School of Haiku
As you have seen, the inspiration for a haiku is one job that may be more complicated than you had expected. Still if you are reading this, it means you have figured it out.
Now comes the next big job - writing your inspiration into a haiku. Before we get to actual pen and paper there are a few things I want you to understand about haiku.
The haiku in Japan and the haiku of the rest of the world are almost two different genres. Though the haiku written in languages not Japanese have various common aspects, the Japanese haiku has a set of parameters not possible in other languages and cultures.
Many people, when they learn even the most basic information about haiku, believe it should consist of seventeen syllables divided into three lines. You can take up this rule as one for your work if you wish, as a great number of people have done, but the method has several major problems with it for us which you should carefully consider.
There have been authorities who have advanced various theories on guidelines we should follow in English that involve counting the beats in the haiku or the stresses so that we are all using the very same arrangement. If you wish to investigate this method (and if you understand beats in language and how stresses are viewed) you can follow a system of two beats / three beats / two beats.
One of the major markers of an English-Lanuage haiku are the three lines. If we do not count syllables we still need to show this form. I feel the use of the guideline to have one short line, one longer line and one short line does keep the haiku shape. It is interesting to note how many 'haiku' published these days fail to keep the shape.
If you can, find one (or more!) and then rewrite the haiku back into the haiku shape. I fieel that the haiku becomes stronger, in looks and meaning when this is done.
For example one of my haiku::
I wish I had written this with the correct form as:
an invisible heart
Find other haiku, either yours or those written by someone else, and began switching the lines arround. See which version pleases you, or not. Later when we get into the techniques of haiku you may find the names for what you are feeling.
Before I finish with this lesson, I want to say a word about what are often called "one-line haiku." Because the Japanese often write their haiku in one line, some English writers try to emulate this practice also.
One can write any haiku in one line:
an invisible heart made of wood and stone a home
but I feel that we are so used to reading a sentence with one swoop of the eyes, that we tend then to read the haiku as a sentence when it really is not. When the lines are broken up (they do this in the same way a Japanese person recognizes the phrases in their haiku), the reader can form an image of the first phrase in the time it takes for their eyes to swing from the right margin to the left. Also having each image on a line invites the reader to move them around just as you did in the previous exercise. Often this changing the relationship of images will cast new or other conclusions or messages from the haiku.
One-line haiku are 'dangerous' to new haiku writers because it is still too easy just to write a sentence. A haiku must be made of two parts and we will discuss that next.
Page and Materials Copyright © Jane Reichhold 2001.
Please give credit when borrowing.