Haiku: Structure and Spirit

Haiku, the succinct and beautiful form of Japanese poetry introduced by Matsuo Basho in the 17th century continues to engage contemporary writers who enjoy condensed structure, the act of keen observation and simplicity of expression. The practice of haiku has been shaped by a host of rules - some more flexible than others. Like any other poetic form, there are specific techniques that can be applied to writing haiku and knowing the guidelines actually frees the poet to experiment and expand within the discipline.

In its original Japanese form, haiku was a one line poem, written vertically, containing 17 sound units called "on". The rules for construction of a haiku demanded sound units grouped in a pattern of 5-7-5 "on" separated by "kireji", words that indicated a break. The poem also had to contain a "kigo" or word that symbolized or implied a season.

The content of haiku was guided by economy of means and heightened visual awareness. The poet's intent was to associate two images in a way that allowed the reader to perceive a new relationship between common, everyday things. Traditional haiku does not use literary devices such as metaphor, simile or personification. It speaks in a pared-down, present tense voice.

Matsuo Basho (1664-1694) offered this advice to aspiring haiku poets. "Go to the pine if you want to learn about the pine, or to the bamboo if you want to learn about the bamboo. In doing so, you must leave your preoccupation with yourself. Otherwise you impose yourself on the object and do not learn. Your poetry issues of its own accord when you and the object have become one - when you have plunged deep enough into the object to see something like a hidden glimmer there."

Winter solitude -

in a world of one colour

the sound of wind

A monk sips morning tea

it's quiet,

the chrysanthemum's flowering

Ice in the night -

the water jar cracks

waking me

An inch or two

above dead grasses

heat waves

My way -

no-one on the road

and it's autumn, getting dark

How can the structure and spirit of haiku be employed by today's poet? The structure of haiku needs to be adapted when you are writing in a language other than Japanese, since the sounds and syllables are different. While some poets use a 5-7-5 formula for constructing haiku, this number of syllables determined by vowel sounds in English does not accurately represent 17 sound units (on) in Japanese. The Basho translations above indicate that fewer words are needed to approximate the structure of traditional haiku. Some linguists suggest that 12 syllables in English come close to 17 Japanese "on."

Another common problem arising from an effort to conform to a strict 5-7-5 syllable count is that line length tends to cramp direct expression when the need to fill in extra words becomes the writer's prime focus. The haiku becomes awkward rather than eloquent when lines are padded with unnecessary filler words such as "the, "a" or the suffix "ing."

The breaks or caesuras that characterize haiku are best conveyed in English with a three-line format. The use of punctuation to emphasize the break either at the end of the first or second line is another adaptation that approximates the "kireji" pause. Haiku is neither a grocery list with commas separating three lines, nor a grammatically coherent sentence arranged in three lines. Combining a fragment and a phrase works best in haiku construction, with either the first two lines or the last two lines creating the phrase.

The spirit of haiku is one of gentleness, surprise and joy. The intriguing twist or pivot in the poem challenges the reader to delight in a fresh association, juxtaposition or comparison. Betty Drevniok, past president of the Haiku Society of Canada describes the workings of haiku in "Aware: a Haiku Primer." "In haiku SOMETHING and SOMETHING ELSE are set down in clearly stated images. Together they complete and fulfill each other as ONE PARTICULAR EVENT."

wondering

if I'm pregnant

I prune the old rose

- Claire Bugler Hewitt

The poet imagines the unborn child she may be carrying (something new) and contrasts it with the rose bush (something old). There is a sense of preparation for the changes that lie ahead, the need to cut back in some areas to foster the growth of a new life. Hewitt`s haiku brings the feeling of expectancy to the reader.

migrating geese -

the things we thought we needed

darken the garage

- Chad Lee Robinson

A flock of migrating geese following their natural instinct to fly south represents an ordered sense of freedom. Humans, driven by their need to accumulate material things, end up with clutter that acts as ballast, holding them in one place. Robinson juxtaposes weightlessness with gravity, while contrasting the image of an illuminated, open sky with the shadowy interior of the garage.

descent through cloud -

shadows of rivets

on the aircraft's wing

- Jon Iddon

The descent of an airplane from cruising altitude down through the cloud layer brings the passenger back from high flight to ground level. Noticing the rivets on the wing, the traveller is suddenly aware of the mechanics of the plane, an object assembled by human hands. The poet contrasts the ethereal realm of cloud with the solidity of the metal fasteners that (hopefully) work to hold things together. Iddon's haiku suggests a passage from imagination to reality.

1. Use the present tense
2. Use a fragment and a phrase, with a break between
3. Keep the language simple
4. Include two images, no more than three
5. Connect the images within a relationship: comparison, juxtaposition or association
6. Suggest a season
7. Avoid adverbs and adjectives
8. Avoid similes, metaphors, personification, cause-and-effect
9. Don't over-punctuate
10. End with a noun

There are events in ordinary, everyday life that strike us as funny, unexpected, meaningful revelations. Those moments when we feel a sense of wonder or awe are the ones that inspire and inform the spirit of haiku. Writing successful haiku is not just a matter of adhering to a particular structure - this form of poetry hinges on heightened awareness; the art of noticing small things that have large implications. When your three-line poem presents the reader with a similar moment of discovery, you have written a good haiku.