Next morning, first thing I saw from the window, was the palms and this unusual bush with lavender-blue flowers: -- На следующее утро первое, что я увидела из окна, были пальмы и вот этот куст с необычного оттенка лилово-синими цветами:
From Gabi san, Kigo hotline: The autumn equinox is celebrated, like the spring equinox, to worship the ancestors graves and leave offerings for them. Read the details here : https://worldkigo2005.blogspot.com/2006/07/spring-equinox-haru-higan.html -- В Японии сейчас отмечается осеннее равноденствие -- поминают покойных родственников, посещают могилы, оставляют там приношения. Подробно смотрите и читайте по указанной ссылке (по-англ.) И ещё: 秋分の日 Сю:бун но хи -- Праздник осеннего равноденствия в Японии (по-русски). Спасибо авторуyamashita !
Flight Lansing, MI - Kahului, Maui took me more than 14 hours, two layovers, and three aircrafts. The most interesting thing on the way was a complete replica of a Brachiosaurus skeleton at the O'Hare airport (Chicago) in the lounge of Terminal 1, Concourse B: -- Рейс Лансинг - Каулуи (Мауи) занял больше 14 часов: с двумя пересадками и на трёх самолётах. Самая интересная штука в пути была полная точная копия скелета брахинозавра, которую я встретила в аэропорту О'Хара (Чикаго), в корпусе Б первого терминала:
day and night watching the jets taking off the dinosaurдень и ночь провожает взлетающие самолёты динозавр
As always, there are some new haiku by James; and for the third time, my haiga appears in his site -- the one that I told you about in the previous post -- the Koi ! Those koi are the lucky ones, being published four times by now :) Also, the link to my personal page in the World Haiku Association is added.
I am a little bit late with these photos, but better late than never :) This is my garden in May and the beginning of June. I thought some of the James W.Haclett's haiku (from the book "The Zen Haiku and other Zen Poems") fit these pictures nicely; and you please feel free to add your poems if it inspires you :)
1. WELCOME TO MY GARDEN: the welcoming sign, and the begonia hanging basket.
With every gust of sun, С каждым лучом солнца a halo of golden down ореол золотого пушка surrounds the hawk. вокруг ястреба.
------------------------------------------------------------------------------------------------------------ ( To see more... & in RussianCollapse )
Photos from my garden; haiku from the book "The Zen Haiku and other Zen Poems of J.W.Hackett".
Снова мой сад, и хайку Джеймса Хэкета из книги "Дзен хайку, и другая Дзен поэзия Дж. У. Хэкета". Предлагайте свои переводы! :)
Searching on the wind, Ищет что-то в ветре Обшаривает ветер Хочет что-то отыскать the hawk's cry ... крик ястреба ... ястребиный крик ... крик ястреба в ветре ... is the shape of its beak. в форме его клюва. похожий на клюв. в виде клюва.
Reading the book I recently told you about, I found quite a few haiku by James W. Hackett right here in my garden ... See for yourself! :)
Читаю сейчас книгу, о которой я недавно рассказывала... И вот, работая в саду, я всё время нахожу эти хайку Джеймса Хэкетта прямо тут, передо мной ... Вот смотрите сами :)
Winds play in the stream, Играя в потоке, designing the bed below ветры украшают дно ручья with patterns of light ... узорами света ...
This is an article of James W.Hackett , published in the last Hermitage journal. I have already placed his well known suggestions for creating haiku poems in English ( https://origa.livejournal.com/78196.html?nc=72 ). By placing this article now, I hope we can share our own attitudes towards, and views on haiku, and have a useful discussion, and haiku writing. Please feel free to share your poems, your thoughts, and your love for haiku! :)
----------------------------------
‘Haiku’ and ‘Haiku Poetry’ By James W. Hackett
The single term ‘haiku’ has become so dominant and widespread it has virtually subsumed the use of haiku’s traditional designation as poetry.
Among the most sad and palpable consequences of using only the single term ‘haiku’ is that it may invite not only good, bad, and ugly haiku, but often includes a banal, amorphous mélange: much of it antithetical to haiku’s aesthetic and naturalist traditions.
I believe time has shown the terms ‘haiku’ and ‘haiku poetry’ are in dire need of re-evaluation and possibly redefinition. Significant differences in value, meaning, and intent have been ignored too often, resulting in the disparate, vulgar misuse of the genre.
Public recognition of the genre’s dissolution is long overdue, and I believe some resolution deserves to be made. The terms ‘haiku’ and ‘haiku poetry’ bear upon the very definition, usage, quality, content, and indeed even the possible fate of haiku poetry in English. As these terms have come to be used, they often do not mean or even refer to the same thing, and are at times completely antithetical.
For an appropriate usage of the term ‘haiku poetry’ (or ‘poem’) I believe there are several characteristics that have traditionally distinguished haiku as ‘poetry.’
–– Certainly one traditional criterion for ‘haiku poetry’ has been its dedicated focus upon ‘Greater Nature’ that refers to the Far Eastern and current ecological view of life on Earth.
–– Another salient characteristic of ‘haiku poetry’ is its depiction of nature’s ‘suchness,’ or ‘is-ness’–– as manifest in life’s eternal present.
–– And I agree with Basho that a haiku poem should be ‘selfless,’ a term known in Zen as muga. That is, to see things with God’s identifying eye. (The quintessence of ‘That Art Thou.’)
–– Moreover I believe haiku poetry should be written in at least a measured use of English syntax, wherein discretion, clarity and naturalness should govern any use of ellipsis (word deletion).
–– Certainly the hallmark of a poem is some emotive quality: the subtle suggestion of some feeling distinguishes a haiku poem. (I am indebted to Professor Harold G. Henderson for this overlooked point.)
One or several of the above characteristics of haiku poems are absent in many so-called ‘haiku.’ Most often there are marked differences as well in the form and style of ‘haiku’ presentation that tends to make the latter amorphous or even unintelligible.
A haiku poem in English should reflect at least a quasi-English syntax so that a sense of naturalness is retained. To completely dismiss the syntax of our own great language seems a suspect and fatuous act, one that both R. H. Blyth and Harold G. Henderson would also condemn. (See their haiku translations.)
To this poet such fundamental differences between some so-called ‘haiku’ and ‘haiku poetry’ beg the questions of how and why haiku creation became so disparate since the 1970s. The advent of minimalism (and with it, obscurantism) seems to have been the principal cause for haiku’s aesthetic anarchy.
And most importantly, to what end such dissolution means to the spirit and future of haiku poetry –– questions which are generally ignored.
For as it is, I believe haiku’s distinctive spirit is imperiled by shallow indifference and a limited understanding of the traditional values of haiku poetry.
Though the single term ‘haiku’ can include some very worthy verses, the exoteric vulgarizing of the title ‘haiku’ has made it a catch-all term: one that is so all-inclusive it is virtually meaningless. And worse yet, misleading — as it ranges in content from true experiential haiku moments, to many forgettable ‘so what?’ verses, and all the way down to obscure word puzzles, cyber-concoctions, salacious puns, to crass commercial ploys.
Moreover the rank license now evident in some so-called ‘haiku’ obviously has led would-be writers with little skill (and even less understanding of the genre) to write virtually anything under the aegis of ‘haiku.’ This seems largely responsible for the aesthetic anarchy in some haiku creation, wherein an ‘anything goes’ attitude prevails.
Doubtless the common term ‘haiku’ is likely to always be with us. But ‘haiku’ per se should not be assumed to mean the same as ‘haiku poetry.’ Indeed there can be (and often is) literally a world of difference between these terms; they are not, nor should they be understood as necessarily synonymous.
So on behalf of haiku’s traditional spirit and the many gifted haiku poets around the world, I propose a resumption of the title ‘haiku poetry’ be used when referring to literate verses that manifest writing skill, and some emotive suggestion.
Finally, I believe any bone of contention regarding haiku labeling may be laid to rest by the following query:
Can one even imagine depriving Basho and the other great haijin of the wreath of honor which the terms ‘poet’ and ‘poetry’ confer?
This article first appeared in Hermitage: A Haiku Journal (Volume III, 2006) edited by Ion Codrescu, Constanta, Romania.
James W. Hackett (b.1929). A disciple and friend of Blyth, the most influential Western haijin advocating the "Zen" and "present moment" haiku. Haiku, by Hackett, is the intuitive experience of "things as they are"; and this, again, after the manner of Matsuo Basho, who placed importance of immediacy of the present in haiku. For Hackett, haiku is what he has called "a Way of living awareness", and an "appreciation of each moment of life".
Two flies, so small it's a wonder they ever met, are mating on this rose