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haiku-silence [2009/10/14 14:27]
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 :
  
-<color blue>​summer stillness +<color blue>​summer stillness\\  
-the play of light and shadow+the play of light and shadow\\ 
 on the wind chimes</​color>​ on the wind chimes</​color>​
  
 //Peggy Willis Lyles, The Haiku Anthology// //Peggy Willis Lyles, The Haiku Anthology//
  
-<color blue>​Quiet afternoon:​ +<color blue>​Quiet afternoon:\\  
-water shadows+water shadows\\ 
 on the pine bark</​color>​ on the pine bark</​color>​
  
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 Let us look at another example: Let us look at another example:
  
-<color blue>​stillness +<color blue>​stillness\\  
-sand sifts through the roots+sand sifts through the roots\\ 
 of a fallen tree</​color>​ of a fallen tree</​color>​
  
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 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.
  
-<color blue>​another year +<color blue>​another year\\  
-the tallest trees shade+the tallest trees shade\\ 
 the oldest headstones</​color>​ the oldest headstones</​color>​
  
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 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:
  
-<color blue>​summer +<color blue>​summer\\  
-trickles noiselessly down+trickles noiselessly down\\ 
 the moss-covered stone</​color>​ the moss-covered stone</​color>​
  
 //​Christopher Herold, a path in the garden// //​Christopher Herold, a path in the garden//
  
-<color blue>​from winter storage +<color blue>​from winter storage\\  
-the prow of a canoe+the prow of a canoe\\ 
 entering sunlight</​color>​ entering sunlight</​color>​
  
 //Jerry Kilbride, The Haiku Anthology// //Jerry Kilbride, The Haiku Anthology//
  
-<color blue>​morning bird song- +<color blue>​morning bird song-\\  
-my paddle slips+my paddle slips\\ 
 into its reflection</​color>​ into its reflection</​color>​
  
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 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,
  
-<color blue>On my palm +<color blue>On my palm\\  
-a lifeline wrinkled+a lifeline wrinkled\\ 
 with future deadlines</​color>​ with future deadlines</​color>​
  
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 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 . . .
  
-<color blue>​time to quit +<color blue>​time to quit\\  
-I hear the bell+I hear the bell\\ 
 before the bell</​color>​ 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 – +<color blue>​silent prayer –\\  
-the quiet humming+the quiet humming\\ 
 of the ceiling fan</​color>​ of the ceiling fan</​color>​
  
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 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.
  
-<color blue>​desert spring – +<color blue>​desert spring –\\  
-nothing, nothing in the world+nothing, nothing in the world\\ 
 but this full moon</​color>​ but this full moon</​color>​
  
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 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,
  
-<color blue>​meteor shower – +<color blue>​meteor shower –\\  
-the glimmer+the glimmer\\ 
 of the surf</​color>​ 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 +<color blue>​once\\  
-everyone is gone . . .+everyone is gone . . .\\ 
 the clock</​color>​ the clock</​color>​
  
 //Tom Clausen, Albatross, Vol. V, No. 1, 1996// //Tom Clausen, Albatross, Vol. V, No. 1, 1996//
  
-<color blue>​alone at last +<color blue>​alone at last\\  
-i wonder where+i wonder where\\ 
 everyone is</​color>​ everyone is</​color>​
  
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 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. “
  
-<color blue>​abandoned garden- +<color blue>​abandoned garden-\\  
-following the scent+following the scent\\ 
 of the hidden jasmine</​color>​ of the hidden jasmine</​color>​
  
 //Ion Codrescu, Mountain Voices// //Ion Codrescu, Mountain Voices//
  
-<color blue>the long night . . . +<color blue>the long night . . .\\  
-a light rain+a light rain\\ 
 beats time on the cook pots</​color>​ beats time on the cook pots</​color>​
  
 //Jim Kacian, Albatross, Vol. VII, No. 2, 1998// //Jim Kacian, Albatross, Vol. VII, No. 2, 1998//
  
-<color blue>​quiet evening, +<color blue>​quiet evening,\\  
-a spider moves its shadow+a spider moves its shadow\\ 
 across the wall</​color>​ across the wall</​color>​
  
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 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:
  
-<color blue>​temple yard    the sound    of stone buddhas</​color>​+<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//
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 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,​
  
-<color blue>​silence +<color blue>​silence\\  
-the snow-covered rock+the snow-covered rock\\ 
 under winter stars</​color>​ under winter stars</​color>​
  
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 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.
  
-<color blue>​ikebana +<color blue>​ikebana\\  
-the space+the space\\ 
 where the lily was</​color>​ where the lily was</​color>​
  
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 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,​
  
-<color blue>​deep in this world +<color blue>​deep in this world\\  
-of Monet water lilies . . .+of Monet water lilies . . .\\ 
 no sound</​color>​ no sound</​color>​
  
 //Elizabeth Searle Lamb, Across the Windharp, Collected and New haiku// //Elizabeth Searle Lamb, Across the Windharp, Collected and New haiku//
  
-<color blue>​marble koi . . . +<color blue>​marble koi . . .\\  
-the silence+the silence\\ 
 of lotus blossoms</​color>​ of lotus blossoms</​color>​
  
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 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,
  
-<color blue>a useless novelty - +<color blue>a useless novelty -\\  
-each of us already has+each of us already has\\ 
 a chattering skull</​color>​ a chattering skull</​color>​
  
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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 . . .
  
-<color blue>​Silent communion +<color blue>​Silent communion\\  
-Between the guest,+Between the guest,\\ 
 The host, and the white chrysanthemum</​color>​ The host, and the white chrysanthemum</​color>​
  
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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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