of a cuckoo, each sound is filled with a special meaning, gives rise to certain moods and feelings.

A whole orchestra sounds in the forest. The lark leads the melody of the flute, the sharp cries of the pheasant are the percussion instrument.

The lark sings.

With a ringing blow in the thicket

The pheasant echoes him.

The Japanese poet does not unfold before the reader the entire panorama of possible ideas and associations that arise in connection with a given object or phenomenon. It only awakens the reader's thought, gives it a certain direction.

On a bare branch

Raven sits alone.

Autumn evening.

The poem looks like a monochrome ink drawing. Nothing superfluous, everything is extremely simple. With the help of a few skillfully chosen details, a picture of late autumn is created. There is a lack of wind, nature seems to freeze in sad immobility. The poetic image, it would seem, is a little outlined, but it has a large capacity and, bewitching, leads away. It seems that you are looking into the waters of the river, the bottom of which is very deep. At the same time, it is extremely specific. The poet depicted a real landscape near his hut and through it - his state of mind. He does not speak of the loneliness of the raven, but of his own.

The reader's imagination is left with a lot of scope. Together with the poet, he can experience a feeling of sadness inspired by autumn nature, or share with him a longing born of deeply personal experiences.

It is no wonder that over the centuries of its existence, ancient haiku have acquired layers of comments. The richer the subtext, the higher the poetic skill of haiku. It suggests rather than shows. Hint, hint, reticence become additional means of poetic expressiveness. Yearning for the dead child, the poet Issa said:

Our life is a dewdrop.

Let only a drop of dew

Our life is still...

Dew is a common metaphor for the transience of life, just like a flash of lightning, foam on water, or rapidly falling cherry blossoms. Buddhism teaches that human life is short and ephemeral, and therefore of no particular value. But it is not easy for a father to come to terms with the loss of a beloved child. Issa says "and yet ..." and puts down the brush. But his very silence becomes more eloquent than words.

It is quite clear that there is a lack of agreement in haiku. The poem consists of only three verses. Each verse is very short, in contrast to the hexameter of the Greek epigram. A five-syllable word already occupies a whole verse: for example, hototogisu - a cuckoo, kirigirisu - a cricket. Most often in verse two meaningful words, not counting formal elements and exclamatory particles. Everything superfluous is squeezed out, eliminated; there is nothing left that serves only for decoration. Even the grammar in haiku is special: grammatical forms a little, and each bears the ultimate load, sometimes combining several values. The means of poetic speech are selected extremely sparingly: haiku avoids epithet or metaphor, if it can do without them.

Sometimes the entire haiku is an extended metaphor, but its direct meaning is usually hidden in the subtext.

From the heart of a peony

The bee slowly creeps out...

Oh, with what reluctance!

Basho composed this poem when leaving the hospitable home of his friend.

It would be a mistake, however, in every haiku to look for such a double meaning. Most often, haiku is a concrete representation of the real world that does not require and does not allow any other interpretation.

Haiku poetry was an innovative art. If over time, tanka, moving away from folk origins, became a favorite form of aristocratic poetry, then haiku became the property of ordinary people: merchants, artisans, peasants, monks, beggars ... It brought with it common expressions and slang words. It introduces natural, colloquial intonations into poetry.

The scene in haiku was not the gardens and palaces of the aristocratic capital, but the poor streets of the city, rice fields, high roads, shops, taverns, inns ...

An “ideal” landscape freed from everything rough - this is how the old classical poetry painted nature. In haiku, poetry regained its Sight. A man in haiku is not static, he is given in motion: here a street peddler wanders through a snow whirlwind, but here a worker turns a grain mill. The gulf that already in the tenth century lay between literary poetry and folk song became less wide. A raven pecking a snail in a rice field with its nose - this image is found both in haiku and in a folk song.

The canonical images of old tanks could no longer evoke that immediate feeling of amazement at the beauty of the living world that the poets of the "third estate" wanted to express. New images, new colors were needed. Poets, who for so long relied on only one literary tradition, are now turning to life, to the real world around them. The old front decorations have been removed. Hokku teaches to look for hidden beauty in the simple, inconspicuous, everyday. Beautiful are not only the glorified, many times sung cherry blossoms, but also the modest, imperceptible at first glance flowers of colza, shepherd's purse, a stalk of wild asparagus ...

Take a close look!

Shepherd's purse flowers

You will see under the fence.

Hokku teaches to appreciate the modest beauty of ordinary people. Here is a genre picture created by Basho:

Azaleas in a rough pot,

And nearby crumbles dry cod

A woman in their shadow.

This is probably a hostess or a servant somewhere in a poor tavern. The situation is the most miserable, but the brighter, the more unexpected, the beauty of a flower and the beauty of a woman stand out. In another poem by Basho, the face of a fisherman at dawn resembles a blooming poppy, and both are equally good. Beauty can strike like a lightning strike:

As soon as I got well,

Exhausted, until the night ...

And suddenly - wisteria flowers!

Beauty can be deeply hidden. In haiku verses we find a new, social rethinking of this truth - the affirmation of beauty in the inconspicuous, ordinary, and above all in a simple person from the people. This is the meaning of the poem by the poet Kikaku:

Cherry blossoms in spring

Not on distant mountain tops

Only in the valleys with us.

Faithful to the truth of life, the poets could not but see the tragic contrasts in feudal Japan. They felt the discord between the beauty of nature and the living conditions of the common man. The haiku Basho speaks of this discord:

Next to blooming bindweed

The thresher rests in suffering.

How sad it is, our world!

And, like a sigh, escapes from Issa:

Sad world!

Even when the cherry blossoms...

Even then…

The haiku echoed the anti-feudal sentiments of the townspeople. Seeing a samurai at the cherry blossom festival, Kyorai says:

How is it, friends?

A man looks at cherry blossoms

And on the belt is a long sword!

A folk poet, a peasant by birth, Issa asks the children:

Red Moon!

Who owns it, kids?

Give me an answer!

And the children will have to think about the fact that the moon in the sky, of course, is a draw and at the same time a common one, because its beauty belongs to all people.

In the book of selected haiku - the whole nature of Japan, the original way of life, customs and beliefs, work and holidays of the Japanese people in their most characteristic, living details.

That is why haiku is loved, known by heart and still being composed.

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Haiku (haiku) is a type of Japanese poetry. The original Japanese ternary consists of 17 syllables, which are written in one column. The most famous author of haiku is Matsuo Basho. However, he already has deviations from the norm of syllabic composition. With special dividing words - kireji (jap. kireji - “cutting word”) - the haiku text is divided in a ratio of 2: 1 - either on the fifth syllable or on the twelfth.

The origin of haiku

The word "haiku" originally meant the opening stanza of another Japanese poetic form- renga (jap. renga - "stringing stanzas"). From the beginning of the Edo period (XVII century), haiku began to be considered as independent works. The term "haiku" was coined by the poet and critic Masaoka Shiki in the late 19th century to distinguish between these forms. Genetically goes back to the first semi-stanza of the tanka (literally haiku - initial verses), from which it differs by the simplicity of the poetic language, the rejection of the previous canonical rules.

Haiku has gone through several stages in its development. The poets Arakida Moritake (1465-1549) and Yamazaki Sokan (1465-1553) imagined haiku as a miniature of a purely comic genre (such miniatures were later called senryu. The merit of turning haiku into a leading lyrical genre belongs to Matsuo Basho (1644-1694); the main content haiku became landscape lyrics.The name of Yosa Buson (1716-1783) is associated with the expansion of the theme of haiku.In parallel, in the 18th century, comic miniatures developed, which emerged as an independent satirical-humorous genre senryu (jap. senryu - "river willow"). At the end of the 18th century - At the beginning of the 19th century, Kobayashi Issa introduced civic motifs into haiku and democratized the themes of the genre.

In the late 19th and early 20th centuries, Masaoka Shiki applied to haiku the shasei method borrowed from painting (jap. shasei? - "sketches from nature"), which contributed to the development of realism in the haiku genre.

How to understand haiku

When translating haiku into Western languages, traditionally - from the very beginning of the 20th century - the place of the possible appearance of kireji corresponds to a line break, so the haiku is a three-line syllabic structure 5-7-5.

In the 1970s, the American haiku translator Hiroaki Sato suggested that it would be more appropriate to record translations of haiku as monostihi; following him, the Canadian poet and theorist Clarence Matsuo-Allar stated that the original haiku created in Western languages ​​should also be one-line.

There are - among the translated and original haiku - and two-line texts, gravitating towards the syllabic proportion of 2:1. With regard to the syllabic composition of haiku, by now, both among haiku translators and among authors of original haiku in different languages, adherents of adherence to 17-complexity (and/or 5-7-5 patterns) have remained in the minority.

According to the general opinion of most theorists, a single syllabic measure for haiku in different languages ​​is impossible, because languages ​​differ significantly from each other. medium length words and, consequently, the information capacity of the same number of syllables. So, in English, 17 syllables of a Japanese text correspond on average to 12-13 syllables in terms of information capacity, and in Russian, on the contrary, about 20. Since the genre is a formal-meaningful unity, the semantic characteristics that distinguish it are important for haiku. Classical haiku are necessarily built on the correlation of a person (his inner world, biography, etc.) with nature; at the same time, nature must be determined in relation to the time of year - for this, kigo is used as an obligatory element of the text (jap. kigo - “seasonal word”).

Most often, the narration is conducted in the present tense: the author presents his experiences. In haiku collections, each poem is often printed on a separate page. This is done so that the reader can thoughtfully, slowly, feel the atmosphere of the poem.

To correctly understand haiku, you need to read each word, imagining it. For the Japanese, every natural phenomenon has a secret meaning at the level of associations. For example, authors often mention sakura. This is a cherry blossom. A plant completely covered with white flowers seems to be something young, wine-making and primordial. Such images give hockey an atmosphere of mystery and understatement.

It is not for nothing that Europeans believe that haiku awakens envy: how many Western readers have dreamed of walking through life like this with a notebook in hand, noting here and there some “impressions”, the brevity of which would be a guarantee of perfection, and simplicity - a criterion of depth (and all thanks to the myth consisting of two parts, one of which - classical - makes laconicism a dimension of art, the other - romantic - sees truthfulness in improvisation). Being absolutely understandable, the haiku does not say anything, and it is thanks to this double condition that it seems to present itself with meaning with the helpfulness of a well-mannered host who invites you to feel at home with him, receiving you with all your attachments, values ​​​​and symbols; this "absence" of haiku (in the sense that is meant when one speaks of an abstract consciousness, and not of a departed master) is fraught with temptation and downfall - in a word, a strong desire for meaning.

On a bare branch

Raven sits alone.

Autumn evening.

poplar leaves

Before an unearthly storm.

Submissive elements.

Where are you, Universe?

Busy day. Dim stars at night.

The indifference of the metropolis.

Three lines, haiku Dictionary of Russian synonyms. haiku n., number of synonyms: 3 three-line (4) ... Synonym dictionary

HAIKU- (haiku) a genre of Japanese poetry. An unrhymed three-line, genetically ascending to tanka; consists of 17 syllables (5+7+5). It is distinguished by the simplicity of poetic language, freedom of presentation ... Big Encyclopedic Dictionary

Haiku- (haiku) (initial verses), a genre of Japanese poetry (originated in the 15th century), an unrhymed three-line verse of 17 syllables (5 + 7 + 5) on comic, love, landscape, historical and other subjects. Genetically related to tanka. Differs in the simplicity of poetic language ... Illustrated Encyclopedic Dictionary

Haiku- This article is about Japanese poetry, for the operating system, see Haiku. Monument to Matsuo Basho, one of the most famous haiku composers Haiku (俳句), Hokku (発句) is a genre of traditional Japanese waka lyric poetry. Contents ... Wikipedia

HAIKU- (Japanese): the upper three-line tanka, highlighted in independent view poetry; consists of 17 syllables (alternating 5 - 7 - 5 syllables). Basically, haiku is a lyrical poem about nature, in which the season is necessarily indicated. The cycle... ... Eurasian wisdom from A to Z. Explanatory dictionary

Haiku- (otherwise haiku) genre and form of Japanese poetry; three-line, consisting of two encircling five-syllable verses and one seven-syllable in the middle. Genetically goes back to the first semi-stanza of the Tank (haiku literally initial verses), from which ... ... Great Soviet Encyclopedia

HAIKU- HOKKU, haiku, a genre of Japanese poetry: 17 complex three-line (5 + 7 + 5), often with a caesura after the 2nd verse. Originated in the 15th century. as the beginning of a three-line comic rank; genetically also goes back to the first semi-stanza of tanka (haiku lit. … … Literary Encyclopedic Dictionary

haiku- (haiku), a genre of Japanese poetry. An unrhymed three-line, genetically ascending to tanka; consists of 17 syllables (5 + 7 + 5). Differs in simplicity of poetic language, freedom of presentation. * * * HOKKU HOKKU (haiku), a genre of Japanese poetry. Unrhymed… encyclopedic Dictionary

haiku- a genre of Japanese poetry, an unrhymed three-line lyrical miniature; as if separated, independent first part of the tank. Rubric: Types and genres of literature + The structure of a poetic work. Synonym: haiku solid forms Others… … Terminological dictionary-thesaurus on literary criticism

haiku- see haiku. Literature and language. Modern illustrated encyclopedia. Moscow: Rosman. Under the editorship of prof. Gorkina A.P. 2006 ... Literary Encyclopedia

Hokku-OS- Haiku Desktop Haiku OS Created by Haiku Inc. OS family Open source Latest version N/A N/A Kernel type ... Wikipedia

Books

• Haiku. Japanese verses Buy for 239 rubles
• Haiku. Japanese Three Lines, Basho Matsuo, Ransetsu, Kikaku. The Japanese lyric poem haiku (haiku) is characterized by extreme brevity and peculiar poetics. It depicts the life of nature and the life of man in their fused, indissoluble unity on ...