The Classic Tradition of Haiku: An Anthology

A highly distilled form of Japanese poetry, haiku consists of seventeen syllables, usually divided among three lines. Though brief, they tell a story or paint a vivid picture, leaving it to the reader to draw out the meanings and complete them in the mind's eye. Haiku often contains a hidden dualism (near and far, then and now, etc.) and has a seasonal tie-in, as well as specific word-images that reveal deeper layers in each poem.
This unique collection spans over 400 years (1488–1902) of haiku history by the greatest masters: Bashō, Issa, Shiki, and many more, in translations by top-flight scholars in the field. Haiku commands enormous respect in Japan. Now readers of poetry in the West can savor these expressive masterpieces in this treasury compiled by noted writer Faubion Bowers, who provides a Foreword and many informative notes to the poems.

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The Classic Tradition of Haiku: An Anthology

A highly distilled form of Japanese poetry, haiku consists of seventeen syllables, usually divided among three lines. Though brief, they tell a story or paint a vivid picture, leaving it to the reader to draw out the meanings and complete them in the mind's eye. Haiku often contains a hidden dualism (near and far, then and now, etc.) and has a seasonal tie-in, as well as specific word-images that reveal deeper layers in each poem.
This unique collection spans over 400 years (1488–1902) of haiku history by the greatest masters: Bashō, Issa, Shiki, and many more, in translations by top-flight scholars in the field. Haiku commands enormous respect in Japan. Now readers of poetry in the West can savor these expressive masterpieces in this treasury compiled by noted writer Faubion Bowers, who provides a Foreword and many informative notes to the poems.

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The Classic Tradition of Haiku: An Anthology

The Classic Tradition of Haiku: An Anthology

The Classic Tradition of Haiku: An Anthology

The Classic Tradition of Haiku: An Anthology

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Overview

A highly distilled form of Japanese poetry, haiku consists of seventeen syllables, usually divided among three lines. Though brief, they tell a story or paint a vivid picture, leaving it to the reader to draw out the meanings and complete them in the mind's eye. Haiku often contains a hidden dualism (near and far, then and now, etc.) and has a seasonal tie-in, as well as specific word-images that reveal deeper layers in each poem.
This unique collection spans over 400 years (1488–1902) of haiku history by the greatest masters: Bashō, Issa, Shiki, and many more, in translations by top-flight scholars in the field. Haiku commands enormous respect in Japan. Now readers of poetry in the West can savor these expressive masterpieces in this treasury compiled by noted writer Faubion Bowers, who provides a Foreword and many informative notes to the poems.


Product Details

ISBN-13: 9780486113333
Publisher: Dover Publications
Publication date: 03/29/2012
Series: Dover Thrift Editions: Poetry
Sold by: Barnes & Noble
Format: eBook
Pages: 96
File size: 1 MB
Age Range: 14 - 18 Years

Read an Excerpt

The Classic Tradition of Haiku

AN ANTHOLOGY


By FAUBION BOWERS

Dover Publications, Inc.

Copyright © 1996 Faubion Bowers
All rights reserved.
ISBN: 978-0-486-11333-3



CHAPTER 1

Iio Sogi (1421-1502)

yuki nagara / yamamoto kasumu / yube kana

Snow yet remaining The mountain slopes are misty — An evening in spring DK

* * *

Despite some snow the base of hills spreads with haze the twilight scene EM

morokoshi mo / ame shita to ya / tsurakaran

Does not China also lie beneath this selfsame sky bound in misery EM

sumeba nodokeki / hi no moto mo nashi

yet even in the sun's own land anyone who lives will suffer EM

yama kawa mo / kimi ni yoru yo o / itsuka min

shall we ever see the time your reign brings lasting peace to all hills and streams EM

ayafuki kuni ya / tami mo kurushiki

and will the land not fall in ruin with its commoners in distress EM

iyashiki mo / mi o osamuru wa / aritsubeshi

Among the lowborn too must be some who spend their time in tranquillity. SDC

However low one may be it is in holding oneself in sway that is imperative EM

yo ni furu mo / sara ni shigure no / yadori kana

passing through the world indeed this is just a shelter from the shower WJH

mono goto ni / oi wa kokoro no / ato mo nashi

everything that was has vanished from my aged heart leaving not a trace EM


Socho (1448–1532)

Sogi: nao nani nare ya / hito no koishiki

Socho: kimi o okite / akazu mo tareo / omou ran

What could be the cause of it — that I should feel such love again? While I still have you, why think of anyone else? Why this discontent? SDC

* * *

For what reason can it be that you should seem so dear apart from you who else appeals forever and holds my love EM


Yamazaki Sokan (1464–1552)

koe nakaba / sagi koso yuki no / hitotsurane

If only noiseless they would go, The herons flying by Were but a line of snow Across the sky CHP

tsuki ni e o / sashitaraba yoki / uchiwa kana

O Moon! —if we Should put a handle to you, What a fan you'd be! HGH

te o tsuite / uta moshiaguru / kawazu kana

hands to the floor offering up a song the frog ... WJH

* * *

O thou obsequious frog, With hands spread on the ground, And croaking flatteries of such solemn sound. CHP

waga oya no / shinuru toki ni mo / he o kokite

Even at the time When my father lay dying I still kept farting. DK


Arakida Moritake (1472–1549)

rakka eda ni / kaeru to mireba / kocho kana

A fallen blossom returning to the bough, I thought — But no, a butterfly. SDC

aoyagi no / mayu kaku kishi no / hitai kana

Green willows Paint eyebrows on the face of the cliff CAC

asagao ni / kyo wa miyuran / waga yo kana

My span of years Today appears A morning-glory's hour. CHP


Matsunaga Teitoku (1571–1653)

mina hito no / hirune no tone ya / natsu no tsuki

For all alike the cause of noontime napping is the summer moon EM

setsugekka / ichido ni miyuru / utsugi kana

It lets one see Snow, moon, and blossoms —all at once, oh, utsugi! HGH

kesa taruru / tsurara ya yodare no / ushi no toshi

This morning, how Icicles drip! — Slobbering Year of the Cow! HGH


Matsue Shigeyori [Ishu] (1596–1670)

yaa shibaraku / hana ni taishite / kane tsuku koto

Hey there, wait a moment, Before you strike the temple bell At the cherry blossoms. DK


Yasuhara Teishitsu (1609–1673)

kore wa kore wa / to bakari hana no / yoshino yama

Uttering only "Oh! Oh! Oh!" I roam over Yoshino hill ablow. IN

* * *

Look at that! and that! Is all I can say of the blossoms At Yoshino Mountain. DK


Nishiyama Soin (1605–1682)

ikani ikani / hana mo koyoi no / tsuki ichirin

No, no, not even the cherry blooms, can equal the moon of tonight. AM

sake hitotsu / nodo toru ma ni / tsuki idete

While a shot of sake passes the throat, the moon appears HS

hototogisu / ikani kijin mo / tashika ni kike

'Tis the cuckoo — Listen well! How much soever gods ye be! WGA

yo no naka ya / chocho tomo are / kaku mo are

Life Is like a butterfly Whatever it is. AK


Ihara Saikaku (1642–1693)

kokoro koko ni / naki ka nakanu ka / hototogisu

Is my mind elsewhere Or has it simply not sung? Hototogisu DK

tai wa hana / wa minu sato mo ari / kyo no tsuki

Villages may lack Sea bream or flowers but they all have tonight's moon. AK

Yoshiwara de / budo shori o / ezaru koto

In the Yoshiwara The way of the warrior Cannot conquer IMo

ukiyo no tsuki / misugoshini keri / sue ninen

I have gazed at it now For two years too long — The Moon of the Floating World. IMo

* * *

I had two last years of extra gazing at The moon of the Floating World. AK


Yamaguchi Sodo (1642–1716)

me ni wa aoba / yama hototogisu / hatsugatsuo

A view of greenery, a wild cuckoo, the first bonito EGS

yado no haru / nani mo naki koso / nani mo are

In my hut this spring, There is nothing – There is everything! RHB

ume no kaze / haikai koko ni / sakan nari

A plum scented wind In the land of haikai Blows triumphant. DK


Ichikawa Danjuro I (1660–1704)

shigamitsuku / satogo ya toko no / kirigirisu

Is it a foster child clinging to me? The cricket in my bedding. LK


Kitamura Kigin (1623–1705)

natsuyase to / kotaete ato wa / namida kana

"Oh my thinness is caused by summer heat," I answered, and burst into tears. AM

* * *

"Summer thinness dear," I replied to him, and then could not check a tear. KY


HojoDansui (1662–1711)

miyuki ni mo / amigasa nuganu / kagashi kana

The scarecrow does not uncover Even to His Imperial Majesty. AM


Matsuo Basho (1644–1694)

basho uete / mazu nikumu ogi no / futaba kana

Having planted a plantain, at once / hate two stalks of reed HS

I plant a banana tree But first see only two stalks Of dreaded weeds. AK

* * *

by my new banana plant the first sign of something I loathe – a miscanthus bud MU

kareeda ni / karasu no tomari keri / aki no kure

On dead branches crows remain perched at autumn's end HS

* * *

on a barren branch a raven has perched — autumn dusk WJH

* * *

On a leafless bough A crow is sitting: —autumn, Darkening now — HGH

furuike ya / kawazu tobikomu / mizu no oto Old Pond — frogs jumped in — sound of water LH

* * *

A lonely pond in age-old stillness sleeps ... Apart, unstirred by sound or motion ... till Suddenly into it a lithe frog leaps. CHP

* * *

The quiet pond A frog leaps in, The sound of water EGS

* * *

old pond ... a frog leaps in water's sound WJH

Th'old pond —a frog jumps in. Kerplunk! AG

* * *

frog pond ... a leaf falls in without a sound BLE

inazuma ni / satorenu hito no / totosa yo

A flash of lightning but still benighted Oh worthy man! FB

horohoro to / yamabuki chiru ka / taki no oto

Do the yellow-rose petals Tremble and fall At the rapid's roar? NGS

umi kurete / kamo no koe / honoka ni shiroshi

The waters fade and the wild ducks' cries are faintly white JBe

hiru neburu / aosagi no mi no / totosa yo

sleeping at noon the body of the blue heron poised in nobility EM

shizukasa ya / iwa ni shimiiru / semi no koe

How still it is! Stinging into the stones, The locusts' trill. DK

* * *

Quietness: seeping into the rocks, the cicada's voice HS


(Continues...)

Excerpted from The Classic Tradition of Haiku by FAUBION BOWERS. Copyright © 1996 Faubion Bowers. Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

Foreword
Acknowledgments to Translators
Iio Sogi
Socho
Yamazaki Sokan
Arakida Moritake
Matsunaga Teitoku
Matsue Shigeyori [Ishu]
Yasuhara Teishitsu
Nishiyama Soin
Ihara Saikaku
Yamaguchi Sodo
Ichikawa Danjuro I
Kitamura Kigin
Hojo Dansui
Matsuo Basho
Takarai Kikaku
Hattori Ransetsu
Mukai Kyorai
Kosugi Issho
Ochi Etsujin
Shida Yaba
Kagami Shiko
Tachibana Hokushi
Nozawa Boncho
Yamamoto Kakei
Ogawa Haritsu
Sanboku
Kawai Otokuni
Anonymous
Den Sute-jo
Uejima Onitsura
Chigetsu
Shofu-ni
Ogawa Shushiki
Takeda [Tome] Uko-ni
Kaga no Chiyo
Hayano Hajin
Gozan
Tan Taigi
Yagi Shokyu-ni
Yosa Buson
Oshima Ryota
Tagami Kikusha-ni
Kobayashi Issa
Otomo Oemaru
Ichikawa Danjuro V
Sakurai Baishitsu
Kubota Seifu-jo
Masaoka Shiki
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