Monday, May 22, 2017

Carpe Diem Tan Renga Challenge Month 2017 #14 Springtime (Kikaku)


Dear Haijin, visitors and travelers,

Here is our new "hokku" to work with and create a Tan Renga. This "hokku" is by one of Basho's students, Kikaku.

Springtime in Edo,
Not a day passes without
A temple bell sold.

© Kikaku

Sorry for the delay and the short episode.

This episode is NOW OPEN for your submissions and will remain open until May 27th at noon (CET).


Carpe Diem Tan Renga Challenge Month 2017 #13 bamboo (Jane Reichhold)


Dear Haijin, visitors and travelers,

I hope you all have had a wonderful weekend. I had a great weekend on the nightshift (smiles), so I couldn't enjoy the beautiful weather we had here in The Netherlands. The upcoming days I will be free of work and the weather is gonna look great this week so I will enjoy it this week.

Last "regular" Tan Renga Challenge we had a nice haiku by Ogiwara Seisensui, a classical haiku poet who loved the "free-style" way of haiku-ing as we "enjoy" here in the Western world. And in a way that makes him one of my "heroes", because I love the "free-style" too (or as I call it Kanshicho, "in the way of the Chinese poetry").

Bamboo
Today I have another nice haiku in which we can see the Western way of haiku-ing. Our new "hokku" is by my beloved sensei and co-host who died last year, Jane Reichhold. This "hokku" is extracted from Jane's "A Dictionary of Haiku":

bamboo
waving candlelight into the night
wind


© Jane Reichhold (1937-2016)
A beauty I think. So I am looking forward to your continuations or completions of the Tan Renga starting with this "hokku".
Have fun!
This episode is NOW OPEN for your submissions and will remain open until May 27th at noon (CET).
 

Friday, May 19, 2017

Carpe Diem Extra May 18th 2017 "sunflower" kukai


Dear Haijin, visitors and travelers,

Recently I reminded you to send your haiku themed "sunflower" to our emailaddress. Several of you, my dear Haijin, visitors and travelers, have emailed me immediately after that reminder, but there are not enough haiku to make this kukai a success, so I have decided to prolong the time you can submit for the "sunflower" kukai.

You can submit your haiku (maximum 3 and only haiku) until June 1st 2017 10:00 PM (CET). Send your submission to our emailaddress: carpediemhaikukai@gmail.com please write sunflower kukai in the subject line.

Have a great weekend,

Namasté,

Chèvrefeuille, your host.

Carpe Diem Universal Jane #17 fragment and phrase


!!! Open for your submissions next Sunday May 21st at 7.00 PM (CET) !!!

Dear Haijin, visitors and travelers,

Welcome at a new "weekend-meditation" episode, this week it's a Universal Jane episode and it's also a kind of reprise episode, because I remember that we have had an earlier post on "fragment and phrase" by Jane Reichhold (1937-2016) and I think I have used it in several other posts, but this "fragment and phrase" theory by Jane is not easy to understand, but easy to use. So I thought to bring itt another time.
(By the way: This will be the last bi-weekly episode of "Universal Jane", because I am busy to create another special feature to honor Jane Reichhold, the Queen of haiku and tanka).

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Fragment & Phrase Theory by Jane Reichhold 

The fact that the smallest literary form - haiku - has the most rules never ceases to amaze and astound. The only real comfort one can find in this situation is the concept that this affords a wider range of rules from which a writer can pick and choose. You cannot follow all of the rules and several of them are so contradictory that there is no way to honor them both at once. You must always choose. In order to make a choice, you have to understand the reasons and methods.
To write about one or two “rules” as if these are the “real rules” could (and should!) easily offend those who have chosen to follow opposite or other guidelines. So let me make the disclaimer that in discussing these rules I am discussing only some of the current disciplines I am following in my own haiku writing and which are currently shared by a majority of writers.
 
First and foremost, and certainly the guideline which I have consciously or unconsciously followed the longest, is the one that a haiku must be divided into two parts. This is the positive side of the rule that haiku should not be a run-on sentence. There needs to be a syntactical break dividing the ku into two parts. From the Japanese language examples this meant that one line (five onji) was separated from the rest by either grammar or punctuation (in the Japanese an accepted sound-word – kireji –  was as if we said or wrote out “dash” or “comma”).
For the purposes of this discussion, I would like to call the shorter portion, the fragment and the longer portion, or rest of the poem, the phrase.
The need for distinguishing between the two parts of the ku takes on importance when one begins to discuss the use of articles (“a”, “an” and “the”) because it is possible to have different rules concerning the different parts. Before getting into that, let me state that the fragment can be (or usually is) either line 1 or line 3. A clear example of the first is:
rain gusts
the electricity goes
on and off

Even without punctuation the reader can hear and feel the break between the fragment (rain gusts) and the phrase (the electricity goes on and off). Also one instinctively feels that the second line break would go after “goes”. Yet, another author may find merit in continuing the line to read “the electricity goes on” and then let the final line bring in the dropped shoe – “and off”. I chose to have “on and off” as the third line because my goal was to establish an association between “rain gusts” and “on and off”. One can write of many qualities of “rain gusts”, but in this ku, the “on and off” aspect is brought forward and then reinforced by bringing in the power of electricity.  An example of the fragment found in the third line is often used as answer when creating a riddle (a valid and well-used haiku technique) as in:

a vegetarian
with legs crossed in zazen
the roasting chicken

It is also possible to write ku in which the reader would have to decide which part was the fragment by combining either lines 1 and 2 or reading lines 2 and 3 together to make the phrase. An example might be:

moonlit pines
dimming
the flashlight

But even here, the fact that “moonlit pines” is not written as “the moonlit pines” tells one that the author was silently designating the first line as the fragment even though the middle line has its own curious brevity. Still, the lack of punctuation allows the reader to try out the thought that as the moonlight in the pines became dimmer someone had to turn on a flashlight. Or, reading the poem as it was experienced: the moonlight on the pines was so bright the flashlight seemed to be getting dimmer.
 
This brings us around to the articles and you may have already guessed the next guideline for using them. In the fragment you can often dispense with the use of an article to leave the noun stand alone. Sometimes you can even erase the preposition from the fragment especially if you are feeling that you will scream if you read one more haiku which begins with “in the garden”.
This guideline asks sensitivity. It is not a hard and fast rule. But during the revising stage of writing your ku, it is something to try. Cover up the preposition and the article in the fragment and see if the ku holds together. Perhaps it will even get stronger! If you feel the article and preposition are needed, then by all means, use them. Do whatever works for your voice. In the “roasted chicken” ku I debated about leaving the articles out, but decided the ku needed the “grease to the wheels of understanding” of the articles. But if you are seeking to shorten the ku, look first to the fragment as you cross out unneeded words.
However, one cannot follow the same “rule” in writing the phrase portion of the ku. Sometimes critics make the comment in a workshop that a haiku is “choppy”. What they are referring to is the feeling that at the end of each line the break in syntax is final. The two lines of the phrase are not hooked together in a flow of grammar and meaning. Notice the difference between:

low winter sun
raspberry leaves
red and green
 

If to this “grocery list ku” we add a preposition and an article we get:

low winter sun
in the raspberry leaves
red and green
 

It pays to be aware of which two lines you wish to make into the phrase. It helps to read the two lines of a ku which are to become your phrase out loud to see how they sound in your mouth and ears. If there is a too-clear break between the lines, ask yourself if you need an article or an article plus a preposition to be inserted. If you do, forget brevity and allow yourself the lyric pleasure of a smooth shift between these two lines.
If I had chosen to make the first line the fragment I would write the ku as:

low winter sun
raspberry leaves glow
red and green

Adding a verb gives the proper grammatical flow between lines 2 and 3. If one added “in the” to the first line, the ku would read as “in the low winter sun raspberry leaves glow red and green” which, to my ears would be a run-on sentence. One other variation on this subject is the haiku in which the break occurs in the middle of the second line. Often one finds this in translations of Basho's haikai taken out of context from a renga. Basically you have a two-liner set into three lines. Occasionally one will find an English haiku written in this manner. Again, it is often “rescued” out of a renga or written by people using 5-7-5 syllable count who end up with too many images as in this example from Borrowed Water edited by Helen Chenoweth in 1966 who wrote:

A cricket disturbed
the sleeping child; on the porch
a man smoked and smiled.

If the comment above sounds too critical of the use of the break in the middle of the second line, let me add that this method becomes very interesting if one is working with parallels. Perhaps that is what Helen was noticing – the difference between the sleeping child and man on the porch. Parallels were learned by the Japanese from the Chinese and often used successfully in haiku and tanka. 
 
 
Those persons using punctuation in their ku, will often find themselves making a dash after the fragment and hopefully nothing, not even a comma in the middle of the phrase, even if there is a breath of the possibility of one. Sometimes, the haiku sounds like a run-on sentence because the author is too lazy to rewrite the fragment clearly and thus, has to add a dash forcing the reader into the obligatory break.
For me, this is a red flag that the writer either did not believe in the “haiku has two parts” rule or didn't stay with the rewrite long enough to solve the problem properly.
Frankly, I see most punctuation as a cop-out. Almost any ku written as a run-on sentence (with or without its dash) can be rewritten so the grammar syntax forms the proper breaks. Or the author forms places where the reader can decide where to make the break and thus, give the haiku additional meaning. From this philosophy, I view haiku with punctuation as haiku which perhaps fail to fit this basic form. Some writers, unable, or unwilling to understand the use of fragment and phrase will write the ku in one line. If the author has a well-developed feeling for fragment and phrase, the grammar will expose which is which. In these cases, my feeling is - why not write the ku in the three lines it “shows” by the way it sounds.
Occasionally a haiku is written that is so full of possible divisions into what is the fragment or the phrase that writing it in one line is the only way that offers the reader the complete freedom to find the breaks. And with each new arrangement the meaning of the poem varies.  An example would be:

mountain heart in the stone mountain tunnel light 

Over the years I gradually gave up (and easily abandoned) the dashes, semi-colons, commas and full stops to incorporate ambiguity in the ku, but it has been hard for me to let go of the question mark - which is rather silly, as it is so clear from the grammar that a question is being asked. Still, and yet . . . I mention this, so newcomers to haiku understand that rules are not written in stone, but something each of us has to work out for ourselves. It is an on-going job and one I hope will never end.
The usual way we find new “rules” is by reading the work of others and deciding for ourselves what works as a ku or what we admire. Consciously or unconsciously we begin to imitate the style that “rule” creates. Usually we stay with a “rule” until we find a new one to replace it. Because there are so many rules, we all have different set with which we are working. By carefully reading a good-quality haiku journal, you can see which “rules” the editor is accepting by the haiku printed. That does not mean “this” is the only way to write a haiku.
You need to make the decision: are those a rules, goals or guidelines some I want for myself? This thought is much more gentle than saying some haiku are good and others are bad.
There is, thank goodness, no one way to write a haiku. Though the literature has haiku which we admire and even model our own works on, there is no one style or technique which is absolutely the best. Haiku is too large for that. Haiku has, in its short history been explored and expanded by writers so that now we have a fairly wide range of styles, techniques and methods to investigate.   
Jane Reichhold (1937-2016)
Personally, I would prefer more discussions of these techniques using riddles, associations, contrasts, oneness, sense-switching, narrowing focus, metaphor and simile (yes! judicially and in moderation), sketch (Shiki's shasei), double entendre, close linkage, leap linkage, pure objectivism, and more, rather than the mysterious idea that if one has a true haiku moment the resulting ku will be an excellent haiku.
This is pure rot. The experience is necessary and valid (and probably the best part of the haiku path), but writing is writing is skill and a craft to be learned.  Techniques are methods of achieving a known goal in writing. They are something to learn and then forget as Basho has already told us. But once you learn them you will understand why some haiku “work” for you and others do not. It also prepares you to instinctively use the best technique for each of your haiku experiences.  Perhaps, nothing is absolute in haiku. Like life, haiku require learning, experience and balance.

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We have had two series of Haiku Writing Techniques here at CDHK (you can find the e-books in our Library), without Jane's knowledge I couldn't have done that. And the months in which Basho was the main theme were also possible through the knowledge of Jane. I have learned a lot from her and I hope the same for you my dear Haijin, visitors and travelers.

This episode I love to ask you all to create haiku (or tanka) in which you use the fragment and phrase theory as stated by Jane Reichhold, just to honor her.
entwined
bare branches of the twin oak
in the backyard
© Chèvrefeuille
together as one
the butterfly and the bee
searching for honey
© Chèvrefeuille
weeping willow

This haiku I wrote in 2011, it was part of an article about a haiku by Matsuo Basho in which I tried (as we do in our CD Specials) to write a haiku in the same tone, sense and spirit as the haiku by Basho. Maybe I have to give that Basho haiku also here to show you what I mean, but let me first give the haiku I wrote:

 hot summerday
the shadow of the willows
Ah! that coolness
© Chèvrefeuille

And this was the haiku by Basho which played the leading role in that article:

essential to life
the little space under my hat
enjoying the coolness


© Basho (Tr. Jane Reichhold)
 
I have given it a thought reading it aloud and noticed that there were two moments to take a breath, after the first and second line. With the above article in mind and the idea that every haiku must be said in one breath ... I re-wrote the haiku to the next form:

Ah! that coolness
the willows' shadow
on a hot summerday

© Chèvrefeuille

I don't know if this re-done haiku has become revitalized, but I have to say this second version is better than the first version. 
And now it is up to you to use the "fragment and phrase" way of writing haiku yourself. Enjoy this exercise. This episode is open for your submissions next Sunday May 21st at 7.00 PM (CET) and will remain open until May 26th at noon (CET). I will try to publish our next episode around the same time as the submissions start.
 

Thursday, May 18, 2017

A Small Delay


Dear Haijin, visitors and travelers,

Our new "weekend-meditation" episode, a new Universal Jane, has been delayed because I am on the nightshift. I will publish this new "weekend-meditation" on Friday May 19th ...
My excuses for this delay.

Namasté,

Chèvrefeuille, your host

Wednesday, May 17, 2017

Carpe Diem Tan Renga Challenge Month 2017 #12 dandelion, dandelion (Ogiwara Seisensui)


Dear Haijin, visitors and travelers,

Today I have another not so well known classical haiku poet who was a contemporary of Shiki and Santoka Taneda, Ogiwara Seisensui (1884-1976), maybe you can remember him, because I have written about him earlier here at CDHK.

Let me tell you a little bit more about him.

Ogiwara Seisensui (1884 - 1976) was the pen-name of Ogiwara Tōkichi, a Japanese haiku poet active during the Taishō and Showa periods of Japan. Seisensui was born in what is now the Hamamatsuchō neighborhood of Minato, Tokyo, as the younger son of a general goods retailer. Both of his siblings died in infancy. Although he attended Seisoku Junior High School, Ogiwara was expelled after publishing a student newspaper criticizing the school's educational methods and administration. After entering Azabu Junior High School, he quit drinking and smoking, seriously engaged in studying, and gained admission to Tokyo Imperial University. While a student majoring in linguistics, he became interested in writing haiku.

Ogiwara Seisensui (1884-1976)

Seisensui co-founded the avant-garde literary magazine Sōun ("Layered Clouds") in 1911, together with fellow haiku poet Kawahigashi Hekigoto. Ogiwawa was a strong proponent of abandoning haiku traditions, especially the "season words" so favored by Takahama Kyoshi, and even the 5-7-5 syllable norms. In his Haiku teisho (1917), he broke with Hekigoto and shocked the haiku world by advocating further that haiku be transformed into free verse. His students included Ozaki Hōsai and Taneda Santōka. His role in promoting the format of free-style haiku has been compared with that of Masaoka Shiki for traditional verse, with the contrast that Seisensui was blessed with both vigorous health, and considerable wealth. He also was able to use new media to promote his style, including lectures and literary criticism on national radio.

Seisensui's wife and daughter perished in the Great Kantō earthquake of 1923, and his mother died the same year. He moved to Kyoto briefly, and lived for a while at a chapel within the Buddhist temple of Tofuku-ji. He also began a period of travel around the country. He remarried in 1929, and relocated to Kamakura, Kanagawa. He moved to Azabu in Tokyo until his house was destroyed during World War II. He then moved back to Kamakura in 1944, where he lived until his death.

Dandelion (image found on Pinterest)

Here is the "hokku" to work with today:

dandelion dandelion
on the sandy beach
spring opens its eyes

© Ogiwara Seisensui

As I look at this haiku and re-read it several times I sense fragility in the scene, but also strength. Dandelions are very strong flowers and they survive almost everywhere.

Here is my completed Tan Renga:

dandelion dandelion
on the sandy beach
spring opens its eyes                           © Ogiwara Seisensui

youngsters full of life
taking their first naked dive
              © Chèvrefeuille

In my second stanza I tried to catch the feeling of fragility and strength by "super-impose" them on youngsters. They are full of life and full of adventure and in the second stanza they are bringing that together through their naked dive. In early spring the sea here in The Netherlands is very cold, so I applaud these youngsters that they dare to take that naked dive.

This episode is open for your submissions tonight at 7.00 PM (CET) and will remain open until May 22nd at noon (CET). I will try to publish our new "weekend-meditation", a new episode of Universal Jane, later on. Have fun!


Tuesday, May 16, 2017

Carpe Diem Extra May 16th 2017 a work in progress ... and more


Dear Haijin, visitors and travelers,

I have a few things to tell you, no shocking news or something don't worry. Today I started creating our new and exclusive CDHK e-book "furu ike ya", a compilation of "frog"- haiku inspired on that beauty by Basho.
Several weeks ago I did a call for submissions for this new e-book and you all have responded in a nice way with beautiful haiku, tanka and even a tanaga (thank you Celestine). I have gathered all those beauties and now I am busy with the further progress of this new e-book. I will add several haiku on frogs by classical haiku poets and I found a nice (short) story about a monk in which frogs are playing a role too.
"Furu ike ya" will become an awesome CDHK e-book I think. I hope to publish it this week or short after the weekend. I will keep you posted.

Earlier this week I published a new episode of "My Gift ..." in which I introduced to you a new CDHK special feature "haiku puzzler". I loved to create that new feature and you responded in a nice way.

sunflower field

Recently, after the announcement of the results of the "cherry blossom"-kukai I did a call to submit haiku for our new kukai "sunflower". Until now I have had only one submission, so to have a great kukai I need more submissions. So ... if you haven't submitted your "sunflower"-haiku than please submit them to our email-address: carpediemhaikukai@gmail.com Please write "sunflower"-kukai in the subject line.

To conclude this CDHK Extra episode I have another annoucement to make. Next month all the prompts will be themed Tibet. As you all know Tibet is one of the most spiritual countries in the world. One of my unfinished novels plays for a very big part in Tibet and I loved visiting that country virtually. I once wrote a haibun about Tibet and I enjoyed that in a great way. I love Tibet and I am sad that it is no longer a souverain country since 1951.

mysterious shadows
against the rough mountains -
Om Mani Padme Hum

© Chèvrefeuille

Well ... this was all for now my dear friends. See you.

Namasté,

Chèvrefeuille

Carpe Diem Tan Renga Challenge Month 2017 #11 taste of nature (Sara McNulty)


Dear Haijin, visitors and travelers,

Yesterday we had that beautiful "hokku" by Ryokan Taigu, a classical haiku poet, and today I have another beauty, but this time created by one our CDHK family members.
Today I love to challenge you to create a Tan Renga with a "hokku" by Sara McNulty. Sara is a long term member of our CDHK family and she has managed to create her own specific style of haiku writing. In this haiku that's also true.

Here is the "hokku" by Sara to work with:

taste of nature–
sweet blackberry bushes
sing to child and bees

© Sara McNulty

Black Berry Bush (image found on Pinterest)
Yummy black berries, you can find them everywhere in nature. Along the road, in the middle of a city or just on an unexpected place.

This episode is open for your submissions tonight at 7.00 PM (CET) and will remain open until May 21st at noon (CET). Have fun!


Monday, May 15, 2017

Carpe Diem Tan Renga Challenge Month 2017 #10 an autumn leaf (Ryokan Taigu)


Dear Haijin, visitors and travelers,

Today I have a beautiful "hokku" by a not so well known classical haiku poet, Ryokan Taigu (1758-1831). Let me tell you a little bit more about him to introduce him to you.

Ryokan Taigu (1758-1831)

Ryōkan was born as Eizō Yamamoto (Yamamoto Eizō?) in the village of Izumozaki in Echigo Province (now Niigata Prefecture) in Japan to the village headman. He renounced the world at an early age to train at nearby Sōtō Zen temple Kōshō-ji, refusing to meet with or accept charity from his family. Once the Zen master Kokusen visited the temple, and Ryōkan was deeply impressed with his demeanor. He solicited permission to become Kokusen's disciple. Kokusen accepted, and the two returned to Entsū-ji monastery in Tamashima (now Okayama Prefecture).

It was at Entsū-ji that Ryōkan attained satori and was presented with an Inka by Kokusen. Kokusen died the following year, and Ryōkan left Entsū-ji to embark on a long pilgrimage. He lived much of the rest of his monastic life as a hermit. His decision to leave Entsū-ji may have been influenced by Gentō Sokuchū, the abbot of the temple. At the time, Gentō was aggressively reforming the Sōtō school to remove perceived 'foreign' elements, including kōan.

He was originally ordained as Ryōkan Taigu. Ryō means "good", kan means "broad", and Taigu means "great fool"; Ryōkan Taigu would thus translate as "broad-hearted generous fool", referring to qualities that Ryōkan's work and life embodies.

Ryōkan spent much of his time writing poetry, doing calligraphy, and communing with nature. His poetry is often very simple and inspired by nature. He loved children, and sometimes forgot to beg for food because he was playing with the children of the nearby village. Ryōkan refused to accept any position as a priest or even as a "poet." In the tradition of Zen his quotes and poems show he had a good sense of humor and didn't take himself too seriously.

Statue of  Ryokan Taigu

Ryōkan lived a very simple life, and stories about his kindness and generosity abound. On his deathbed, Ryōkan offered the following death poem to Teishin, his close companion:

Although he lived a simple and pure life, Ryōkan also displayed characteristics that under normal circumstances would be out of line for a typical monk.

In 1826 Ryōkan became ill and was unable to continue living as a hermit. He moved into the house of one of his patrons, Kimura Motouemon, and was cared for by a young nun called Teishin. "The [first] visit left them both exhilarated, and led to a close relationship that brightened Ryōkan's final years".The two of them exchanged a series of haiku. The poems they exchanged are both lively and tender. Ryōkan died from his illness on the 6th day of the new year 1831. "Teishin records that Ryōkan, seated in meditation posture, died 'just as if he were falling asleep”.

The "hokku" you have to use today is Ryokan's Jisei (death-poem):

ura wo mise omote wo misete chiru momiji

now it reveals its hidden side
and now the other—thus it falls,
an autumn leaf

© Ryokan Taigu

I love this haiku very much, because of the movement in it, the dance of the leaves ... really nice to work with I think.



Here is my attempt to create a Tan Renga with this "hokku" by Ryokan:

now it reveals its hidden side
and now the other—thus it falls,
an autumn leaf                                 © Ryokan Taigu

even nature has its own spirit
performing its "dying swan"            © Chèvrefeuille

I was triggered by the visueel dance in Ryokan's "hokku" and the first thing that came to mind was the "dying swan" scene of that famous ballet "Swan Lake" composed by Pyotr Ilyich Tchaikovsky in 1875–76. I associated on "autumn", the season in which nature "dies" and the movement by the falling leaves.

This episode is open for your submissions tonight at 7.00 PM (CET) and will remain open until May 20th at noon (CET). Have fun!


Sunday, May 14, 2017

Carpe Diem Tan Renga Challenge Month 2017 #9 leaves float away (Dolores Fegan)


Dear Haijin, visitors and travelers,

Last Thursday we had a nice "hokku" to work with written by a classical haiku poet so today I have a "hokku" written by a modern haiku poetess. I think you all will know her, because she is an active participant at CDHK, Dolores Fegan. (At the right side of our Kai you can find her e-book "First Magnolia Bloom", for sure worth to read.

The "hokku" of today is the following, a "magical" haiku of autumn:

autumn evening
like whispered prayers
leaves float away

© Dolores

autumn leaves (image found on Pinterest)
Isn't it a wonderful "hokku" to work with? Here is my attempt to create a Tan Renga with it through adding my 2nd stanza.

autumn evening
like whispered prayers
leaves float away                               © Dolores

voices of the gods
respond through rain                          © Chèvrefeuille

Awesome ...

This episode is open for your submissions tonight at 7.00 PM (CET) and will remain open until May 19th at noon (CET). Have fun!


Friday, May 12, 2017

Chèvrefeuille's Gift to You to Celebrate our First Luster of Carpe Diem Haiku Kai #3 Haiku Puzzler


Dear Haijin, visitors and travelers,

In this week's "Chevrefeuille's Gift To You To Celebrate Our First Luster Of Carpe Diem Haiku Kai" I have "invented" a new special feature. I have called it "Haiku Puzzler". The goal is to re-create the scrambled haiku of three haiku poets, but to make it somewhat more difficult, I have used four scrambled haiku.

Below you find an image in which you can find all the lines of these three haiku. To find the three haiku you get three hints:

1. This haiku poet brought haiku into the 20th century by mentioning a modern invention.

2. This haiku is renown all over the globe.

3. At the end of the life of a haiku poet the custom was to write a Jisei (death-poem). This is the jisei of a famous female poet.

To make the "haiku puzzler" complete you have to submit the three found haiku including the name of the haiku poet.

Have fun!

Here is our first "Haiku Puzzler":

click on the image to enlarge
I am looking forward to your responses. You can start immediately. I will give the solution through one of our regular posts next week. You will find in that regular post a link towards the solution.

This  first episode of "Haiku Puzzler" is NOW OPEN for your submissions and will remain open until Wednesday May 17th 10.00 PM (CET). Have fun!


Thursday, May 11, 2017

Carpe Diem Namasté, The Spiritual Way #9 Mother's Day


!!! Open for your submissions next Sunday May 14th at 7.00 PM (CET) !!!

Dear Haijin, visitors and travelers,

Welcome at a new “weekend-meditation”. This week I have a nice episode of “Namasté, The Spiritual Way” for you and I think you will love it.

Next Sunday, May 14th, it's Mother's Day and therefore our prompt for this “weekend-meditation”  is Mother's Day, but what is Mother's Day? Is it just a celebration day for Mothers? I have sought the Internet for some information about this holiday and I ran into the following.

Mother's Day is a celebration honoring mothers and motherhood, maternal bonds, and the influence of mothers in society. The modern holiday of Mother's Day was first celebrated in 1908, when Anna Jarvis held a memorial for her mother in Grafton, West Virginia. She then began a campaign to make "Mother's Day" a recognized holiday in the United States. Although she was successful in 1914, she was already disappointed with its commercialization by the 1920s. Jarvis' holiday was adopted by other countries and it is now celebrated all over the world.

In ancient Greece there was already a Mother's Day for Cybele, but who was she? Or what  kind of cult was it?

Source: Cybele

Cybele was the great Phrygian mother of the gods, a goddess of fertility, motherhood and the mountain wilds. Her orgiastic cult dominated the central and north-western districts of Asia Minor, and was introduced into Greece via the island of Samothrake and the Boiotian town of Thebes.
Cybele was closely associated with a number of Greek goddesses, firstly Rhea, the Greek mother of the gods (Meter Theon), but sometimes also Demeter, Aphrodite and Artemis.
Cybele was portrayed in classical sculpture as a matronly woman with a turret-crown, enthroned and flanked by lions.

In ancient Greece Cybele was called 'Meter Theon', and there were great festivals to celebrate her. These were called: The Orgia (Orgiastic festivals) of the Meter Theon.
These festivals were introduced into Greece from Phrygia via the island of Samothrake. They were closely related to those of Dionysos, whose Phrygian form, Sabazios, was named as a son of the goddess.
The Phrygian Orgia were overseen by eunuch priests called Gallai, who led devotees in nocturnal mountain rites involving much drinking, and frantic dancing accompanied by the music of rattles, kettledrums, flutes and castanets and the ritual cry 'evoe saboe,' 'hyes attes, attes hyes'. Young men armed with shield and sword also performed the high-footed, shield-clashing Korybantic dance. The rites also involved ritual mutilation, ranging from flagellation to the act of self-castration performed by the Gallai priests.

Young Greek man performing the Korybantic Dance

OK ... enough about the background of Mother's Day. It's just a holiday especially for mothers and I think you all know why you are visiting your mother, grandmother, mother in law. Let us try to compose a few haiku on Mother's Day to honor our mothers and grandmothers.

she is the best
mother takes care of me
I cherish her

when I was little
she always sang her lullaby
to scare bad dreams

© Chèvrefeuille

That was it for this “weekend-meditation” prompt Mother's Day. Have a nice Mother's Day and ... well cherish your mom ... she has given birth to you.

This episode, as you all know I think, is open for your submissions next Sunday May 14th at 7:00 PM (CET) and it will remain open until May 19th at noon (CET).


Wednesday, May 10, 2017

Carpe Diem Tan Renga Challenge Month 2017 #8 The flower of a pumpkin (Tomiyashu Fusei)


Dear Haijin, visitors and travelers,

Another day has gone, we are running to halfway this wonderful Tan Renga Challenge month and until today I just loved all the continuations and completions you all have shared here. Thank you all for participating in this daily challenge to create Tan Renga.

Yesterday we had a nice haiku by Hamish Managua Gunn and so today it is time for another classical haiku poet, however ... our "hokku" of today is written by Tomiyasu Fusei (1885 - 1979), a contemporary of Shiki and maybe not that classical as other haiku poets from the past I used here, because Tomiyasu died in 1979. I had planned to use another haiku written by him, because I really didn't know more about him. So as I was doing some research for this new episode I ran into other beauties written by him. So I decided to use another haiku.

Tomiyasu Fusei

Let me tell you first a little bit more about Tomiyasu Fusei:

Tomiyasu Fusei was a famous member of the Hototogisu Haiku Group (started by Shiki), from Aichi prefecture. He later founded the "Haiku Association of Tokyo University", Toodai Haiku Kai with Mizuhara Shuoshi and Yamaguchi Seishi. They were all students of Takahama Kyoshi.

Ishizuchi mo nankin no hana mo ooi nari

The flower of a pumpkin
as well as Mt. Ishizuchi
is great in scale

© Tomiyasu Fusei (1885 - 1979)

He was born in Aichi Prefecture as the fourth son to father "Saburo" and mother "Naka", in 1885. His real name was "Kenji". Naka's father had the Haigo (pen name) "Baigetsu (plum moon)", so his literary talent was descended from his mother.

In May of 1937, he retired as the vice minister of communications after 27 years' service with the Ministry of Communicaions. In July 1937, he visited Matsuyama for the first time and arrived at Niihama, he composed this Haiku as his first impression of Ehime. (Mount Ishizuchi is a famous holy mountain in Shikoku Island.)

Mount Ishizuchi in autumn (Shikoku Island Japan)
Shikoku Island is a once in a lifetime to do pilgrimage for every Buddhist along the 88 temples on this island. A few years ago we did this pilgrimage virtually here at CDHK (February and March 2014, you can find those posts through the "archive-list" at the right side of our Kai.)

The haiku by Fusei which I shared above is our "hokku" for today and here is my attempt to create a Tan Renga with it by adding my two-lined second stanza.

the flower of a pumpkin
as well as Mt. Ishizuchi
is great in scale                                   © Tomiyasu Fusei 

glowing Halloween eyes
scaring the ghosts away  
                   © Chèvrefeuille

Not as strong as I had hoped, but as I read "pumpkin" I just had to use Halloween in my continuation. And now it is up to you to add your second stanza through association.

This episode is NOW OPEN for your submissions and will remain open until May 15th at noon (CET). I will try to post our next episode, a new "weekend-meditation", an episode of Namasté, The Spiritual Way, later on. For now .... have fun!

PS. I have included a new exclusive CDHK E-book on Troiku, titled "Flamingo Clouds", in our CDHK Library. A preview of this new CDHK E-book you can find above in the menu.


Tuesday, May 9, 2017

Carpe Diem Tan Renga Challenge Month 2017 #7 two sets of footprints (Hamish Managua Gunn)


Dear Haijin, visitors and travelers,

Welcome at this new episode of our Tan Renga Challenge. Yesterday we had a classical haiku poet and today I love to challenge you to create a Tan Renga with the following haiku by Hamish Managua Gunn:

two sets of footprints
in freshly fallen snow
one pair from Kyoto

© Hamish Managua Gunn



I believe this haiku came from his E-book Shinrin-Yoku in which Hamish gathered several of his kikobun.
By the way: Shinrin-Yoku you can download for free in our CDHK Library.
Footprints In The Snow (Image found on Pinterest)
 
This episode of our TRC is open for your submissions tonight at 7.00 PM (CET) and will run until May 14th at noon (CET). Have fun!

Monday, May 8, 2017

Carpe Diem Tan Renga Challenge Month 2017 #6 first autumn morning (Murakami Kijo)


Dear Haijin, visitors and travelers,

Welcome at a new episode of our Tan Renga Challenge Month 2017. Today I have a nice haiku by Murakami Kijo (1865-1938). He was a contemporary of Shiki and was influenced by the style of Shiki's haiku.
Maybe you can remember our Tan Renga Challenge Month of 2016 or maybe the weekly Tan Renga Challenge in 2016. In that month we have had also a haiku by Murakami Kijo. The "hokku" for today's TRC is a reprise I think of one of his haiku back then.

first autumn morning
the mirror I stare into
shows my father's face.

© Murakami Kijo

Murakami Kijo (1865-1938)
A short biography:

Kijo was born in 1865 in Edo, Japan. He studied law but gave this up after losing his hearing due to illness. In 1894, he worked as a legal scribe in Takasaki. He helped publish the first edition of Hotogisu, a haiku magazine. He published his collection of work in 1923 with Harold Zod. In 1927, his house burned down with everything that he owned. Kijo died on September 17, 1938.

Here is my attempt to create a Tan Renga with this "hokku":

first autumn morning
the mirror I stare into
shows my father's face                               © Murakami Kijo

reflections of the autumn moon
this rainy day makes me feel alone
           © Chèvrefeuille

Well ... a short episode, I hope you do like it nevertheless.

This episode is NOW OPEN for your submissions and will remain open until May 13th at noon (CET). Have fun!


Sunday, May 7, 2017

Carpe Diem Tan Renga Challenge 2017 #5 silent steps


Dear Haijin, visitors and travelers,

I hope you all have had a wonderful weekend and I am ,looking forward to your responses on our last "weekend-meditation", an episode of Universal Jane. I had a nice weekend, relaxed and full of family fun.

This month we are busy with our 2nd Tan Renga Challenge here at CDHK. and today I have another nice challenge for you. In our last regular episode I challenged you to create a Tan Renga from a classical haiku by Boncho and so today I have a modern haiku for you. Today I have chosen a haiku created by Ese Klava with this haiku she became the "runner-up" of our "prayers" kukai. Maybe you can remember this beauty.

silent steps -
one more candle illuminates
the old chapel

© Ese

Candles
As I was preparing this new episode of our Tan Renga Challenge 2017 a haiku by Buson came in mind which sounds familiar, but has also in a way a link to the haiku by Ese. So I love to share that haiku here also, maybe you can also try to create a Tan Renga with this haiku by Buson.

lightning one candle
with another candle
an evening in spring


© Buson (Tr. unknown)

As you all know the goal of the Tan Renga Challenge is to add your two lined 2nd stanza to the Tan Renga's "hokku". Those two lines may count approximately 7 and 7 syllables, but as you also know, that's not a strict rule here at CDHK.

Here is my attempt to create a Tan Renga with the haiku by Ese:

silent steps -
one more candle illuminates
the old chapel                          © Ese
voices of monks resonate
against the walls praising their god
              © Chèvrefeuille

And here is my attempt to create a Tan Renga with the haiku by Buson:

lightning one candle
with another candle
an evening in spring              © Buson (Tr. unknown)
shadows dance on the walls
telling spooky stories to the kids
                 © Chèvrefeuille

Well ... now it is up to you my dear Haijin to complete the Tan Renga for this episode.

This episode is open for your submissions tonight at 7.00 PM (CET) and will remain open until May 12th at noon (CET). Have fun ... !


Friday, May 5, 2017

Carpe Diem Universal Jane #16 Morning Breeze


!!! Open for your submissions next Sunday May 7th at 7.00 PM (CET) !!!

Dear Haijin, visitors and travelers,

Welcome at a new "weekend-meditation" here at CDHK. This week a new episode of our special feature in honor and remembrance of Jane Reichhold, Universal Jane. As you all know this month is Carpe Diem Tan Renga Challenge Month 2017, so I decided to ask you to create Tan Renga starting with one of the haiku by Jane which I will give you. You may choose one or you may use them all to create Tan Renga with.

It's almost a year ago that Jane died, she is still missed, not only by her loved ones, but also by many of the ahiku and tanka poets all around the globe. I miss her for sure. She meant a lot for Carpe Diem Haiku Kai and she was one of our co-hosts. She once said: "Carpe Diem Haiku Kai is the best haiku website in the wortld". I cherish those words for the rest of my life.

So here we go. I have selected four haiku crafted by Jane and published online in her "A Dictionarry of Haiku". (All the haiku are from the Spring part of this "dictionarry" and from the section "celestial".

Clouds
morning breeze
coming in the window
surf sounds

without lights
the brightness of a blue sky
full of stars

balanced at dawn
a full moon slides into the sea
without ripples

stars bend down
into the wind of whitecaps
morning light

(C) Jane Reichhold

Four beautiful haiku I would say. All four can be used as "hokku" for Tan Renga, the goal for this "weekend-meditation"

This "weekend-meditation" is open for your submissions next Sunday May 7th at 7.00 PM (CET) and will remain open until May 12th at noon (CET). I will (try to) publish our next episode, a new Tan Renga Challenge", around that same time. For now ... have a great weekend.


Wednesday, May 3, 2017

Carpe Diem Tan Renga Challenge 2017 #4 from the Paulownia


Dear Haijin, visitors and travelers,

Welcome at a new episode of our Tan Renga Challenge Month 2017. Yesterday we had a haiku by a modern haiku poet, Kim Russell, and today I have a beautiful haiku by one of Basho's leading disciples, Nozawa Boncho (1640-1714).

Nozawa Boncho was a Japanese poet born c.1640 in Kanazawa. He spent most of his life in Kyoto working as a doctor. Boncho was one of Matsuo Bashō's leading disciples and wrote many famous haiku of his period. Boncho died in 1714.
from the paulownia
without a breath of wind--
falling leaves
© Nozawa Boncho
Paulownia Tree
And now the goal is to create the second (two-lined) stanza inspired/associated on the scene in the first stanza of the Tan Renga.
from the paulownia
without a breath of wind--
falling leaves
© Nozawa Boncho
My attempt to create a second stanza:

her precious beauty swirls
she ... the moon of autumn
© Chévrefeuille
Not as strong as I had hoped, but I think this second stanza fits the scene in a different, mysterious way.
This episode is NOW OPEN for your submissions and will remain open until May 8th at noon (CET). I will publish our new episode, a new Universal Jane episode, later on. For now ... have fun!