The O-Wash-Ta-Nong/Volume 3/Number 1/Japanese Hokku
Japanese Hokku
There is something very great in Far Eastern esthetics which the Western World misses almost completely—a feeling born of a truly rational philosophy which recognizes the insignificance of mankind. The genuine un-Westernized Chinese or Japanese poet—or artist—sees the supreme beauty in large rhythms of nature, and in momentary perceptions of natural objects, or arrangements of things, which symbolizes those rhythms. In all this, mankind and its emotions are necessarily subordinated in just proportion to the whole scheme of cosmic entity—or visible cosmic entity. The Oriental does not slop over—hence his classic disapproval of effusive amatory lyrics.
Some of the most fascinating Japanese hokkus (17-syllable poems) are to be found in the essay “Butterflies,” by Lafcadio Hearn, in his volume called Kwerdan. Speaking of the prominence of the butterfly in Japanese art and lore, Hearn assembles a number of hokkus on the subject—presenting both the Japanese sounds in Roman letters and a literal prose translation of the meaning. Of course to us the beauty comes mainly from the translation; but we can also catch from the original sounds something of the grace and music of the language and poetic form. I append some which appeal most strongly to me:
Rakkwa éda ni
Kaeru to miréba
Kocho kana!
(When I saw the fallen flower return to the branch—lo, it was only a butterfly!)
Chiru—hana ni—
Karusa arasoü
Kocho kana!
(How the butterfly strives to compete in lightness with the falling flowers!)
Taurigané ni
Tomorité nemuru
Kocho kana!
(Perched upon the temple bell, the butterfly sleeps.)
Chö tondé—
Kazé naki hi to mo
Miezari ki!
(Even though it did not seem a windy day, the fluttering of the butterflies…). —Extract from a Lovecraft Letter, 1936.