Sugar Babies From Haiku, Hawaii

Sugar babies are women who provide intimate relationships or simple companionships to men in exchange for monetary favors or gifts. It is a mutually beneficial arrangement that can work for both those who need companionship and those who desire nice things or money. It is a type of relationship, not a business transaction, unlike other methods of garnering companionship in exchange for money. Sugar babies are not stereotypical "gold diggers." They come in all shapes and sizes and can be any type of woman in Haiku, Hawaii.

A sugar baby may be a college student who is paying her way through college, has some spare time to commit to a sugar baby/sugar daddy relationship and enjoys nice things. She may be intelligent, self-sufficient and classy. She may also be the opposite. The thing to remember is that sugar daddies are looking for different things. Therefore, sugar babies can be any combination of those things.

Sugar babies can also be independently successful women. They may have money of their own, spend time traveling as an executive for a big company, be a business owner or be perpetrator of any number of successful business endeavors. This type of sugar baby may find excitement in this sort of relationship. She may not need anything monetary or nice gifts from her partner. She may just enjoy having a man spend money on her, despite having plenty of money of her own. Many men find success attractive in a woman. Therefore, certain sugar daddies may have exactly this type of woman in mind when they seek to initiate a relationship with a sugar baby.

Monetary success and intelligence or lack thereof are not the only things in which sugar babies differ. A sugar baby's appearance is another area that may differ in Haiku, Hawaii due to cultural expectations or simply differ by personal preference. One sugar daddy may like a classic trophy girlfriend. He may want her to be young and very attentive to her looks on a superficial level. Another sugar daddy may not care how his sugar baby dresses but wants her to be athletic. Yet another sugar daddy may not care about looks at all and simply wants a woman who is entertaining.

When one envisions a sugar baby, the image of a young woman typically comes to mind. This is not always the case. Sugar babies may be older women because older and younger sugar daddies alike may prefer older women. Older women may also seek a life of relative luxury in their later years. It is a good way to have fun, receive gifts and take a break from the hustle of life.

The diversity in sugar babies also applies to ethnicity and weight. There is no set standard for any of these things when it comes to sugar babies. Any woman can strive to be a sugar baby and find the right sugar daddy for her. She can be tattooed and pierced or girl next door sweet. She can be funny or serious. She can be a lover of the arts or a computer geek. In short, sugar baby is as diverse a word as the word woman.

Bashō and the appearance of independent hokku

In the 1600s, two masters arose who elevated haikai and gave it a new popularity. They were Matsuo Bashō (1644–1694) and Ueshima Onitsura (1661–1738). Hokku is the first verse of the collaborative haikai or renku, but its position as the opening verse made it the most important, setting the tone for the whole composition. Even though hokku had sometimes appeared individually, they were always understood in the context of renku.[12] The Bashō school promoted standalone hokku by including many in their anthologies, thus giving birth to what is now called 'haiku'. Bashō also used his hokku as torque points within his short prose sketches and longer travel diaries. This sub-genre of haikai is known as haibun.[13] His best-known book, Oku no Hosomichi, or Narrow Roads to the Interior, is counted as one of the classics of Japanese literature[14] and has been translated into English extensively. Bashō was deified by both the imperial government and Shinto religious headquarters one hundred years after his death because he raised the haikai genre from a playful game of wit to sublime poetry. He continues to be revered as a saint of poetry in Japan, and is the one name from classical Japanese literature that is familiar throughout the world.[15]

Blyth

R.H. Blyth was an Englishman who lived in Japan. He produced a series of works on Zen, haiku, senryū, and on other forms of Japanese and Asian literature. In 1949, with the publication in Japan of the first volume of Haiku, the four-volume work by Blyth, haiku were introduced to the post-war world. This four-volume series (1949-52) described haiku from the pre-modern period up to and including Shiki. Blyth's History of Haiku (1964) in two volumes is regarded as a classical study of haiku. Today Blyth is best known as a major interpreter of haiku to English speakers. His works have stimulated the writing of haiku in English.

Contemporary English-language haiku

Today, haiku are written in many languages, but most poets outside of Japan are concentrated in the English-speaking countries. It is impossible to single out any current style or format or subject matter as definitive. Some of the more common practices in English are: * Use of three (or fewer) lines of 17 or fewer syllables; * Use of a season word (kigo); * Use of a cut (sometimes indicated by a punctuation mark) paralleling the Japanese use of kireji, to contrast and compare, implicitly, two events, images, or situations. While traditional Japanese haiku has focused on nature and the place of humans in it, some modern haiku poets, both in Japan and the West, consider a broader range of subject matter suitable, including urban contexts. While pre-modern haiku avoided certain topics such as sex and overt violence, contemporary haiku sometimes deal with such themes. The loosening of traditional standards has resulted in the term "haiku" being applied to brief English-language poems such as "mathemaku" and other kinds of pseudohaiku. Some sources claim that this is justified by the blurring of definitional boundaries in Japan[22].

Description

Haiku (俳句, haikai verse?) listen (help·info), plural haiku, is a form of Japanese poetry, consisting of 17 moras (or on), in three metrical phrases of 5, 7, and 5 moras respectively.[1] Haiku typically contain a kigo, or seasonal reference, and a kireji or verbal caesura. In Japanese, haiku are traditionally printed in a single vertical line, while haiku in English usually appear in three lines, to parallel the three metrical phrases of Japanese haiku.[2] Previously called hokku, haiku was given its current name by the Japanese writer Masaoka Shiki at the end of the 19th century.

Examples

* Possibly the best known Japanese haiku is Bashō's "old pond" haiku: * Another example of classic hokku by Matsuo Bashō:[8] * And yet another Bashō classic: (At that time, Japanese rain-gear consisted of a large, round cap and a shaggy straw cloak.)

Famous writers

Each year links to the corresponding "[year] in poetry" article:

From renga to renku to haiku

Hokku is the opening stanza of an orthodox collaborative linked poem, or renga, and of its later derivative, renku (or haikai no renga). By the time of Matsuo Bashō (1644–1694), the hokku had begun to appear as an independent poem, and was also incorporated in haibun (a combination of prose and hokku), and haiga (a combination of painting with hokku). In the late 19th century, Masaoka Shiki (1867-1902) renamed the standalone hokku to haiku.[9] The latter term is now generally applied retrospectively to all hokku appearing independently of renku or renga, irrespective of when they were written, and the use of the term hokku to describe a standalone poem is considered obsolete,[10] although this approach has been challenged.[11]

Haibun

Haibun (Japanese: 俳文 haikai writings) is a combination of prose and haiku, often autobiographical or written in the form of a travel journal.

Haiga

Haiga is a style of Japanese painting based on the aesthetics of haikai, and usually including a haiku. Haiga began as haiku added to paintings, but included the calligraphic painting of haiku via brushstrokes[citation needed], with the calligraphy adding to the power of the haiku. Earlier haiku poets added haiku to their paintings, but Bashō is noted for creating haiga paintings as simple as the haiku itself[citation needed]. Yosa Buson, a master painter, brought a more artistic approach to haiga[citation needed]. It was Buson who illustrated Bashō's famous travel journal, Oku no Hosomichi (Narrow Road to the Interior)[citation needed]. Today, haiga artists combine haiku with paintings, photographs and other art.

Haiku movement in the West

Although there were attempts outside Japan to imitate the "hokku" in the early 1900s, there was little understanding of its principles. Early Western scholars such as Basil Hall Chamberlain (1850–1935) and William George Aston were mostly dismissive of hokku's poetic value. One of the first advocates of English-language hokku was the Japanese poet Yone Noguchi. In "A Proposal to American Poets," published in the Reader magazine in February 1904, Noguchi gave a brief outline of the hokku and some of his own English efforts, ending with the exhortation, "Pray, you try Japanese Hokku, my American poets!" At about the same time the poet Sadakichi Hartmann was publishing original English-language hokku, as well as other Japanese forms in both English and French. In France, haiku was introduced by Paul-Louis Couchoud around 1906. Couchoud's articles were read by early Imagist theoretician F. S. Flint, who passed on Couchoud's (somewhat idiosyncratic) ideas to other members of the proto-Imagist Poets' Club such as Ezra Pound. Amy Lowell made a trip to London to meet Pound and find out about haiku. She returned to the United States where she worked to interest others in this "new" form. Haiku subsequently had a considerable influence on Imagists in the 1910s, notably Pound's "In a Station of the Metro" of 1913, but, notwithstanding several efforts by Yone Noguchi to explain "the hokku spirit," there was as yet little understanding of the form and its history. An early[when?] translation of Bashō's Oku no Hosomichi to Spanish was done by the Mexican poet and Nobel Prize winner Octavio Paz in collaboration with Eikichi Hayashiya.

Henderson

In 1958, An Introduction to Haiku: An Anthology of Poems and Poets from Bashô to Shiki by Harold G. Henderson was published by Doubleday Anchor Books. This book was a revision of Henderson's earlier book titled The Bamboo Broom (Houghton Mifflin, 1934). After World War Two, Henderson and Blyth worked for the American Occupation in Japan and for the Imperial Household, respectively, and their shared appreciation of haiku helped form a bond between the two. Henderson translated every hokku and haiku into a rhymed tercet (a-b-a), whereas the Japanese originals never used rhyme. Unlike Yasuda, however, he recognized that seventeen syllables in English are generally longer than the seventeen moras of a traditional Japanese haiku. Because the normal modes of English poetry depend on accentual meter rather than on syllabics, Henderson chose to emphasize the order of events and images in the originals. Nevertheless, many of Henderson's translations were in the five-seven-five pattern.

Internet

Online journals that exclusively publish haiku poetry (see the list in Haiku in English) and haiku sites owned by various haiku writers can be found online, as well as scores of pseudo-haiku.

Kireji and kigo

In Japanese haiku a kireji, or cutting word, typically appears at the end of one of the verse's three metrical phrases. While difficult to precisely define its function, a kireji lends the verse structural support,[3] effectively allowing it to stand as an independent poem. Depending on which cutting word is chosen, and its position within the verse, it may briefly cut the stream of thought, suggesting a parallel between the preceding and following phrases, or it may provide a dignified ending, concluding the verse with a heightened sense of closure.[4] In English, since kireji has no direct equivalent, poets sometimes use punctuation such as a dash or ellipse, or an implied break, to divide a haiku into two grammatical and imagistic parts. The purpose is to create a juxtaposition, prompting the reader to reflect on the relationship between the two parts. A haiku traditionally contains a kigo, a defined word or phrase which symbolizes or implies the season alluded to in the poem. Among traditionalist Japanese haiku writers, kireji and kigo are considered requirements; yet, as noted above, kireji are not used in English. Kigo are not always included by modern writers of Japanese "free-form" haiku and some non-Japanese haiku.

Kobayashi Issa and a humanistic approach

No new popular style followed Buson. However, a very individualistic, and at the same time humanistic, approach to writing haiku was demonstrated by the poet Kobayashi Issa (1763–1827), whose miserable childhood, poverty, sad life, and devotion to the Pure Land sect of Buddhism are evident in his poetry. Issa made the genre immediately accessible to wider audiences.

Kuhi

The carving of famous haiku on natural stone to make poem monuments known as kuhi (句碑) has been a popular practice for many centuries. The city of Matsuyama has more than two hundred kuhi.

Pre-Shiki period

* Matsuo Bashō (1644–1694) * Nozawa Bonchō (c. 1640–1714) * Takarai Kikaku(1661–1707) * Onitsura (1661–1738) * Chiyo-ni (1703–1775) * Yosa Buson (1716–1783) * Kobayashi Issa (1763–1827)

References

* Blyth, R. H. A History of Haiku. Vol. 1, From the Beginnings up to Issa. Tokyo: Hokuseido Press, 1963. ISBN 0-89346-066-4 * Suiter, John. Poets on the Peaks. Counterpoint, 2002. ISBN 1582431485; ISBN 1-58243-294-5 (pbk) * Shirane, Haruo. Traces of Dreams, Landscape, Cultural Memory, and the poetry of Bashō. Stanford University Press, 1998. ISBN 0-8047-3099-7 (pbk) * Sato, Hiroaki. One Hundred Frogs, from renga to haiku to English. Weatherhill, 1983. ISBN 0-8348-0176-0 * Higginson, William J. and Harter, Penny. The Haiku Handbook, How to Write, Share, and Teach Haiku. Kodansha, 1989. ISBN 4-7700-1430-9 * Ueda, Makoto. The Master Haiku Poet, Matsuo Bashō. Kodansha, 1982. ISBN 0-87011-553-7 * Lowenstein, Tom (editor). Classic Haiku. Duncan Baird, 2007. ISBN 1-84483-486-7 * Lowenstein,Tom.Haiku Inspirations Duncan Baird 2006. ISBN 1-84483-296-1 * Yasuda, Ken. Japanese Haiku: Its Essential Nature, History, and Possibilities in English. Tuttle, 1957. ISBN 0-8048-1096-6 * Sieffert, René.Bashô et son école Haïkaï. Les éditions Textuel, 2005.ISBN 2-84597-140-0 * Henderson, H G. An Introduction to Haiku. Hokuseido Press, 1948.

See also

* Haiku in English * Hokku * Japanese poetry * Kigo * Kireji * Renku * Senryū * Waka * List of Japanese poetry anthologies

Senryū

Senryū is a poem that is written in a similar form and emphasizes irony, satire, humor, and human foibles rather than seasons; it may or may not contain a kigo and kireji.

Shiki and later

* Masaoka Shiki (1867–1902) * Kawahigashi Hekigotō (1873–1937) * Takahama Kyoshi (1874–1959) * Taneda Santōka (1882–1940) * Ozaki Hōsai (1882–1926) * Ogiwara Seisensui (1884–1976) * Natsume Sōseki (1867–1916) * Ryūnosuke Akutagawa (1892–1927)

Shiki's revisions

Masaoka Shiki (1867–1902) was a reformer and revisionist. A prolific writer, even though chronically ill during a significant part of his life, Shiki disliked the ‘stereotype’ haikai writers of the 19th century who were known by the deprecatory term tsukinami, meaning ‘monthly’, after the monthly or twice-monthly haikai gatherings of the end of the 18th century (in regard to this period of haikai, it came to mean ‘trite’ and ‘hackneyed’). Shiki also criticized Bashō[citation needed]. Like the Japanese intellectual world in general at that time, Shiki was strongly influenced by Western culture. He favored the painterly style of Buson and particularly the European concept of plein-air painting, which he adapted to create a style of haiku as a kind of nature sketch in words, an approach called shasei, literally ‘sketching from life’. He popularized his views by verse columns and essays in newspapers. Hokku up to the time of Shiki, even when appearing independently, were written in the context of renku.[12] Shiki formally separated his new style of verse from the context of collaborative poetry. Being agnostic,[18] he also separated it from the influence of Buddhism, with which hokku had very often been tinged.[citation needed][clarification needed] And finally, he discarded the term "hokku" and proposed the term haiku as an abbreviation of the phrase "haikai no ku" meaning a verse of haikai,[19] although the term predates Shiki by some two centuries, when it was used to mean any verse of haikai.[20] Since then, "haiku" has been the term usually applied in both Japanese and English to all independent haiku, irrespective of their date of composition. Shiki's revisionism dealt a severe blow to renku and surviving haikai schools. The term "hokku" is now used chiefly in its original sense of the opening verse of a renku, and rarely to distinguish haiku written before Shiki's time.[21]

Syllables or "on" in haiku

In contrast to English verse which is typically characterized by meter, Japanese verse counts sound units (moras), known as "on". The word on is often translated as "syllable", but there are subtle differences between an "on" and an English-language "syllable". Traditional haiku consist of 17 on, in three metrical phrases of 5, 7, and 5 on respectively. The word onji (音字; "sound symbol") is sometimes used in referring to Japanese sound units in English[5] although this word is archaic and no longer current in Japanese.[6] In Japanese, the on corresponds very closely to the kana character count (closely enough that moji (or "character symbol") is also sometimes used[6] as the count unit). One on is counted for a short syllable, an additional one for an elongated vowel, diphthong, or doubled consonant, and one for an "n" at the end of a syllable. Thus, the word "haibun", though counted as two syllables in English, is counted as four on in Japanese (ha-i-bu-n). Most writers of literary haiku in English use about ten to fourteen syllables, with no formal pattern.

Time of Buson

The next famous style of haikai to arise was that of Yosa Buson (1716–1783) and others such as Kitō, called the Tenmei style after the Tenmei Era (1781–1789) in which it was created. Buson attempted to revive the values of Bashō, and rescue haiku and renku from the stultified condition into which it had sunk since Bashō's day.[16] Buson is recognised as one of the greatest masters of haiga (an art form where painting is combined with haiku or haikai prose). His affection for painting can be seen in the painterly style of his haiku.[17]

Worldwide

In the early 21st century, there is a thriving community of haiku poets worldwide, mainly communicating through national and regional societies and journals in Japan, in the English-speaking countries (including India), in Northern Europe (mainly Sweden, Germany, France, Belgium and the Netherlands), in central and southeast Europe (mainly Croatia, Slovenia, Serbia, Bulgaria, and Romania), and in Russia. Some associations, like Haiku International Association, try to promote exchanges between Japanese and foreign haiku lovers. In the early 20th century Nobel laureate Rabindranath Tagore composed haiku in Bengali. He also translated some from Japanese. In Gujarati, Zeenabhai Ratanji Desai 'Sneharashmi' popularized haiku[23] and remains a popular haiku composer.[24] In February 2008, the World Haiku Festival was held in Bangalore, gathering haikuists from all over India and Bangladesh, as well as from Europe and the US.[25][26]

Yasuda

The Japanese-American scholar and translator Kenneth Yasuda published The Japanese Haiku: Its Essential Nature, History, and Possibilities in English, with Selected Examples in 1957. The book includes both translations from Japanese and original poems of his own in English, which had previously appeared in his book titled A Pepper-Pod: Classic Japanese Poems together with Original Haiku. In these books Yasuda presented a critical theory about haiku, to which he added comments on haiku poetry by early twentieth-century poets and critics. His translations apply a 5–7–5 syllable count in English, with the first and third lines end-rhymed. Yasuda's theory includes the concept of a "haiku moment" based in personal experience, and provides the motive for writing a haiku. His notion of the haiku moment has resonated with haiku writers in North America, even though the notion is not widely promoted in Japanese haiku.