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For an example of a haiku that doesn’t adhere to traditional conventions, look no further than Richard Brautigan’s cheeky “Haiku Ambulance”. Eagle-eyed readers will notice that the syllable count doesn’t fall into the 5-7-5 pattern, and the lines are off-balance, too. So what? Appropriately, this poem suggests that nothing means anything at all — in a pepper’s exile from a salad bowl, in the rules of a poem, or even (dare we say) life.

In this classic piece by Kobayashi Issa, a bird’s call brings him back to his early days as a student in Kyoto. The poem exudes a certain nostalgia and longing for that time in his life which is now lost 一 something we can all relate to, in our own ways.No, not the Britney Spears song! Instead, the author Everything I touch speaks about the tangible pain he feels every time he seeks a kindred contact. Through only three lines, he conveys the wounds of love — and the unforgiving ache of connection.

Haiku is a form of traditional Japanese poetry, renowned for its simple yet hard-hitting style. They often take inspiration from nature and capture brief moments in time via effective imagery. Here are 40 Haiku poems that ought to leave you in wonder. Penned in English, poet Steve Sanfield’s only haiku is a quiet reminder of our mortality, inviting us to consider what may be important to us before it’s too late. The third master of Japanese haiku, Kobayashi Issa, grew up in poverty. From this humble background emerged beautiful poetry that expressed empathy for the less fortunate, capturing daily hardships faced by common people. This particularly emotionally stirring haiku was written a month after the passing of Issa’s daughter.Yep, the iconoclastic author behind On the Road also wrote haikus! As one of the Beat Generation’s leading figures, he was part of a movement that produced some of the 20th century’s influential poems. This particular haiku has many interpretations — with many assuming this to be Kerouac’s take on religion and God.

As you might have noticed, the art of writing haiku demands an almost superhuman level of observation. Aida Bunnosuke, also known as Gozan, speaks about the impermanence of our surroundings by noticing how snowflakes turn into water in very little time. This theme of the ephemeral nature of life is again emphasized by the cherry blossoms, which only last for about a week after peak bloom.

Another non-traditional haiku that eschews the 5-7-5, Welch’s entry here is a snapshot of a rare moment shared between the speaker and someone else. The order of the three images creates a sense of the poet lowering their eyes from shooting stars in the sky, before settling on a strangely intimate image of sitting on the beach. With all the wonders of the universe, nothing compares to a moment shared with someone close to you.Contemporary poet Alexis Rotella knows how to tap into common human experiences — like, for instance, a friendship that gets in the way of love. In an instant, we can feel the frustration for a potential that won’t be expressed, and a desire that won’t be satisfied.

In this piece, Katsushika Hokusai draws similarities between life and his writing — both processes of repetitive creation and destruction. Neither are linear or smooth, and both demand constant work and perseverance. However, the reward of his perseverance is something undeniably beautiful.

Another of haiku’s Great Masters, Yosa Buson is known for bringing in a certain sensuality to his poems (perhaps owing to his training as a painter). In this haiku, his image of a single lit candle against the twilight artfully depicts how one candle can light another without being diminished — until you have a star-filled sky.

This is a classic by Natsume Soseki, a widely respected novelist and haiku writer. You might read it literally, thinking that one can marvel at the night sky in all of its wonder as soon as the light of the lamp on the street goes out, or you can also interpret the lamp as an active mind 一 only when we manage to quiet it can we access a deeper, wiser source of light, represented by the stars.Matsuo Bashō’s brilliance is captured in this simple haiku, which fully immerses you into the perspective of a caterpillar In just three lines. The way in which Bashō depicts the impatient caterpillar conveys a feeling of frustration and desire for growth. In doing so, we realize the angst of unrealized potential.

Masaoka Shiki’s “After Killing a Spider” is a prime example of haiku’s ability to capture the minutiae of life. Filled with loneliness and regret, After Killing a Spider depicts exactly what it says on the tin. But then it goes further into the speaker’s emotions after the incident — for after killing his only companion, the speaker is left alone in the cold of the night. What’s also interesting is that the first break comes after the word ‘killing’, emphasizing the brutality the speaker felt on performing the act, even if it was just a spider.All imagery with zero verbs, Ezra Pound delicately captures a still moment in time. The first image entirely comprises humans (faces in the crowd), while the second only shows nature (petals). By likening the two, the poet highlights the fleeting nature of life — be it the people we encounter every day or the wilting petals.

A wilting grass and a braking locomotive: by juxtaposing the two, the poet has created a power dynamic between the images 一 one natural and one man-made. As the grass by the side of the tracks have wilted into the path of the locomotive, the poem suggests that even the mightiest of technological innovations must yield to nature.

One can easily imagine the person represented by the metaphorical wind in this haiku: someone in their winter years, who has spent the year railing against the world, only to be left with no one left to listen. While spring often represents the idea of hope in poetry, winter surely is the season of regret.One of the four great masters of Japanese haiku, Matsuo Bashō is known for his simplistic yet thought-provoking haikus. “The Old Pond”, arguably his most famous piece, stays true to his style of couching observations of human nature within natural imagery. One interpretation is that by metaphorically using the ‘pond’ to symbolize the mind, Bashō brings to light the impact of external stimuli (embodied by the frog, a traditional subject of Japanese poetry) on the human mind. While most Japanese haiku poems speak of humankind’s harmonious relationship with nature, Jack Kerouac’s contributions to the oeuvre put man and nature on opposing sides. After sketching an image that could easily have come from a pastoral scene — a raindrop fall from a roof — Keruoac pulls back to reveal the modern context. Representative of Kerouac’s caustic writing style, we find that nature disrupts — rather than soothes — the speaker. Consider the sound that a ‘one-ton temple bell’ might make if it were to ring. That’s what Taniguchi Buson urges us to imagine, juxtaposing this deep bell against the silent moonmoth, unaware that it might be violently distrubed at any possible moment.

Cherry blossoms are a big deal in Japan, so it’s no surprise that they often turn up in haiku. In this poem, the cherry blossom festival must be in full swing, and the speaker can barely control their excitement, wishing for more — an excess of it that, surfeiting, the appetite might sicken and so die (as Shakespeare might say). It’s enough to make you want to book the next available flight to Tokyo.This pensive haiku by Hakuen Ekaku broodingly reflects on the theme of death. As haiku writers like to remind us, the blooming of the most beautiful of nature’s occurrences like spring cherry blossom are always temporary. Coincidentally, Hakuen’s life also spanned seven cycles, as he died at the age of sixty-six.Buson invites the reader to share in his nostalgia with elements from nature such as ‘pale moonlight’ and the ‘wisteria’s scent’ triggering the our visual and olfactory senses — the fact that the scent is coming from far away adds a transportive element to the poem, asking us to imagine the unseen beauty of this tree.The first line of Andrew Mancinelli’s haiku certainly packs a powerful punch. Was it a real ‘fire’ that our speaker was in, or a metaphorical one in their life? Have they overcome a tragedy and learned that all things must pass — or do they now “sleep,” perchance to dream, in a place beyond that mortal coil? In either case, it’s chilling stuff!

The last of the Four Great Masters of haiku, Masaoka Shiki had a very direct writing style. Suffering tuberculosis for much of his life, his poetry was an outlet for his isolation. He would often focus on the trivial details of sick-room life, and in this haiku, his sadness and fatigue are almost palpable.“Haiku [for you]” acts as a warm, comforting hug. The poet draws similarities between the nature of their love and that of ‘speech’ and ‘breath’ — natural and unforced. If someone whispered this to you, wouldn’t you feel love, too? On the 1st of January 2021, the seminal works of 1925 became yours to have, to read, and to adapt! And what a year it was for literature. The full list is a little rough to navigate, so we’ve gathered together twelve of your best bets — and they’re all gems. By placing the river’s powerful torrent next to a delicate flower, Harter captures how all of nature’s diverse elements coexist beautifully. While the torrent certainly paints a more aggressive image than most haiku, it’s balanced by the idea of the snow melting and the delicacy of the flowers emerging from spring.

If you haven’t had your fill of bug-killing action, here’s a haiku from Kato Shuson. As with “After killing a spider”, the speaker doesn’t feel remorse at having ended a life — but perhaps regrets allowing their kids to see their savage tendencies. Though short in length, this haiku imparts a powerful message: be the person that you want your children to see.This haiku is a part of Paul Holmes’ A Year in Haiku Poem, where he attempts to capture the essence of each month of the year. Holmes does so fittingly, using vivid imagery to depict the seamless changing of the seasons— as the snowdrops bow their ‘white heads’ to make way for the sun’s glory.

Born in Tokyo in 1865, Murakami Kijo helped with the founding of Hototogisu, a literary magazine responsible for popularizing the modern haiku in Japan. In this particular piece, Kijo uses the simple act of looking into the mirror to convey one’s struggle with mortality.African American novelist and poet Richard Wright often used the ‘haiku round’, a technique where the reader can go back to the first line from the third, as if repeating the poem in endless loops. Try it with this one! Fun fact: according to his daughter, he would draft his poems on disposable napkins before transferring them to paper.

The changing of the seasons is a theme common to Zen Buddhist philosophy, and its influence can be felt in many haiku. Through a series of simple yet provocative images, Natsume Soseki captures the seamless shift as the summer sun sets to make way for the ‘leafless’ fall. While many haiku have focused on the brevity of life, this entry from Ravi Shankar (no relation to the sitar player) takes a slightly darker approach. Using clay as a metaphor, Shankar reminds us that we have this one chance to shape our life — to either waste it away or be of use. Natsume Soseki was known for weaving fairy tales into his haikus, and this work is a perfect example. Through the myth-like depiction of the ‘plum flower temple’ or the unknown voices rising from the foothills, he creates a sense of wonder for the enigmas hidden in the world around us.Alfred, lord tennyson, ‘ the flower ’. 2 the old pond by matsuo bashō. The origins of haiku poems can be traced back as far as the 9th century. Web animals i keep as petsare like my ornamental plants beautifying home.Haiku Poem For Flowers – It’s a fun way to get your students to be. Web incorporating haikus into your language program can help your students learn about different forms of poetry and syllables. Haiku Poem For Flowers.Haiku Poem For Flowers – Web the poem depicts a panorama connoting a sense of harmony and hope. Also, try our sister website’s powerful search engine for poems or see our other rain poems. Haiku Poem For Flowers.

These Flowers Haiku poems are examples of Haiku poems about Flowers. These are the best examples of Haiku Flowers poems written by international poets. Haiku poems about Flower and Flower haiku poems. Read and enjoy these haikus! Also, try our sister website’s powerful search engine for poems or see our other Flower Poems. Though the poem is extremely short, it fully describes Basho’s experience with a severe storm. The storm is so strong that even the most brave and solid of creatures runs for safety. Here is another Basho haiku.Traditional haiku describes a moment in time using words that awaken the senses. Matsuo Basho, a famous haiku poet, described haiku as “simply what is happening in this place at this moment.” Does this poem make you want to put on a sweater? This very short poem awakens our senses to a bitterly cold, uncomfortable winter night. You can hear the frozen waterjar crack and feel the cold bed that keeps Basho awake. A simpler, “free-style” version of haiku is called the lune. A lune can be about absolutely anything. The writer of a lune does not have to count syllables. The first line in a lune is three words, the second line is 5 words, and the third line is 3 words. Here are a few lunes. Describing the Paris Underground, “In a Station of the Metro” is often considered the first haiku written in English, though it does not follow the 5/7/5 structure. As Pound believed that superfluous words tend to dull an image, the philosophy of the Haiku is perfectly up his alley. 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!”).

Katsushika Hokusai, a disciple of Bashō, writes another powerful haiku that translation cannot accurately capture. In it, he compares a written poem to a blooming poppy. He uses imagery of the spring season to describe his writing process.A slightly darker take on the art of haiku, “Lines on a Skull” is inspired by Lord Byron’s “Lines Inscribed Upon a Cup formed from a Skull.” Poet Ravi Shankar distills this late seventeenth-century poet’s words into a more modern, potent, and visceral version.A slightly more modern Japanese poet, Natsume Sōseki, likens his breath to the wind in this haunting haiku. He learned the art of composing haikus from one of the four great haiku masters: Masaoka Shiki. As the art of the haiku traveled west, influential American writers like Ezra Pound picked up the craft.

Poet Joyce Clement currently serves as a director of the Haiku Circle in Northfield, Massachusetts and co-editor of Frogpond, the journal of The Haiku Society of America; the title, a gentle nod to haiku master Bashō.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.

Known for her innovative use of traditional formats like haiku in a modern context, even infusing them with bluesy rhythm, Sonia Sanchez received high praise for her collection Morning Haiku. In its opening essay, Sanchez expresses her deep appreciation for haiku as an art form.

Jack Kerouac proposed that, because the English language structure is different than Japanese, the western haiku should “simply say a lot in three short lines in any Western language. Above all, a Haiku must be very simple and free of all poetic trickery and make a little picture and yet be as airy and graceful as a Vivaldi Pastorella.” In Book of Haikus, Kerouac experiments this formal and freestyle. In Japanese, a haiku consists of seventeen on (phonetic units in Japanese poetry similar to syllables) arranged in the familiar five-seven-five pattern. In many cases—but not all cases—a Japanese word has the same number of on as it has syllables in English. A haiku is a short, unrhymed poem that adheres to a specific three-line, seventeen-syllable format. Traditionally, a haiku depicts a tiny moment in time and includes a kireji (a “cutting word”) that creates a pause or sense of closure.

During the prewriting stage, decide whether you’ll adhere to the established haiku structure or write a more free-form haiku. You can always change your mind later if the lines you write don’t exactly fit the five-seven-five format, but it can be helpful to have an idea of your format from the outset.Beyond this structure, there are a few more rules to writing a traditional haiku. One is that the lines cannot rhyme. Another is that in Japanese a haiku is written as one line. In English (and some other languages), it’s written in the three-line format seen above.

See how this poem still sounds and feels like a haiku despite not adhering to the traditional format? Poetic forms are often descriptive, not prescriptive. That means that when a poem fits a specific form’s rhythm and other general requirements, it’s often considered to be in that form. By contrast, “prescriptive” means that only poems that fit precisely into a specific form are considered to be in that form.Traditionally, haiku are about nature. One common theme explored by historical and modern haiku poets is seasonal changes. Often, a haiku focuses on a single moment in time and, in many cases, juxtaposes two images.

A haiku also needs to contain a seasonal reference, known as a kigo in Japanese. Just like with a kireji, English-language haiku don’t always include this component.You see this with other poetic forms as well, like sonnets and villanelles. Within certain forms, such as sonnets, distinct subtypes emerged as poets carved out their own takes on the form. Haiku are unique because, although poets have played (and still play) with the format, distinct subtypes have not emerged—at least not yet. But as poets continue to innovate haiku, it’s possible that we’ll see new types develop in the future. Poets are often innovative and insightful, as you’ll see in our collection of poetry quotes.Whether you’re following the five-seven-five format or not, give yourself room to play with words. Group words according to their syllable counts and say them out loud to hear how they sound together. Do this whether you plan on performing your haiku aloud or not—a key part of any poem is its rhythm and flow, so make sure you’ve got a beat that complements your words and subject matter. A haiku is a short, unrhymed poem that adheres to a specific three-line, seventeen-syllable format. The form originated in Japan, but today people across the globe read and write haiku in many different languages. Because of different languages’ unique syllabic and grammatical structures, haiku have slightly different formats from language to language. The main format we’re working with in this blog post is the English haiku format. Give your writing extra polish Grammarly helps you communicate confidently Haiku (pronounced high-koo) is a type of short-form poetry that originated in Japan. Although the name haiku dates only to the nineteenth century, the form has existed for hundreds of years. Originally, haiku were known as hokku and were a component of a larger poetic form known as renga. Renga are lengthy, linked collaborative poems that typically have multiple authors. By the seventeenth century, poets had begun writing hokku as standalone pieces, and by the end of the nineteenth century, poet Masaoka Shiki was reforming the genre while working within it. One of his reforms was coining the term haiku.Another defining characteristic of haiku in Japanese is the inclusion of at least one kireji. A kireji, translated as “cutting word,” is a grammatical category of words that create a pause or sense of closure. There is no direct equivalent to kireji in English, and in many translated haiku (and other traditional Japanese poems), the kireji is represented with a punctuation mark like an ellipsis or a dash. At this stage, you could be finished. If your hope was simply to write a haiku, you achieved your goal by finishing up that revised second draft. But if your goal is to publish your work, that’s the last step. You can publish your haiku yourself on a blog or by sharing it with your network, or you can submit it to a magazine or chapbook for publication. Once you’ve written a draft, give it some time to cool off. You’re a better editor when you revisit your work with fresh eyes, so with your first draft finished, take some time to do something else.As with other poetic and literary forms, haiku has evolved over the centuries. While traditional haiku adhered to a specific structure and content requirements—more on that in the section below—modern haiku often deviate from these rules to experiment with new formats and explore new subject matter. Take a look at this twentieth-century haiku from American poet Alexis Rotella:

Traditionally, haiku were often about nature and seasonal changes. Over time, poets began exploring other themes in haiku. In both traditional and modern haiku, it’s common for the poem to focus on a small moment and juxtapose distinct images for dramatic effect.

About twenty-four hours or so later, come back to your haiku. Read it aloud again and listen to how it sounds. You might catch an awkward string of syllables or a spot where you can substitute a stronger word that you didn’t notice just after finishing the draft. Make these changes to shape your haiku into a stronger second draft.

Buson wrote in the 1700s and is a well-loved master of the form. In this poem, the poet engages with traditional imagery and utilizes the standard metrical pattern. The lines speak of “moonlight” and how it transforms the sight and experience of wisteria, a flowering vine-like plant.

This beautiful haiku, written in the 18th century, depicts the movement of the ocean. The English translation, completed by Miura Diane and Miura Seiichiro reads:Another famous haiku poet, Issa, is responsible for some of the best examples of traditional Japanese haikus. His poems are clever and sometimes more light-hearted than the works of other writers.

Shiki is credited today with reviving the haiku forming and allowing it to flourish anew in a different century. This particular poem is one of his best. It reads:Basho begins his haiku with the Japanese character あ, A which means Hey! or Ah! (getting someone’s attention or expressing surprise.) But the surprise is that あやめ, Ayame becomes the Iris. Again Basho uses another interjection, ん, (“nn” sound) before the final question, which is too convey the English idea of “hmmm”.

Mogana — “wouldn’t it be nice if, if only, here’s hoping, wishing, wishing and hoping” are some of the meanings of mogana — the poet’s hope or desire for a beautiful spring.

Once on a trip to Estes Park, a friend and I camped below Longs Peak (a “fourteener” located in the Rocky Mountain National Park), having decided on the spur of the moment to make the long climb to the top. It was summer, the evening was cool. It is hard to ignore, he snores. He slept in a one man tent, I crosswise and bent in the car. The stars filled the night sky, and the Milky Way rose behind the peak we hoped to climb the next day.

In a world of things, we strive to express our joy and wonderment in Nature’s beauty. Making his breakfast, Matsuo Basho watching the morning glory unfurl to catch the morning sun. Similarly, Chiyo-ni going to fetch water, finds that overnight the morning glory has wrapped its tendrils into the handle. In Kyoto and elsewhere in Japan, it is Spring again. The daffodils are in full bloom, waving at a poet trying to capture the moment in words. It is 1668, two years since the death of Todo Yoshitada, young Matsuo’s samurai master. Matsuo is not yet Basho. He is still Matsuo Kinsaku, age 24, living in Kyoto, wishing and hoping. Since Burt Bacharach died this year at the age of 93, I think it appropriate to mention his song, Wishin’ and Hopin’, first released in 1962. There are at least two great renditions, in 1962 by Dionne Warwick, the other by Dusty Springfield in 1964. Interestingly, Dusty’s Italian recording became “Stupido, Stupido.” It seems”desiderare e sperare” didn’t resonate well with the amorous Italians.“Crossing the Natori River, I entered Sendai on May the fourth, the day when the Japanese customarily throw iris leaves on the roof and pray for good health. Finding an inn, I decided to stay in Sendai for several days. In this city there was a painter by the name of Kaemon, and I made special efforts to meet him for he was reputed to be truly artistic. He took me to various places which I might have missed but for his help. First we went to the plain of Miyagino, where new fields of bush-clover would blossom in autumn. The hills of Tamada, Yokono, and Tsutsuji-ga-oka were covered in blooming white rhododendrons. Then we went into the dark pine woods called Konoshita where sunbeams could not penetrate. This, the darkest spot on the earth, has been the subject of many poems because of its dewiness – for example, one poet says that his lord when entering needs an umbrella to protect him from dew drops.”There is still snow at the highest elevations, even in July. The summer sun melts the snow forming narrow streams. One often stops to wash the face and hands with the cold water. Then one moves on, admiring a wildflower that grows nearby.Having reached the peak of Mt. Long, many climbers quickly descend, either because the peak has become crowded with other climbers, or the time of day is late and the weather uncertain. I think Basho would agree, there is joy in the summit, but the greater joy is in the journey.

Eventually, the time came for us to say good-bye. And Kaemon gave me his own drawings of Matsushima and Shiogama, as well as two pairs of straw sandals with laces dyed the deep blue of the iris. This last gift clearly testifies to the true artistic nature of this man.

Basho suffered from various ailments throughout his life, including stomach ailments. So, it is not hard to imagine that he drank quite a lot of tea. And, after a hard days journey on the Oku No Hosomichi, one pictures Sora, Basho’s traveling companion, brewing tea while Basho is busy writing in his journal. One can also picture their visit to a temple, where a Buddhist monk (僧, Sō) might welcome his guests with tea.This, I believe, has changed the game, for haiku was and is a game. The only rule being that the poet must express his or her thought in three lines of five, seven, and five syllables, features an image, or a pair of images, expressing the essence of a moment in time. Meanwhile in the world, King Charles II was back on the throne in England. France’s King Louis XIV and Spain’s King Charles II were fighting over the Netherlands. Japan was at peace under the rule of Tokugawa Ietsuna. Obanazawa (尾花沢), literally means the valley of the yellow iris (尾花). The city is located along the Mogami River in central Japan, halfway between Sendai and Sakata (Stages 18 and 31).Translation note. ume (plum) ga ka (smell of) ni (upon, implying that the smell of the plum and the sun arrive together) no tsuto (suddenly) hi no deru (sun appears, sunrise) yamaji (mountain path) kana (emphasis)

Asagao (朝顔, Morning Glory) is one of the fifty-four chapters of The Tale of Genji (a 12th century tale Basho was familiar with). In this tale, Gengi wants her, but Asagao, an imperial princess, shuts herself up in her residence, much like Basho distancing himself from Edo and his students for his simple cottage in Fukagawa.

The plum (ume 寒) and its fragrance (ume ga ka 寒さか) was a familiar subject for Matsuo Basho, one he wrote about no less than eleven times. Spring’s beauty is fleeting, the plum blossoms briefly, it’s smell prolonged by the cold, or does the coldness recall the smell? I wonder.In Obanazawa, Matsuo Basho’s host was Seifu (清風), a wealthy merchant and poet of the Danrin school, founded by Nishiyama Sōin (1605 to 1682). Seifu had previously exchanged haiku with Basho and Sora in Edo. Seifu is the Haiku name of Michisuke Suzuki, a safflower wholesaler, thus the third haiku.

In Sendai, Basho attempted to make the acquaintance of a fellow poet, Michikaze Oyodo, who like Basho traveled a lot and was, at the time living in Sendai. Michikaze was gone. Fortune smiled and Basho was taken on a sightseeing tour of the area by a wood block artist Basho identifies as Kaemon.

貰い水, morai mizu, literally, received I water – 貰 morai, can also suggest a tip or beneficence . 水 mizu, water. This leaves us with the impression that Chiyo must go and beg for water, i.e. “receiving water as a gift”.

Kakitsubata (Chinese, 杜若, Japanese, かきつばた) – one of three Japanese species of iris, is found along waterways and is usually purple or blue in color. In English it is sometimes translated as “rabbit-eared iris”. The kakitsubata is cultivate in the Yatsuhashi Kakitsubata Garden (八橋かきつばた園) at the Muryojuji Temple. It is also the place where Japanese poet Ariwara no Narihira was inspired to write his verse.Safflower (紅粉の花, benibana or beni no hana), has been used in Japan as a source for red tint in cosmetics and dye for clothing. The yellow flower contains a concentrated tinge of red.

Translation note. Ume (plum) ga ka ni (fragrance, odor, smell) oimodosaruru (come or push back) samu (cold) sa kana. Interestingly, sakana is a homophone for “fish” (魚).

One can ride horses along the trails on the mountainside. When the sun rose, we saw a few horses roaming freely on the range. One horse had only three legs.

From the second haiku, one infers that Basho’s host also maintained a nursery for Silkworm moths. Basho addresses a toad hidden in a Moth hut. It is hot and humid, Basho kindly commands him to crawl out, enjoy the cool, fresh air.haru kaze ni (in a Spring wind or breeze) fukidashi warau (blowing and laughing) hana (flowers) mogana (indicates hope or desire, i.e. Basho wishes the flowers were laughing in the wind).

It is a flower of the fields and and hedge rows, often entwined with briars and along a fence or gate. The flower was brought to Japan with the advent of Buddhism. The tiny blue or purple flower that bloomed each morning represented enlightenment.The cafe’s setting, beside a small lake, was quiet. Lofty apartment buildings, like tall mountains, surrounded the lake, separating us from the din of a thousand motorcycles on the main streets. This made this tiny spot feel like a personal Shangri-La. That and the woman, the owner of the cafe, who smiled as she served us a steaming pot of green tea.

Western translators have tried to fill out the meaning of the haiku adding words that were perhaps implied but not written. Dr. Gabi Greve, of the Daruma Museum, Japan, has given us many variations of Chiyo-ni’s haiku, adding neighbor to explain her solution to Chiyo-ni’s dilemma. While the English poet Edwin Arnold has expanded the original thought greatly:

It is the fall and the iris blossoms though long gone, still bring to mind the memory of my grandmother, for it too was her favorite flower. For Matsuo Basho, flowers were an inspiration and he wrote of the kakitsubata, the blue water iris, at least three times. This one in 1685, following the death of his mother in 1683.The following haiku is from Basho’s Journal of Bleached Bones (Nozarashi Kiko, 野ざらし紀行). This travelogue covered a trip that began in the fall of 1684 and ended the next spring. Basho traveled from Edo to Iga Ueno, his birthplace. After paying respects to his mother who had died the year before, he traveled to Kamigata (an are encompassing Kyoto, Kobe, and Osaka). Coming along a mountain path, Matsuo Basho spied a mountain violet (sumiregusa). This dainty purple flower with its heart shaped leaves has no smell, but it is charming nevertheless, being one of the earliest flowers to blossom in spring.

Kaemon’s identity is revealed in Sora’s Diary. English theories about Kaemon’s name and profession are inconsistent. Terebess, Notes on station 18. Reliable Japanese authorities identify him as Kitanoya Kaemon, a wood block printer and owner of a bookstore. He was a student of the haiku poet Michikaze Oyodo who was then living in Sendai. 仙台, Japanese source. Oyodo Michikaze (大淀 三千風), like Basho, was a prolific haiku writer. In 1682, he published a book called, Matsushima Viewbook, extolling the beauty of the islands.Chrysanthemum tea (菊茶, kiku-cha) is considered an elixir of life in Japan and much of Asia, enjoyed for the beauty of the flower’s blossoms, their earthy smell, and the taste of the tea. Each mum variety having its own special flavor. The recipe is simple, steep the flower petals (the leaves are too bitter) in hot water. Drink as a morning tea (朝茶, asa cha). Drink while hot. Morning tea and Green tea in general are soothing. Chrysanthemum tea, in particular, is used to calm chest pain, reduce high blood pressure, soften headaches, eliminate dizziness, and treat a host of other conditions.Sen no Rikyū, the 16th century tea master, is said to have grown gorgeous morning glories in the garden by his teahouse. Toyotomi Hideyoshi (1537 – 1598), Japan’s “Great Unifier,” sought an invitation to tea so that he could see the flowers.

He and she, she and he. Many haiku artists took up where Matsuo Basho left off with his death in 1694. One such artist was the Lady Kaga no Chiyo (Chiyo-ni, 1703 – 1775). She had taken up writing at the age of seven and was well-known by the time she was a teenager. Basho’s influence comes from the fact that she studied under two of Basho’s apprentices, but as seen in the following haiku, she spoke in her own unique voice.After crossing the barrier-gate of Shirakawa on their journey north, Basho and Sora entered the Tōhoku region (東北地方) of northern Japan. They were headed to the scenic pine covered Matsushima islands. But first they would arrive in Tōhoku’s largest city, Sendai. They reached Sendai on May the fourth. This was seasonally significant as May the fifth marked the first day of summer on the Japanese lunar calendar.In order to give you the best experience, we use cookies and similar technologies for performance, analytics, personalization, advertising, and to help our site function. Want to know more? Read our Cookie Policy. You can change your preferences any time in your Privacy Settings.