This poem for Poetry Pantry at Poet’s United was written in the heart of winter. The ballerina in these haiku awaits the opening of spring’s curtain.
I am so grateful to Poet’s United for the interview about the poetry book for the orphans of Ebola in Liberia and to Kristjaan at Carpe Diem Haiku Kai. If you are unfamiliar with these two poetry communities, please check them out.
“Of all languages, Japanese is by far the richest in onomatopoeic elements, especially of the simpler variety, in which the sound of the word is directly an imitation of the thing.
I had never heard of onomatopoeia until I discovered haiku in the late eighties, but I learned through the years that haiku are made, written, composed for saying aloud twice (or more times). Haiku are written down but the essence of haiku is this onomatopoeia. How we say a thing is of more importance, of more significance, than what we say, the conscious meaning; for through the tones of the voice, the words chosen, their combination, the sounds echoing and reechoing one another, their concords suspended and reestablished, their discords sustained and resolved, through all this there is a music as free and yet as law-abiding as is that of the flute, the oboe and the violin.
Japanese is a language of sounds as we can see in the three-lined form of haiku with its 5-7-5 sound-units (or onji). Japanese people are part of nature, they are one with the sounds of nature and therefor haiku became what it is … the poetry of nature …”
hi wa hi kure yo yo wa yo ake yo to naku kaeru “day, ah, darken day! night, ah, dawn away!” chant the frogs