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(plural ''haiku'') is a very short form of Japanese poetry. It is typically characterised by three qualities: * The essence of haiku is "cutting" (''kiru''). This is often represented by the juxtaposition of two images or ideas and a ''kireji'' ("cutting word") between them, a kind of verbal punctuation mark which signals the moment of separation and colors the manner in which the juxtaposed elements are related. * Traditional haiku consist of 17 ''on'' (also known as morae), in three phrases of 5, 7, and 5 ''on'' respectively.〔Lanoue, David G. ''Issa, Cup-of-tea Poems: Selected Haiku of Kobayashi Issa,'' Asian Humanities〕 * A ''kigo'' (seasonal reference), usually drawn from a ''saijiki'', an extensive but defined list of such words. are increasingly unlikely to follow the tradition of 17 ''on'' (syllables) or to take nature as their subject, but the use of juxtaposition continues to be honored in both traditional and modern haiku. There is a common, although relatively recent, perception that the images juxtaposed must be directly observed everyday objects or occurrences.〔Haruo Shirane (''Beyond the Haiku Moment'' )〕 In Japanese, haiku are traditionally printed in a single vertical line while haiku in English often appear in three lines to parallel the three phrases of Japanese haiku.〔Van den Heuvel, Cor. ''The Haiku Anthology'', 2nd edition, Simon & Schuster, 1986, ISBN 0-671-62837-2 p.11〕 Previously called ''hokku'', haiku was given its current name by the Japanese writer Masaoka Shiki at the end of the 19th century. ==Kiru and Kireji== (詳細はkireji'', or cutting word, typically appears at the end of one of the verse's three phrases. A ''kireji'' fills a role somewhat analogous to a ''caesura'' in classical western poetry or to a volta in sonnets. 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. The fundamental aesthetic quality of both hokku and haiku is that it is internally sufficient, independent of context, and will bear consideration as a complete work. The ''kireji'' lends the verse structural support,〔(Brief Notes on "Kire-ji" ), Association of Japanese Classical Haiku. Retrieved 2008-10-16.〕 allowing it to stand as an independent poem.〔Steven D. Carter. ''Three Poets at Yuyama. Sogi and Yuyama Sangin Hyakuin, 1491'', in ''Monumenta Nipponica'', Vol. 33, No. 3. (Autumn, 1978), p.249〕〔Konishi Jin'ichi; Karen Brazell; Lewis Cook, ''The Art of Renga'', in ''Journal of Japanese Studies'', Vol. 2, No. 1. (Autumn, 1975), p.39〕 The use of ''kireji'' distinguishes haiku and hokku from second and subsequent verses of renku; which may employ semantic and syntactic disjuncture, even to the point of occasionally end-stopping a phrase with a . However, renku typically employ ''kireji''.〔Sato, Hiroaki. ''One Hundred Frogs: from renga to haiku to English'', Weatherhill 1983, ISBN 0-8348-0176-0 〕 In English, since ''kireji'' have no direct equivalent, poets sometimes use punctuation such as a dash or ellipsis, or an implied break to create a juxtaposition intended to prompt the reader to reflect on the relationship between the two parts. The ''kireji'' in the Bashō examples "old pond" and "the wind of Mt Fuji" are both "ya" (や). Neither the remaining Bashō example nor the Issa example contain a ''kireji'' although they do both balance a fragment in the first five ''on'' against a phrase in the remaining 12 ''on'' (it may not be apparent from the English translation of the Issa that the first five ''on'' mean "Edo's rain"). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Haiku」の詳細全文を読む スポンサード リンク
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