Syntax Conception in Haiku
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We train in observing the other people with renewed eyes. It means confirming the importance of the listening and of the point of view of the other human beings. The beauty of a haiku and its comprehension require bearing of responsibilities. Some haiku seem to be bad at a first sight: its beauty can be revealed if the correct way and breath for reading them are discovered. Also feeling the pleasure of being neutral is an art.
He learns to express himself with a few things, using in a technical way the counting of the syllables and the possibilities of the metrics, and also testing his perception, his logic, his maths and his creativity. All this incites the perception, the intuition, the imagination. Running away again the future and past modes, the child works out a mind aptitude which looks the things here and now. Practising haiku leads him in the depth he just owns, it helps him explore it better, it helps keep his capacity to explore the depth.
It always requires an effort, attention, concentration, a pure being disposal in listening, a cancellation of prejudgements.
It needs one disposes himself with humility in deeply listening a point of view of another human being. All these simultaneously incite the analytic reasoning that going into things back to the past and the syntentical reasoning that looking forward to the future. The relation with the schoolmates becomes more mature. Reading new haiku we learn to come in relation with the points of view of the authors; we learn to respect them, but also to listen and to value them. The points of charming analyses are: a comma pause changing the meaning of the phrase; a definite, instead of a indefinite article, emptying or amplifying the meaning; the addition or not of a conjunction leading the meanings to other interpretations; the use of an adjective; the use of the verb; the synonymous which result not to be synonymous anymore, because they modify the image in our mind, even if in a little measure.
This is another feature of the haiku. We often express our judgement without realising this.
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Analysing the haiku written with the children we can spot those even small grammar particles implying a judgement. The children develop a stimulus leading then to look better at the words and to recognise those having a character of pre-judgement. Detachment implies a widest emotional and affective involvement. The child learns how to chisel the marble of his desire of keeping everything, improving the renounce each time he has to choose among a lot of works at disposal, preferring the simplest, the more functional, the more suitable to enter in his haiku.
This is an important job, getting him free from the cage of the mind superstructures and training him to essentiality. It also trains the musical sensitiveness and the importance of the language as a communication device. Looking for simplicity and fluency the child understands the mechanisms of the language contorting the mind and the thought; he improves his capacity of listening; he get trained to precision, efficacy, comprehension of the psychological-sonorous effects and comprehension of the syntax and grammar.
They disclose their stories, revealing things in common, sadness and joy. The tensions coming from any contrasting personality or from the social-cultural dynamics become quieter and quieter. The class makes progress towards a positive and affectionate spirit of group. This is due to the origin of the haiku linked to Zen, to his Japanese origin, to his oriental origin, to his coming from places where the sun dawns, to his own contents, to his being linked to the seasons, to his rules, to his being so small, to his essentiality. Practising haiku can help children hold their comprehension of the spirituality before the spoilt worlds of the adults bring them away from it.
The adults have the pre-concept that a child can not catch these things.
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Practising haiku refines the mind attitude of the comprehension of all lives. The child will develop fewer fears and less anguish, as his knowledge of the world becomes deeper and truest. The work in a classroom seems like a Japanese Kessha, i. The children understand the value of the silence and of the loneliness, and they are less scared about them.
When Sabi, Wabi, Aware or Yughen result in the haiku, they comprehend how big the universe is, how little the humanity is, how big the children are.
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They are wrapped up by an atmosphere of compassion, of still nostalgia, of indefinable melancholy, while outside, on the glasses, the rain is maybe sliding away or the snow is falling. Every day he lives in the WABI state of mind, as the world is pretty plenty of new things for him, every moment is a surprise and wondering: from reading to calculus, to science, to technique, to the insects, to drawing.
Catching the WABI state of mind implied in the haiku, he recognises his experiences as universal and not as individual as he could have considered. The child is the first one to perceive such a mystery. The haiku helps him stay in this perception, not to loose his capacity of getting astonished and to recognise the beauty of the creation.
He asks him to teach everything on the Zen, as he wants to become a practitioner the soonest. The master gives hospitality to him in his humble house and proposes him to drink a cup of tea. The western man is astonished seeing his cup and the master who keeps on pouring tea until it overflows on the table plentifully. Only in this way can the mind and the conscience receive what happens around us in its plenitude and essence. The haiku teaches such aptitude to the children.
He learns to accept, to recognise, to respect the tradition, anyway leaving a space in the mind free for the creation of other traditions making effect on the origins, anyway then recognising the important values to be saved. Often the adults think these values are excessive and difficult for the children; anyway this is only due to the fact grown up people have difficulties in considering the children as our possible real teachers. The children have the necessary sensitiveness to face what the haiku poetry is composed by. The list of the motivation is the result of an analyse made to explore in details all the slightest implications of the haiku poetry.
In the concrete reality of a lesson the listed arguments become active and act in a complex way; often a lot of them are in synchrony at the same moment. Additionally, in a volatile geophysical locale in a premodern agricultural culture, such a deliberate consideration of the natural cycles was essential, not only for literary purposes, but for survival.
This close association made the literature of Japan an extension of its deepest needs, and it should be no surprise that such lore would support its most basic cultural presumptions. However, even in traditional circles haiku have long been written on certain subjects, imported from earlier traditional topics of poetry, which are considered to lie outside the structure provided by the natural cycle-poems primarily concerned with human behavior such as love, religious belief, travel and so on.
These are regarded no less as haiku, but because haiku are generally preserved by their appearance in anthologies and saijiki listings of topics and words, with often copious illustrative examples, indicating the topics for use in haiku composition , which are arranged by season, such works are more difficult to find and retain. In fact, since such poems are difficult to place in saijiki, it was at first merely a matter of inconvenience for the editors, but over time, since examples of non-season word haiku were essentially neglected, it came to regarded that such poems belonged outside the tradition, and finally that they were evidence of poor crafting.
And so what was an editorial difficulty became a traditional mandate. Things have changed over the past one hundred years.
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For one thing, the life of the average Japanese and many others as well is far less rural and agricultural than it was when haiku was finding its classical form. Likewise, haiku still take nature as their primary content, but the definition of nature is much broader than was the case even fifty years ago.
Today we might discover Japanese haiku to include work such as this:. This sort of poem, widely recognized as haiku, makes us reconsider what must truly be considered essential for a poem to be a haiku. And we might well ask: can we write a haiku without a season word? The answer, as is the case so often, is that we are always free to do whatever we wish to do. The real issue is more a matter of what do we get, and what do we lose, from choosing one way or another. And this goes back to our original consideration: what is the purpose of our writing?
And what is the best strategy to realizing our goals? And so the proper question is, does the use of a season word in my haiku help better convey the experience I wish to share? Or is the nature of my experience a moment of insight which is not focused within the natural cycle? And if this is the case, what alternatives do I have? Season words will continue to matter in haiku in all cultures. And so in many instances a season word will prove a useful strategy in conveying these experiences. But increasingly we will find that the traditional significances of season words will not embody all the moments we discover, especially as haiku is written in cultures whose climates are widely divergent from that of Japan, and as our increasingly urbanized environments become the locus for more and more of our insights.
We will discover, then, that we want a system of words which function as season words do-that is, codify our experiences, provide a shorthand for expressing them, and unify our writings through association with other expressions in the form-but which more fully embraces the range of experiences which haiku may convey. This larger system we call keywords.
A keyword is a near kin to a season word. In fact, it may be a season word.
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But it may be other things as well. The most useful way of thinking of the idea of keywords is not as a one-to-one replacement for season words but rather as an overarching system of correspondences available to the haiku poet which incorporates season words within its bounds. Consider, for example. What we would have done in the past is to call this a non-seasonal haiku, or else assign it a season. This is the way we have worked within the mindset of season words. In the new way of reckoning, however, a season word is not an assumed part of a haiku, but a keyword is.