Buzz
1. Reference Essay #4
Haiku is a traditional form of Japanese poetry. It is the shortest poetry style in the world, consisting of only 17 syllables. In Japanese, these 17 syllables are written in one line, but when transliterated into the Latin alphabet, they are divided into three sections following a 5/7/5 pattern. There are exceptions with some poems containing 19 syllables.
Masuo Basho (1644 - 1694), the master of Haiku poetry in Japan, came from a family with a samurai lineage from Iga. Haiku is the traditional poetry form of Japan, and it is the shortest in the world, with only 17 syllables. In Japanese, the 17 syllables are written in one continuous line, but when transcribed into the Latin alphabet, they are separated into three parts in the order 5/7/5. Some poems may even have 19 syllables.
Each of the three lines in a Haiku serves a different purpose: The first introduces the theme; the second continues the thought and prepares for the third; the third line concludes the poem but often leaves room for reflection and emotional depth for the reader. Each Haiku must contain a seasonal word. Each poem captures a moment in nature, a peak of emotion. Haiku often have themes related to nature and offer philosophical insights about the natural world.
Poem 1: The poet reflects on Edo (modern-day Tokyo). Ten years spent away from Edo, symbolized by ten seasons of fog, evoke feelings of coldness and nostalgia for the place. Despite returning to his homeland, the poet cannot forget Edo. The love for one's homeland merges with the love for the distant city.
Poem 2: Kyoto is where Basho lived during his youth (1666 - 1672) before moving to Edo. Twenty years later, when he returned to Kyoto and heard the cry of a cuckoo, he composed this poem. It evokes the feeling of longing through the sound of the cuckoo, a bird associated with summer, bringing back memories of youth. The poem expresses a deep, bittersweet emotion—mingling sorrow, joy, and nostalgia for the past. Basho's Haiku is deeply romantic, filled with quiet memories and longing.
Poem 3: A lock of gray hair, a relic of the poet's mother, evokes tears as Basho holds it in his hand. The sorrow of losing his mother is reflected in the image of "autumn mist," which conjures feelings of emptiness, a sense of gratitude for the nurturing but unfulfilled bond between mother and child. The tenderness of maternal love moves the reader to tears.
Poem 4: The reader encounters the sorrow of human life. A child abandoned by their parents due to poverty and hunger is left in a deep forest. This harsh reality is captured in the poem, evoking intense sadness. The howling of a monkey is not eerie but "full of sorrow," reflecting the pain of the world. The crying of a child left alone is not due to cruelty but out of necessity, as the parents were too poor to care for the child. This sorrow, carried by the autumn wind, elevates Basho's poetry to the pinnacle of humanism. The poem powerfully conveys the existential pain of life, and the saying "the pain of life cannot be healed" resonates deeply.
Poem 5: The beauty of longing in the poet's soul. A young monkey, drenched in rain, silently wishes for a raincoat to shield it from the downpour. Through this, the poet expresses a broader reality of human suffering—hunger and cold. The monkey represents all beings, symbolizing the universal longing for comfort and survival. The beauty of the soul shines with humanitarian value, resonating with empathy and compassion.
Poem 6: We encounter the "delicate falling cherry blossoms" and the waves of Lake Biwa. The falling petals signal the end of spring in Japan. It marks the seasonal transition, where even the smallest, most fragile element still holds a connection to the cosmic balance and transformation. A single cherry blossom petal, delicate and small, can stir the waters of Lake Biwa.
Poem 7: We hear the "tinkling sound of cicadas," a hallmark of summer. The poem beautifully links the changing seasons through visual and auditory experiences. The poet's sensitivity is apparent in the imagery of falling cherry blossoms, the waves of Lake Biwa, and the sound of cicadas. These images not only spread through space but also permeate into the rocks, which serve as symbols of resilience. The verse encapsulates a profound connection between humans and nature, highlighting the beauty of existence.
Poem 8: Basho, a poet deeply fond of wandering (traveling across the country), contemplates whether there is any more longing when facing the end of life. No! Even near death, Basho still harbors the desire to continue his journey. His longing for life is not to indulge but to pursue his passion for traveling. What an optimistic spirit!
This poem not only expresses the poet's love for life but also the mission of the poet. Loving life, people, and beauty, Basho will forever write about life, even when his soul has passed to the other side.
2. Reference Essay #5
At the age of 20, Ba-sô left his hometown for Ki-ô-tô, the capital of Japan at the time, to study classical literature, Haiku poetry, and Zen Buddhism. Later, he moved to Ê-đô. In the final years of his life, to fuel his poetic inspiration, he traveled across the country, creating new works. With a heart full of love for life and a sensitive soul, wherever he went, he formed deep attachments to the land. As poet Chế Lan Viên summarized:
When I am there, it's just the land I reside in
When I leave, the land turns into my soul
...
Love makes the strange land become my homeland
(Song of the Boat)
After more than a decade of living, studying, and working in Ê-đô, Ba-sô returned to visit his hometown. The moment of departure from the capital, Ê-đô, to return to his roots was one filled with genuine emotion. This moment was captured in two short but poignant Haikus:
The land of strangers, ten years of mist
Returning home, I glance back
Ê-đô is my homeland.
Although inspired by Giả Đảo's poem 'Độ Tang Càn', Ba-sô’s poem is more succinct. The first two lines describe the circumstances leading to the emotional experience, and the figure of the poet becomes vivid: walking and looking back. After years of separation, visiting one's hometown is an emotional experience. Typically, people look ahead, especially when the place is their homeland after long years apart.
The figure in the poem reflects this emotion. The desire to return home is expressed in the first line. When leaving to visit the homeland, Ê-đô still feels foreign. While on foreign land, the poet yearns for the hometown. But once he departs, he 'glances back,' and 'foreign land' transforms into 'homeland'. Ê-đô becomes his home again, tied to his soul.
The poem illustrates the poet's deep affection for his homeland and the country. It also captures a very sacred moment: people only realize the value of something when they are about to lose it. One only feels attached to the land when they must leave it behind. Through the Haiku form, Ba-sô successfully conveys one of the many emotional states of humanity. Beginning with 'foreign land' and ending with 'homeland,' the poet highlights this pivotal moment of realization.
Feelings toward one's homeland and the land that once held deep meaning are also evident in another poem:
The cuckoo sings
in the capital
and remembers the capital.
This poem was written when Ba-sô returned to Ki-ô-tô after many years of wandering. It is a reunion of old friends, filled with emotion. 'The aesthetic perception of Haiku, especially Ba-sô’s, has its unique, high, and delicate qualities... Haiku evokes rather than describes.' The simple yet profound theme is conveyed through the sound of the cuckoo’s song, suggesting the stillness of space. Haiku emphasizes quietness, simplicity, solitude, and mystery, as these atmospheres most easily evoke and convey emotions. Using sound to imply stillness is a familiar artistic technique in Eastern classical poetry. The capital, a bustling metropolis, is now filled with the sound of the cuckoo’s song.
Without many words, a single sound evokes memories, yet carries profound meanings. Standing in the capital and remembering the capital refers to two different times: the past and the present capital. The poet’s nostalgia reflects 'regret'—encountering the present desolate capital, he longs for the past, vibrant one. The poem can also reflect the poet's deep love for his country, with the capital as its symbol. This love surges as the poet mentally returns to that longed-for place.
The feelings between people are an endless stream of poetry—among them, motherly love is the most sacred, genuine, and instinctive. The poet’s heartfelt and moving emotions toward his mother are portrayed through a powerful image—the image of a son crying for his mother. This is a true story of Ba-sô, returning home after his mother’s death, with only a lock of her silver hair left. Holding his mother’s relic, the poet is filled with grief:
Hot tears overflow
melt onto my mother’s hair
autumn mist.
The tears of sorrow flow into memories. In just a few words, the poem conveys the deep love of a son for his mother.
The poet’s deep affection for humanity and all living things is a primary source of Ba-sô’s inspiration. This poem reveals his deep compassion:
The gibbon's mournful cry
or the cry of a forsaken child?
Autumn winds, sharp and cold.
The sound of the gibbon’s cry stirs feelings of compassion. Hearing this cry, Ba-sô is reminded of a child’s cry. These three lines, depicting two different situations (past and present), intertwine and resonate. The sound of the gibbon’s sorrowful call in the wind also makes the listener’s heart ache. Haiku, being concise, requires the poet to select the most evocative and profound images and sounds. This short poem contains deep meaning, brimming with humanistic values.
This poem depicts a tragic reality, the plight of abandoned orphaned children. The poet uses a unique sound—one full of sorrow and compassion. The meaning is both strange and original.
The gibbon's mournful cry
or the cry of a forsaken child?
The first sound evokes a desolate, oppressive atmosphere, while the second carries a deep sense of compassion. The abandoned child's cry expresses helplessness, creating a heartbreaking image that deeply moves the reader. The gibbon’s cry is sorrowful, but the child's cry is even more poignant and desperate, bringing tears to one's eyes.
The entire poem is filled with sorrowful sounds and a gloomy atmosphere. The autumn winds intensify the sense of melancholy. The poem expresses the poet’s deep sympathy for the unfortunate. Who can remain unmoved by such cries? This poem also reflects a part of Japan's reality during Ba-sô’s time. Haiku does not speak much, but its depth evokes the deepest emotions within the human soul, a hallmark of this poetic form. This is a representative Haiku.
This poem was written by Ba-sô as he passed through a forest and saw a small monkey trembling in the cold winter rain. The poet imagined the monkey silently wishing for a raincoat to protect it from the cold.
Winter rain fills the sky
the little monkey silently wishes
for a raincoat.
The image of the lone monkey in this poem evokes that of a poor Japanese farmer or a cold, shivering child. The poem expresses the poet’s deep compassion for the poor. The monkey is personified to speak of human desires for a better life. With a small detail, the poet addresses a profound issue: the longing for a better life.
The poem encapsulates a major and universal human theme: desire and hope. People always yearn for a better, fuller, and happier life. Simple desires, like the monkey wishing for a raincoat in the winter rain. Through a single image and the technique of personification, the poet expresses what many people desire—peaceful, happy lives. Amid the hustle and bustle of life, humans always yearn for better things, which drives the development of human society.
This poem describes the spring season around Bi-oa Lake, where many cherry blossoms grow. When the wind blows, the petals fall like clouds, creating ripples on the lake. The pale pink petals falling onto the surface of the lake create gentle waves. This scene represents the interconnectedness of all things in the universe. The deep philosophy is expressed through simple, gentle imagery, reflecting the poet's aesthetic sense.
From all directions
cherry petals drift down
rippling Bi-oa Lake.
In just three short lines, the poem creates a lively picture. Nature, the petals, and the waves interact gently and delicately. The beautiful flowers and the poetic lake are harmoniously depicted. The fragile petals blend with the gentle ripples on the lake, forming a graceful picture. The poem’s philosophy of life lies in this harmony. All things in the world are interconnected. Using vivid, image-rich language, the poet expresses this philosophical connection of nature in a subtle and profound way.
This poem was written when Ba-sô visited the Riu-sa-ku-ji temple. The sound of the cicadas is clear, while the rock is still. But in the peaceful silence of the dusk, the sound of the cicadas seems to penetrate, merging with the stone. The connection is unique, strange, yet unpretentious. The poem’s language is rich in Haiku tradition, creating a deep atmosphere:
Silent, deep
the cicada’s song sinks into stone.
With a single line and the use of syntactical inversion, the poet conveys the mysterious connection between heaven and earth. Above all, the poet’s soul must harmonize with the cosmos. 'Silent, deep' describes the state of the 'cicada’s song sinking into stone.' The syntactical inversion is an important artistic device in the poem. Haiku values the conciseness and power of language. Therefore, poets often focus on creating highly evocative images.
In this poem, the sound of the cicada alone conjures the summer atmosphere. However, it is experienced through the senses of a reflective person. The observer bends before the quiet afternoon to listen, to contemplate, to align his soul with nature’s subtle changes. The reflective, profound quality of Haiku is a fundamental characteristic of the form. Silence, though gentle, exerts a powerful impact, with all things in the world quietly harmonizing to sustain the universe.
This poem was written in Ô-sa-ka in 1694, during Ba-sô’s final years. He had become frail, like a bird about to disappear into the endless horizon.
Sick in the midst of my travels
my spirit still drifts
over the barren fields.
Ba-sô’s life was one of wandering and travel. Even as he approached death, he longed to continue his journey. Though his body was stationary due to illness, his spirit remained free, drifting across vast, empty fields. His deep longing to experience all that his homeland had to offer—seeing, understanding, and reflecting on life—was evident. Yet, illness forced the poet to remain still. While his body stayed in one place, his spirit yearned to wander. This poem vividly expresses the poet's profound love for life, encapsulating his deep desire to continue living.
The love for life, for one’s homeland and for humanity is an inherent value in Ba-sô’s poetry. His Haikus, rich with imagery, leave lasting impressions on readers. Simple depictions of life hold deep meanings, and Haiku requires readers to approach it not just with their heart and mind, but also with their imagination and intuition to fully appreciate its art.
Reference Essay 6
The Haiku is a traditional Japanese poetry form. It is the shortest poetry form in the world, consisting of only seventeen syllables. In Japanese, these seventeen syllables are written in a single line, but when transcribed into Latin characters, they are divided into three parts with a 5/7/5 pattern. Occasionally, there are variations with nineteen syllables. Haiku typically reflects the beauty of nature and human emotions in response to it. It often employs symbolic words that evoke feelings of the seasons. Thanks to the innovation of Basho, Haiku, which was once known for its humorous and satirical tone, has evolved into a more romantic and lyrical form. Basho himself became the master of Haiku. His followers, such as Yosa Buson and Kobayashi Issa, continued his legacy.
Author Matsuo Basho came from a samurai family in Ueno. He was fond of sightseeing, visiting friends, and had a deep passion for poetry, literature, and painting from a young age. He greatly contributed to the reform of Haiku's content and structure. His poetry is simple, elegant, solitary, calm, and melancholic, truly capturing the essence of Haiku. Basho's Haikus usually lack titles, and readers often refer to the poems by the images they conjure, such as this well-known Haiku, often called 'The Crow':
"On a dry branch
A crow perches
Autumn evening."
This Haiku was written in 1679 when Basho was thirty years old. The poet uses the word for autumn evening combined with the image of a dry branch to evoke an image of barrenness, devoid of golden leaves or new buds. The crow symbolizes sorrow and gloom. The autumn evening scene is portrayed simply yet profoundly, evoking solitude and decay. The crow, though small, transcends its literal meaning and becomes a powerful symbol of loneliness, standing alone in a vast world. With just a few strokes, Basho creates an image that captivates the reader, drawing them into an evocative, quiet, and deep painting of nature.
Not merely a simplistic painting anymore, the sounds of the bell pull the reader into another space:
"Cherry blossoms
Like drifting clouds
The bell at Ueno echoes
Or at Asakusa Shrine."
By referencing cherry blossoms, a symbol of spring in Japan, Basho highlights the beauty of nature and the Japanese soul. Every spring, as cherry blossoms bloom, the Japanese people wish for renewal. The image of the blossoms is not of individual flowers but of a mass of blossoms merging into a unified, rich pink hue. The sounds of the bells at Ueno and Asakusa bring the scene to life, adding depth and resonance. Without the bell, the scene would seem cold and lifeless. The bell's sound elicits a vague sense of loneliness and emptiness, further amplifying the poet's inner world. In this scene, Basho mixes the enjoyment of nature with a feeling of solitary introspection.
"The banana tree in the autumn wind
The sound of rain falling gently into a bowl
I hear the sounds of the night."
The banana tree is a variety native to Japan, symbolizing purity and sensitivity. The sounds—the wind, the rain—create a quiet, serene atmosphere, and the 'night sounds' are not just the sounds of nature, but of the poet's inner reflection. Basho perceives the world through his sensitive ear, intertwining the sounds of nature with his own deep emotions and vivid imagination.
Yosa Buson, born into a wealthy family but known for his independent character, was a major figure in the Haiku tradition, continuing and expanding upon Basho’s legacy with his unique style. He was deeply fond of spring and wrote many poems about the season, earning the title 'Poet of Spring':
"Far and near, here and there
I hear the sound of the waterfall
New leaves are abundant."
The 'waterfall' represents the vitality of spring, a symbol of life that is constantly flowing, embodying a world in constant change. The sound of the waterfall is linked to the fresh leaves, calling for the spring to bring forth new life. The waterfall sound is a representation of the life force, connecting humans to the natural world in harmony with the cycles of nature. Buson’s aesthetic is characterized by the concepts of Karumi (lightness, purity), softness, and lyrical beauty.
"Under the light spring rain
The raincoat and umbrella
Go together."
Using the term 'spring rain,' Buson captures the essence of the gentle, refreshing rain typical of spring. This time of year represents new beginnings and a mystical atmosphere, evoking a sense of wonder. The imagery of the raincoat and umbrella represents the presence of humanity within the springtime scene, blending seamlessly with the natural world. This simple yet tender image shows the poet's harmony with nature, a celebration of youth, love, and the joy of life in the spring season.
Despite their simplicity, the images in this poem stir emotions, reflecting the seamless connection between the natural world and human life. The poet's delicate view of the world, imbued with vitality, underscores the tender beauty of the season.
"Spring flowers bloom in abundance
Beside the tower of women
Shopping for sashes."
In Japan, when spring arrives, the cherry blossoms bloom. Here, the poet paints a scene of nature, while the second and third lines depict a woman shopping for a sash, a key accessory in a kimono. This imagery further enriches the beauty of spring. Nature and humanity come together to enhance the vitality and fullness of the season.
Regardless of the poet, all contributions to traditional Japanese Haiku reflect the essence of Sabi, the melancholic solitude of nature, the detached, silent, and eternal solitude of the universe. This is the profound loneliness one feels in the face of the cosmos. Basho’s love for life, for beauty, and his connection to his homeland and humanity, remains alive in his poetry even after his soul departs this world. His work is infused with poetic grace, evoking both beauty and romance, a lasting legacy of his deep affection for life and nature.
4. Sample 7
The Haiku poetic style of Basho stands out for its artistic perception of humanity. His Haiku offers a fresh, sensitive, and profound view of people, through various cultural perspectives, notably Zen philosophy, aesthetics, anthropology, and psychology. However, to convey these new artistic ideas about humanity, Haiku requires unique aesthetic structures. Often, the details presented seem like fragments of human life, society, or nature, but they are interconnected in meaningful ways. The most important aspect is the final line of each poem, which often reveals new, unexpected meanings. This transforms the overall light of the poem into an artistic system, casting aesthetic rays on each detail. In essence, the collective force of the entire system links the artistic elements and imbues each with specific aesthetic nuances.
For this reason, the role of artistic structure is crucial. With its primarily 17-syllable verse form, deeply infused with Zen, Basho's Haiku are akin to watercolor paintings, designed to evoke deep reflection on profound philosophies and valuable spiritual insights. They harmoniously blend and naturally convey the connection between the human world and nature, reflecting the spirit of unity.
Basho's Haiku emphasize mystery, stillness, softness, and gentleness. To create such intellectual and aesthetic values, the structure of the poem must achieve a refined, evocative, and open quality. When approaching Basho's Haiku externally, readers may find the language simple and humble. However, the values these words evoke are profound, rooted in the interconnection of elements within the system that generate metaphors with the power to enlighten the reader's thoughts, emotions, and perception.
First Poem:
In a foreign land for ten years
I return to my homeland
And Edo is now my hometown.
Like many other Haiku by Basho, this poem avoids adjectives and uses only nouns to evoke meaning. Basho's true hometown was Mie, not Edo (present-day Tokyo), though he lived in Edo for ten years. Upon returning to his homeland, however, Edo suddenly becomes his 'hometown.' In the structure of this poem, the surprising conclusion sheds light on a universally significant truth about human understanding and emotion: 'Where we live is simply a place, but when we leave, it becomes a part of our soul' (Che Lan Vien). The vast world of Edo, with all the memories Basho had there, lies hidden in the poem's metaphorical layers, highlighting the infinite depth of emotion. Readers can relate it to their own 'Edo'—their own cherished memories. The poem's structure naturally transforms the concept of a foreign land into a home, turning an opposing idea into a poignant truth.
Second Poem:
The cuckoo sings
In the capital
But longs for the old capital.
Before moving to Edo, Basho lived in the capital city of Kyoto during his youth (1666-1672). Twenty years later, upon returning to Kyoto, he hears the cuckoo singing and writes this Haiku. The word 'capital' is repeated, but with different meanings. The first 'capital' refers to the present capital, while the second refers to the capital of the past. The bridge between these two 'capitals' is the cuckoo's song. This is the obvious part of the poem's structure. The underlying meaning, however, lies in the nostalgic memory of the old capital, evoked by the cuckoo's call. The metaphor connects deeply with Basho's personal memories and emotions, while also resonating with readers' own memories of 'past places' in their hearts. The uniqueness of the poem lies in the seamless transition between the present capital and the past capital, mediated by the song of the cuckoo.
Thus, the structure of the poem creates an open effect, resonating with the moods of countless readers in various circumstances, yet aligning with the poet's own emotional landscape. It's not just the cuckoo's call—other sounds, like those of doves, crickets, or the call of other birds, or even images of nature—can evoke similar memories of the past, nestled in the present moment of our consciousness.
Third Poem:
Hot tears flow
Onto the hair of my mother
The autumn mist.
When Basho returned to his hometown, his mother had already passed away. His brother handed him a memento of their mother: a bundle of her white hair. Overcome with grief, Basho wrote this poem. The structure of the poem is built on images: his hot tears (symbolizing his sorrow for his mother), his mother's hair (which melts in his hands), and the autumn mist. The connection between these elements illustrates the author's personal pain over his mother's death while also evoking a universal truth about the impermanence of life, a central tenet in Buddhist philosophy—life is fleeting, like the autumn mist. This mirrors the Vietnamese saying: 'A life is like the shadow of a bird passing through a window.' The structure of the poem opens up reflections on life, philosophy, and the appropriate way to live in harmony with the laws of the universe and human existence, guiding people to awaken to the transient nature of life.
In Basho's Haiku structure, another striking feature is the sudden shift in consciousness within the poetic imagery, leading to new, fascinating, and surprising discoveries. These discoveries are often clearly expressed through concrete images, yet the universal value of the truth revealed extends beyond the immediate imagery, reaching readers to recognize their own life circumstances. In all three poems, the breakthrough in consciousness that creates new realizations occurs in the relationship between the second and third lines of the poems.
In other words, the breakthrough happens in the third line. In the first poem, the unexpected transformation from a foreign land to a hometown. In the second poem, the sudden shift in meaning with the repeated word 'capital': 'In the capital but longing for the capital.' In the third poem, the shift from a specific event (his mother's hair) to the universal symbol of the autumn mist. Therefore, in Basho's view of art and life, the immediate, tangible, and sensory always contains the eternal, the conceptual. Thus, readers can reflect on the symbols in each Haiku and discover new, deeper meanings and emotions.
The dimensions of Basho's Haiku poetic style, and Haiku in general, are not complicated or ornate. The reader may feel that the poet does not exert excessive effort in crafting words or focusing on technical aspects of poetry. The language used is often simple and evokes rather than describes. Yet, to truly imbue a poem with value and layers of meaning, the poet's artistic vision and perspective must be fresh, rich in discovery, creativity, and new truths. In this process, constructing the structure of the poem is essential to creating its intellectual and aesthetic value.
5. Reference Work Number 1
We've all heard the saying: “Poetry is the song of the heart, the resting place of the spirit, so it is not simply nor mysteriously divine... Genuine poetry must be a source of nourishment for the soul, helping it grow, it must not be a harmful opiate for the spirit, small-minded yet soothing.” Indeed, the art of poetry is born from life, yet it flourishes in the human soul. With this growth, poetry nurtures and educates us in the true, humanistic meaning of art. Poetry reveals the exquisite beauty of the art of language, but poetry is much more than that! Words should not be lifeless corpses resting “quietly” on paper; instead, poetry must live in the hearts of its readers, planting seeds of goodness. Poetry cannot “die” on paper, leaving in its wake a soul filled with darkness, harm, and decay. These ideas seem to be describing Haiku poetry—the rhythm that has resonated for centuries in the land of the cherry blossoms.
Poetry is a literary form that emerged early in human life, with “poetry” and “humanity” forever intertwined, inseparable. It is like a relationship that, no matter how much one might try to pull apart, life and poetry remain entwined. In this eternal “marriage,” poetry has “cared for” humanity through an awareness of life, a deep sensitivity to emotions, both directly through specific feelings and thoughts, and indirectly through rich imagination and connections, as well as through the emotional resonance of its artistic language. Entering the vast and rich cultural treasure of East Asia, poetry became a priceless asset to Japan’s culture in its own unique way. Emerging in the 17th century and flourishing during the Edo period (1603-1867), Haiku poetry breathes the spirit of Zen, imprinted with a world that is both mysterious and transcendent, while also portraying a vast natural landscape, with sounds and colors that represent the four seasons, expressed in a concise, condensed form.
The soul of Japanese literature is not about grandiose, ornate forms, as each Haiku is just a brief 17-syllable verse. Yet, the depth and vastness of Haiku’s philosophical and existential thought are immense. The poet Tagore once remarked on Haiku: “The poet only introduces the theme, then steps aside.” There is no need for lengthy explanation, for the human soul is rich and complex. Let the reader create their own world. Haiku leans more toward suggestion than description or interpretation. The vitality and allure of Haiku lie in its ability to be concise yet still evoke a multitude of emotions and thoughts. Though one might think that brevity adds weight to Haiku, it actually brings a lightness that is almost magical. This lightness comes from the poet's deep love for nature and the desire for harmony with the earth, represented through the “seasonal words” that every Haiku includes.
Visiting Japan is to enter the mystical land of Shinto, with countless traditions and ceremonies; it is a place of romantic beauty, with the blossoms of cherry trees in full bloom, often referred to as the “Land of Cherry Blossoms”; a land of grace, where “young women in elegant kimonos” are seen. It is also the land of the samurai spirit, the “Way of the Warrior” and “Swordsmanship,” home to renowned martial arts such as sumo, aikido, karate, and judo. On the Noh stage, actors wear “masks,” their faces stoic and still. We might be immersed in novels that span thousands of pages, yet we are moved by the brief Haiku verses tied to names like Basho, Chiyo, and Issa… each poet with their own distinctive style, yet all embodying the refined sensitivity of the Japanese spirit.
Haiku is characterized by many features, but the element that Basho—the poet who significantly shaped Haiku—emphasized most was the feeling of solitude and the infinite depth of things, the ability to perceive how something reveals itself in a miraculous way. This feeling is called Sabi—an exquisite solitude expressed most profoundly in Basho’s poem:
“On the dry branch
A crow perches
Autumn evening”
At first, this poem seems like an ink painting with dark, somber hues. The “dry branch” and “crow perched” embody the mournful spirit of an autumn evening. The fall brings leaves to the ground, leaving only the thin, desolate branches. It seems to make room for the crow, with its pitch-black feathers and sharp eyes. Whereas Nguyen Khuyen’s autumn in “Ao thu lanh leo nuoc trong veo” (Cold pond, clear water) evokes a pure, crisp autumn, Basho’s autumn feels sorrowful, a quiet solitude that fills the heart with melancholy. However, remarkably, although the scene is desolate, the soul is not burdened with despair or bitterness, unlike Xuan Dieu’s poem “Dai muà thu toi” (Here comes autumn):
“Clouds move in the sky, birds fly away
The air is filled with sorrow from separation”
This is Sabi, a magnificent sense of solitude, not a personal loneliness or despair. Reading this poem, we understand the essence of Sabi—simple, elegant, lonely, yet not sorrowful.
When we think of Japan, we think of the cherry blossom, the land of the rising sun, the kimono, and a people steeped in Zen, with Haiku as a symbol. Just as Chinese poetry’s Tang dynasty or Vietnam’s Six-eight meter has its own distinct thoughts and characteristics, cultural expressions are not about hierarchy but difference. Similarly, the flower of Triêu Nhân in Vietnam may be considered secondary, yet in Japan, it becomes the proud queen. This is clearly seen in Chiyo’s Haiku poem about Triêu Nhân:
“Oh Triêu Nhân flower
The gourd vine entwines the flower by the well
And I must ask for water from the neighboring house.”
In the spirit of Zen, not only humans but even plants are capable of enlightenment, meaning they possess the Buddha nature. This poem could be seen as a powerful declaration of Buddhist compassion, subtly reflecting Zen philosophy. The Triêu Nhân flower, a creeping vine, entwines itself with the gourd vine to bloom. Before beauty and life, the poet treasures and protects it, choosing the option to “ask for water from the neighboring house,” allowing life and beauty to coexist. A rude person might simply pick the Triêu Nhân flower to make their task easier.
The poem does not explain but conveys much more than the three short lines. This reflects the spirit of “meaning beyond words,” the silence of Zen, and the humanism of Buddhism. Only through calm, gentle character and profound compassion can one act in such a way. A delicate Triêu Nhân flower radiates an immense, moving love. The same vitality of the Triêu Nhân flower is a source of inspiration for poet Lưu Đức Trung’s Haiku:
“Morning Glory
Climbing by the pond’s edge
Someone pulls the reeds”
Leaving behind Chiyo’s beautiful Triêu Nhân flower, we delve into the vast and rich treasure of Haiku, where we find an enduring snail climbing Mount Fuji in Issa’s poem—one of the four great Haiku poets of Japan:
“Slowly, slowly
Look, a small snail
Climbing Mount Fuji”
The famous literary critic Belinsky once remarked: “A poet, even the greatest of poets, must simultaneously be a philosopher.” This is clearly demonstrated, as Issa’s short Haiku poem, combined with the metaphor of the snail, conveys a profound, philosophical, humanistic message.
“Slowly, slowly,” the poet describes the snail accurately and truthfully. But in its “slowness,” we see patience. The snail is small and moves slowly, yet it keeps going. Along with this slowness, there is the humble, ordinary image of the small snail. Haiku poetry often uses contrast as a unique feature. It contrasts the infinite with the finite, the distant with the near, the large with the small, the human with the universe… In Basho’s “Old Pond,” we read:
“Old pond
A frog leaps in
The sound of water far away”
Issa also uses this contrasting technique, placing the small, simple snail against the grand, majestic Mount Fuji covered in snow. The contrast between large and small evokes much contemplation. In real life, we are like the small snail, humble and simple, but each of us harbors a burning dream for our own life. The internal strength within us is the driving force to push us toward the peaks of our existence. If the goal of the small snail is to climb Mount Fuji, surely each of us has our own summit to conquer.
This short, dense poem expresses the essence of Haiku—its minimalist form is not cramped, and the events in Haiku often seem disconnected, but they are intricately linked. “The simplicity of the soul,” as Tagore puts it, grants Haiku its immense artistic power. For this reason, critic Roland Barthes (France) commented: “The brevity of Haiku is not about form. Haiku is not a rich thought compressed into a short form but rather a condensed thought that finds its own perfect form.” More than that, this economy is a sign of respect for the reader. On the poetic path, Haiku poets make room for the reader to join them in the journey, without crowding or blocking their way. The reader continues alongside the poet, even after the poet stops. Tagore further explains: “The reason the poet withdraws so quickly is because the Japanese reader has immense spiritual power in their imagination.”
Tagore’s words might make non-Japanese readers feel somewhat disappointed, but the ability to understand and appreciate Haiku is not a privilege exclusive to the Japanese. Anyone can come to love Haiku, but to do so, the reader must not be passive. The poet does not speak for us entirely. Endless, exhausting conversations bring no joy. A conversation with poetry must never bring about such weariness.
Like all other poetic forms, Haiku in Japanese culture arose from a serendipitous meeting. Poetry originates from life, journeys through time to reach its readers, and ultimately returns to life, now serving as a “mother” rather than a “child” as it once was. Poetry returns to the “motherland” with the noble responsibility of educating and recreating humanity and society. Therefore, in the process of “clearing the path” for poetry’s return, readers must “open their hearts” to poetry with all they have. Don’t hastily blame the poet for poor writing, or accuse the poem of being bad. Ask yourself if you have elevated your own soul to be in tune with the poet. Have you contributed to the co-creation of art? Once you realize this, allow poetry and art to return to life.
The Japanese have truly opened a path, covered in cherry blossoms, for Haiku to re-enter Japanese life four centuries ago. Even more, this path leads Haiku into the temple of the invaluable.
Even today, Haiku continues to captivate readers around the world with its rich content and unique artistic style. Many have tried to imitate it, but none can surpass Japanese Haiku with its great poets. Haiku is a spiritual product unique to Japan, a source of pride for the land of the rising sun, the land of cherry blossoms.
6. Reference Example 2
Ba-sô is a distinguished scholar from the Edo period in Japan. His works have left a lasting impact, not only in his homeland but also around the world. His poetry is a harmonious blend of nature and the poet's emotions, light, simple, yet pure and intimate. His Haiku poems are a perfect reflection of this spirit.
"In a foreign land, ten seasons of mist
I return to my homeland, look back
Edo is my second home."
After more than ten years of separation from his hometown, living in the bustling Edo with the demands of daily life, he returns with the joy of a child reunited with his roots. Yet, he still holds a deep affection for the place that was part of his life for so long. For Ba-sô, Edo now feels like his second home, though his heart is always pulled back to his "true homeland." Could it be that the poet wishes to remind us to cherish the places and moments that are closest to us? Everything we visit, every place we go, leaves its mark, a precious memory to hold dear. The poem, though brief, conveys heartfelt, sincere emotions that are both simple and beautiful, yet deeply moving.
In his second poem, the author's deep love for his homeland is even more evident through the poignant lines:
"The cuckoo sings
in the capital,
yet remembers the capital."
After many years of wandering in foreign lands, standing in the capital of his homeland, the poet hears the song of the cuckoo and is filled with nostalgia. The cuckoo's call in the vast space of the capital evokes a sense of solitude and sadness, a quiet, melancholic atmosphere that stirs the heart. The poet's longing for the past reflects a time when the capital was prosperous and peaceful, a place of joy and flourishing. Now, the capital lies in ruins, no longer the grandeur it once was. This sorrow for the past speaks to the poet’s deep love for his homeland and his yearning for better days.
Next, the bond of motherhood is tenderly expressed in the following verses:
"Hot tears fall
on the hair of my mother,
as autumn mist settles."
The love between a mother and child is the purest and most sacred. Upon returning to find his mother gone, the poet can only hold her silver hair, the pain overwhelming. The tears that fall on her hair speak of a profound sorrow from the very depths of his soul. The delicate autumn mist also mirrors the poet’s desolation at the loss of his mother.
"The cry of the ape echoes sadly,
or is it the sound of a child abandoned, weeping?
The autumn wind chills to the bone."
Through this fifth poem, the poet’s compassion is evident. The sorrowful cry of the ape in the distant forest evokes the pain of abandoned children, neglected by society, left to face a cold, indifferent world alone. The autumn wind intensifies this sorrow, making it even more poignant. We can almost feel the heartbreaking image of orphaned children, crying out in the harshness of life. How can we not feel moved by their suffering?
"The winter rain falls steadily,
a young monkey silently wishes
for a raincoat."
These verses overflow with love for nature and all living things. The poet feels deep sympathy for the young monkey, trembling in the cold and wet of the winter rain. This image may also serve as a metaphor for the plight of the poor, struggling laborers of ancient times. They toiled relentlessly, living with nothing to spare, as poverty and hunger followed them relentlessly. The poem’s message expresses empathy and a quiet wish for a better life, a desire for happiness amidst hardship.
"From all directions, petals of plum blossoms fall,
the Biwa Lake ripples."
The spring landscape at Biwa Lake is both striking and beautiful. Petals of pale plum blossoms fall gently in the wind, and with each breeze, they drift towards the water, creating ripples on the calm surface. The scene is peaceful, serene, and full of harmony, as if nature itself is in perfect balance.
"Silent and somber,
the sound of cicadas fills the air,
echoing through the stones."
The stillness of the space is captured through the solemn sound of the cicadas, whose song reverberates through the stones. The cicada’s call, though common in summer, feels profoundly isolated here, blending with the stone to create a deep, meditative silence. Through this delicate perception, the poem evokes the idea that nature’s beauty is not merely about sounds or sights, but about the way in which these elements resonate in harmony with the poet’s spirit.
Despite the brevity and simplicity of the Haiku poems, they evoke deep emotions and lasting impressions. Especially for Ba-sô, the gifted poet who created these masterpieces, his work has left a lasting legacy, offering future generations a treasure trove of poetry that is rich in thought and feeling. Reading his Haiku poems, we are transported into a world of nature, where imagination and beauty flow freely, creating an experience of great emotional depth. Together with the poet, the reader becomes a co-creator of this fascinating and meaningful world.
7. Reference Example 3
