Issa KobayashiCritiques

There are few Japanese Haiku I don't enjoy, whether I grasp them or feel them or not.

Kobayashi Issa tuvo una vida intensa en emociones y sentimientos. Fue monje budista de la Escuela Amida, pero también se casó tres veces y fue padre de familia. Esta doble experiencia vital: monacal y mundana, sin duda lo dotó de una sensibilidad muy fina, una especial empatía con la naturaleza y los animales ùsobre todo, los más menudosù, y una captación intuitiva del sentimiento de aware, ese asombro casi infantil que constituye uno de los ingredientes más esenciales del haiku. Considerado uno de los cuatro grandes poetas de la tradición del haiku, Kobayashi Issa continúa siendo, casi doscientos años después de su muerte, uno de los poetas más queridos y leídos por los japoneses.

I took a class from Robert Haas during my undergrad. He was a vague teacher but his lectures were careful, rigorous, and were often delivered with a gentleness that made what would otherwise be burdensome topics graceful. So it is with this collection of Haiku by Buson, Basho, and Issa. Among the projects he set forth in the this edition, Haas wanted to show through contrast, how each master's personality and style comes through their work however restricted the form. The effect of reading this collection is that the differences become clear:

Issa's comical voice:

I'm going out,
Flies, so relax,
Make love.


Buson's imagery:

The spring sea rising
and falling, rising
and falling all day.


Basho's philosophical melancholy:

First day of spring-
I keep thinking about
the end of Autumn.


I highly recommend this collection for anyone interested in the Haiku form. Though there are some cultural and translational fault lines mapping the boundaries of this style of poetry the main ideas come through, often in unexpected ways: a flash of imagery or setting will set off a spontaneous feeling of sorrow or happiness, frustration or guilt.

I took a class from Robert Haas during my undergrad. He was a vague teacher but his lectures were careful, rigorous, and were often delivered with a gentleness that made what would otherwise be burdensome topics graceful. So it is with this collection of Haiku by Buson, Basho, and Issa. Among the projects he set forth in the this edition, Haas wanted to show through contrast, how each master's personality and style comes through their work however restricted the form. The effect of reading this collection is that the differences become clear:

Issa's comical voice:

I'm going out,
Flies, so relax,
Make love.


Buson's imagery:

The spring sea rising
and falling, rising
and falling all day.


Basho's philosophical melancholy:

First day of spring-
I keep thinking about
the end of Autumn.


I highly recommend this collection for anyone interested in the Haiku form. Though there are some cultural and translational fault lines mapping the boundaries of this style of poetry the main ideas come through, often in unexpected ways: a flash of imagery or setting will set off a spontaneous feeling of sorrow or happiness, frustration or guilt.

When I think about Haiku, it comes across to me like a sort of distilled microcosm of poetry in general. It's expressive, but often follows a formal structure, it can be about anything, but often follows common themes, different authors can feel wildly different even within the same format. It's why in many ways when introducing young people to poetry, I think an anthology of Haikus is a good place to begin, they can be discussed extensively, follow a variety of themes (seasonal works would be especially useful), are quick to read which means they can be read in class and discussed in larger numbers than many other works. It also represents an opportunity for young readers to experience literature from another part of the world, and to discuss the idea of translation and what it means for the reader.

This was a set of Haiku's by the Japanese poet Issa. There were a collection of them and they are very good. I would use this poem, and the rest in A few Flies and I, for a couple of different reasons. One, because this is a great example of a Haiku. So if I was doing a poetry lesson I would definitely want to show Haikus as well, and this is a great example of one. I would also use this particular Haiku because of the figurative language with rat-a-tat-tat. When reading poems, you often learn and do lessons on figurative language, because they are so common in poems, and this poem is a great example of an Onomatopoeia. It is a fun way to connect an easy poem that is relatable to your students lives to language that they will need to learn.
Genre: Poetry

Excellent book that gives us some historical perspective on three of the greatest poets who ever lived: Basho, Buson & Issa. At the core of each are three metaphysical ideas about natural things: "that they are transient; that they are contingent; that they suffer." "A cicada shell;/ it sang itself/ utterly away." _ basho "Morning breeze / riffling / the caterpillar's hair." _Buson "Climb Mt. Fuji,/ oh snail,/ but slowly, slowly." and "I'm going out,/ flies, so relax,/ make love." _Issa

Poem selection is average. Aesthetically, the translations are merely passable. (At one point he quote's Amy Lowell's version of a Buson poem, which only has the unintended consequence of making his appear inferior.) But the real problem here are the notes.

Whether it requires it or not, each poem is accompanied by a paragraph or more of only marginally useful notes. Well, notes is probably not entirely correct, as that would suggest that they help to explain the meaning of obscure terms or references. Sometimes, perhaps even the majority of the time, they do. (His note on Basho's famous helmet/cricket poem is an example of a good one, for instance.) But a decent amount of the time they serve as little more than an excuse for the author to meander off on whatever tangent the poem has reminded him of — his travels, his life, what he thinks the poet was feeling at the time. Often this is interwoven into the insightful bits, but sometimes the notes serve no purpose but this meandering stream of consciousness.

Eventually, somewhere in the section on Issa, I just stopped reading them. My enjoyment of the collection went up after that.

My final verdict? Find another anthology instead.

Edición bilingüe con interesantes notas que nos permiten comprender mejor los haikus de Kobayashi (KOB cin)

This is book of haiku written by Issa about seasons changing.½

Follow this family through the four seasons and learn how they feel about each season. Read and feel the emotions they feel as the year goes by. This book is an English translation of Japanese Haikus that depict the seasons. The book starts at the beginning of spring and the liveliness of the children and ends also at the return of spring. As the seasons go, the grandfather who is always with the children becomes old and at the end of winter, the readers will see that the family is at the graveyard. Although this is a very emotional story, it also portrays the reality of life.

The Haikus are written beautifully and even though the translations do not follow the traditional 5-7-5 phrase, it has the traditional 17 syllables per haiku. The words used for each seasons describes the actions, emotions, meanings that the readers can relate to. The haikus are short and written using easy vocabulary, making it an easy read for children of all age.

The illustrations accompanies the haikus and paints the actual image for the readers. The colors are chosen to match the seasons and even without knowing what section the reader is in, they will be able to tell the season by looking at the artworks. The illustrator uses traditional rice paper, wood plank, pencil, and paint to bring the story to life.

This book can be a great addition to a library as well as a classroom. It can be used as a lesson-based book to learn about different type of poetry.½

Matsuo Basho (1644-1694), Yosa Buson (1716-1783), and Kobayashi Issa (1763-1837) were and are considered masters of the haiku. This book introduces the reader to each master, and includes several (about a hundred each) haikus by each one. Additionally, writings (letters, essays) by each are included.

Most of the haiku in this collection refer to natural elements, such as animals or plants. It is amazing how much can be said in just a few syllables.

I recommend “The Essential Haiku” for those who want to enjoy this form, and to learn about this ancient Japanese tradition; and also to learn more about the three men who were considered masters at this form.

Basho is quoted here as saying:

“Poetry is a fireplace in summer or a fan in winter”.

Kobayasa Issa celebrates joyful moments and family togetherness along with the four seasons through Haiku. The simple words but full of meanings are the power of this book. Beautiful illustrations and Haiku are working together to put meanings in every single page.

I like to see how the illustration allows the readers get more understanding and feelings toward words in Haiku. Brian did a wonderful job in the illustrations by combining traditional materials such as rice paper, wood plank, pencil, and paint in untraditional ways. His illustration technique successfully captures the haiku deep meanings.

The way G. Brian Karas portray the people is also amazing. I can tell how people in the book are very expressive and suit the haiku. I really like how the people look like. Soft texture and pastel colors bring peaceful to the readers.

Issa invites the readers to appreciate the moments that happen in a family. How grateful it is to have people we love with us and also honor and remember people who had gone. There is one illustration that shows all the characters are in a funeral in winter. If I pick up this moment, it reminds me to what Indonesian people usually do in the coming Christmas. It is a tradition where people come to funeral before Christmas in order to remembering family who had passed away.

One interesting craft found in this book is an image of a chair that has been in the backyard of the family house and be with them in every season they have. Therefore, it is a great example of a poetry children’s book to be used with English learners. Children and teachers together can learn the theme of extraordinary moment in a year through different seasons that is framed through beautiful and meaningful haiku.½

Robert Hass's translations of these three great Haiku masters is wonderful. I just picked up my book again, and I found about 40 yellow stickies in it, pointing to my favorite poems. Here is my absolute all-time favorite:

Children imitating cormorants
are even more wonderful
than cormorants.

This book features versions of about one hundred poems by each of three masters in haiku tradition, Matsuo Basho (1644-1694), Yosa Buson (1716-1783), and Kobayashi Issa (1763-1827). The introduction tells us that according to Japanese literary criticism, these three men represent three types of the poet. Basho is seen as the ascetic and seeker, Buson the artist, and Issa the humanist. The differences in each poet's style can be seen at a glance. This book contains interesting short biographies of each of the men as well as some of their prose and notes on the poems. There are a few interesting black and white illustrations throughout the book including some by Yosa Buson himself. The introduction by Robert Hass is a superb introduction to haiku itself.
These beautiful three line poems, located in Nature with their implied Buddhist reflection are each a meditation, a centering, and a crystalline moment of realization. Reading them has a way of bringing about calm and peace within the reader. The symbolism of the seasons and the Japanese habit of mind blend together in these poems to create an alchemy of reflection that is unsurpassed in literature. The exquisite skill of these three masters make their subject matter seem completely organic, without artifice. Each poem contains a unique "Ah!" experience because they pierce directly to the soul, activating the human capacity for seeing with a still mind and an observing heart.
If you are new to haiku this is a wonderful compendium of the best of the genre. If you are already a lover of haiku this book is a delightfully compact, essential package, a real treasure you are sure to enjoy again and again.

A nicely composed anthology of the three most influential Haiku masters. The translations are very fluid for the most part. The short profiles and prose enhance the experience of reading each poet . A good introduction to haiku.

This very simply illustrated, very simple book left me with a deep sense of peace. It is amazing how much can be conveyed in so few words. It is also interesting that this book, written so many centuries ago, still speaks to the quiet moments of life today.

Useful for reminding western readers that there are other great Japanese haiku writers beyond Basho

This is the most wonderful collection of Issa's writings I've ever seen. "The Spring of My Life" is a haibun of 21 chapters. Each basically starts with a short anecdote and is followed by a series of haiku on related themes. The anecdotes are alternately charming, fascinating, and disturbing.

Sam Hamill gives a very readable and honest translation. In the latter half of the book is a collection of about 160 haiku with English and romaji versions of each. I started noticing problems in the translations as I read the Japanese versions -- Hamill has added filler words, making the moon into a "bright moon" and a frog into an "old frog". Harmless enough, but unnecessary -- it appears he's done it just for the sake of making most of the English haiku be 5-7-5, which is hardly justification enough for altering the meaning of the poems.

Still, this was one of the most inspiring collections of haiku I've read.

Robert Hass has put together an excellent collection of traditional Japanese haiku. He has translated most of them quite well, and does an excellent job of describing their context and of selecting and ordering the poems. Buson is my favorite of the three Japanese poets presented -- he does an amazing job at imagery. Basho, to be honest, is not one of my favorite -- as one of the earliest haiku poets, he strikes me as having many good ideas, but not being quite so skilled at writing -- of course, to be fair, that's really hard to judge in translation. Issa has a nice light-hearted view of the world, but he also seems to be less skilled in description, though I love Issa's haibun. Nevertheless, I expect you'll like the few I've picked out here.

Lightning --
and in the dark
the screech of a night heron.
-- Basho

Tethered horse;
snow
in both stirrups.
-- Buson

Snow is melting
and the village is flooded
with children.

-- Issa

Illustrations incredibly rich in texture accompany charming haikus about the four seasons.