Exploring the history of haiku through the lens of Bashō and his predecessors reveals a poetic form far more affluent than its 5-7-5 structure suggests. What I found most interesting is how haiku, initially a part of linked verse, evolved into a distinct genre. It is not just about counting syllables; it's about capturing a moment in time, a feeling, a season. Bashō, in particular, utilized haiku to give us a glimpse of his life and travels. Bashō's haiku often incorporated elements of nature and everyday life, transforming the mundane into something profound. He explored the interplay between classical tradition and the contemporary world. The poems are evocative and often combine seemingly disparate elements to create new meanings. The way Basho incorporates these elements, whether the sound of water or the moon, elevates it beyond mere description into a more profound experience for the reader. Bashō's haiku captures the emotions, transience, and seasonal changes. His use of poetry to explore his spiritual and emotional states makes his work particularly compelling.
This made me reflect on an Arab poet, Nujoom al-Ghanem, who writes in haiku, combining the literary practice of haiku with the principles of Zen philosophy and observations of life in the Gulf and beyond. Its immensely expressive poems are built of short verses following a three-line structure and a seventeen-syllable pattern. These non-rhyming, simple, yet extraordinarily philosophical and thought-provoking Zen poems invite the reader to embark on a unique inner journey of meditation, reflection, and self-discovery.
Ibrahim Fawzy
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