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The Bonsai Forest
Appendices
Appendix 1: Further Reading
All these have a wide range of examples (in English—or
in the case of Ref. 4, American) and
informative introductions. Ref. 2
includes nine different attempts to translate a famous Basho
haiku.
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Title
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Translator/Editor
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Published
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1
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The Penguin Book of Japanese Verse
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Geoffrey Bownas and Anthony Thwaite
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1964,
(Penguin Classics revised edition, 2009
978-0141190945)
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2
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The Penguin Book of Zen Poetry
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Lucien Stryk and Takashi Ikemoto
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1977
(New edition 1987
978-0140585995)
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3
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On Love and Barley—Haiku of Basho
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Lucien Stryk
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Penguin Classics Reprint edition 1985
978-0140444599
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4
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The Sound of Water—Haiku by Basho, Buson, Issa and Other
Poets
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Sam Hamill
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Shambhala Publications, 1995
978-1570620195
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Appendix 2: Some Japanese Terms
Mostly drawn from the above.
Haikai renga
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A chain of haiku on one theme, not necessarily all by one
author. Terimati’s masterworks include several
examples.
The ‘Frog in Pool’; renga echoes a famous haiku by
Basho—here with Stryk and Thwaite translations:
Basho |
Stryk |
Thwaite |
Furu ike ya
Kawazu tobikomu
Mizu no oto
|
Old pond
Leap-splash
A Frog
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Old pond
Frog jumps in
Sound of water
|
|
Karumi
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‘lightness of touch’—the best haiku do not
plod or shout
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Kake kotoba
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‘pivot words’—words with more than one sense
or meaning which pivot the haiku or other Japanese poem, they
shade into the pun.
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Kigi
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‘season words’—classical haiku always
include one. Apparently in Japan you can buy lists of
them—which sounds a bit anoraky.
The mind’s deep jewels
Are not found on picking lists
—Crossword cleverness
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Kireji
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‘cutting word’—a word which divides the
condition or situation from the sudden perception. Can be
rendered in English by the dash.
|
Senryu
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A more informal haiku form, it does not aspire to Zen or
insist on season words, colloquialisms are allowed.
Reference 1 lists 60 of them—here is an
example:
A horse farts
Four or five suffer
On the ferry boat
Many of Terimati’s masterpieces are in fact
senryu
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Shasei
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‘On the spot composition’ of a haiku ‘linked
to its inspiration origins’.
|
While most of the haiku in the Bonsai
Forest in principle self explain, a few draw a more general
message from a particular experience. To help the
interested reader (rather than provide help to those writing
essays or theses on the Great Terimati) the following notes are
offered.
- Hal-kus. These were inspired
by the RSC 2000
production of Henry V, where, the Dauphin’s gift presented,
tennis balls cover the stage and bounce down into the
auditorium. The long ‘gone to thistles’ speech
is by the Duke of Burgundy in Act V.
- Chess. The final lines of the Lambeth
Conference haiku in Indoor Games
are in chess notation and decode as ‘Bishop takes
Bishop’ and ‘Rook takes Bishop’s
Pawn’.
- NW1 Odyssey 2012. It was at
twilight on 30th October 2000, when I was inspired with the
NW1 Odyssey sequence of
haiku. Those days, for both Teri and Mati, were extremely
fruitful. The Muse has visited us less frequently of
late.
On 2nd September 2012, I was again standing at the top of Primrose Hill. Haiku
arrived again, almost unbidden, as before. There are (at
least) two explanations:
(1) My mind went back to that late afternoon in October 2000,
which I recall as one of those precious moments of actually
‘being’;
(2) Primrose Hill, like Dun I on Iona, Sachsenstein in the
Harz Mountains, Meritxell in Andorra, seems to have a very
special ‘spirit of place’—which, as a
spiritually-inclined sceptic I’d interpret as having
something that arouses resonances in some kind of subconscious
ur-memory (I avoid the term race memory for obvious
reasons).
- Nivelles. I lived in
Brussels in 1985, Nivelles is a small town 25km to the south which I visited, by myself on
Sunday 30th June (says an old diary).
‘Une ville coquette et accueillante dont la
collégiale [the abbey] est
renommée’ Michelin tells me. The
haiku were written on a not recorded date soon after. I
have no other real memories of the place other than those the
haiku have encapsulated.
- Galadriel is a very impressive Elf lady in the
Lord of the Rings. Tolkien’s description of the
dwellings at the heart of the land over which she and her husband
rule, Lothlórien, is very evocative. Sachsenstein is a
name I (being one of the instantiations of the Master Terimati)
found on a waymark in the woods above the town of Bad Harzburg,
on the edge of the Harz mountains, a few years ago. To this
day I do not know the history of Sachsenstein. All I can
say is that I followed the signs, and I knew when I got
there. There was something about this place in the high
woods that announced itself as ‘special’.
Almost certainly an ancient site of some kind (of what kind I
don’t know)—somewhere with an indefinable but
inescapable ‘spirit of place’ which my atheistic
sceptical scientific rationalism was completely unable to
explain. Enough to make my hair stand on end, in the nicest
possible way—there was an intrinsic beatific(!) peace about
the place, which I think I had only experienced previously on the
summit of the main hill of Iona (where, you recall, the banshee
wail on a sunlit summer’s day); and experienced to some
extent subsequently at Meritxell in Andorra (another place of
religious significance over many centuries). And yes,
Sachsenstein had a lot of the
spirit of the magical location of Lothlórien so beautifully
described by Tolkien.
- ‘A childhood dream ends’ (i), in
Childhood, refers to the
final chapter of House at Pooh Corner, and to ‘an enchanted
place’. The reader is invited to revisit this
place. Is this not also Galadriel’s
Lothlórien?
- The author of the Power Tools Haiku comments:
- ‘I writted that on the occasion of buying a strimmer
and accidentally unmolishing a frog. I was so excited I put
in one two many sylabubs and Linz told me off’.
It’s a half-syllable
problem; pronounce the last word
‘ev’rywhere’ and the haiku works.
- The DIY haiku, which
allows the participating reader free choice in the placing of the
words Thing and Rose, is a confection of groups of words
attributable to Marilyn Monroe, Gertrude Stein and William
Shakespeare. A variation on the theme—the
substitution of Dorothy Parker for Marilyn Monroe—gives:
- One perfect rose is
A rose is a rose is a
Rose by any name
…but at the expense of the element of free choice.
- ‘Architecture in general is frozen music’, Friedrich von Schelling,
1809. Therefore…
- The second line of the Purcell & Tate haiku comes from
Henry Purcell’s 1694[1] birthday ode for Queen
Mary: ‘Come, ye sons of Art’. The words
[attributed to Nahum Tate], ‘Sound the trumpet, ’til
around, you make the list'ning shores resound’, come from
the second section of the ode and were a joke at the expense of
the Shore brothers. This section of the ode has no trumpet
part, so the Shores, both trumpet players, remained idle while
the rest of the company sang ‘Sound the Trumpet’.
[1] It is interesting to note that Purcell and
Tate were contemporaries of Basho
Appendix 4: The Great Enigma
The origin and identity of Duo Terimati are interestingly
obscure. His emergence as a key reviving force on the haiku
form at the millennium’s turn is not in dispute. That
he—granted that both his gender and cardinality are not
known for certain—grew out of the world of the Internet and
information technology can also be taken as accepted.
Beyond that, all is conjecture. The name Terimati has
caused more heat than light—but the fact that in Japanese
Teru means ‘shine’ and Matu means ‘again’
suggests that perhaps Terimati is an incorrect
transliteration. We should perhaps know the Great Master as
Terumatu. ‘Shining Again’ surely encapsulates
the revivified quality of the haiku form in his hands. And
as to his identity we are faced with the same problem that we
have when attempting to explain Homer, Chaucer, Ossian, or, in
another context, the sudden emergence of complex life forms in
the Cambrian Era. How could such enormous variety and
sophistication emerge suddenly from the preceding thin
darkness? The now discredited idea, that Terimati was in
fact two middle-aged chaps called Terry and Martin having a bit
of fun, seems to us as an unsatisfactory explanation. As
unsatisfactory as believing that Shakespeare—with (and
indeed to) whom Terimati has sometimes been compared—was
the son of a prosperous farmer in a small Midlands town.
But does the enigma matter? As with Shakespeare, there is
the possibility that some of the works were written by, or with
at least the collaboration of, others. Terimati—the
core of Terimati that is—has acknowledged both the
contribution and the worth of his ‘Great Disciples’,
also known as the ‘Basho Street Kids’. All this
may be a problem for scholars—but not at all for that much
larger college: his devotees. Wheresoever it came,
Terimati’s work undoubtedly exists. Read on and
enjoy.
Appendix 5: Criticism
Sometimes, the Great Master is asked to comment on
haiku…
The first thing the GM does
with an Alien Haiku Attempt (an AHA) is isolate it—after
all it could have come from afar, both physically and culturally,
and one cannot be too careful. Wearing protective clothing
(only last week poor Cilla Bull was hit by a triple entendre)
Cilla does a syllable count and Ike Hughes does a structural
analysis, checking for cutting words, season words and so
on. Then, when no one is looking, the GM gets out his hand
held device. This is, wait for it, his
‘haikometer’. Its insides are both classified
and complex but are known to include zen detectors, poetry
sensors and influence analysers. The AHA and Ike and
Cil’s analysis are keyed in and the Phase 1 button is
pressed… Out comes
- the Gut Reaction (Initial) Test (GRIT) results
for, to quote the GM’s immortalish words
- Open haiku’s door -
It’s a beautiful garden
—Or a broom cupboard
- the I test—checking for Imagery,
Influences and Insights
- the Gut Reaction (Output) Test (GROT) which
will classify it into
- a few to be crushed underfoot (or even flushed
underbum) as of no value
- great stuff—to be written on the wall and
baptised in a pretty font or
- a Haiku of Uninspiring Mediocrity (a HUM) -
this majority is filed in a big round structure called the
HUMdrum.
In Phase 2 a distributed database is created so both
instantiations and the BSK
can try to ask and answer the following questions:
- what does it mean?
- can it be improved?
- do we really care?
And so on…
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