I recently posted some self-authored haiku. I should say that they are in the style of haiku rather than haiku. They do not follow strict metrical patterns and some are even not about nature or the human in the setting of the natural. I am indebted to R. H. Blyth for the insight I have into haiku, in particular its origins in Japanese Zen Buddhism. Reading the magisterial four volume Haiku (The Hokuseido Press 1975), first published in 1949, has been the core of my induction into this gentle art. I only possess Volume I. Eastern Culture, and have wanted the remaining volumes; I have been put off by the approximately $500 cost. Fortunately the local library had the remaining three volumes, No. II, Spring, No. III, Summer-Autumn, and No. IV, Autumn-Winter. Every page of Haiku is infused with the mystique of Zen and one can only surmise that Blyth had both a scholarly understanding of the art of haiku as well as a deep appreciation of its origins in Buddhism and Zen in particular. It is clear from reading Blyth that the 'study' of Zen is the royal road to haiku both as a reader and practitioner. Blyth also compares the sentiments in haiku to extracts from Western literature which provides a unique view into the occidental genre.
I would say that Section II, of Vol. I of Haiku, Zen, The State of Mind for Haiku, is one of the most moving and profound things I have read. In this section Blyth draws from the qualities that characterise Zen and relates them to the mind of the haiku poet with examples of haiku.
- Selflessness
- Loneliness
- Grateful acceptance
- Wordlessness
- Non-intellectuality
- Contradictoriness
- Humour
- Freedom
- Non-morality
- Simplicity
- Materiality
- Love
- Courage.
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| Pumkin Mushakoji Saneatsu Plate 19 from Haiku by R.H. Blyth |

