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Haiku, Volume 2: Spring
Vintage and collectable.
382 pages, Hardcover
First published January 1, 1950
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611 people want to read
About the author
R.H. Blyth
79 books41 followersReginald Horace Blyth was an English author, interpreter, translator, devotee of Japanese culture and English Professor, having lived in Japan for eighteen years.
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Displaying 1 - 10 of 10 reviews
March 12, 2023
All of Blyth's works on Japanese poetry -- the six volumes on haiku and four on senryu -- really need to be reprinted, preferably as a giant collected hardcover, because buying all the volumes individually will set you back $300 or more (I saw a recent Angelico reprint but the prices are still high, alas). Still, the books are worth the cost, and this "Spring" volume is probably the best individual set of translations.
Blyth is both an amazing translator and an absurdly eccentric commentator; virtually all of his editorial material is pretentious, meaningless, and/or misleading, and can be safely ignored, but the translations themselves have yet to be surpassed; maybe Carter (in various venues), but then he didn't translate as many. In short, the entire English-speaking world should be eternally grateful to Blyth for translating so many haiku and senryu, most of which have not been translated by any other writer, even to this day (70 years after Blyth's work began); thousands upon thousands, probably something like 8,000 to 10,000 across all of his publications. Many of the best poems by minor poets, such as Kikaku or Taigi, can only be found in Blyth.
Blyth is both an amazing translator and an absurdly eccentric commentator; virtually all of his editorial material is pretentious, meaningless, and/or misleading, and can be safely ignored, but the translations themselves have yet to be surpassed; maybe Carter (in various venues), but then he didn't translate as many. In short, the entire English-speaking world should be eternally grateful to Blyth for translating so many haiku and senryu, most of which have not been translated by any other writer, even to this day (70 years after Blyth's work began); thousands upon thousands, probably something like 8,000 to 10,000 across all of his publications. Many of the best poems by minor poets, such as Kikaku or Taigi, can only be found in Blyth.
June 13, 2022
After reading Haiku (Volume I): Eastern Culture, R.H. Blyth spends the rest of this four-volume series focusing on the seasonal references (kigo) that have historically been used in the writing of haiku. In this way, these three volumes could each be considered a haiku almanac (saijiki) used for the four major seasons (spring, summer, autumn, winter) and for one minor seasons that is historically used in the writing of haiku (New Year's Day). The context given in Haiku (Volume I): Eastern Culture is invaluable for understanding the spirit of how and why haiku were originally written, but now we are able to get into the reading, interpreting, and feeling of many haiku from many poets. Though all of the haiku included in the final three volumes of this series were all originally written in Japanese, it does nothing to hinder the universal connection that this poetic form has.
Blyth makes it clear that he will focus on one season at a time, splitting each season (other than New Year's Day) into seven major sections and having many kigo being addressed individually within each section. There is not a minimum or maximum placed on how many examples will be used for a specific kigo, but each kigo listed in the "Seasonal Index" has at least one accompanying haiku. The seven major sections that each season is split into are always in order and are as follows: The Season, Sky and Elements, Fields and Mountains, Gods and Buddhas, Human Affairs, Birds and Beasts, and Trees and Flowers. With this volume being titled Haiku (Volume II: Spring, it is obvious that spring kigo will be the main focus, but Blyth decided to start with The New Year as the first season to show haiku examples of.
New Years Day is structured a little differently in this series compared to the other seasons, which I would say is because of how short the season itself is and how direct the kigo have to be to express this season separately from an adjacent one (winter or spring). Blyth begins by offering the season and the following associated kigo:
The New Year
o Heaven and Earth
o Old Age
o Spring Begins
o Morning
o Sparrows
o Children
o Presents
o Dawn
o The First Theatre
o The First Sky
o The First Water
o The First Load
o The First Dream
Many haiku are listed for each section which include their own commentary by Blythe. He commonly will connect similar haiku from multiple different poets to his comments on the initial haiku given, and he will even include writing from poets writing in different languages and genres that he believes were written in the same spirit as the initial haiku. The New Year's Day section of this volume is not long, but a great way to understand the technique that Blyth will be taking in the presentation of haiku through the rest of this series.
After finishing the last kigo associated with New Year's Day, Blyth lists out each spring kigo that will be used in the seven major sections of this segment of the book, appropriately titled Spring:
The Season
o Spring Begins
o The Spring Day
o Warmth
o Tranquility
o The Long Day
o Springtime
o The Light of Spring
o The Spring Evening
o Departing Spring
Sky and Elements
o Spring Snow
o Frost
o The Spring Moon
o The Hazy Moon
o The Halo of the Moon
o Heat-Waves
o The Haze
o The Spring Breeze
o Spring Rain
Fields and Mountains
o Remaining Snow
o Snow Melting
o The Water of Spring
o The Spring River
o The Spring Mountains
o The Spring Moor
o The Spring Sea
Gods and Buddhas
o The Flowering Tree
o The Shrine of Ise
o The Nirvana Picture
Human Affairs
o The Apprentices’ Holiday
o The Dolls’ Festival
o Kites
o The Ebb-Tide Shell-Gathering
o Tilling the Field
o The Rice-Seedling Field
o Sowing Seeds
o Silkworms
o Tea-Picking
o Closing the Fire-Place
Birds and Beasts
o Uguisu
o Skylarks
o Oheasants
o Swallows
o Wild Geese
o Copper Pheasants
o Cranes
o Sparrows
o Cats in Love
o Fowls
o Flying-Squirrels
o Whitebait
o Frogs
o Lizards
o Butterflies
o Horse-Flies
o Mud-Snails
Trees and Flowers
o Camellias
o Willow-Trees
o Plum-Blossoms
o Falling Plum-Blossoms
o Peach-Blossoms
o Pear-Blossoms
o Rape-Blossoms
o Cherry-Blossoms
o Falling Cherry-Blossoms
o Wistaria-Blossoms
o Yellow Roses
o Azaleas
o Grasses of Spring
o Shepherd’s-Purse
o Parsley
o Violets
Not every section, let alone kigo, is equal in volume of haiku available. The Gods and Buddhas section lasts only a few pages, while the haiku referencing Cherry-Blossoms go on for many pages. Regardless, Blyth does make sure to address each kigo as valuable and relevant to the spirit of historical haiku. After finishing the last kigo listed for the included spring haiku, the book ends unceremoniously, leaving it to the reader to seek out the next volume that focuses on summer and autumn.
I gave this book five stars and find it to be both an invaluable resource and enjoyable read, but I will give some pros and cons below to be a bit clearer on what I think of this part of the four-volume series.
Pros
The selection of haiku are excellent for each section. A large portion of the haiku Blyth includes in this book are from four poets that are considered by many to be the historic masters of haiku (Bashō, Buson, Issa, and Shiki), but there is still plenty of variety when it comes to the poets included in this series. The commentary for each haiku does offer a lot for the reader to consider when reading each work. None of the sections feel favored by Blyth, even if they may have been favored by the haiku poets themselves, making every section a pleasant read on its own. With this section including no other writing other than commentary on haiku, experienced haiku readers will be able to go right into reading the included poems and read commentary as needed.
Cons
Without another resource, mainly the first volume of Blyth's Haiku series, this would not be the best start for a new reader to haiku. As helpful as the commentary is for each haiku, it may not be enough to help some readers see past what could easily feel like an only Japanese-specific form of poetry (which it is not). The structure Blyth uses to connect and initial haiku to referenced haiku and writings by other poets can be very confusing, and not always helpful. The translations can feel dated compared to more modern anthologies of Japanese haiku, so it may be best for readers that want to begin reading haiku for themselves to start with a slightly more accessible book.
There is no exhaustive list of kigo for any season in the writing of haiku, but Blyth does a wonderful job with this series, which was one of the first to present and analyze haiku in the West.
Blyth makes it clear that he will focus on one season at a time, splitting each season (other than New Year's Day) into seven major sections and having many kigo being addressed individually within each section. There is not a minimum or maximum placed on how many examples will be used for a specific kigo, but each kigo listed in the "Seasonal Index" has at least one accompanying haiku. The seven major sections that each season is split into are always in order and are as follows: The Season, Sky and Elements, Fields and Mountains, Gods and Buddhas, Human Affairs, Birds and Beasts, and Trees and Flowers. With this volume being titled Haiku (Volume II: Spring, it is obvious that spring kigo will be the main focus, but Blyth decided to start with The New Year as the first season to show haiku examples of.
New Years Day is structured a little differently in this series compared to the other seasons, which I would say is because of how short the season itself is and how direct the kigo have to be to express this season separately from an adjacent one (winter or spring). Blyth begins by offering the season and the following associated kigo:
The New Year
o Heaven and Earth
o Old Age
o Spring Begins
o Morning
o Sparrows
o Children
o Presents
o Dawn
o The First Theatre
o The First Sky
o The First Water
o The First Load
o The First Dream
Many haiku are listed for each section which include their own commentary by Blythe. He commonly will connect similar haiku from multiple different poets to his comments on the initial haiku given, and he will even include writing from poets writing in different languages and genres that he believes were written in the same spirit as the initial haiku. The New Year's Day section of this volume is not long, but a great way to understand the technique that Blyth will be taking in the presentation of haiku through the rest of this series.
After finishing the last kigo associated with New Year's Day, Blyth lists out each spring kigo that will be used in the seven major sections of this segment of the book, appropriately titled Spring:
The Season
o Spring Begins
o The Spring Day
o Warmth
o Tranquility
o The Long Day
o Springtime
o The Light of Spring
o The Spring Evening
o Departing Spring
Sky and Elements
o Spring Snow
o Frost
o The Spring Moon
o The Hazy Moon
o The Halo of the Moon
o Heat-Waves
o The Haze
o The Spring Breeze
o Spring Rain
Fields and Mountains
o Remaining Snow
o Snow Melting
o The Water of Spring
o The Spring River
o The Spring Mountains
o The Spring Moor
o The Spring Sea
Gods and Buddhas
o The Flowering Tree
o The Shrine of Ise
o The Nirvana Picture
Human Affairs
o The Apprentices’ Holiday
o The Dolls’ Festival
o Kites
o The Ebb-Tide Shell-Gathering
o Tilling the Field
o The Rice-Seedling Field
o Sowing Seeds
o Silkworms
o Tea-Picking
o Closing the Fire-Place
Birds and Beasts
o Uguisu
o Skylarks
o Oheasants
o Swallows
o Wild Geese
o Copper Pheasants
o Cranes
o Sparrows
o Cats in Love
o Fowls
o Flying-Squirrels
o Whitebait
o Frogs
o Lizards
o Butterflies
o Horse-Flies
o Mud-Snails
Trees and Flowers
o Camellias
o Willow-Trees
o Plum-Blossoms
o Falling Plum-Blossoms
o Peach-Blossoms
o Pear-Blossoms
o Rape-Blossoms
o Cherry-Blossoms
o Falling Cherry-Blossoms
o Wistaria-Blossoms
o Yellow Roses
o Azaleas
o Grasses of Spring
o Shepherd’s-Purse
o Parsley
o Violets
Not every section, let alone kigo, is equal in volume of haiku available. The Gods and Buddhas section lasts only a few pages, while the haiku referencing Cherry-Blossoms go on for many pages. Regardless, Blyth does make sure to address each kigo as valuable and relevant to the spirit of historical haiku. After finishing the last kigo listed for the included spring haiku, the book ends unceremoniously, leaving it to the reader to seek out the next volume that focuses on summer and autumn.
I gave this book five stars and find it to be both an invaluable resource and enjoyable read, but I will give some pros and cons below to be a bit clearer on what I think of this part of the four-volume series.
Pros
The selection of haiku are excellent for each section. A large portion of the haiku Blyth includes in this book are from four poets that are considered by many to be the historic masters of haiku (Bashō, Buson, Issa, and Shiki), but there is still plenty of variety when it comes to the poets included in this series. The commentary for each haiku does offer a lot for the reader to consider when reading each work. None of the sections feel favored by Blyth, even if they may have been favored by the haiku poets themselves, making every section a pleasant read on its own. With this section including no other writing other than commentary on haiku, experienced haiku readers will be able to go right into reading the included poems and read commentary as needed.
Cons
Without another resource, mainly the first volume of Blyth's Haiku series, this would not be the best start for a new reader to haiku. As helpful as the commentary is for each haiku, it may not be enough to help some readers see past what could easily feel like an only Japanese-specific form of poetry (which it is not). The structure Blyth uses to connect and initial haiku to referenced haiku and writings by other poets can be very confusing, and not always helpful. The translations can feel dated compared to more modern anthologies of Japanese haiku, so it may be best for readers that want to begin reading haiku for themselves to start with a slightly more accessible book.
There is no exhaustive list of kigo for any season in the writing of haiku, but Blyth does a wonderful job with this series, which was one of the first to present and analyze haiku in the West.
December 18, 2016
The poems about spring rain are especially beautiful. Read them on a rainy spring day.
June 27, 2022
[UPDATE]
I have copied this review over to the page where this book is attributed to the author R.H. Blyth under book profile Haiku, Volume 2: Spring. I will leave this review here as well, but please see the author above for more of his works than just the Haiku series!
[Original Review]
After reading Haiku (Volume I): Eastern Culture, R.H. Blyth spends the rest of this four-volume series focusing on the seasonal references (kigo) that have historically been used in the writing of haiku. In this way, these three volumes could each be considered a haiku almanac (saijiki) used for the four major seasons (spring, summer, autumn, winter) and for one minor seasons that is historically used in the writing of haiku (New Year's Day). The context given in Haiku (Volume I): Eastern Culture is invaluable for understanding the spirit of how and why haiku were originally written, but now we are able to get into the reading, interpreting, and feeling of many haiku from many poets. Though all of the haiku included in the final three volumes of this series were all originally written in Japanese, it does nothing to hinder the universal connection that this poetic form has.
Blyth makes it clear that he will focus on one season at a time, splitting each season (other than New Year's Day) into seven major sections and having many kigo being addressed individually within each section. There is not a minimum or maximum placed on how many examples will be used for a specific kigo, but each kigo listed in the "Seasonal Index" has at least one accompanying haiku. The seven major sections that each season is split into are always in order and are as follows: The Season, Sky and Elements, Fields and Mountains, Gods and Buddhas, Human Affairs, Birds and Beasts, and Trees and Flowers. With this volume being titled Haiku (Volume II: Spring, it is obvious that spring kigo will be the main focus, but Blyth decided to start with The New Year as the first season to show haiku examples of.
New Years Day is structured a little differently in this series compared to the other seasons, which I would say is because of how short the season itself is and how direct the kigo have to be to express this season separately from an adjacent one (winter or spring). Blyth begins by offering the season and the following associated kigo:
The New Year
o Heaven and Earth
o Old Age
o Spring Begins
o Morning
o Sparrows
o Children
o Presents
o Dawn
o The First Theatre
o The First Sky
o The First Water
o The First Load
o The First Dream
Many haiku are listed for each section which include their own commentary by Blythe. He commonly will connect similar haiku from multiple different poets to his comments on the initial haiku given, and he will even include writing from poets writing in different languages and genres that he believes were written in the same spirit as the initial haiku. The New Year's Day section of this volume is not long, but a great way to understand the technique that Blyth will be taking in the presentation of haiku through the rest of this series.
After finishing the last kigo associated with New Year's Day, Blyth lists out each spring kigo that will be used in the seven major sections of this segment of the book, appropriately titled Spring:
The Season
o Spring Begins
o The Spring Day
o Warmth
o Tranquility
o The Long Day
o Springtime
o The Light of Spring
o The Spring Evening
o Departing Spring
Sky and Elements
o Spring Snow
o Frost
o The Spring Moon
o The Hazy Moon
o The Halo of the Moon
o Heat-Waves
o The Haze
o The Spring Breeze
o Spring Rain
Fields and Mountains
o Remaining Snow
o Snow Melting
o The Water of Spring
o The Spring River
o The Spring Mountains
o The Spring Moor
o The Spring Sea
Gods and Buddhas
o The Flowering Tree
o The Shrine of Ise
o The Nirvana Picture
Human Affairs
o The Apprentices’ Holiday
o The Dolls’ Festival
o Kites
o The Ebb-Tide Shell-Gathering
o Tilling the Field
o The Rice-Seedling Field
o Sowing Seeds
o Silkworms
o Tea-Picking
o Closing the Fire-Place
Birds and Beasts
o Uguisu
o Skylarks
o Oheasants
o Swallows
o Wild Geese
o Copper Pheasants
o Cranes
o Sparrows
o Cats in Love
o Fowls
o Flying-Squirrels
o Whitebait
o Frogs
o Lizards
o Butterflies
o Horse-Flies
o Mud-Snails
Trees and Flowers
o Camellias
o Willow-Trees
o Plum-Blossoms
o Falling Plum-Blossoms
o Peach-Blossoms
o Pear-Blossoms
o Rape-Blossoms
o Cherry-Blossoms
o Falling Cherry-Blossoms
o Wistaria-Blossoms
o Yellow Roses
o Azaleas
o Grasses of Spring
o Shepherd’s-Purse
o Parsley
o Violets
Not every section, let alone kigo, is equal in volume of haiku available. The Gods and Buddhas section lasts only a few pages, while the haiku referencing Cherry-Blossoms go on for many pages. Regardless, Blyth does make sure to address each kigo as valuable and relevant to the spirit of historical haiku. After finishing the last kigo listed for the included spring haiku, the book ends unceremoniously, leaving it to the reader to seek out the next volume that focuses on summer and autumn.
I gave this book five stars and find it to be both an invaluable resource and enjoyable read, but I will give some pros and cons below to be a bit clearer on what I think of this part of the four-volume series.
Pros
The selection of haiku are excellent for each section. A large portion of the haiku Blyth includes in this book are from four poets that are considered by many to be the historic masters of haiku (Bashō, Buson, Issa, and Shiki), but there is still plenty of variety when it comes to the poets included in this series. The commentary for each haiku does offer a lot for the reader to consider when reading each work. None of the sections feel favored by Blyth, even if they may have been favored by the haiku poets themselves, making every section a pleasant read on its own. With this section including no other writing other than commentary on haiku, experienced haiku readers will be able to go right into reading the included poems and read commentary as needed.
Cons
Without another resource, mainly the first volume of Blyth's Haiku series, this would not be the best start for a new reader to haiku. As helpful as the commentary is for each haiku, it may not be enough to help some readers see past what could easily feel like an only Japanese-specific form of poetry (which it is not). The structure Blyth uses to connect and initial haiku to referenced haiku and writings by other poets can be very confusing, and not always helpful. The translations can feel dated compared to more modern anthologies of Japanese haiku, so it may be best for readers that want to begin reading haiku for themselves to start with a slightly more accessible book.
There is no exhaustive list of kigo for any season in the writing of haiku, but Blyth does a wonderful job with this series, which was one of the first to present and analyze haiku in the West.
I have copied this review over to the page where this book is attributed to the author R.H. Blyth under book profile Haiku, Volume 2: Spring. I will leave this review here as well, but please see the author above for more of his works than just the Haiku series!
[Original Review]
After reading Haiku (Volume I): Eastern Culture, R.H. Blyth spends the rest of this four-volume series focusing on the seasonal references (kigo) that have historically been used in the writing of haiku. In this way, these three volumes could each be considered a haiku almanac (saijiki) used for the four major seasons (spring, summer, autumn, winter) and for one minor seasons that is historically used in the writing of haiku (New Year's Day). The context given in Haiku (Volume I): Eastern Culture is invaluable for understanding the spirit of how and why haiku were originally written, but now we are able to get into the reading, interpreting, and feeling of many haiku from many poets. Though all of the haiku included in the final three volumes of this series were all originally written in Japanese, it does nothing to hinder the universal connection that this poetic form has.
Blyth makes it clear that he will focus on one season at a time, splitting each season (other than New Year's Day) into seven major sections and having many kigo being addressed individually within each section. There is not a minimum or maximum placed on how many examples will be used for a specific kigo, but each kigo listed in the "Seasonal Index" has at least one accompanying haiku. The seven major sections that each season is split into are always in order and are as follows: The Season, Sky and Elements, Fields and Mountains, Gods and Buddhas, Human Affairs, Birds and Beasts, and Trees and Flowers. With this volume being titled Haiku (Volume II: Spring, it is obvious that spring kigo will be the main focus, but Blyth decided to start with The New Year as the first season to show haiku examples of.
New Years Day is structured a little differently in this series compared to the other seasons, which I would say is because of how short the season itself is and how direct the kigo have to be to express this season separately from an adjacent one (winter or spring). Blyth begins by offering the season and the following associated kigo:
The New Year
o Heaven and Earth
o Old Age
o Spring Begins
o Morning
o Sparrows
o Children
o Presents
o Dawn
o The First Theatre
o The First Sky
o The First Water
o The First Load
o The First Dream
Many haiku are listed for each section which include their own commentary by Blythe. He commonly will connect similar haiku from multiple different poets to his comments on the initial haiku given, and he will even include writing from poets writing in different languages and genres that he believes were written in the same spirit as the initial haiku. The New Year's Day section of this volume is not long, but a great way to understand the technique that Blyth will be taking in the presentation of haiku through the rest of this series.
After finishing the last kigo associated with New Year's Day, Blyth lists out each spring kigo that will be used in the seven major sections of this segment of the book, appropriately titled Spring:
The Season
o Spring Begins
o The Spring Day
o Warmth
o Tranquility
o The Long Day
o Springtime
o The Light of Spring
o The Spring Evening
o Departing Spring
Sky and Elements
o Spring Snow
o Frost
o The Spring Moon
o The Hazy Moon
o The Halo of the Moon
o Heat-Waves
o The Haze
o The Spring Breeze
o Spring Rain
Fields and Mountains
o Remaining Snow
o Snow Melting
o The Water of Spring
o The Spring River
o The Spring Mountains
o The Spring Moor
o The Spring Sea
Gods and Buddhas
o The Flowering Tree
o The Shrine of Ise
o The Nirvana Picture
Human Affairs
o The Apprentices’ Holiday
o The Dolls’ Festival
o Kites
o The Ebb-Tide Shell-Gathering
o Tilling the Field
o The Rice-Seedling Field
o Sowing Seeds
o Silkworms
o Tea-Picking
o Closing the Fire-Place
Birds and Beasts
o Uguisu
o Skylarks
o Oheasants
o Swallows
o Wild Geese
o Copper Pheasants
o Cranes
o Sparrows
o Cats in Love
o Fowls
o Flying-Squirrels
o Whitebait
o Frogs
o Lizards
o Butterflies
o Horse-Flies
o Mud-Snails
Trees and Flowers
o Camellias
o Willow-Trees
o Plum-Blossoms
o Falling Plum-Blossoms
o Peach-Blossoms
o Pear-Blossoms
o Rape-Blossoms
o Cherry-Blossoms
o Falling Cherry-Blossoms
o Wistaria-Blossoms
o Yellow Roses
o Azaleas
o Grasses of Spring
o Shepherd’s-Purse
o Parsley
o Violets
Not every section, let alone kigo, is equal in volume of haiku available. The Gods and Buddhas section lasts only a few pages, while the haiku referencing Cherry-Blossoms go on for many pages. Regardless, Blyth does make sure to address each kigo as valuable and relevant to the spirit of historical haiku. After finishing the last kigo listed for the included spring haiku, the book ends unceremoniously, leaving it to the reader to seek out the next volume that focuses on summer and autumn.
I gave this book five stars and find it to be both an invaluable resource and enjoyable read, but I will give some pros and cons below to be a bit clearer on what I think of this part of the four-volume series.
Pros
The selection of haiku are excellent for each section. A large portion of the haiku Blyth includes in this book are from four poets that are considered by many to be the historic masters of haiku (Bashō, Buson, Issa, and Shiki), but there is still plenty of variety when it comes to the poets included in this series. The commentary for each haiku does offer a lot for the reader to consider when reading each work. None of the sections feel favored by Blyth, even if they may have been favored by the haiku poets themselves, making every section a pleasant read on its own. With this section including no other writing other than commentary on haiku, experienced haiku readers will be able to go right into reading the included poems and read commentary as needed.
Cons
Without another resource, mainly the first volume of Blyth's Haiku series, this would not be the best start for a new reader to haiku. As helpful as the commentary is for each haiku, it may not be enough to help some readers see past what could easily feel like an only Japanese-specific form of poetry (which it is not). The structure Blyth uses to connect and initial haiku to referenced haiku and writings by other poets can be very confusing, and not always helpful. The translations can feel dated compared to more modern anthologies of Japanese haiku, so it may be best for readers that want to begin reading haiku for themselves to start with a slightly more accessible book.
There is no exhaustive list of kigo for any season in the writing of haiku, but Blyth does a wonderful job with this series, which was one of the first to present and analyze haiku in the West.
May 26, 2025
3.25 ⭐ Creo que me ha costado leerlo porque no estoy acostumbrada a leer poesía y tampoco en inglés... Creo que si tuviera más soltura leyendo en inglés le habría dado más nota pero bueno, hay poesías que me han gustado, otras que no, o sin más. No me lo esperaba así tampoco.
April 17, 2024
doing my rory gilmore book challenge and by far it was one of my favorite
May 25, 2011
I am ready for Vol 3 Summer and Autumn
June 28, 2012
One of the books I would never loan out of fear of not getting it back.All four volumes are masterpieces illuminating both eastern and western poetic tradition.
March 20, 2016
Volume 2 of 4, worthwhile for anyone interested in the introduction of haiku to the West.
May 1, 2017
Idiosyncratic and influential reading and translation of what more rightly should be called 'hokku', but that's a lost cause now, in part because of the immense popularity of Blyth's four volumes.
Displaying 1 - 10 of 10 reviews