It has been more than a decade since the first writing of essays on haiku. Meanwhile, the reading of a number of literature and the dozens of dozens of Chinese Haiku groups and their own students actually scolded one thousand more phrases of Chinese Haiku in 343, and also 171 phrases of Japanese history (Samurai, Shibamura, Issa, Experience the translation of Shiki and Kyoko's masterpieces) and feel quite similar to the essence of Japanese haiku without feeling any doubts and difficulties in hateing Chinese haiku with 343 kanji of 10 characters of kanji) I got the conviction that Han Chinese haiku can be admired according to the haiku's <short and short, momentary impression, afterglow, rhythm, content, structure>. At the same time, it was recognized that the modern poet who was already used to hate Chinese contemporary poetry also knew the fact that he was not accustomed to hate haiku at the beginning, but those people soon recognized the essence of haiku. But I also knew that I could get it, but when I asked them to choose either Haiku or Tanka, it is also true that there are many who choose Tanka first. It is said that tanka is originally a lyrical poem, and it has high homogeneity with modern poetry,It is recognized as a natural phenomenon because it is a fixed short contemporary poe. And so-called <han ha ha> is also a short poem of the same type, and only the length is different. That is to say, the difference is that Chinese HANKA is 34,344 and HAN HAKU is 575, and Japanese TANKA originally comes from court love songs.
In this collection, you will receive a total of 171 phrases from Chinese haiku haikus and Chinese haikus, with a total of 171 phrases, each with a phrase from an active haiku on the net at the same time as Japanese haiku masters. In addition to serving as a reference, it is also a courtesy to post corrections regarding the haiku in the past ten years.
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Poetry Planet Joined: Feb-28-2018 |
I was born in 1930 in Taiwan. When I was born, I was Japanese, and foreigners from 15 years old. In the early winter of 1938, I moved to Kyoto about my father (Taipei Teijin University of Oriental Literature) 's transference (Toho Culture Research Institute, now Kyoto Research Institute for Humanities Research) and then moved to the second grade of elementary school. did. Two- and three-year-old teachers were Ms. Nishino, and for fourth and sixth graders, Ms. Kotoku and two of them both taught me a lot. After graduating from Kitakyushu National School in Sakyo-ku, Kyoto City in 1943 (March 1954), he entered Kyoto Prefectural Daiichi Junior High School at the same time as his father's transference (Taipei Teinan South Humanities Research Institute) in about a month after admission.
