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The Classic Tradition of Haiku: An Anthology
A highly distilled form of Japanese poetry, haiku consists of seventeen syllables, usually divided among three lines. Though brief, they tell a story or paint a vivid picture, leaving it to the reader to draw out the meanings and complete them in the mind's eye. Haiku often contains a hidden dualism (near and far, then and now, etc.) and has a seasonal tie-in, as well as specific word-images that reveal deeper layers in each poem.
This unique collection spans over 400 years (1488–1902) of haiku history by the greatest Bashō, Issa, Shiki, and many more, in translations by top-flight scholars in the field. Haiku commands enormous respect in Japan. Now readers of poetry in the West can savor these expressive masterpieces in this treasury compiled by noted writer Faubion Bowers, who provides a Foreword and many informative notes to the poems.
This unique collection spans over 400 years (1488–1902) of haiku history by the greatest Bashō, Issa, Shiki, and many more, in translations by top-flight scholars in the field. Haiku commands enormous respect in Japan. Now readers of poetry in the West can savor these expressive masterpieces in this treasury compiled by noted writer Faubion Bowers, who provides a Foreword and many informative notes to the poems.
78 pages, Kindle Edition
First published January 1, 1996
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August 11, 2019
Haiku should be just
small stones dropping down a well
with a small splash
- James Kirkup (8)
Haiku or the complexity of subtlety
As a big fan of etymology, I was captivated by this book's introduction. It is a clear and detailed recount of the history of haiku. The present enthralling subject we are tediously discussing here—I suggest a considerable amount of coffee in your system or ignoring these couple of paragraphs—has its origin in 12th-century renga, a form of collaborative poetry. Poets, in groups or by themselves, improvised connecting stanzas in order to create long poems. To sum up, by the 16th century, haikai-no-renga, a sort of "comic linked verse", was hipper than black glasses and courier bags today, all in contrast to the formality of the "language of the gods" of the time.
According to this book, haikai became a little more than a display of wit and scatology (7). Not what you were expecting, I assume. Nonetheless, everything changed when Matsuo Bashō (1644–1694) appeared on stage and elevated haikai to a dignified level; fortunately, he kept the subtle humor and the element of surprise intact. At that time, the opening 5-7-5 stanza of renga, called hokku, contained what is known as kigo, a seasonal word. Another requirement was that it had to be something complete, an entity on its own. (Modern Japanese haiku doesn't strictly follow this tradition). Subsequently, hokku began to appear as an independent poem. However, it wasn't until the late 19th century that humanity became acquainted with the term "haiku" due to the arrival of Masaoka Shiki (1867-1902). Hai in haikai means 'unusual' and ku denotes strophe, lines, stanza, verse (8).
After being dazzled by the introduction of this book, I found some explanations about syllables and sounds and other scholarly amusing details. I'd prefer to focus on another side of its beauty, since in such a concise piece of writing exists an entire universe. A story, a picture, a truly evocative image, sheer wit and humor, dichotomies represented by diverse aspects of human nature, the act of giving voice to seemingly minor details of everyday life; all open to interpretation. I have read a couple of books about haiku before but it wasn't until this moment that I started to see a more complete panorama. For instance, a haiku includes specific words and images that assist the reader in order to understand the story: what, where and especially when, the most reminiscent part.
This anthology consists of several haiku written by poets from the 15th century until the beginning of the 20th century. Each translation is followed by the initials of the translator (they are listed at the beginning of the book). In that sense, regarding structure and organization, this book is flawless. Bowers' footnotes are unbelievably helpful; lifesavers, actually. They include insightful remarks about the context in which some of the finest haiku were written. If you read something like...
kochira muke / ware mo sabishiki / aki no kure
Will you turn toward me?
I am lonely too,
this autumn evening.
...and then go to the footnote, you may find a less sentimental or philosophic origin for such poignant lines by Bashō. Even so, we have the liberty to assimilate them as we need them to be.
On another note, and as seen in the quote above, these haiku are written in English and also rōmaji (no, there was nothing I could do to know more). Some of the most famous haiku have multiple translations below, so you can take pleasure in comparing a same idea and the different ways of expressing it - different shades of unadulterated beauty.
The book opens with Iio Sōgi (1421-1502).
mono goto ni / oi wa kokoro no / ato mo nashi
everything that was
has vanished from my aged heart
leaving not a trace
A moving depiction of a man being led towards the end.
Then, Sōchō (1448-1532). Actually, a renga which began with Sōgi.
Sōgi: nao nani nare ya / hito no koishiki
Sōchō: kimi o okite / akazu mo tareo / omou ran
What could be the cause of it –
that I should feel such love again?
While I still have you,
why think of anyone else?
Why this discontent?
Two different translations were included, all equally stunning.
When thinking about haiku, one immediately remembers the great four: Bashō, Buson, Issa and Shiki. Nevertheless, this book pays also attention to women and their sometimes playful, sometimes heart-rending verses. (At this point, it's saddening that one still feels the need to praise a book that acknowledges the work of female writers.)
Shōfū-ni (1669-1758), a lament for Basho's death.
haikai no / sode mo Bashō mo / kareno kana
Both the haikai sleeve and the plantain withered in the field
Takeda [Tome] Ukō-ni (1687-1743)
waga ko nara / tomo ni wa yaraji / yoru no yuki
If my child, I wouldn't let him go with you in tonight's snow.
Kaga no Chiyo (1703-1775)
tsuki mo mite / ware wa kono yo o / kashiku o kana
I've seen the moon
I sign my letter to the world
“Respectfully yours”
*
somekanete / kata yama momiji / kata omoi
No autumn colors tint that side of the mountain: a one-sided love
After quoting a vast number of writers, the book ends with the reformer. The last haiku master.
yomei / ikubaku ka aru / yo mijikashi
how much longer
is my life?
a brief night . . .
The magnificence of simplicity
Centuries have gone by, a world that has changed too many times. And yet, certain things will never cease to be a cause of disquiet in ourselves. All things that I have seen inside the pages of this book.
A tormented childhood, infinite existential doubts and voids that cannot be filled, worldly aspirations, death of the beloved, desirable solitude and overpowering isolation, the inexorable passing of time, the monotony of work and work which vainly tries to suppress the ordinary sense of emptiness; the comforting beauty of nature which eventually portrays a much needed haven for wandering souls. Nature. Out there, on the grass. Where the ravishing camellias bloom. In the land of the rising sun. In our land under the same sky.
A cherry blossom, a dewy chrysanthemum, a blue heron flying by, a hill whitened by the presence of the moon, a pond. A disconnection. Thoughts, colliding. The silence of the mundane, everywhere. As the person reaches a longed-for clarity to face the world again. Nothing will disturb the silent tranquility of that moment.
Nov 15, 2015
* Also on my blog.
February 13, 2020
“Haiku should be just
small stones dropping down a well
with a small splash”
Carrying on with my poetic education, I picked this lovely little anthology of Haiku poems. As the introduction explains, it is night on impossible to translate these short verses. The 5-7-5 syllables structure reflects the way Japanese ‘works’ - the same way the iambic pentameter mirrors the rhythm of the English language. Nevertheless, this edition gives the original verses followed by one or more interpretations into English. Here are a few of my favourites:
mono goto ni / oi wa kokoro no / ato mo mashi
Everything that was
Has vanished from my aged heart
Leaving not a trace
ume no kaze / haikai koko ni / sakan nari
A plum scented wind
In the land of haikai
Blows triumphant
samidare ya / aru yo hisoka ni / matsu no tsuki
All the rains of June:
And one evening, secretly,
Through the pines, the moon.
small stones dropping down a well
with a small splash”
Carrying on with my poetic education, I picked this lovely little anthology of Haiku poems. As the introduction explains, it is night on impossible to translate these short verses. The 5-7-5 syllables structure reflects the way Japanese ‘works’ - the same way the iambic pentameter mirrors the rhythm of the English language. Nevertheless, this edition gives the original verses followed by one or more interpretations into English. Here are a few of my favourites:
mono goto ni / oi wa kokoro no / ato mo mashi
Everything that was
Has vanished from my aged heart
Leaving not a trace
ume no kaze / haikai koko ni / sakan nari
A plum scented wind
In the land of haikai
Blows triumphant
samidare ya / aru yo hisoka ni / matsu no tsuki
All the rains of June:
And one evening, secretly,
Through the pines, the moon.
August 24, 2019
"haikai no / kuchisugi ni / sakura kana
Cherry blossoms made for haikai poets to exploit" - Kobayashi Issa
I came into this book with as open a mind as you can have. I had very little experience with the haiku before this book, beside learning the basics of it in school (the standard 5-7-5 syllable arrangement) and that it was from Japan. I knew that Sonia Sanchez wrote some, but not much more. When I finally became curious enough to go into the genre, I did a little self-study and then inquired where to start my journey--and I was pointed to this book. A decent introduction and rundown of the major figures of the genre. I won't give a detailed explanation of this book, but will point people to go here: https://www.goodreads.com/review/show... to get a complete overview of haiku and this anthology. I will say that the endnotes really increased the learning/reading experience for me. I really just want to give some general impressions.
There is certainly a weightlessness to reading a haiku and the more precise the word choice, the better the haiku affects you. Of course, one was meant to read these in Japanese and even with the Hepburn transliteration, it is inevitable that one loses some of the power of these poems through the translation process. I will read some English-language haikus one day, but until then I will make do with this book.
Now to talk about some of my favorite poets in this book. Iio Sogi starts the book off and instantly got me into the book. "Snow yet remaining/The mountain slopes are misty--/An evening in spring." I started to get use the balance between nature and season. The man considered the greatest master of haiku is Matsuo Bashō a Zen monk that went around Japan training future haiku poets and meeting-up with other great haiku poets (among other things).
"A warm day,
But there’s a chill
In the winter sun." 無
Cherry blossoms made for haikai poets to exploit" - Kobayashi Issa
I came into this book with as open a mind as you can have. I had very little experience with the haiku before this book, beside learning the basics of it in school (the standard 5-7-5 syllable arrangement) and that it was from Japan. I knew that Sonia Sanchez wrote some, but not much more. When I finally became curious enough to go into the genre, I did a little self-study and then inquired where to start my journey--and I was pointed to this book. A decent introduction and rundown of the major figures of the genre. I won't give a detailed explanation of this book, but will point people to go here: https://www.goodreads.com/review/show... to get a complete overview of haiku and this anthology. I will say that the endnotes really increased the learning/reading experience for me. I really just want to give some general impressions.
There is certainly a weightlessness to reading a haiku and the more precise the word choice, the better the haiku affects you. Of course, one was meant to read these in Japanese and even with the Hepburn transliteration, it is inevitable that one loses some of the power of these poems through the translation process. I will read some English-language haikus one day, but until then I will make do with this book.
Now to talk about some of my favorite poets in this book. Iio Sogi starts the book off and instantly got me into the book. "Snow yet remaining/The mountain slopes are misty--/An evening in spring." I started to get use the balance between nature and season. The man considered the greatest master of haiku is Matsuo Bashō a Zen monk that went around Japan training future haiku poets and meeting-up with other great haiku poets (among other things).
natsukusa ya / tsuwamonodomo ga / yume no atoOne thing that I learned is that the haiku tradition was very relatively open to women poets. As I had recently read A Room of One's Own and given what I knew about the history of Kabuki, this was a pleasant surprise. The woman poet who stood among the other poets in this book for me was Fukuda Chiyo-ni (Kaga no Chiyo) one of the great writers in the history of Japanese and women's literature.
Old battle-field, fresh with spring flowers again
All that is left of the dream
Of twice ten thousand warriors slain.
somekanete / kata yama momiji / kata omoiShe would eventually become a Buddhist monastic like Bashō. While Bashō and Chiyo are great, I possibly liked the works included here of Yosa Buson more than any other. He was part of the 18th century revival movement of Matsuo Bashō and the haiku genre in-general.
No autumn colors
tint that side of the mountain:
a one-sided love
tsurigane ni / tomarite nemuru / kochō kanaI've already posted a poem by Issa (the intro poem), but I will say that though I liked his more edgy awareness, I was put-off by his nationalism which was a bit disappointing. Still, he had some fun haikus. Now though I read some amazing poems throughout this book, my favorite poem was by a contemporary of Bashō who was the second most-famous haiku writer of his era named Onitsura Ueijma:
On the great temple bell
stopped from flight and sleeping
the small butterfly
"A warm day,
But there’s a chill
In the winter sun." 無
August 3, 2007
This slim and inexpensive Dover edition is a great introduction to the haiku masters as well as lesser-known poets. One thing that I particular liked is that editor Bowers presents multiple translations of the same pieces, so that you get a sense of just how difficult it is to translate haiku. The notes on the poems help, too, in grasping what the poetic images meant to contemporary Japanese. Proceeding chronologically, you can see how haiku develops, and you can also see how Western translation has evolved as well. All in all, a great resource in a compact, approachable format.
November 24, 2024
I wish the foreword was longer and more detailed, but I appreciate the fact that this collection often offers multiple translations of a poem.
I find the footnotes very helpful.
If only noiseless they would go,
The herons flying by
Were but a line of snow
Across the sky
-Yamazaki Sōkan
A fallen blossom
returning to the bough, I thought —
But no, a butterfly.
-Arakida Moritake
My span of years
Today appears
A morning-glory’s hour.
-Arakida Moritake ( deathbed poem)
on a barren branch
a raven has perched —
autumn dusk
- Basho
Quietness: seeping into the rocks,
the cicada’s voice
- Basho
For the white poppy
the butterfly breaks off its wing
as a keepsake
-- Basho
( written for a pupil in exile)
Ill on a journey
All about the dreary fields
Fly my broken dreams
-- Basho ( last poem written)
I write, I look, I erase
And in the end
A poppy of erasure.
-Tachibana Hokushi ( deathbed poem)
Wandering dreams. Alas!
Over fields all burned, the winds
Whisper as they pass!
- Uejima Onitsura ( written to commemorate Basho)
Even after waking
From the dream
I’ll see the colors of irises.
- Ogawa Shūshiki ( death poem, Ogata Kōrin’s Irises screen)
I’ve seen the moon
I sign my letter to the world
“Respectfully yours”
-Kaga no Chiyo
Ours is a world of suffering,
Even if cherry-flowers bloom.
-Kobayashi Issa
Falling cherry petals say
Hurry, hurry
Thy preparedness for death
-Kobayashi Issa
all I can think of
is being sick in bed
and snowbound . ..
-Masaoka Shiki
I find the footnotes very helpful.
If only noiseless they would go,
The herons flying by
Were but a line of snow
Across the sky
-Yamazaki Sōkan
A fallen blossom
returning to the bough, I thought —
But no, a butterfly.
-Arakida Moritake
My span of years
Today appears
A morning-glory’s hour.
-Arakida Moritake ( deathbed poem)
on a barren branch
a raven has perched —
autumn dusk
- Basho
Quietness: seeping into the rocks,
the cicada’s voice
- Basho
For the white poppy
the butterfly breaks off its wing
as a keepsake
-- Basho
( written for a pupil in exile)
Ill on a journey
All about the dreary fields
Fly my broken dreams
-- Basho ( last poem written)
I write, I look, I erase
And in the end
A poppy of erasure.
-Tachibana Hokushi ( deathbed poem)
Wandering dreams. Alas!
Over fields all burned, the winds
Whisper as they pass!
- Uejima Onitsura ( written to commemorate Basho)
Even after waking
From the dream
I’ll see the colors of irises.
- Ogawa Shūshiki ( death poem, Ogata Kōrin’s Irises screen)
I’ve seen the moon
I sign my letter to the world
“Respectfully yours”
-Kaga no Chiyo
Ours is a world of suffering,
Even if cherry-flowers bloom.
-Kobayashi Issa
Falling cherry petals say
Hurry, hurry
Thy preparedness for death
-Kobayashi Issa
all I can think of
is being sick in bed
and snowbound . ..
-Masaoka Shiki
October 5, 2014
Mis favoritos:
(te o tsuite/uts moshiagaru/kawazu kana)
"Hands to the floor
offering up a song
the frog..."
-Sokan
(yado no haru/nani mo naki koso/ nani mo are)
"In my hut this spring
there is nothing
there is everything"
-Danjuro
(furuike ya/ kawazu tobikomu / mizu no oto)
"Old pond
frogs jumped in
sound of water"
-Basho
(natsukusa ya / tsuwamonodomo ga / yume no ato)
Summer grasses
where stalwart soldiers
once dreamed dreams
-Basho
(kojiki kana / tenchi no kitaru / natsu goromo)
"There a beggar goes!
Heaven and earth he´s wearing
for his summer clothes"
-Kikaku
(mushi yo mushi yo / naite inga ga / tsukiru nara)
"O, insect! - think you that
Karma can be exhausted by song?"
-Otokuni
(akikaze no / yama o mawaru ya / kane no koe)
"The autumn wind
resounds in the mountain -
temple bell"
-Chiyo
(ka ya hiraki / mori toku tori no / kirabiyaka) <--- Palindrome. Respect!
"The wonder of
flowers opening
and birds singing
prayers!"
-Gozan
(te o tsuite/uts moshiagaru/kawazu kana)
"Hands to the floor
offering up a song
the frog..."
-Sokan
(yado no haru/nani mo naki koso/ nani mo are)
"In my hut this spring
there is nothing
there is everything"
-Danjuro
(furuike ya/ kawazu tobikomu / mizu no oto)
"Old pond
frogs jumped in
sound of water"
-Basho
(natsukusa ya / tsuwamonodomo ga / yume no ato)
Summer grasses
where stalwart soldiers
once dreamed dreams
-Basho
(kojiki kana / tenchi no kitaru / natsu goromo)
"There a beggar goes!
Heaven and earth he´s wearing
for his summer clothes"
-Kikaku
(mushi yo mushi yo / naite inga ga / tsukiru nara)
"O, insect! - think you that
Karma can be exhausted by song?"
-Otokuni
(akikaze no / yama o mawaru ya / kane no koe)
"The autumn wind
resounds in the mountain -
temple bell"
-Chiyo
(ka ya hiraki / mori toku tori no / kirabiyaka) <--- Palindrome. Respect!
"The wonder of
flowers opening
and birds singing
prayers!"
-Gozan
February 19, 2018
I'm in love with this edition. I normally don't like reading translated poems, as most of it is lost in translation, but this one was perfect for me. It starts up with an introduction to Haiku, from its origin to its evolution. Then you read in chronological order the most notable Haiku, since the 15th century till the 20th. Every poet is introduced, all poems are written in Japanese (so you can at least see the musicality of each one, even if you don't understand the language) then translated in different styles, and every reference of Japanese culture or other is explained.
-
That edition has made it very easy to love the art of Haiku, and I recommend it to anyone who's curious about them.
-
That edition has made it very easy to love the art of Haiku, and I recommend it to anyone who's curious about them.
May 13, 2013
This is the second haiku anthology that I've reviewed on my site. While they're both thin volumes of traditional haiku, each has it's distinct flavor. The previous volume was organized by season. This one is organized by author. The two books share several authors (e.g. the greats Bashō, Issa, and Buson), but diverge on many of the lesser known poets.
One nice feature of this book is that it offers multiple translations of many of the haiku. Poetry is notoriously tricky to translate as literal translations can be meaningless. Multiple translations can give one a better opportunity to hone in on what the author meant to convey. This volume does give the original Japanese poem in romanized transcription (for those who enjoy the sound the author conveyed as well as meaning), but--unlike the other volume--it does not include the kanji. (This doesn't matter for me, as I don't read Japanese, but I'm sure the kanji is a nice feature for readers of Japanese.)
Some favorites are:
clouds occasionally
make a fellow relax
moon-viewing
Matsuo Bashō
islands
shattered into a thousand pieces
in the summer sea
Matsuo Bashō
you're the butterfly
and I the dreaming heart
of Sōshi
Matsuo Bashō
[Note: Sōshi is the Japanese name of the Taoist thinker Chuang Tze, and this references his famous statement about having dreamt he was a butterfly.]
that dream I had
of being stabbed--was true
bitten by a flea
Takarai Kikaku
oh, won't some orphaned sparrow
come
and play with me
Kobayashi Issa
One nice feature of this book is that it offers multiple translations of many of the haiku. Poetry is notoriously tricky to translate as literal translations can be meaningless. Multiple translations can give one a better opportunity to hone in on what the author meant to convey. This volume does give the original Japanese poem in romanized transcription (for those who enjoy the sound the author conveyed as well as meaning), but--unlike the other volume--it does not include the kanji. (This doesn't matter for me, as I don't read Japanese, but I'm sure the kanji is a nice feature for readers of Japanese.)
Some favorites are:
clouds occasionally
make a fellow relax
moon-viewing
Matsuo Bashō
islands
shattered into a thousand pieces
in the summer sea
Matsuo Bashō
you're the butterfly
and I the dreaming heart
of Sōshi
Matsuo Bashō
[Note: Sōshi is the Japanese name of the Taoist thinker Chuang Tze, and this references his famous statement about having dreamt he was a butterfly.]
that dream I had
of being stabbed--was true
bitten by a flea
Takarai Kikaku
oh, won't some orphaned sparrow
come
and play with me
Kobayashi Issa
May 4, 2021
Not the greatest of anthologies, but considering its exceptionally low price I thought it was pretty okay.
The main issue is with how the translations are organized. There are multiple translations of the same poem on the same page. That's great, but there are also poems with not more than one translation sharing the page with multiple translations of a second poem with no clear signage to mark the beginnings or ends, and if you think this sentence is confusing and incoherent, then you have some idea about the experience of reading this book.
The actual content of the book, the Haiku, are pretty amazing. It's a good assortment of works from heavyweights and legends like Basho and Buson, as well as lesser known names like Saikaku and Haritsu.
My personal favorite is this old gem from the Master, Kobayashi Issa:
'The world of dew
Is a world of dew
And yet, and yet...'
The main issue is with how the translations are organized. There are multiple translations of the same poem on the same page. That's great, but there are also poems with not more than one translation sharing the page with multiple translations of a second poem with no clear signage to mark the beginnings or ends, and if you think this sentence is confusing and incoherent, then you have some idea about the experience of reading this book.
The actual content of the book, the Haiku, are pretty amazing. It's a good assortment of works from heavyweights and legends like Basho and Buson, as well as lesser known names like Saikaku and Haritsu.
My personal favorite is this old gem from the Master, Kobayashi Issa:
'The world of dew
Is a world of dew
And yet, and yet...'
December 7, 2022
This is an anthology of classic haiku. The introduction provides more insight than I previously had into the tradition of haiku, and I was pleasantly surprised to learn that it's still a popular form in modern Japanese culture. The introduction also goes into what constitutes haiku. We tend, in the West, to simply think about syllables per line, but that's not as important as some other aspects that seem more subtle to someone from another culture.
The collection is gathered from the works of traditionally recognized haiku masters from Japanese history, with the original of each first shown in the Japanese language using the Latin alphabet. There are several translators whose work is drawn from, and while most haiku verses included show only one translation, some show the translations from two or more translators. There are extensive footnotes with information about the authors or their subject matter.
https://msv.gaiastream.com/wp/2022/11...
The collection is gathered from the works of traditionally recognized haiku masters from Japanese history, with the original of each first shown in the Japanese language using the Latin alphabet. There are several translators whose work is drawn from, and while most haiku verses included show only one translation, some show the translations from two or more translators. There are extensive footnotes with information about the authors or their subject matter.
https://msv.gaiastream.com/wp/2022/11...
February 18, 2018
I have seen thirty-six translations of one haiku.
September 30, 2019
From an educational POV, this is a great anthology with many footnotes and info and more often than not with more than one translation of a haiku. At the same time, though, exactly that takes away from the enjoyment of the haiku themselves, their beauty. This anthology is too technical to be beautiful.
December 25, 2019
I was not expecting much going in, but this is among the best collections of haiku out there (in English translation), personally in my top 3. If price is an issue, start with this one!
March 29, 2018
A fallen blossom
returning to the bough, I thought -
But no, a butterfly.
- Arakida Moritake (1472 - 1549)
My favourite Haiku from "The Classic Tradition of Haiku - An Anthology". This thin book covers the period from Sogi in the 15th Century to Shiki in the 19th Century. Multiple translations of the haiku, short biographies of the poets and explanations of the context make these "little drops of poetic essence" approachable.
This review also comes with my own Strand story. I bought this book at the annual Strand book fair at Sunderbai hall. It was fun and exhausting choosing the right mix of books from the thousands of beautiful books displayed. This was one of the five or six books that fit into my meager budget. I had to pay in cash as I did not even have a credit card then. I started reading this book but soon I put it away. I guess my twenty-something self wasn't ready for haiku yet. Reading it now, many years later, was a great experience. It is amazing how much depth is expressed in just 3 short lines. This is a book that must be re-read many times. I must confess that I still did not "get" some of the short poems. Maybe ten or fifteen years from now, I will.
returning to the bough, I thought -
But no, a butterfly.
- Arakida Moritake (1472 - 1549)
My favourite Haiku from "The Classic Tradition of Haiku - An Anthology". This thin book covers the period from Sogi in the 15th Century to Shiki in the 19th Century. Multiple translations of the haiku, short biographies of the poets and explanations of the context make these "little drops of poetic essence" approachable.
This review also comes with my own Strand story. I bought this book at the annual Strand book fair at Sunderbai hall. It was fun and exhausting choosing the right mix of books from the thousands of beautiful books displayed. This was one of the five or six books that fit into my meager budget. I had to pay in cash as I did not even have a credit card then. I started reading this book but soon I put it away. I guess my twenty-something self wasn't ready for haiku yet. Reading it now, many years later, was a great experience. It is amazing how much depth is expressed in just 3 short lines. This is a book that must be re-read many times. I must confess that I still did not "get" some of the short poems. Maybe ten or fifteen years from now, I will.
January 2, 2022
My first book for 2022. I've been getting more 'adventurous' with my book choices by getting into genres that I haven't read. This is one of those books. I still find it incredibly interesting how haikus, short as they are, fall under poetry...and this makes me appreciate the weirdness and openness that poetry offers. It took a while for me to get into a haiku, to grasp the story behind it (if I ever did). The footnotes were very helpful and they added more meaning.
Read
June 12, 2025With a number of translations from the late 19th century (alongside some more recent ones), this is another Dover anthology that felt better than it should by any rights be. Charmingly, very different translations of the same haiku were sometimes printed together, and the footnotes felt generous and helpful. A few women poets were included.
January 31, 2021
ไฮกุเล่มนี้ถ่ายทอดวัฒนธรรมญี่ปุ่น ออกมาเป็นภาษาอังกฤษได้อย่างงดงาม
ส่วนการตีความนั้นก็เป็นอีกเรื่องหนึ่ง ซึ่งตัวผู้อ่านก็มีส่วนสำคัญมากในเรื่องนี้
ส่วนการตีความนั้นก็เป็นอีกเรื่องหนึ่ง ซึ่งตัวผู้อ่านก็มีส่วนสำคัญมากในเรื่องนี้
January 28, 2023
Surprisingly robust for a Dover edition. I especially appreciate multiple translations of many of the haiku, and inclusion of so many early women haiku writers.
September 1, 2022
When the moon is out
What a time to ponder on
A pleasing haiku
What a time to ponder on
A pleasing haiku
March 18, 2023
Amazing short overview of haiku. My introduction to the form. Bowers in just 80 pages is able to give a taste of the four greatest poets of the form (Basho, Bison,Issa,Shiki) and a selection of other 44 poets. The poems are also well annotated and some of the most important have multiple translations that allow readers to understand the nuance of the poem. This selection uses translations from more than 40 different translators (all identified with the translator) that range from scholars of japanese literature like Donald Keene,Basil Chamberlain or Bowers himself to well known poets like Allen Ginsberg, giving a good perspective to the reader.
May 20, 2018
Having read Cor van den Heuvel's excellent anthology of English-language haiku, I was interested to delve a bit deeper into the history and tradition.
This little, incredible value-for-money (US$3), edition provided some of that. It's a survey of the greats of Japanese haiku, beginning in the 15th century through to the 19th.
Like all poetry that appears in a language different from the one in which it was written, the subtext of this collection is about the art of translation, and about translators as secondary poets. It provides the original Japanese for each poem (transposed into romanised script) which at least helps the reader hear the sound of the original... but in all cases, a poetic translation is really a new poem with a connection to the original. For some poems, alternate translations are provided by different translators, which I thought was an excellent move.
To aid in historical and cultural context and interpretation, the book has a lot of footnotes - which were helpful in that sense, and educational. But the drawback is that they (and the layout of this particular edition) clutter the poems, which runs contrary to the intent of haiku. It might be interesting to re-read the book while attempting not to look at the footnotes.
Bashō (1644-1694) is considered the greatest of the haiku poets, and it's easy to see why. I want to read more by him.
Overall, I found that I enjoyed the haiku of van den Heuvel's anthology better than the classical ones translated here... showing, I think, how vital and primary language is in the original construction of poetry. (Cultural disconnect may also be a factor.) Secondhand language just doesn't work as well. Though I still feel that I have at least, in some small way, increased my knowledge and paid my respects to the tradition.
This little, incredible value-for-money (US$3), edition provided some of that. It's a survey of the greats of Japanese haiku, beginning in the 15th century through to the 19th.
Like all poetry that appears in a language different from the one in which it was written, the subtext of this collection is about the art of translation, and about translators as secondary poets. It provides the original Japanese for each poem (transposed into romanised script) which at least helps the reader hear the sound of the original... but in all cases, a poetic translation is really a new poem with a connection to the original. For some poems, alternate translations are provided by different translators, which I thought was an excellent move.
To aid in historical and cultural context and interpretation, the book has a lot of footnotes - which were helpful in that sense, and educational. But the drawback is that they (and the layout of this particular edition) clutter the poems, which runs contrary to the intent of haiku. It might be interesting to re-read the book while attempting not to look at the footnotes.
Bashō (1644-1694) is considered the greatest of the haiku poets, and it's easy to see why. I want to read more by him.
Overall, I found that I enjoyed the haiku of van den Heuvel's anthology better than the classical ones translated here... showing, I think, how vital and primary language is in the original construction of poetry. (Cultural disconnect may also be a factor.) Secondhand language just doesn't work as well. Though I still feel that I have at least, in some small way, increased my knowledge and paid my respects to the tradition.
July 17, 2011
This is a slim, yet excellent, volume. It has footnotes to many of the 48 authors and their poems which greatly helps a Westerner understand the significance/meaning of the haikus. It includes a short forward by the editor which provides context/knowledge and many of the poems are presented in multiple translations by several of the 43 translators.
September 4, 2019
I was pleasantly surprised by this, not because of fear I wouldn't like the poems (I very much like Japanese tanka and haiku and also ancient Chinese nature poems) but because it had more information on the poems that I expected. There's the Japanese text (in romaji) and the English translation, sometimes even two or more translated versions of the same haiku so you can compare them, and some haiku have short note explaining either words or context too.
I thought it was interesting to have so many different translators' texts in the book, it really showed in how differently you can interpret these short verses. I absolutely preferred some styles over the others, for example, one translator made the poem quite long but I prefer format closer to original: not using full sentences which thankfully most of the translators had aspired to.
If you know many Japanese, having the original text gives additional comparison point which I also liked very much.
And the haiku themselves are beautiful of course. With occasional funny one mixed in.
Here's one that lingered in my mind:
natsukusa ya
tsuwamonodomo ga
yume no ato
(Basho)
summer grasses
where stalwart soldiers
once dreamed dreams
(transl. Makoto Ueda)
I thought it was interesting to have so many different translators' texts in the book, it really showed in how differently you can interpret these short verses. I absolutely preferred some styles over the others, for example, one translator made the poem quite long but I prefer format closer to original: not using full sentences which thankfully most of the translators had aspired to.
If you know many Japanese, having the original text gives additional comparison point which I also liked very much.
And the haiku themselves are beautiful of course. With occasional funny one mixed in.
Here's one that lingered in my mind:
natsukusa ya
tsuwamonodomo ga
yume no ato
(Basho)
summer grasses
where stalwart soldiers
once dreamed dreams
(transl. Makoto Ueda)
July 15, 2020
' Oh the great temple bell
stopped from flight and sleeping
the small butterfly '
The book includes many Haiku from traditional Japanese masters. There are several translations by various scholars. So even under one Haiku, you might read 4 or 5 interpretations, each credited to the appropriate translator. For example, there are 5 different translations for the famous frog Haiku by Basho, some seemingly better than others. One translation is a bit longer in the English, but more appropriately captures the spirit of the Japanese
The old pond-
a frog jumps in,
sound of water.
A lonely pond age old stillness sleeps
Apart ,unstirred by sound or motion .....till
suddenly into it a lithe frog leaps...
There are only 78 pages, but there are about 200 Haiku in this book and several pages of notes and reference. There are also a good number of Haiku from Issa, Shiki, and Munefusa, who are some of my favorites (that are less popular than Basho and Buson). Particularly I enjoy Shiki, often considered the fourth great master (Buson, Basho, Issa are the others)....
recommended ....
stopped from flight and sleeping
the small butterfly '
The book includes many Haiku from traditional Japanese masters. There are several translations by various scholars. So even under one Haiku, you might read 4 or 5 interpretations, each credited to the appropriate translator. For example, there are 5 different translations for the famous frog Haiku by Basho, some seemingly better than others. One translation is a bit longer in the English, but more appropriately captures the spirit of the Japanese
The old pond-
a frog jumps in,
sound of water.
A lonely pond age old stillness sleeps
Apart ,unstirred by sound or motion .....till
suddenly into it a lithe frog leaps...
There are only 78 pages, but there are about 200 Haiku in this book and several pages of notes and reference. There are also a good number of Haiku from Issa, Shiki, and Munefusa, who are some of my favorites (that are less popular than Basho and Buson). Particularly I enjoy Shiki, often considered the fourth great master (Buson, Basho, Issa are the others)....
recommended ....
April 22, 2024
A great little book of haikus!
These were fun to read and the foreward was interesting and informative.
Not all of these haikus follow the 5-7-5 syllables (+ 3 total lines) rule, because these are all Japanese poems.
In Japanese, haiku comprise as few as three or, at most, ten words, but translation into English often requires many more.
Haikus are the world's shortest poems! This book was quick to read, fun, and got me motivated and inspired to joy down my own haikus in my daily journal. 😁
In the foreward, haikus are described as "meditations, starting points for trains of thought", & "little drops of poetic essence". I've never heard of haikus described this way; I totally agree!
Here are a few of haikus that I enjoyed:
The tree cut,
Dawn breaks early
At my little window
Coming out to close the gate I end up listening to frogs
everything that was
has vanished from my aged heart
leaving not a trace
What could be the cause of it — that I should feel such love again?
While I still have you, why think of anyone else?
Why this discontent?
I wonder in what fields today
He chases dragonflies in play
My little boy who ran away.
These were fun to read and the foreward was interesting and informative.
Not all of these haikus follow the 5-7-5 syllables (+ 3 total lines) rule, because these are all Japanese poems.
In Japanese, haiku comprise as few as three or, at most, ten words, but translation into English often requires many more.
Haikus are the world's shortest poems! This book was quick to read, fun, and got me motivated and inspired to joy down my own haikus in my daily journal. 😁
In the foreward, haikus are described as "meditations, starting points for trains of thought", & "little drops of poetic essence". I've never heard of haikus described this way; I totally agree!
Here are a few of haikus that I enjoyed:
The tree cut,
Dawn breaks early
At my little window
Coming out to close the gate I end up listening to frogs
everything that was
has vanished from my aged heart
leaving not a trace
What could be the cause of it — that I should feel such love again?
While I still have you, why think of anyone else?
Why this discontent?
I wonder in what fields today
He chases dragonflies in play
My little boy who ran away.
May 8, 2022
ชอบตรงที่บางบทมีให้อ่านหลายสำนวน สะท้อนว่าการแปลคือการตีความ บทที่ชอบเป็นพิเศษ
Life
Is like a butterfly
Whatever it is.
—Nishiyama Soin (1605-1682) มีความผีเสื้อของจวงจื่อ เชิงอรรถบอกว่าท่านนี้เป็นอาจารย์ของ Ihara Saikaku (เราเคยไปถ่ายรูปปั้นท่าน Saikaku ที่ศาลเจ้า Ikukunitama กับป้ายหลุมศพที่วัด Seigan ในวันที่อ่าน Comrade Loves of the Samurai ของ Saikaku จบ)
In my hut this spring,
There is nothing—
There is everything!
—Yamaguchi Sodo (1642-1716) บทนี้มีคนอ่าน highlight เยอะ
I sleep ... I wake ...
How wide
The bed with none beside.
—Kaga no Chiyo (1703-1775)
I've turned my back
On Buddha
How cool the moon!
—Masaoka Shiki (1867-1902) เชิงอรรถบอกว่าเขียนในห้องรับรองของวัด และตั้งคำถามว่า เขาเลือกความงามมากกว่าศาสนารึเปล่า
Life
Is like a butterfly
Whatever it is.
—Nishiyama Soin (1605-1682) มีความผีเสื้อของจวงจื่อ เชิงอรรถบอกว่าท่านนี้เป็นอาจารย์ของ Ihara Saikaku (เราเคยไปถ่ายรูปปั้นท่าน Saikaku ที่ศาลเจ้า Ikukunitama กับป้ายหลุมศพที่วัด Seigan ในวันที่อ่าน Comrade Loves of the Samurai ของ Saikaku จบ)
In my hut this spring,
There is nothing—
There is everything!
—Yamaguchi Sodo (1642-1716) บทนี้มีคนอ่าน highlight เยอะ
I sleep ... I wake ...
How wide
The bed with none beside.
—Kaga no Chiyo (1703-1775)
I've turned my back
On Buddha
How cool the moon!
—Masaoka Shiki (1867-1902) เชิงอรรถบอกว่าเขียนในห้องรับรองของวัด และตั้งคำถามว่า เขาเลือกความงามมากกว่าศาสนารึเปล่า
September 16, 2017
I don't know Japanese. So, I cannot speak to the translation/transliteration/linguistics of the contents. However, I know that I enjoyed the collection of poems in this anthology - they seemed to be representative of a variety of eras/writers - traditional ones, though. Nothing in the modern era - which I appreciated.
The best part of the text are the copious, well-written and interesting notes that go along with the poems. These provide helpful and entertaining context, which otherwise most readers would not have access to. This helps increase enjoyment of the haiku exponentially. If I saw this in a store, I'd probably buy a copy.
The best part of the text are the copious, well-written and interesting notes that go along with the poems. These provide helpful and entertaining context, which otherwise most readers would not have access to. This helps increase enjoyment of the haiku exponentially. If I saw this in a store, I'd probably buy a copy.
November 11, 2017
Book 5 : The Classical Tradition Of Haiku, An Anthology, Edited by Faubion Bowers ( 78pg, 2 weeks, Ratings: 5/5)
‘Hai’ in haiku means ‘unusual’ and ‘ku’ means ‘strophes’ ‘lines’ or ‘verse’
Sometime a ‘haiku’ can be boring/incomprehensible/thick as they are just a snapshot of a deeper understanding. A ‘haiku’ reveals itself more when we know the ‘WHY-WHERE-WHEN’ of a ‘haiku’ . And it is at this point where this anthology is successful. The footnotes adds an extra value to the book. This book is true to its name as it takes you in an journey of the classical tradition of haiku (and also of the aesthetics of Japanese culture, tradition and landscapes)
This book is to be read and re-read.
‘Hai’ in haiku means ‘unusual’ and ‘ku’ means ‘strophes’ ‘lines’ or ‘verse’
Sometime a ‘haiku’ can be boring/incomprehensible/thick as they are just a snapshot of a deeper understanding. A ‘haiku’ reveals itself more when we know the ‘WHY-WHERE-WHEN’ of a ‘haiku’ . And it is at this point where this anthology is successful. The footnotes adds an extra value to the book. This book is true to its name as it takes you in an journey of the classical tradition of haiku (and also of the aesthetics of Japanese culture, tradition and landscapes)
This book is to be read and re-read.
July 13, 2018
The interesting thing about translating Japanese haiku to English is how much can be lost, (or gained?) in the translation depending on not only who is doing the translating but also their contemporary poetic aesthetics. Translations made in the early twentieth century are wordier and more likely to stick to the 5-7-5 format than those made by poets influenced by modern freestyle English haiku. That being said, a big plus for this book is that along with phonetic versions of the Japanese there are also multiple translations of many of the poems. All in all this is a nice collection with an interesting introduction and notes about the poets and their work.
January 5, 2021
Cherry blossoms made for haikai poets to exploit" - Kobayashi Issa
The book includes some of the most famous Japanese haiku poets and poems.
I read it all at once and I have too many post it’s on it. The book often offers brief explanations and/or backgrounds to the poems. Which is extremely helpful when trying to understand their complexity.
I know it must not be easy to translate these haiku but some of them felt a little off, hence the 4 stars.
Overall, a recommendable introduction to haiku.
The book includes some of the most famous Japanese haiku poets and poems.
I read it all at once and I have too many post it’s on it. The book often offers brief explanations and/or backgrounds to the poems. Which is extremely helpful when trying to understand their complexity.
I know it must not be easy to translate these haiku but some of them felt a little off, hence the 4 stars.
Overall, a recommendable introduction to haiku.
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