ਅੰਗਰੇਜੀ ਦੇ ਨਾਮਵਰ ਹਾਇਜਨ Dick Whyte ਨੇ ਅਧੁਨਿਕ ਹਾਇਕੂ/ਸੈਨਰੀਊ, ਜਿਹੜਾ ਕਿ ਰਵਾਇਤੀ ਹਾਇਕੂ ਦੀਆਂ ਹੱਦਾਂ ਪਾਰ ਕਰਕੇ ਨਵੀਂ ਸ਼ਹਿਰੀ ਜੀਵਨ ਜਾਚ ਹੰਢਾ ਰਹੇ ਹਾਇਜਨ ਦੀ ਰਚਨਾ ਦਾ ਭਾਗ ਬਣਦਾ ਜਾ ਰਿਹਾ ਹੈ, ਬਾਰੇ ਸੰਖੇਪ ਵਿਚ ਦਸਿਆ ਹੈ...ਵਿਚਾਰ ਗੋਚਰਾ ਹੈ।
1) Haiku is not a "nature" poem. This is a Western misunderstanding of haiku. Haiku is derived from the hokku (an opening verse of a renga/renku) - and Basho, Buson and Issa would have called their poems stand-alone hokku (as this became popular during, and before, Basho's time). The two key rules for hokku as I understand it is that it must have a cutting word, and it must have a kigo. Kigo is not a "nature" word, but a season-word, thus it makes reference to the changing seasons - it is about change and flow, not static. There are just as many seasonal things in the city as there is in so-called "nature" (the countryside, the forest, the bush, etc.). Obviously in a city there are birds, trees, and flowers (as in the countryside) which all mark the season. But the clothing people wear changes from season to season too. An icecream, or a can of cold coke could be used as season words for summer, for instance (not great examples, but they'll do). So the division of nature/people does not make for a good definition between haiku/senryu. But in traditional haiku there must be a kigo, while in senryu it is not essential (although this doesn't mean it shouldn't contain one - but that it doesn't have to). But both contain people - and both are about the depth of emotion of people.
1) Haiku is not a "nature" poem. This is a Western misunderstanding of haiku. Haiku is derived from the hokku (an opening verse of a renga/renku) - and Basho, Buson and Issa would have called their poems stand-alone hokku (as this became popular during, and before, Basho's time). The two key rules for hokku as I understand it is that it must have a cutting word, and it must have a kigo. Kigo is not a "nature" word, but a season-word, thus it makes reference to the changing seasons - it is about change and flow, not static. There are just as many seasonal things in the city as there is in so-called "nature" (the countryside, the forest, the bush, etc.). Obviously in a city there are birds, trees, and flowers (as in the countryside) which all mark the season. But the clothing people wear changes from season to season too. An icecream, or a can of cold coke could be used as season words for summer, for instance (not great examples, but they'll do). So the division of nature/people does not make for a good definition between haiku/senryu. But in traditional haiku there must be a kigo, while in senryu it is not essential (although this doesn't mean it shouldn't contain one - but that it doesn't have to). But both contain people - and both are about the depth of emotion of people.
2) The Western misunderstanding of haiku as nature poem I feel comes from looking only at classical haiku, and largely ignoring the post-Basho/Buson/Issa haiku. Remember that when hokku and renku were being developed Japan was in a pre-industrial period - so the idea of the modern city had still not arrived. Senryu developed in an ever developing post-industrial world, and was written by people living in cities where the rhythms of the seasons started to have less explicit meaning, and no longer fueled the rhythm of their daily life. At least this is my understanding.
-Dick Whyte
-Dick Whyte
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