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haiku-silence [2009/10/14 14:20]
reflex_blue 		haiku-silence [2009/10/14 22:31] (текущий)
graf_mur
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-Angelee Deodhar, **====== Haiku Silence ====== +====== Haiku Silence ====== 
-**+===== Angelee Deodhar =====
  
 So much has been written about how to haiku that I wonder if there is anything really left to say. More and more books on the art and craft of haiku are being written, and there are innumerable websites expressing opinions and publishing haiku by the score. Some of these are conflicting in content and leave even experienced poets bewildered. So much has been written about how to haiku that I wonder if there is anything really left to say. More and more books on the art and craft of haiku are being written, and there are innumerable websites expressing opinions and publishing haiku by the score. Some of these are conflicting in content and leave even experienced poets bewildered.
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 Dr. Eric Amman, in describing haiku, used the term “wordless poem”. If something is wordless how do we communicate it? How do we convey the depth of feeling of that particular moment to someone far away in time and place? How then does a haiku, the wordless poem, work when put into words? Let us examine one of his own poems which leaves so much unsaid . . . Dr. Eric Amman, in describing haiku, used the term “wordless poem”. If something is wordless how do we communicate it? How do we convey the depth of feeling of that particular moment to someone far away in time and place? How then does a haiku, the wordless poem, work when put into words? Let us examine one of his own poems which leaves so much unsaid . . .
  
-<color blue>The names of the dead +<color blue>The names of the dead\\  
- +sinking deeper and deeper\\ 
-sinking deeper and deeper +
 into the red leaves </​color>​ into the red leaves </​color>​
  
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 Can haiku silence be expressed? Yes! Whenever I read a haiku which resonates for me, I ask, where did this originate? How has the person who wrote it communicated almost wordlessly that quietude? To illustrate this I will use two examples : Can haiku silence be expressed? Yes! Whenever I read a haiku which resonates for me, I ask, where did this originate? How has the person who wrote it communicated almost wordlessly that quietude? To illustrate this I will use two examples :
  
-summer stillness +<color blue>summer stillness\\  
-the play of light and shadow +the play of light and shadow\\  
-on the wind chimes +on the wind chimes</​color>​
-            —Peggy Willis Lyles, The Haiku Anthology+
  
-Quiet afternoon:​ +//Peggy Willis Lyles, The Haiku Anthology//​ 
-water shadows + 
-on the pine bark +<color blue>Quiet afternoon:\\  
-            —Anita Virgil, The Haiku Anthology+water shadows\\  
 +on the pine bark</​color>​ 
 + 
 +//Anita Virgil, The Haiku Anthology//
  
 Let us look at another example: Let us look at another example:
  
-stillness +<color blue>stillness\\  
-sand sifts through the roots +sand sifts through the roots\\  
-of a fallen tree +of a fallen tree</​color>​ 
-            —Con Van Dan Heuvel, The Haiku Anthology+ 
 +//Con Van Dan Heuvel, The Haiku Anthology//
  
 Here one can actually see how these haiku work, there is a silent communion of peace, because of the poets’ stillness we pause, beauty pervades our consciousness,​ so also the play of light on wind chimes or shadows on the bark of the tree and the sand sifting through the roots of the fallen tree bring to us timeless images. Here one can actually see how these haiku work, there is a silent communion of peace, because of the poets’ stillness we pause, beauty pervades our consciousness,​ so also the play of light on wind chimes or shadows on the bark of the tree and the sand sifting through the roots of the fallen tree bring to us timeless images.
  
-another year +<color blue>another year\\  
-the tallest trees shade +the tallest trees shade\\  
-the oldest headstones +the oldest headstones</​color>​ 
-            —DeVar Dahl, Volume XVII, June 2004, Haiku Canada Newsletter+ 
 +//DeVar Dahl, Volume XVII, June 2004, Haiku Canada Newsletter//
  
 Stillness is a prerequisite for any creative art but more so for haiku. It is interesting to note that although Basho was a renku master. He frequently went away to find himself. Was his journey to the interior just a travelogue, or was it more? Here are three excellent examples of tranquility and quietude, in the spirit of Basho: Stillness is a prerequisite for any creative art but more so for haiku. It is interesting to note that although Basho was a renku master. He frequently went away to find himself. Was his journey to the interior just a travelogue, or was it more? Here are three excellent examples of tranquility and quietude, in the spirit of Basho:
  
-summer +<color blue>summer\\  
-trickles noiselessly down +trickles noiselessly down\\  
-the moss-covered stone +the moss-covered stone</​color>​ 
-            —Christopher Herold, a path in the garden+ 
 +//Christopher Herold, a path in the garden// 
 + 
 +<color blue>​from winter storage\\  
 +the prow of a canoe\\  
 +entering sunlight</​color>​ 
 + 
 +//Jerry Kilbride, The Haiku Anthology//
  
-from winter storage +<color blue>​morning bird song-\\ ​ 
-the prow of a canoe +my paddle slips\\ ​ 
-entering sunlight +into its reflection</​color>​
-            —Jerry Kilbride, The Haiku Anthology+
  
-morning bird song- +//Michael Dylan Welch, The Haiku Anthology//
-my paddle slips +
-into its reflection +
-            —Michael Dylan Welch, The Haiku Anthology+
  
 Most of us are too busy churning out haiku trying to get published in one journal or another, sending in entries to contests or posting to various lists. It amazes me to see such frenetic activity. I agree with Zinovy when he writes, Most of us are too busy churning out haiku trying to get published in one journal or another, sending in entries to contests or posting to various lists. It amazes me to see such frenetic activity. I agree with Zinovy when he writes,
  
-On my palm +<color blue>On my palm\\  
-a lifeline wrinkled +a lifeline wrinkled\\  
-with future deadlines +with future deadlines</​color>​ 
-            —Zinovy Vayman,​Modern Haiku, Vol. XXXIII, No. 1, Winter- Spring, 2002+ 
 +//Zinovy Vayman,​Modern Haiku, Vol. XXXIII, No. 1, Winter- Spring, 2002//
  
 While it is good to learn by exchanging ideas about how to write better haiku and join discussion groups, for me the main aim of writing haiku is to get to the center of my silence. Although that silence may well be interrupted . . . While it is good to learn by exchanging ideas about how to write better haiku and join discussion groups, for me the main aim of writing haiku is to get to the center of my silence. Although that silence may well be interrupted . . .
  
-time to quit +<color blue>time to quit\\  
-I hear the bell +I hear the bell\\  
-before the bell +before the bell</​color>​ 
-            —LeRoy Gorman, Modern Haiku, Vol.33.2, Summer 2002+ 
 +//LeRoy Gorman, Modern Haiku, Vol.33.2, Summer 2002// 
 + 
 +<color blue>​silent prayer –\\  
 +the quiet humming\\  
 +of the ceiling fan</​color>​
  
-silent prayer – +//Lee Gurga, The Haiku Anthology//
-the quiet humming +
-of the ceiling fan +
-            —Lee Gurga, The Haiku Anthology+
  
 Does it mean that we should become hermits? No, not necessarily,​ but what will help is to develop a special quality of silent communion with oneself. Before one starts to put pen to paper, one must get quiet. It does not matter if we are commuting on a train, waiting in a doctor’s office, or at the airport. To write well we must bring our conscious selves into a state of silent graceful acceptance of everything around us. Here is a haiku which qualifies what I mean. Does it mean that we should become hermits? No, not necessarily,​ but what will help is to develop a special quality of silent communion with oneself. Before one starts to put pen to paper, one must get quiet. It does not matter if we are commuting on a train, waiting in a doctor’s office, or at the airport. To write well we must bring our conscious selves into a state of silent graceful acceptance of everything around us. Here is a haiku which qualifies what I mean.
  
-desert spring – +<color blue>desert spring –\\  
-nothing, nothing in the world +nothing, nothing in the world\\  
-but this full moon +but this full moon</​color>​ 
-            —William J. Higginson, Modern Haiku, Vol.33.2, Summer 2002+ 
 +//William J. Higginson, Modern Haiku, Vol.33.2, Summer 2002//
  
 The late Robert Spiess, a long time editor of Modern Haiku, in his “Speculations” has said, “Another reason for the brevity of haiku is that the more words the more distance, the more silence the more proximity.” With just a few words Harter, Clausen and Swede have skillfully captured that noiselessness in their haiku, The late Robert Spiess, a long time editor of Modern Haiku, in his “Speculations” has said, “Another reason for the brevity of haiku is that the more words the more distance, the more silence the more proximity.” With just a few words Harter, Clausen and Swede have skillfully captured that noiselessness in their haiku,
  
-meteor shower – +<color blue>meteor shower –\\  
-the glimmer +the glimmer\\  
-of the surf +of the surf</​color>​ 
-            —Penny Harter, Modern Haiku, Vol.33.2, Summer 2002+ 
 +//Penny Harter, Modern Haiku, Vol.33.2, Summer 2002// 
 + 
 +<color blue>​once\\  
 +everyone is gone . . .\\  
 +the clock</​color>​ 
 + 
 +//Tom Clausen, Albatross, Vol. V, No. 1, 1996//
  
-once +<color blue>​alone at last\\  
-everyone is gone . . . +i wonder where\\ ​ 
-the clock +everyone is</​color>​
-            —Tom Clausen, Albatross, Vol. V, No. 1, 1996+
  
-alone at last +//George Swede, The Haiku Anthology//
-i wonder where +
-everyone is +
-            —George Swede, The Haiku Anthology+
  
 Spiess also cautions us, “ Chuang Tzu said, ‘If you have insight, you use your inner eye, your inner ear, to pierce to the heart of things, and have no need of intellective knowledge.’ This is how haiku poets should proceed in their endeavours. “ Spiess also cautions us, “ Chuang Tzu said, ‘If you have insight, you use your inner eye, your inner ear, to pierce to the heart of things, and have no need of intellective knowledge.’ This is how haiku poets should proceed in their endeavours. “
  
-abandoned garden- +<color blue>abandoned garden-\\  
-following the scent +following the scent\\  
-of the hidden jasmine +of the hidden jasmine</​color>​
-            —Ion Codrescu, Mountain Voices+
  
-the long night . . . +//Ion Codrescu, Mountain Voices//
-a light rain +
-beats time on the cook pots +
-–Jim Kacian, Albatross, Vol. VII, No. 2, 1998+
  
-quiet evening, +<color blue>the long night . . .\\  
-a spider moves its shadow +a light rain\\  
-across the wall +beats time on the cook pots</​color>​ 
-            —Tom Clausen, Albatross, Vol. VII, No. 2, 1998+ 
 +//Jim Kacian, Albatross, Vol. VII, No. 2, 1998// 
 + 
 +<color blue>quiet evening,\\  
 +a spider moves its shadow\\  
 +across the wall</​color>​ 
 + 
 +//Tom Clausen, Albatross, Vol. VII, No. 2, 1998//
  
 Sri Ramana Maharshi said: ”Silence is never-ending speech. Vocal speech obstructs the other speech of silence. In silence one is in intimate contact with the surroundings. Language is only a medium for communicating one’s thoughts to another. Silence is ever speaking.” How well this is illustrated in this haiku: Sri Ramana Maharshi said: ”Silence is never-ending speech. Vocal speech obstructs the other speech of silence. In silence one is in intimate contact with the surroundings. Language is only a medium for communicating one’s thoughts to another. Silence is ever speaking.” How well this is illustrated in this haiku:
  
-temple yard    the sound    of stone buddhas +<color blue>temple yard \\    the sound  ​\\ ​  of stone buddhas</​color>​ 
-            —Stanford M. Forrester, still, ​ Vol.5, No.2, Spring 2001+ 
 +//Stanford M. Forrester, still, ​ Vol.5, No.2, Spring 2001//
  
 Here the poet is at peace with himself, with his surroundings,​ with the world at large and in that silence he too becomes a buddha. And so also in the next haiku, we experience tranquility,​ Here the poet is at peace with himself, with his surroundings,​ with the world at large and in that silence he too becomes a buddha. And so also in the next haiku, we experience tranquility,​
  
-silence +<color blue>silence\\  
-the snow-covered rock +the snow-covered rock\\  
-under winter stars +under winter stars</​color>​ 
-            —Bruce Ross, The Haiku Anthology+ 
 +//Bruce Ross, The Haiku Anthology//
  
 Let us go deep into our own space to discover what it is that we belong to. Let us go deep into our own space to discover what it is that we belong to.
  
-ikebana +<color blue>ikebana\\  
-the space +the space\\  
-where the lily was +where the lily was</​color>​ 
-            —Pamela Miller Ness, from the leaflet where the lily was+ 
 +//Pamela Miller Ness, from the leaflet where the lily was//
  
 One must embrace silence and solitude to realize its full potential. In the next two haiku one sinks into deep tranquility,​ One must embrace silence and solitude to realize its full potential. In the next two haiku one sinks into deep tranquility,​
  
-deep in this world +<color blue>deep in this world\\  
-of Monet water lilies . . . +of Monet water lilies . . .\\  
-no sound +no sound</​color>​
-            —Elizabeth Searle Lamb, Across the Windharp, Collected and New haiku+
  
-marble koi . . . +//Elizabeth Searle Lamb, Across the Windharp, Collected and New haiku// 
-the silence + 
-of lotus blossoms +<color blue>marble koi . . .\\  
-            —Pamela A. Babusci, Evergreen, Vol. X111, No. 5, May 2003+the silence\\  
 +of lotus blossoms</​color>​ 
 + 
 +//Pamela A. Babusci, Evergreen, Vol. X111, No. 5, May 2003//
  
 How can we fully feel a moment’s essence if the mind is jumping from one thought to another? In a state of alertness, true awareness cannot occur unless we are in a mode of stillness. John Stevenson’s haiku puts it so succinctly, How can we fully feel a moment’s essence if the mind is jumping from one thought to another? In a state of alertness, true awareness cannot occur unless we are in a mode of stillness. John Stevenson’s haiku puts it so succinctly,
  
-a useless novelty - +<color blue>a useless novelty -\\  
-each of us already has +each of us already has\\  
-a chattering skull +a chattering skull</​color>​ 
-            —John Stevenson, Modern Haiku, Vol. XXXII, No. 1 Winter-Spring 2001+ 
 +//John Stevenson, Modern Haiku, Vol. XXXII, No. 1 Winter-Spring 2001//
  
 Recently, on one of the kukai lists of which I am a member, I wrote to the webmaster that this time none of the haiku impressed me or brought an `aha’ moment, and he very gently reminded me that our response depends upon what we bring to a haiku. What a revelation it was! I had used my chattering skull instead of my silent self and missed appreciating the haiku. Therefore the reading of haiku and their appreciation also requires an alert passivity. Recently, on one of the kukai lists of which I am a member, I wrote to the webmaster that this time none of the haiku impressed me or brought an `aha’ moment, and he very gently reminded me that our response depends upon what we bring to a haiku. What a revelation it was! I had used my chattering skull instead of my silent self and missed appreciating the haiku. Therefore the reading of haiku and their appreciation also requires an alert passivity.
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 I end this simple essay with a haiku which I keep on my table to remind me to write in such a manner that I (the host) can, through haiku, share with you (my guest) as pure a silence as that of the white chrysanthemum . . . I end this simple essay with a haiku which I keep on my table to remind me to write in such a manner that I (the host) can, through haiku, share with you (my guest) as pure a silence as that of the white chrysanthemum . . .
  
-Silent communion +<color blue>Silent communion\\  
-Between the guest, +Between the guest,\\  
-The host, and the white chrysanthemum +The host, and the white chrysanthemum</​color>​ 
-            —Oshima Ryota+ 
 +//Oshima Ryota//
  
 I have specially used non-Japanese,​ contemporary English language haiku to emphasize the point I am making about Haiku Silence. There are so many other haiku which I could have quoted to illustrate Haiku Silence, but since space is limited, I invite each one of you who visit Simply Haiku to share your haiku silence with me. I have specially used non-Japanese,​ contemporary English language haiku to emphasize the point I am making about Haiku Silence. There are so many other haiku which I could have quoted to illustrate Haiku Silence, but since space is limited, I invite each one of you who visit Simply Haiku to share your haiku silence with me.
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 1. The Haiku Anthology, Cor van den Heuvel, ed. 3rd ed., W.W.Norton, 1999. 1. The Haiku Anthology, Cor van den Heuvel, ed. 3rd ed., W.W.Norton, 1999.
 2. Classic Haiku, A Master’s Selection, selected and translated by Yuzuru Miura. Charles E. Tuttle 2. Classic Haiku, A Master’s Selection, selected and translated by Yuzuru Miura. Charles E. Tuttle
-    ​Company, Inc., 1999.+Company, Inc., 1999.
 3. Mountain Voices, Ion Codrescu. AMI-NET International Press, 2000. 3. Mountain Voices, Ion Codrescu. AMI-NET International Press, 2000.
 4. Across the Windharp, Elizabeth Searle Lamb. La Alameda Press, 1999 4. Across the Windharp, Elizabeth Searle Lamb. La Alameda Press, 1999
 5. A Year’s Speculations on Haiku, Robert Spiess, Modern Haiku, 1995. 5. A Year’s Speculations on Haiku, Robert Spiess, Modern Haiku, 1995.
 6. Internet Sources: 6. Internet Sources:
-    ​a. Elizabeth St. Jacques website In the Light, for Tom Clausen’s essay, "A Haiku way of Life"​ +a. Elizabeth St. Jacques website In the Light, for Tom Clausen’s essay, "A Haiku way of Life"​ 
-    b. Sri Ramana Maharshi ​+b. Sri Ramana Maharshi ​
  
 +----
 +=== Источник ===
  
-© Copyright 2005: Simply Haiku [[http://​www.poetrylives.com/​SimplyHaiku/​SHv3n1/​features/​Angelee_Deodhar.html]]+[[http://​www.poetrylives.com/​SimplyHaiku/​SHv3n1/​features/​Angelee_Deodhar.html|© Copyright 2005: Simply Haiku]]

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