The Essential Haiku, End Notes

… today, the book is finished… the last notes discuss the origins of the haiku form and the difficulties of translating them… i am surprised that Robert Hass is not fluent in Japanese but rather, learned what he needed to learn to translate the poems, initially for his own pleasure/study, later for publication… he says he set himself the task of translating one haiku a day, which involved looking up the characters of both the Japanese and Chinese languages and deciphering what they meant or implied…

… at the very end, there is a list of elements of Haiku that make them difficult to render in English:

• syntax… The swiftness of the syntax is one of the fascinating things about these poems, and I don’t think itv can be rendered.¹
• Rhythm… exists in the structuring of the lines, where there are shifts and changes in direction, which have the effect of taking a 5-7-5 structure and rendering it as 5-4-3-5 or 5-3-4-5…
• Chinese Characters… Japanese is written in a combination of phonetic signs for individual syllable sounds and ideograms based on Chinese characters, or kanji²
• Pivot Words… words that suddenly change the meaning, or the expectation of meaning, of a sentence, as you read it, a kind of grammatical double exposure.³
• Seasonal Worlds… known as Kigo… as Mark Morris observes, “translation cannot convey the feeling of at-homeness, of being inserted in the cycle of a natural and ritual calendar that kigo communicate to the haikai reader.”⁴

… the earlier traditions of haikai and hokku, which birthed the haiku form, are compared to the call and response improvisation of jazz bands of the 1920’s…