3.2.1. 5-7-5_en

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Chapter 3.2.1.

5-7-5: Haiku/Senryu

• Haiku
• Senryū
• Spiritworks
• LISpiritworks
• General spiritworks

Haiku

I believe haiku does not need a special introduction since it is probably the most widespread form of Japanese poetry. A lyrical text consisting of only 17 syllables (i.e., what syllables are in Japanese – in non-Japanese languages, this metric is not so strict; it is critical that the poem totals 17 syllables or less). It is most often divided into three lines following the syllabic pattern 5-7-5, but the whole poem can be written in one verse. The poet tries to evoke a unique moment experienced in contact with nature, condensing the general, the cosmos, into a concrete piece of appearance. Or he gets in sync with that piece and merges with it, often lucidly revealing (adding?) a whole series of associations that this scene inspires. The haiku does not have a title, nor does it use a rhyme, and it also asks for the use of a word that refers to the season, kigo (but which is being omitted more and more often).

• Warning: all too often, all kinds of short forms of poetry and rhyming (aphorisms, graffiti, particularly humorous or mocking collections of verses with or without rhyme) are recklessly labeled as haiku, which degrades this delicate and noble skill. This is mainly due to insufficient knowledge of that discipline. I appeal to the readers of these lines that, upon encountering the said phenomenon (or if they happen to be in an opportunity to create it), they call to mind this attention-switch and avoid its misnaming and possible thoughtless disparagement!
  
  Please don’t get me wrong! I’m not against humor (I often use sarcasm myself) or the mentioned short forms. If it is intended to introduce a certain amount of humor into a short-form verse work (or if recognized) – that’s perfectly fine, but it should not be rashly listed as a haiku! (Possibly as a senryū, and only if it meets the formal criteria—please see the next paragraph.)

Senryū

Senryū has the same form, so it’s hard to tell which of those two related genres a poem belongs to at first glance, but there is a subtle difference between them. Haiku is oriented toward nature and the poet’s immediate experience of nature, striving for objectivity of description and non-interference of the poet in the scene. Senryū deals more with the poet’s inner life, often more or less openly, subjectively expressing his attitude toward the subject of the poem. Unlike haiku, it is more humorous and satirical, frequently using sarcasm and wordplay. (However, very mild humor can also be found in haiku!) Also, senryū does not use kigo.

Spiritworks

As I mentioned in Part 3., my haiku trip (my moniker for doing Japanese poetry) started as a side effect of my endeavor to describe my personal experience of living with LIS to my new friends—fellow strokees. This soon ceased to be a mere side effect and gradually became an earnest preoccupation with articulating my experience within the 5-7-5 pattern. I initially maintained that very personal expression. Additionally, throughout the haiku phase, direct contact with nature was restricted for me (3^rd floor, no elevator). Also, my portrayed relationship with the environment was quite bizarre.

As my poetic output reflected those circumstances, most of my poems (some of which are borderline indecent) should be classified as senryū! Okay, this initial senryū-inclination shifted later slightly toward haiku, as my skill of perceiving perfected. Namely, I started to draw less inspiration from LIS and more from other real-life segments I experienced in my environment. Even a bit from nature, as well (indirectly). But I don’t bother with that classification. I look a little further (or a little closer—ha, everything is relative), so I christen them both as spiritworks.

However, due to the closeness of these two genres, I don’t mind when someone calls them both “haiku!”

Here are some examples: