Haikus

Traditional and structured, this short form of Japanese poetry is well-known for its rule of 5/7/5: five syllables in the first line, seven in the second, and five again in the third. Haikus are known for their ability to paint a vivid picture in just a few words. A practice of artistic discipline, their minimal nature forces writers to pare down to only the essentials—making each word, or even syllable, count.

“The Old Pond” by Matsuo Bashō

An old silent pond

A frog jumps into the pond—

Splash! Silence again.

This traditional example comes from Matsuo Bashō, one of the four great masters of Haiku. Historically, haikus are a derivative of the Japanese Hokku. Hokkus are collaborative poems which follow the 5/7/5 rule. They are meant to comment on the season or surroundings of the authors and create some sort of contrasting imagery separated by a kireji or “cutting word” (like “Splash!”).

“A World of Dew” by Kobayashi Issa

A world of dew,

And within every dewdrop

A world of struggle.

Though sometimes, the kireji comes at the end of a haiku to give it a sense of closure. Kobayashi Issa, another great Haiku master, writes this stirring poem that places the kireji at the end. Translated, Issa’s haiku doesn’t meet the 5/7/5 rule, but its power remains.

“Lighting One Candle” by Yosa Buson

The light of a candle

Is transferred to another candle—

Spring twilight

Haikus focus on a brief moment in time, juxtaposing two images, and creating a sudden sense of enlightenment. A good example of this is haiku master Yosa Buson’s comparison of a singular candle with the starry wonderment of the spring sky.

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