How many syllables in feel
How many syllables in feel?
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Syllables Synonyms Rhymes
163827459 syllable
Divide feel into syllables: feel
Syllable stress: feel
How to say feel: feel syllables
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Syllables Synonyms Rhymes
Synonyms for feel
1 syllable
- air hear the syllables in air
- flair hear the syllables in flair
- sense hear the syllables in sense
- taste hear the syllables in taste
- touch hear the syllables in touch
- deem hear the syllables in deem
- Ring hear the syllables in ring
- stroke hear the syllables in stroke
- think hear the syllables in think
2 syllables
- believe hear the syllables in believe
- feeling hear the syllables in feeling
- handle hear the syllables in handle
- suspect hear the syllables in suspect
- caress hear the syllables in caress
- finger hear the syllables in finger
- suffer hear the syllables in suffer
- texture hear the syllables in texture
3 syllables
- ambiance hear the syllables in ambiance
- consider hear the syllables in consider
- intuit hear the syllables in intuit
- undergo hear the syllables in undergo
- atmosphere hear the syllables in atmosphere
- impression hear the syllables in impression
- sensation hear the syllables in sensation
4 syllables
- be aware of
- experience hear the syllables in experience
- consistency hear the syllables in consistency
6 syllables
- be of the opinion
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Syllables Synonyms Rhymes
What rhymes with feel
1 syllable
- Beal hear the syllables in beal
- ceil hear the syllables in ceil
- creel hear the syllables in creel
- deil hear the syllables in deil
- feil hear the syllables in feil
- he'll hear the syllables in he'll
- heel hear the syllables in heel
- keele hear the syllables in keele
- Kiel hear the syllables in kiel
- leal hear the syllables in leal
- mele hear the syllables in mele
- neel hear the syllables in neel
- peal hear the syllables in peal
- Peele hear the syllables in peele
- seal hear the syllables in seal
- she'll hear the syllables in she'll
- skeel hear the syllables in skeel
- spiel hear the syllables in spiel
- steal hear the syllables in steal
- Steele hear the syllables in steele
- teal hear the syllables in teal
- tuille hear the syllables in tuille
- we'll hear the syllables in we'll
- Weil hear the syllables in weil
- wheel hear the syllables in wheel
- Beall hear the syllables in beall
- cele hear the syllables in cele
- deal hear the syllables in deal
- eel hear the syllables in eel
- gilles hear the syllables in gilles
- heal hear the syllables in heal
- keel hear the syllables in keel
- kiel hear the syllables in kiel
- kneel hear the syllables in kneel
- meal hear the syllables in meal
- Neal hear the syllables in neal
- Neil hear the syllables in neil
- peel hear the syllables in peel
- reel hear the syllables in reel
- seel hear the syllables in seel
- shiel hear the syllables in shiel
- speel hear the syllables in speel
- squeal hear the syllables in squeal
- steel hear the syllables in steel
- streel hear the syllables in streel
- teel hear the syllables in teel
- veal hear the syllables in veal
- weal hear the syllables in weal
- wheal hear the syllables in wheal
- zeal hear the syllables in zeal
2 syllables
- abele hear the syllables in abele
- appeal hear the syllables in appeal
- Camille hear the syllables in camille
- chiel hear the syllables in chiel
- congeal hear the syllables in congeal
- Emil hear the syllables in emil
- fiel hear the syllables in fiel
- lucille hear the syllables in lucille
- O'Neill hear the syllables in o'neill
- ordeal hear the syllables in ordeal
- repeal hear the syllables in repeal
- reveal hear the syllables in reveal
- Scheele hear the syllables in scheele
- unseal hear the syllables in unseal
- anneal hear the syllables in anneal
- Brasil hear the syllables in brasil
- cecile hear the syllables in cecile
- conceal hear the syllables in conceal
- diel hear the syllables in diel
- Emile hear the syllables in emile
- genteel hear the syllables in genteel
- neela hear the syllables in neela
- oneill hear the syllables in oneill
- real hear the syllables in real
- reseal hear the syllables in reseal
- Riel hear the syllables in riel
- teelseed hear the syllables in teelseed
3 syllables
- Adriel hear the syllables in adriel
- ideal hear the syllables in ideal
- reelable hear the syllables in reelable
- unreal hear the syllables in unreal
- corneal hear the syllables in corneal
- puerile hear the syllables in puerile
- surreal hear the syllables in surreal
4 syllables
- automobile hear the syllables in automobile
- unsealable hear the syllables in unsealable
- resealable hear the syllables in resealable
6 syllables
- appealability hear the syllables in appealability
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How many syllables in feeling?
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Syllables Synonyms Rhymes
186539274 syllables
Divide feeling into syllables: feel-ing
Stressed syllable in feeling: feel-ing
How to pronounce feeling: fee-ling
How to say feeling: feeling syllables
Cite This Source
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Syllables Synonyms Rhymes
Synonyms for feeling
1 syllable
- air hear the syllables in air
- heart hear the syllables in heart
- love hear the syllables in love
- sense hear the syllables in sense
- view hear the syllables in view
- feel hear the syllables in feel
- hunch hear the syllables in hunch
- mood hear the syllables in mood
- stab hear the syllables in stab
2 syllables
- aura hear the syllables in aura
- concern hear the syllables in concern
- flavor hear the syllables in flavor
- judgment hear the syllables in judgment
- belief hear the syllables in belief
- fervor hear the syllables in fervor
- inkling hear the syllables in inkling
- regard hear the syllables in regard
3 syllables
- affection hear the syllables in affection
- atmosphere hear the syllables in atmosphere
- emotion hear the syllables in emotion
- idea hear the syllables in idea
- opinion hear the syllables in opinion
- reaction hear the syllables in reaction
- sentiment hear the syllables in sentiment
- sympathy hear the syllables in sympathy
- ambiance hear the syllables in ambiance
- attachment hear the syllables in attachment
- forewarning hear the syllables in forewarning
- impression hear the syllables in impression
- point of view
- sensation hear the syllables in sensation
- suspicion hear the syllables in suspicion
- undertone hear the syllables in undertone
4 syllables
- compassionate hear the syllables in compassionate
- gut reaction
- premonition hear the syllables in premonition
- undercurrent hear the syllables in undercurrent
- delicacy hear the syllables in delicacy
- intuition hear the syllables in intuition
- presentiment hear the syllables in presentiment
5 syllables
- consideration hear the syllables in consideration
- sensitivity hear the syllables in sensitivity
- sensibility hear the syllables in sensibility
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Syllables Synonyms Rhymes
What rhymes with feeling
1 syllable
- seels hear the syllables in seels
2 syllables
- ceiling hear the syllables in ceiling
- Ealing hear the syllables in ealing
- healing hear the syllables in healing
- keeling hear the syllables in keeling
- mealing hear the syllables in mealing
- reeling hear the syllables in reeling
- seeling hear the syllables in seeling
- squealing hear the syllables in squealing
- wheeling hear the syllables in wheeling
- dealing hear the syllables in dealing
- ealing hear the syllables in ealing
- heling hear the syllables in heling
- kneeling hear the syllables in kneeling
- peeling hear the syllables in peeling
- sealing hear the syllables in sealing
- shieling hear the syllables in shieling
- stealing hear the syllables in stealing
3 syllables
- annealing hear the syllables in annealing
- concealing hear the syllables in concealing
- repealing hear the syllables in repealing
- unfeeling hear the syllables in unfeeling
- appealing hear the syllables in appealing
- darjeeling hear the syllables in darjeeling
- revealing hear the syllables in revealing
4 syllables
- unappealing hear the syllables in unappealing
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Words "feeling" morphological and phonetic analysis
Explanation of the rules for dividing (breaking down) the word "feeling" into syllables for transfer.
The Soosle.ru online dictionary will help: parse the word “ feeling ” phonetically and morphologically by composition, correctly divide into syllables according to the rules of the Russian language, highlight parts of the word, put stress, indicate the meaning, synonyms, antonyms and compatibility for the word “ feeling ".
Content:
- 1 Syllables in the word "feeling" division into syllables
- 2 How to transfer the word "feeling"
- 3 Morphological analysis of the word "feeling"
- 4 Analysis of the word "feeling" by composition
- 5 Synonyms of the word "feeling"
- 6 Antonyms of the word "feeling"
- 7 Stress in the word "feeling"
- 8 Phonetic transcription of the word "feeling"
- 9 Phonetic analysis of the word "feeling" into letters and sounds (Sound-letter)
- 10 Sentences with the word " feeling"
- 11 Matches of the word “feeling”
- 12 Meaning of the word “feeling”
- 13 Declension of the word “feeling” by signs
- 14 How to spell the word “feeling”
- 15 Associations to the word “feeling” 9004 С logs word "feeling" division into syllables
Number of syllables: 2
By syllables: feeling
According to the rules of the school curriculum, the word "feeling" can be divided into syllables in different ways.
Variability is allowed, that is, all options are correct. For example, like this:
feelingAccording to the program of the institute, syllables are distinguished on the basis of ascending sonority:
feelingThe types of syllables are listed below and the division is explained taking into account the program of the institute and schools with in-depth study of the Russian language.
- chu - initial, covered, open, 2 letters
- vstvo - final, covered, open, 5 letters0067
- 7
h
1 - 6
U
2 - 5
in
3 - 4
C
4 - 3
T
5 - 2 9000
-
Humor
-
Self -preservation
-
Excess
-
sixth
-
015
Until now
- Syllables in Russian can consist of a different number of letters, in contrast to Japanese, in which almost all syllables are the same length. Therefore, a haiku of 17 syllables in Russian can be much longer than a similar Japanese one, thus violating the concept of deeply describing an image with several sounds. As mentioned, the 5-7-5 form is no longer considered mandatory, but this is not specified in the school curriculum, and most students learn haiku based on conservative standards.
- When composing a haiku, if you cannot decide on the number of syllables, then refer to the Japanese rule that haiku should be read in one breath. This means that the length of haiku in Russian can vary from 6 to 16 syllables. For example, read Kobayashi Issa's haiku translated by V.
Markova: - Oh, don't trample the grass! Fireflies shone there Yesterday at night.
-
Use a haiku to compare two ideas. Japanese word kiru , which means cutting, refers to the very important principle of breaking a haiku into two parts. These parts should not depend on each other grammatically and figuratively.
- In Japanese, haiku are often written in one line, and contrasting ideas are separated by kireji , or cutting word, which helps to define ideas, the relationship between them and give the poem grammatical completeness. Usually kireji is placed at the end of the audio phrase. Due to the lack of a direct translation, kireji in Russian is denoted by a dash, ellipsis, or simply by meaning. Notice how Buson separated the two ideas in one of his haiku:
- I hit with an ax and froze... What a scent wafted in the winter forest!
- Haiku is usually written in three lines in Russian.
Matched ideas (of which there should be no more than two) are "cut" by the end of one line and the beginning of another, or by punctuation marks, or simply by a space. Here is how it looks like in the example of the Russian translation of Buson's haiku: - Plucked peony - And I stand as lost. Evening hour
- One way or another, the main thing is to create a transition between the two parts, as well as to deepen the meaning of the poem by adding the so-called "internal comparison". Successfully creating such a two-part structure is one of the most difficult tasks in haiku writing. Indeed, for this it is necessary not only to avoid too obvious, banal transitions, but also not to make this transition completely indefinite.
- In Japanese, haiku are often written in one line, and contrasting ideas are separated by kireji , or cutting word, which helps to define ideas, the relationship between them and give the poem grammatical completeness. Usually kireji is placed at the end of the audio phrase. Due to the lack of a direct translation, kireji in Russian is denoted by a dash, ellipsis, or simply by meaning. Notice how Buson separated the two ideas in one of his haiku:
-
Concentrate on some acute experience. Haiku traditionally focuses on the details of the setting and environment related to the human condition.
Haiku is something like contemplation, expressed as an objective description of images or sensations, not distorted by subjective judgments and analysis. Use the moments when you notice something that you immediately want to draw the attention of others to write haiku. - Japanese poets have traditionally tried to convey, through haiku, fleeting images of nature, such as a frog jumping into a pond, raindrops falling on leaves, or a flower blown by the wind. Many people go on special walks, known in Japan as ginkgo walks, to find inspiration for composing haiku.
- Modern haiku do not always describe nature. They can also have completely different themes, such as the urban environment, emotions, relationships between people. There is also a separate subgenre of comic haiku.
-
Include mention of the seasons. Mention of the seasons or their change, or "seasonal word" - kigo in Japanese, has always been an important element of haiku.
Such a reference may be direct and obvious, that is, a simple mention of the name of one or more seasons, or it may take the form of a subtle allusion. For example, the poem may mention the flowering of wisteria, which, as you know, happens only in summer. Notice the kigo in the following haiku by Fukuda Chie-ni: - Bindweed wrapped around the night Around the tub of my well... I'll take water from a neighbor!
-
Create a story transition. Following the principle of juxtaposing two ideas in a haiku, use perspective shifts when describing a chosen topic to divide the poem into two parts. For example, you describe how an ant crawls on a log, then contrast this picture with a larger image of the entire forest, or, for example, the time of year in which the described scene takes place. Such a comparison of images gives the poem a deeper metaphorical meaning than a one-sided description. As an example, let's take Vladimir Vasiliev's haiku:
- Indian summer… Over the Street Preacher Children are laughing.
Use the language of feelings
Become a Haiku Poet
-
Look for inspiration. Step out of the house in search of inspiration following ancient traditions. Go for a walk, concentrating on your surroundings. What details stand out to you? Why are they remarkable?
- Always carry a notepad with you so you can write down the lines that pop into your head. After all, you will not be able to predict at what moment a pebble lying in a stream, a rat running along the rails, or whimsical clouds flying across the sky will inspire you to write another haiku.
- Read other authors' haiku. The brevity and beauty of this genre has served as a source of inspiration for thousands of poets from all over the world. Reading other people's haiku will help you become familiar with the various techniques of the genre, as well as inspire you to write your own poetry.
-
Practice. Like any other art form, haiku requires practice.
The great Japanese poet Matsuo Basho once said, "Repeat your poems aloud a thousand times." Therefore, rewrite your poems as many times as necessary to achieve perfect expression of your thoughts. Remember that you don't have to follow the 5-7-5 form. Also remember that haiku written according to literary standards must include kigo, a two-part form, and also create an objective picture of reality in the language of sensation. Communicate with other poets. If you are seriously interested in haiku poetry, then you should join a club or community of lovers of this genre. There are such organizations all over the world. It is also worth subscribing to a haiku magazine or reading haiku magazines online to help you become more familiar with the structure of haiku and the rules for composing them.
- Haiku is also called "unfinished" poetry. This means that the reader must himself, in his soul, finish the poem.
- Some modern authors write haiku that are small fragments of three or fewer words.
- Haiku has its roots in haikai no renga, a genre of poetry in which poems were composed by groups of authors and were hundreds of lines long. The haiku, or the first three lines of the renga poem chain, indicated the season and contained the word "cutting" (which is why haiku is sometimes erroneously called haiku). Having become an independent genre, haiku continues this tradition.
- Indian summer… Over the Street Preacher Children are laughing.
- Dictionary,
- Notepad,
- Preferably a computer with a text editor.
- Reflect on the main subject of your short literary work. Write down in a notebook the words that are associated with it.
- Break all your thoughts into three parts - three lines. In the first, label the scene, then expand the description by adding your feelings and observations. Add movement. Keep it as simple as possible - this is one of the main rules for writing haiku.
- Now polish your three-line haiku: the first and third lines should consist of five syllables, the second - of seven. When answering the question of how to write haiku, the most important thing is to have a sufficient vocabulary (in your head or use dictionaries).
Learn more
How to transfer the word “feeling”
Chi - the service
Feeling
Freak
Senste - in
Morphological analysis of the word “feeling”
Part of speech:
Name
Grammar :
part of speech: noun;
animation: inanimate;
genus: middle;
number: singular;
case: nominative, accusative;
answers the question: (is) What?, (see/blame) What?
5.
Impression
6. Feeling
7. Smak
8. Vice
9. Seeking
10. Tsenings
11. Rumor
12. Soul
13. Sentiment
14. Tact
. Tact .15. Exercises
16. Relations
17. Love
18. Consciousness
19. Passion
20. FEENT
21. Tender feeling
22. mood
23. Experience
24. Protects
25. Soul rush
26. Passion
27. Eros
28. Loveliness
29. Tender passion
30. Cardon tendency
31. Love-carrix
32. Antonyma word “The word“ feeling"
1. mind
2. mind
Stress in the word "feeling"
feeling - stress falls on the 1st syllable
Phonetic transcription of the word "feeling"
analysis of the word "feeling" into letters and sounds (Sound-letter)
Sounds: 2 vowels, 4 consonants.
Sentences with the word "feeling"
Anxiety and feeling guilt.
Source: VP Morochko, Stones and lightning (collection).
Pretty typical dialogue, isn't it? Now think: how do you feel about yourself? How much do you value yourself, do you have a sense of self-respect?
Source: Inga Valdins, The Secret of Wealth Attraction, 2010.
I have never experienced this feeling .
Source: Irina Krasotkina, Autotrainings.
compatibility of the word “feeling”
1. Strange feeling
2. Conflicting feelings
3. Strong feelings
4. Feeling guilt
5. SENTED OF THE COMOR
6. FEARS OF FAST
7. SENRAYS
8. from an excess of feelings
9. manifestation of feelings
10. feelings prompted
11. feelings aggravated
12. feeling disappeared
13. to feel a feeling
14.
to make someone feel
15. to make someone feel
16. (complete compatibility table)
FEELING, -a, cf. 1. The ability to feel, perceive the phenomena of objective reality. Sense organs. (Small Academic Dictionary, IAS)
Declension of the word "feeling" according to the terms
| Case | Question | Singular singular | Plural Mn. |
|---|---|---|---|
| Nominative Name. | what? | feeling | feeling |
| GenitiveGen. | what? | feelings | feelings |
| DativeDat. | what? | feeling | feeling |
| accusatoryWin. | what? | feeling | feeling |
| Creative TV. | what? | feeling | feelings |
| prepositional | about what? | Feeling | Feelings |
How the word “feeling” is written correctly
spelling “feeling”Correctly written: strangeness
Number of letters reverse order:
Associations for the word “feeling”
How many syllables must there be in haiku.
Rules for compiling and examples of haiku Home > Insulation > How many syllables should there be in haiku. Rules for compiling and examples of haiku
“... What I did not say
Stronger than what he said"
(Ruboko Sho)
Haiku is a national Japanese form of poetry, a genre of poetic miniature, simply, concisely, succinctly and reliably depicting nature and man in their indissoluble unity.
Traditional Japanese haiku is a 17-syllabic poem, written in one hieroglyphic column (line) and consisting of three rhythmic parts of 5-7-5 syllables. Internally, a haiku is divided, as a rule, into two semantic parts 12 + 5 or 5 + 12. Translations and haiku composed in other languages are usually written in three lines.
Sazaregani Asi Hainoboru Shimizu Kanna
Little crab
Ran on the leg.
Pure water.
(MATSUO BASHO)
As a rule, the smaller of these parts contains "kigo" - a seasonal word or phrase that makes it clear at what time of the year the verse takes place.
This can be a direct indication of the season - “autumn evening”, or a word that is “fixed” with one or another seasonal meaning, for example, “moon”, “irises”, “crab”, etc.
Haiku emerged as a genre in the process of developing a poetic game of adding alternating three lines and two lines, called "haikai no renga" (literally "comic renga"), later called "renku".
An important element of renku was the first three-line, called haiku (initial stanza). Hokku had special qualities compared to other stanzas in the chain: the presence of kigo, as well as "kireji" - a pause between two parts of a brevity. In addition, haiku had understatement, incompleteness, ambiguous interpretation, and thus encouraged the reader or participant in the addition of renku to co-create in the process of unfolding the chain of images.
Gradually, haiku began to be perceived as separate serious works and gave rise to an independent genre of haiku, which occupied one of the main places in Japanese poetry.
Today, haiku has won a huge number of fans around the world. They also write haiku in Russian. If you are also interested in this genre, then try to follow a few rules when writing haiku, given below.
Formal moments: number of syllables, kireji, kigo
Number of syllables and lines
The issue of the number of haiku syllables written in Russian (and others) has long been considered resolved. Russian syllables and sound units in Japanese are different things, you can only stick to the general layout of syllables, remembering, however, about brevity and conciseness. Write in three lines. Do not exceed the 5-7-5 formula by more than one and a half times, i.e. place no more than 10 syllables in each line and try to make one of the lines a little longer than the other two.
Seasonal words
After many years of long literary discussions and attempts to move away from the canon, most modern Japanese poets nevertheless agreed to recognize the obligatory presence of seasonal words in haiku.
In their opinion, kigo are necessary because they entail certain associations that significantly expand the semantic and emotional capacity of the poem. In addition, the tradition of using seasonal words was formed much earlier than haiku - in tanka poetry, and is an important part of Japanese artistic culture.
In our country, with its inherent difference in seasonal manifestations, there is not yet, and there cannot be a single dictionary of seasonal words, as is customary in Japan. However, it is still recommended to include in a haiku a word or a phrase denoting the state of nature at the moment described in the haiku. It is not the seasonal words themselves that are important, but the images they evoke. For example, “we plant potatoes” - late spring; "Bengal lights" - New Year, etc. At the same time, it is important to find precise and concise words that transfer the reader to the same situational space of action of the haiku that the author meant.
If you want to write about some exceptional natural phenomenon that is unique to your area, city or village, then write a haibun (a small prose sketch topped with a haiku), otherwise only those living next to you will understand you.
Cutting word
The separating word (kireji) has no analogues outside the Japanese language and is replaced by Russian punctuation marks - dash, comma, exclamation and question marks, colon, ellipsis. As for punctuation and punctuation in other parts of the haiku, only those punctuation marks can be used without which it is not possible to realize the poetic intention. Also, only lowercase letters are allowed.
Two-part
Don't write a haiku in three different sentences - a three-verse will look "torn" if there is a final syntactic break at the end of each line. Haiku should be read easily and naturally.
It is also not recommended to write a haiku in one complete sentence. Divide the haiku into two related parts, separating them with punctuation marks and semantic breakdown. Try not to use both parts of the verse to say the same thing: the farther the parts are separated from each other - with internal attraction to each other - the stronger the current will run from one pole of the verse to the other.
For example:
Indian summer…
over street preacher
laughing children
(VLADISLAV VASILIEV)
The eye sees a picturesque, slightly ironic scene, presented without pressure on the reader's perception, even with some mystery - the two parts of the verse are quite far apart, but looking closely, you can see the connecting threads that make the interline space sound: the warmth of Indian summer in the first line and the laughter of children in the third, Indian summer as the last island of the seasonal life of nature and the preacher as an intermediary between people and "truth". “Be like children” - comes to mind under the laughter of children ... Who comes to people and announces about the other world, about a better life, etc. at the moment when this world is still so good and enchanting in its last burst of warmth before the autumn cold, the flowering of herbs, the festival of the color of leaves that have not yet flown ...
Do not write too much, but do not cut off the right
Haiku has a minimum of words.
So each one means a lot. When creating a haiku, only the most necessary, accurate words are selected.
I go in the morning;
no footprints in the snow -
everything is behind.
(PAUL COOPER)
If you can do without a word in a haiku, try to do without it. Avoid repetition of words, word roots, meaning - any oil - unless it is a conscious idea.
It is said that haiku is a meeting place between the author and the reader. Such co-creation is possible only if both of them are in the same semantic and cultural field. What is understandable from a half-word to a person of one nation - and haiku all the time deals with "half-words" - may not be understandable to a person living in another country with other customs, habits, and traditions.
In the same way, it can turn out to be an empty net to describe the experience of a person from a different “emotional planet” than the reader. So if you want to write a haiku that other people can understand, first think about how to build a bridge from the image that appears in your imagination to the image that the potential reader should have.
Late autumn.
I think alone:
“How is my neighbor doing?”
(MATSUO BASHO)
Show, don't tell!
Draw a picture showing the bare minimum, but put a bit of semantic gunpowder into it. Focus on one or two interrelated details so that you can grab the end of the thread and unwind the entire ball. The reader himself must ask himself the question "Why?" or "Why?" and find the answer yourself.
To top it off
to all my sorrows
green grass...
(TANEDA SANTOKA)
First summer rain.
Opening and…
I fold my umbrella.
(FELIX TAMMY)
Referring again to Basho's haiku about the little crab:
Little crab
Ran on the leg.
Pure water.
“The spiritual unity of man and nature, the idea of a single essence of the world is revealed in the image of a small living creature - a crab that touched its leg. This image also creates an additional feeling of transparency, freshness and interacts with the image of pure water.
In the first two lines, the author's attention is focused on the image of a crab, and the space of the haiku is, as it were, compressed to a minimum. The last line pushes the boundaries of the depicted. The image contained in it speaks not only about the transparency of water, it also serves the purpose of removing the emotional content of haiku from the frame of the image of a single phenomenon into a plane that is not spatially limited.
The feeling should not be directly expressed in the outward appearance of the haiku; it is not described or even named, but only shown by its manifestations. The means of artistic expression play a significant role in creating an atmosphere that leads to the perception of this feeling. (T.B. Breslavets. "Poetics of Matsuo Basho").
Write about real events, not fictional ones, use simple words
No need to speak pompously, snobbishly, or use "words" that only you understand. Show everything as it is. But connect the images within the haiku so that they can hurt, touch the reader, make him think.
Imagine that you are the director of a motion picture, and all you have is three moments and images that can be shot without special effects; you also have smells, touches, heat, cold, pain - everything that can be felt with the senses ... How would you tell then. Or rather, they showed. For example, the fact that in the evening news came to you that your girlfriend left you, you didn’t sleep all night, and in the morning you went to burn dry fallen leaves on a fire in the yard - because you have nothing more to burn, you don’t even have letters left ?. .
Pain subsided by morning -
having calmed down, I burn near the house
autumn leaves...
(TIIDA DAKOTSU)
Or maybe it was the pain from a tooth or from an old wound? And it's possible. But it is up to the reader to decide which path to choose, you only need to draw this map of semantic roads in three lines...
Haiku was called the poetry of sincere feeling and deep thought in the Middle Ages.
In order to change the reader even for a second, to combine in three lines the eternal and the transient, the natural and the human, the lofty and the mundane - to say a lot through the little, while showing the close interconnection of everything that exists, a haiku must be able to thicken sensation, memory, feeling.
Such semantic concentration and precision can be achieved in several ways.
Do not chew, but keep silent
Important principles of haiku poetry are understatement, ambiguity and afterfeeling.
The author of the haiku does not name the feeling, but evokes it, pushing the reader to expand his chain of associations. At the same time, the created image must itself resonate with the consciousness (or subconscious) of the reader, without explanation and chewing. The effect caused by a haiku is comparable (according to Alexei Andreev) to the effect of an unfinished bridge: you can cross it to the “opposite shore” only by completing it in your imagination.
Intuitive penetration beyond the visible and tangible edge of the world is ensured thanks to the extremely precisely selected measure of understatement, emptiness around the specific strokes of the everyday shown in three lines of haiku.
The feeling that you want to convey should be, as it were, “poured” in the haiku itself, and not indicated by the words “what anguish”, “I feel so bad”, “love is gone”, “I fell into world sorrow”, etc.
And here she is again -
the one who once quietly said:
"Late autumn..."
(TAKAHAMA KYOSHI)
Haiku through words should lead to the gates of cognition, after which the words themselves become unnecessary and there is an internal pause of non-verbal intuitive cognition. Haiku, like poetry, uses the words of language to enter the space of non-language. (According to the doctrine of silence in Zen, which influenced haiku poetry, the word is an imperfect means of communication, it can only suggest, hint.)
I cook potatoes.
In the silent expanse of the Universe
baby crying...
(KAWAHIGASI HEKIGODO)
After reading, the reader must experience an emotional response, after which associations based on personal and possibly non-personal experience begin to unfold in a second wave.
Don't give the reader a ready-made Big Mac, let the ingredients of your haiku be fresh, full of natural energy, and let them combine only in the mind of the reader.
Full moon.
Whenever the one who scolded me,
Was with me today...
(ISSA)
and in the biggest house
no place
for plucked water lilies
(KONSTANTIN KARABCHEEV)
Use the technique of contrast and opposition -
objects, plans, phenomena, sensations...
Heavy bell.
And on its very edge
A butterfly is drowsing.
(BUSON)
drops on the roofs
transferred to the summer enclosure
hippos
(VYACHESLAV KANIN)
Stuck in a traffic jam.
Swims Slowly
White cloud.
(YURI RUNOV)
Autumn showers.
Accidentally stuck to a boulder
butterfly wing...
(TAKAHAMA KYOSHI)
Match, compare
Place related objects and phenomena nearby. Just forget about the words “like”, “as if”, “as if”, “similar” - just find those points in time and space where the coincidence happens by itself.
whitening in the park
tree trunks.
..
first mini
(OLEG TENGU)
Baring white teeth,
The monkey hoarsely screams ...
The moon rises over the mountain.
(TAKARAI KISAKU)
Through the Light Mist
the bright sun breaks through.
Padans on the ground...
(TIIDA DAKOTSU)
palm sunday
handing out
fluffy kittens
(OLEG TENGU)
With a flawed moon
late autumn geese became friends
at my pond...
(TIIDA DAKOTSU)
Figurative parallelism is a slightly complicated version of comparison: the connection of similar images in terms of emotional coloring.
The clouds lay
Between friends. Geese
Goodbye in the sky.
(MATSUO BASE)
IN MOUNTAIN VILLAGE
Nuns story
About the former service at the court ...
Deep snow all around.
(MATSUO BASHO)
Love Fervor -
going straight across the field,
spreading daisies...
(TAKAHAMA KYOSHI)
The year ends.
Cozy Curled Cat
on my lap...
(NATSUME SOSEKI)
General string reception
The second line can be read both from the first and from the third:
full moon
between balcony bars
cat muzzle
(LEONID POPOV)
There is also a similarity between the cat's face and the moon.
Broken glass
Along the brake lane
Rolling Leaves
(ANDREY SHLYAKHOV)
closed magazine
at the most interesting place
change
(LENA TALAEVA)
all night long
without moving
snow is falling
(ALEKSEY GROHOTOV)
Puns, use of homonyms, play on words
There are much fewer homonyms in Russian than in Japanese, but they can also be used. Only thoughtfully.
wind in the beds
grabbed on a live thread
a couple of cabbage girls
(A. GROKHOTOV)
Allusions, literary and cultural-historical associations
Dream or reality?
Fluttering in a handful
Butterflies.
..
(BUSON)
“Buson has a tangibly authentic feeling of a butterfly squeezed in a handful, but this particular butterfly can be perceived more broadly - as human life in general, and for a more prepared reader, the words “dream” and “butterfly”, placed side by side, will inevitably cause an association with the famous parable of Zhuangzi. Tom once dreamed that he was a butterfly, and when he woke up, he could not understand whether he was Zhuangzi who dreamed that he was a butterfly, or whether he was a butterfly who dreamed that she was Zhuangzi. Thus, the meaning of the poem expands more and more - so a stone thrown into the water leaves behind circles diverging to the sides on the water. (T. Sokolova-Delyusina. "Japanese poetry").
In the sea on stones Cut her legs:
Mermaid bay.
(NATALIA KHARAG)
The fact that the legs were injured not just in some kind of bay, but precisely in the Mermaid, immediately takes the specific event out of the experience of an individual person - Andersen's fairy tale is recalled .
.. "The Mermaid" is read as a cultural and historical reminiscence, i.e. is perceived as a device widely used in classical Japanese poetry. The verse is perceived naturally and easily - precisely because of the gracefully and lyrically executed appeal to the Cultural.
Outgoing spring
In Waka Bay
Caught up with.
(MATSUO BASE)
Waka Bay is especially beautiful in spring.
My own voice
back brings me
autumn whirlwind...
(FIND MEISETSU)
This verse refers to the haiku written by Basho, adding a new dimension to what the Banana Elder said:
I'll say the word -
Lips freeze.
Autumn whirlwind!
Unusual in the usual
Try to show the unusual in a familiar situation. Medieval Japanese haijins have many verses based on this principle, often accompanied by an exclamation, such as "and suddenly - wisteria color."
But before there was no
Near Fuji these mountains!
Clear autumn evening.
(TAKARAI KISAKU)
spring evening…
plane underlines
pink cloud
(KONSTANTIN MIKYTYUK)
The plane, as it were, draws the attention of a close viewer to the beauty of the cloud. But - as it were, this fact is presented neatly, through a "natural coincidence."
falling...
falling petals -
get up on your head!
(GRIGORY BORUKAEV)
Straight by lightning
barefoot peasant women walk -
flood field...
(TAKAHAMA KYOSHI)
Flies frolic.
Rays on ink pot
spring sun...
(FIND MEISETSU)
map in a puddle
in all countries
flood
(MARINA HAGEN)
“Fourth line”
Butterfly yellow
Fluttered away. It's time
To cook dinner.
(KITSUNE)
“Yellow butterfly…” Yellow is the color of separation. "... the butterfly ... flew away."
On the surface, a simple meaning - distracted, and now to work. But look at the fourth line - "it's time to fly away.
" Is it time for youth, games, love, life - everyone feels in their own way. This is volume (free variability of perception). Not without reason Kitsune left the word "it's time" on the second line. Punctuation marks are also important. They give the original natural reading. When the reader turns into a haiku reader, he begins to see the fourth line and all sorts of meanings (removing all punctuation when reading). Upon re-reading, the prepared reader will see another variation:
yellow butterfly
the time has flown away
cook dinner
Together with the butterfly flew away and "it's time to cook dinner." An amazing transformation of the adverb "it's time" into a noun.
Briefly about what not to do when writing haiku
1. Do not write in rhyme, it gives a sense of false completeness, and in haiku there is always an ajar and inviting door of innuendo.
2. Do not write instructively, grandiloquently or sententiously, do not give judgments.
3. Do not invent haiku "out of your head", do not operate with the immaterial, abstract, but make the surrounding world and your own experience, even if imaginary, the subject of haiku.
4. Don't try to explain something in a haiku, just show it.
5. Do not write aphorisms, imposing the only idea that you have.
6. Don't write a diary or a story about how I spent my summer.
7. Don't write about times other than the present, or write through the lens of the present - haiku should make it feel like events are unfolding before your eyes.
8. Try to avoid explicit metaphors, comparisons, personifications, etc. A metaphor is admissible if both its metaphorical and its literal reading are equally possible.
9. Reception for the sake of reception, prettiness for the sake of prettiness, etc. makes the haiku flat and devoid of immediacy. Wordplay, graphic tricks, etc. are good only if they are meaningful - as in any artistic text.
gate slammed
close at night
chamomile petals
(ETHEL JANOVA)
undressed
blew out
dandelions in a vase
(KONSTANTIN MIKYUTIK)
Sky Shards
Hastily Glued
Black branches.
(VALERIA APRELSKAYA)
Look for the secret. Unfinished bridge
When two intelligible images are compared or contrasted in a haiku - everything is clear with this, a bridge is built and allows us to pass from one visible space to another. But there are haiku in which only one shore is visible - the one from which everything begins, on which one end of the bridge stands. The other one is lost in the mysterious haze of the unspoken in the verse. We can only feel the depth and alluring beauty of being through the skillfully created interlines of haiku, but decompose the elusive aroma hovering around such a verse into its components - it’s not so easy, you can only breathe it in ... We must listen very intently, gently and deeply, almost meditatively to the world, to nature, to one's soul, and then, perhaps, it will be revealed to the beholder...
Fragrant dress
Thrown to the floor carelessly.
Spring twilight.
(BUSON)
Newspaper headlines
looking through thoughtlessly -
old man's spring.
..
(TAKAHAMA KYOSHI)
All day I was silent.
Went to the sea, looked -
tidal waves...
(TANEDA SANTOKA)
surf crashes.
girl with phone
looking at the water
(GLEB SEKRETTA)
And finally, one oriental parable, echoing haiku poetry.
The new imperial garden had been preparing for the opening for three years. Finally, all the work was completed, and the emperor invited all the nobility to admire the beauty of the garden.
Everyone was delighted and showered with compliments. But the emperor was interested in the opinion of Master Lin-chi, who was considered an unsurpassed connoisseur of this art form. When the emperor spoke to Ling-chi, everyone present turned around, and silence reigned. Lin-chi replied:
- Strange, but I do not see a single dry leaf. How can life exist without death? Because there are no dry leaves here, the garden is dead. I think it was swept very carefully this morning. Order to bring some dry leaves.
When the leaves were brought and scattered, the wind began to play with them. The rustle of leaves - and the garden came to life! Master said:
- Now everything is all right. Your garden is beautiful, but it was too well maintained.
Art becomes the greatest when it does not reveal itself.
Haiku (sometimes haiku) are short, non-rhyming poems that use the language of sensation to express emotions and images. Haiku are often inspired by the elements of nature, moments of beauty and harmony, or strong emotions experienced. The genre of haiku poetry was created in Japan, and later began to be used by poets all over the world, including Russia. After reading this article, you will be able to get to know haiku better, as well as learn how to compose haiku yourself.
Steps
Understanding the Structure of Haiku
Familiarize yourself with the sound structure of haiku. A traditional Japanese haiku consists of 17 ons, or sounds, divided into three parts: 5 sounds, 7 sounds, and 5 sounds.
In Russian, "he" is equated to a syllable. Since its inception, the haiku genre has undergone some changes, and today many haiku authors, neither Japanese nor Russian, adhere to the 17-syllable structure.
Choose a Haiku Topic
Japanese poetry. How to write in Japanese correctly.
So what is Japanese verse ?
Haiku (haiku) - three-line, first line 5 syllables, second 7, third 5 (allowed, but undesirable when the 3rd has fewer syllables).
The skill of haiku is considered to describe the moment in three lines. Salt of the moment, something like a photograph.
The first line answers the question "Where"? The second to the question "What"? third "When"?.
But it is not uncommon to have haiku without answering these age-old questions, especially when they are about feelings, states .
..
But it is still better to stick to the breakdown by syllables
Example:
Killed a spider,
And it got so lonely
In the cold of the night
Tanka is a very ancient form of Japanese poetry, literally "short song".
As a song, it originated a long time ago, in the first records that have come down to us, dating back to the 8th century, one can already distinguish very ancient and ancient songs, where the sound of the choir is heard. At the beginning, the tanka is the common property of the people. Even when the poet spoke about his own, he spoke for everyone.
The separation of the literary tank from the song element was very slow. It is still chanted to this day, following a certain melody. The moment of improvisation, poetic inspiration is closely connected with the tank, as if she herself was born on the crest of emotion.
Tanka is a long-liver in the world of poetry, in comparison with it the European sonnet is very young.
Its structure has been adjusted for centuries: not much is said in tanka, but just as much as necessary.
The metric system is simple. Japanese poetry is syllabic. Tanka consists of 5 verses . The first and third have 5 syllables, each of the others has seven: the tank is characterized by an odd number.
And, as a result of this, that slight deviation from the crystal-balanced symmetry that is so loved in Japanese art.
Neither the poem as a whole nor any of its constituent verses cannot be divided into two equal halves.
The harmony of the tank rests on an unstable and very mobile balance. This is one of the main laws of its structure, and it did not arise by chance.
Ancient poetry contained a great variety of constant epithets and fixed metaphors. A metaphor binds a state of mind to a familiar object or phenomenon and thereby communicates a visible, tangible concreteness and, as it were, stops in time.
Tears transform into pearls or crimson leaves (tears of blood).
Longing, separation is associated with a sleeve wet from tears. Sadness about the passing of youth is personified in an old cherry tree...
In a small poem, every word, every image counts, they acquire a special weight, significance. Therefore, symbolism was very important - the language of feelings familiar to everyone.
Tanka - small model of the world. The poem is open in time and space, poetic thought is endowed with extension. This is achieved in different ways: the reader must himself finish, think, feel.
Example:
I know myself.
That you are to blame for everything,
I don't think so.
The face expresses reproach,
But the sleeve is wet from tears.
***
You regret about him...
But regrets are not worth it
Our vain world.
Rejecting yourself,
Perhaps you will save yourself.
How to write poetry in Japanese style ?
Can you write haiku? Or maybe worth a try?
What is a haiku? The Literary Encyclopedic Dictionary tells us that:
Haiku is a genre of Japanese poetry: 17-complex three-verse (5 + 7 + 5).
In the 17th century, Matsuo Basho developed the formal and aesthetic principles of the genre ("sabi" - graceful simplicity, "shiori" - the associative creation of harmony of beauty, "hosomi" - depth of penetration). The improvement of the form is associated with the work of Taniguchi Buson, the democratization of the subject - Kobayashi Issa. At the end of the 19th century, Masaoka Shiki gave a new impetus to development by applying to them the principle of “sketches from nature” borrowed from painting.
Haiku is a feeling-sensation transferred into a small verbal picture-image.
Interesting fact! Many Japanese now use their cell phones to write poetry .
“Beware, the doors are closing,” and Tokyo subway riders are making themselves comfortable. And almost immediately mobile phones are pulled out of pockets and bags.
Classical Japanese Poetry [tanka, haiku, haiku] is clearly specified in both content and number of syllables,
but today's young poets use the traditional form and fill it with modern content.
And this shape is great for mobile phone screens.” (BBCRussian.com).
Start writing haiku! Feel the joy of creativity, the joy of conscious presence here and now!
And to make it easier for you, we offer you a kind of "master class" from famous haijins.
And the first class will be “led” by James W. Hackett (b. 1929; student and friend of Blyce, most influential Western haijin, champion of “Zen haiku” and “present-day haiku.” According to Hackett, haiku is an intuitive feeling “ things as they are", and this, in turn, corresponds to the manner of Basho, who introduced, as an important, immediacy of the present moment into haiku. For Haket, haiku is what he called "the path of living awareness" and "the value of every moment of life ").
Hacket's twenty (now famous) suggestions for writing haiku
(translated from English by Olga Hooper):
1. The source of haiku is life.
2. Normal, daily events.
3. Contemplate nature in close proximity.
Of course, not only nature. But haiku is first of all nature, the natural world around us, and only then we are in this world. That is why it is said, "nature". And human feelings will be seen and felt through the demonstration of the life of the natural world.
4. Identify yourself with what you write about.
5. Think alone.
6. Depict nature as it is.
7. Don't always try to write 5-7-5.
Even Basho broke the rule of "17 syllables". Secondly, the Japanese syllable and the Russian syllable are completely different in content and duration. Therefore, when writing (not in Japanese) or translating haiku, the 5-7-5 formula may be violated. The number of lines is also optional 3. It can be 2 or 1. The main thing is not the number of syllables or stanzas, but the SPIRIT of HAIKU - which is achieved by the correct construction of images.
8. Write in three lines.
9. Use plain language.
10. Assume.
Assume - means do not express completely and to the end, but leave something for further construction (by the reader).
Since the haiku are so short, it is impossible to paint a picture in them in all the details, but you can give, as it were, the main details, and the reader can guess the rest, based on this. It can be said that in a haiku only the external features of objects are drawn, only the most important (at the moment) characteristics of a thing/phenomenon are indicated - and the rest of the readers fill in their own imagination ... Therefore, by the way, a haiku needs a trained reader
11. Mention the season.
12. Haiku are intuitive.
13. Don't miss the humor.
14. Rhyme is distracting.
15. Life in its entirety.
16. Clarity.
17. Read your haiku out loud.
18. Simplify!
19. Let the haiku rest.
20. Remember Blyce's warning that "a haiku is a finger pointing to the moon."
According to the memoirs of Basho's students, he once expressed the following comparison: a haiku is a finger pointing to the moon. If a bunch of jewelry shines on the finger, then the viewer's attention will be diverted to these jewelry.
In order for the finger to show exactly the Moon itself, he does not need any decorations, because. without them, the attention of the audience will be directed exactly to the point where the finger points.
This is what Hackett recalls: haiku does not need any embellishments in the form of rhyme, metaphors, animation of natural things and phenomena, comparisons of them with something in human relations, comments or assessments of the author, and other similar “rings on the finger, pointing to the moon. The finger should be "clean", so to speak. Haiku is pure poetry.
Write a haiku! And your life will become brighter!
What's right?
First of all, which is correct: haiku or haiku?
If you do not go into subtleties, you can do this and that. Usually, when talking about haiku, they use the expression "ancient Japanese
I will not dwell on the fascinating history of haiku, describe how, as a result of the development of poetic competitions, traditional tanka demanded appearance of renga, from which haiku proper developed.
Interested people can find information about it in English on the Web (see the list of references at the end of the preface).0008
The Russian iambic tetrameter and other meters, which had become established in our country by the middle of the 18th century, replaced from Russian poetry the meters based not on the alternation of stressed and unstressed syllables within a single poetic line, but on the quantitative commensurability of the syllabic volumes of lines (length expressed in the number of syllables ). Such a system of versification is called syllabic.
Here is an example of a syllabic verse , which is easy to obtain by transforming the syllabo-tonic verse familiar to us:
My uncle, the most honest rules,
When he fell ill in earnest,
He forced himself to be respected
And he couldn't think of a better one.
At first glance, this quatrain is just a destroyed Pushkin verse . In fact, since ALL the words of the "original" were preserved in this "translation", the ordering of the verses is also preserved.
by the number of syllables - in each odd line there are 9 of them, in each even line - 8. Our hearing, accustomed to relying on stresses, does not notice this order, but this does not mean that the syllabic verse organically alien to us. As lieutenant Myshlaevsky said, "it is achieved by training."
Haiku/haiku is just a kind of syllabic poem. The rules for writing haiku are simple -
1. Each poem consists of three lines
2. The first and third lines have 5 syllables, the second - 7.
These rules are related to the verse form. They are the basis of the Garden of Divergent Haiku.
Japanese haiku, in addition, observed a number of rules related to the system of images, composition and vocabulary. They were built around kigo (words that directly or indirectly denote the seasons), were divided into two parts (2 first lines + 1 final) and connected a fleeting moment captured in a psychologically concrete experience and cosmic time. (Read what the specialist says about this - V.
P. Mazurik).
One can argue with this - after all, Russian words are not at all the same length as Japanese ones. Even for English haiku, it was proposed to lengthen the traditional lines, and in fact the Russian language is less economical than English. The trouble is that longer lines (for example, according to the 7 + 9 + 7 scheme), which are not supported by rhyme or internal arrangement of pauses or stresses, will hardly be recognized by ear. Usually, when translating haiku (or stylizing them), Russian authors ignore the syllabic principle, so they end up with just three-line free verse.
Practice a little and you will begin to distinguish five- and seven-syllable lines by ear. (Hint: try to chant each line slowly, syllable by syllable and not paying attention to stress.) And the conciseness of these lines will begin to save verbal resources. And you will hear haiku music, completely different from the sound of Russian verse how different the Japanese classical music by Mozart or Chopin.
Well, if you can't do without the usual forms, you can write haiku using regular sizes. After all, the 5 + 7 + 5 scheme also corresponds to the lines of "normal" iambs (My poor uncle! / He fell ill in earnest - / No longer breathing), trochees (Under my window / You covered yourself with snow, / Sakura is in bloom! .. - however, here I'm not sure about the accent), dactyls (Fly up like fires, / Blue nights of spring! / May Day), amphibrachs (At twelve o'clock / I look - rises / From the coffin a snitch) and - with some tension - anapaests ("Swing, hand" - / The paraplegic lamented, - / "Razzut your shoulder!").
And more related links:
. http://iyokan.cc.matsuyama-u.ac.jp/~shiki/Start-Writing.html
. http://www.faximum.com/aha.d/haidefjr.htm
. http://www.mlckew.edu.au/departments/japanese/haiku.htm
. http://www.art.unt.edu/ntieva/artcurr/japan/haiku.htm
. http://www.ori.u-tokyo.ac.jp/~dhugal/davidson.html
. http://www.ori.
u-tokyo.ac.jp/~dhugal/haikuhome.html
. http://www.zplace.com/poetry/foster/wazhaiku.html
What is the difference between haiku and haiku?
What is the difference between haiku and haiku?
Many have heard these 2 names. On the forum HAIKU-DO.com in the topic ABC HAIKU or "What is it?" found such different opinions on this matter:
Version 1:
...Yes, still, there is no difference between haiku and haiku - haiku is an older, outdated name of three lines, today the Japanese only say "haiku". This was recently explained to me by the Japanese poet and translator Osada Kazuya. It was he who translated some of my haiku into Japanese and published it in Hoppoken 2003 winter vol.122, page 92, emphasizing both the dignity and observance of the 5-7-5 form, and the principle of construction.
But from the communication on the sites, I realized that many people do not like the synonymy of “haiku and haiku”, and they passionately want to make some gradations in the definitions of quite well-established oriental forms of poetry.
The Japanese themselves do not have this division, so why should we, imitators, invent our own criteria. Personally, these philosophies of modern Russian-speaking “hikuists” seem to me too far-fetched. Why look for a black cat in a dark room - it is simply not there ...
I am publishing Yuri Runov's article in full, because she is interesting and knowledgeable. Enjoy reading!
I have written before that many do not understand about haiku and haiku that they are not synonyms. What I want to write about in more detail, and at the same time about where the haiku came from. In principle, many read something on this topic, but somewhere some significant points often slipped past the reader's consciousness, which gave rise to disputes, a struggle of conceit, and so on.
HAIKU HISTORY
The progenitor of haiku is known to be tanka - more specifically, its first three-line. I was surprised when I found out how early this division of the tank into three and two lines began.
It turns out that already the great tanka poet Saigyo took part in stringing stanzas - and this is the XII century. One poet wrote the first three lines, another added two lines to form a tanka, but at the same time both the couplet and the three-line had to be read as separate verses. Then the first poet or the third wrote the next three-line, which, with the previous couplet, would form the "reverse" tanka - i.e. first, a new three-verse was read and the previous two lines were added to it for a full tank. Then a new couplet, and so on. And even then, separate themes were assigned to individual stanzas in the collective work of poets.
There is a story when his acquaintances poets came to Saiga and complained that no one knew how to continue the chain of stanzas after this stanza dedicated to the war, the famous poetess of that time Hee no Tsubone: onion.
Here Saige himself wrote a new stanza:
He killed his heart in himself.
The hand made friends with the "ice blade",
Or is it the only light?
Why not haiku? Read now this stanza, adding after it the couplet of the poetess.
Here comes the tank...
Over the next few centuries, this stringing of stanzas became more and more popular and around the 16th century became a favorite entertainment of the literate population of the cities of Japan. But the more popular it became, the less poetry remained in it - writing renga became fun, where humor, ridicule, and various verbal tricks were appreciated. Therefore, this type of poetry began to be called haikai - i.e. humorous mix. At the beginning of the 17th century, the term haiku (a comical poem) also appeared, but then, however, it was forgotten for several hundred years. At this time, separate three-verses were already being written - not as part of the renga. There are even competitions to see who writes the most haiku in a certain period of time - for example, in a day. The results were phenomenal, but no one was particularly worried about the quality of such poems.
HOKKU
Then came Basho, who exalted "comic rhymes" to the level of deep poetry.
And here the differences between haiku and other types of three-verses begin to appear. Haiku is the opening verse of a renga, to which fairly strict rules were applied. He must have been connected with the season - because the renga were divided into seasons. It must necessarily be "objective", i.e. based on the observation of nature and was not supposed to be "personal" - for it was not a Basho or Ransetsu renga - but a collective work of poets. Complicating elements - metaphors, allusions, comparisons, anthropomorphism were also not allowed here. Etc. Exactly what haiku experts in the West consider to be the inviolable rules of haiku. This is where the confusion with haiku and haiku begins.
With all this, haiku had to carry a powerful aesthetic charge - to set the tone for the whole chain of stringed stanzas. They were written in advance for all possible seasons. Good haiku were very much appreciated, because they were difficult to write - real skill was required, and so many people wanted to write renga.
Then the first collections of haiku appeared - especially to meet the mass demand for the initial stanzas. Collections of internal three-line renga simply could not be written in advance - they were created only in response to the previous stanza in a real renga, and therefore there were never any collections of these stanzas, except in the rengas themselves.
HOKKU AND OTHER THREE LINES
But here you need to understand that all the great haiku masters took part in the creation of renga and wrote not only haiku but also inner verses of renga - which incredibly expanded the possibilities of three-line - there were three-line, which the poet was obliged to write in the first person, there were poems about human affairs and not about nature, both metaphors and anthropomorphization were allowed and used, becoming optional in many stanzas of kigo and kireji. In addition, haiku were composed both as diary entries, and as a gift from the poet to an acquaintance or friend, and as responses to various events.
Haiku-like verses could be used here, but also simple stanzas. And all this was united by the general concept of haikai poetry - which in a couple of centuries Shiki will replace with the term haiku revived by him. There is no way to write down in haiku this three-verse written by Basho when visiting an exhibition of his friend's drawings:
You are a so-so artist,
but this bindweed of yours -
he really is alive!
THE HAIKU IS PUTTING ON A STRAITJACKET
Since the first Western researchers dealt only with collections of haiku, they ignored all other types of three-verses and thus approved the rules of haiku as the rules of haiku. From this came the ridiculous restrictions imposed to this day on haiku by many authorities in the West. After all, some there still consider Issa an unbalanced rebel, whose deviations from the "haiku norms" only confirm their correctness, as exceptions confirm the rules. But Issa was not a rebel, he just went beyond haiku at times, but not haikai poetry - or haiku in a new terminology.
By the way, in his famous "Snail on the slope of Fuji" he, of course, does not look at the real snail on the slope of real Fuji, but at the snail on the layout of Fuji - the sacred mountain - installed in many Japanese temples - this is again not some thoughtful surrealistic poem - but a cute joke of a great haiku master. However, everyone is free to see in the verse whatever he wants, these are the rules of the game of haiku.
DOWN HOKKU:-)
In Russia, we are in an incomparably better position than in the West - in all our collections of haiku by great masters, there are not only haiku, but also verses from diaries, poetic offerings, three-verses from renga. That is why we never created these codes of laws for haiku. The only thing that we confuse is haiku and haiku - until now, on the websites of our enthusiasts, you can read "My Haiku", where there may not be a single poem at all that would have the right to be called haiku (there are no seasonal words, there is no kireji, but there are metaphor, etc.
). I would generally refuse the term haiku, as confusing the brains, and would leave one term - haiku. Hokku is only useful for writing renga. And there everything must be according to the rules, if we ourselves do not come up with new ones!
(s) Yuri Runov
Haiku is one of the best known and most widespread genres of Japanese poetry. True, not everyone can comprehend the meaning of short three-line poems, since they contain a deep connection between nature and man. Only very sensual and refined natures, who, moreover, are characterized by observation, can appreciate how beautiful and sublime these verses are. After all, haiku is just one moment of life, captured in words. And if a person has never paid attention to the sunrise, the sound of the surf, or the night song of a cricket, then it will be very difficult for him to feel the beauty and conciseness of haiku.
There are no analogues of haiku poetry in any poetry of the world. This is explained by the fact that the Japanese have a special worldview, a very authentic and original culture, and other principles of education.
By nature, the representatives of this nation are philosophers and contemplators. At the moments of the highest rise, such people give birth to poems known throughout the world as haiku.
The principle of their creation is quite simple and, at the same time, complex. The poem consists of three short lines , the first of which contains the initial information about the place, time and essence of the event. In turn, the second line reveals the meaning of the first, filling the moment with a special charm. The third line represents the conclusions, which very often reflect the author's attitude to what is happening, so they can be very unexpected and original. Thus, the first two lines of the poem are descriptive in nature, and the last conveys the feelings that the person saw inspired by what he saw.
Japanese poetry has rather strict rules for writing haiku, which are based on principles such as rhythm, breathing technique and language features . So, authentic Japanese haiku are created according to the 5-7-5 principle.
This means that the first and last line must have exactly five syllables, and the second line must have seven. In addition, the entire poem must consist of 17 words. Naturally, only people who not only have a rich imagination and an inner world devoid of conventions, but also a magnificent literary style, as well as the ability to succinctly and colorfully express their thoughts, can comply with these rules.
It should be noted that the 5-7-5 rule does not apply to haiku poems if they are written in other languages . This is due, first of all, to the linguistic features of Japanese speech, its rhythm and melodiousness. Therefore, haiku written in Russian can contain an arbitrary number of syllables in each line. The same goes for word count. Only the three-line form of the poem remains unchanged, in which there is no rhyme, but at the same time the phrases are built in such a way that they create a special rhythm, conveying to the listener a certain impulse that makes the person mentally draw a picture of what he heard.
There is another haiku rule , which, however, the authors adhere to at their own discretion. It lies in the contrast of phrases, when the living side by side with the dead, and the power of nature opposes the ability of man. However, it is worth noting that contrasting haiku have a much greater imagery and attractiveness, creating bizarre pictures of the universe in the imagination of the reader or listener.
Writing haiku doesn't require focused effort or concentration. The process of writing such poems does not occur by the will of consciousness, but is dictated by our subconscious. Only fleeting phrases, inspired by what they saw, can fully correspond to the concept of haiku and claim the title of literary masterpieces.
Haiku is a form of Japanese poetry. It is based on three lines. According to its rules, three lines of text are followed by a clear break, which in the Russian translation is sometimes enhanced by ellipsis.
How to write haiku in Russian? First of all, you should decide on a topic.
Usually this type of Japanese poetry is used to describe nature, everyday things and situations. Therefore, everything that surrounds us can be taken as the basis of haiku.
To write haiku we need:
