Some translations of a Kobayashi Issa haiku on a child and the harvest moon

Source: Pexels public domain images

[Since I don’t have access to an English-language library out in rural Japan, I found all of the translations online so it’s a mix of serious academic efforts and maybe some more casual ones. I’ve included links, though a couple of the websites are absolute fossils that are difficult to search, so sorry about that. I didn’t realize how much I would miss Inter-Library Loan when I left university…]

Last week at my adult English conversation class (“eikaiwa”), I thought I would shock and sensationalize by presenting a bunch of middle-to-old-aged Japanese ladies with haiku in English via some of Jack Kerouac’s American “pops.” They found the idea of haiku outside of the Japanese language hilarious (seriously, they laughed at me!) and accused Kerouac of writing senryu (“no season word!”), but their surprise at the topic triggered some of the best discussion I’ve had since I started the class almost two years ago.

But better yet, after class one of my students emailed me an early 19th century poem from the haiku master Kobayashi Issa with the message “Tonight’s moon is good. Do you think so? This haiku is famous” (too bad I had already gone to sleep!). She sent me the text in Japanese, which I have transliterated and lazily translated below:

名月をとってくれろと泣く子かな

Meigetsu o (5) / totte kurero to (7) / naku ko kana (5)

harvest moon / get (bring) it! / child that cries…

You can break down the literal sentence like this: “harvest moon” is the grammatical object (を particle) of “get / bring,” an imperative verb (ろ ending) in indirect statement (と particle) to “cries,” which then modifies “child.” The last two beats with “kana” modify the whole sentence to mark uncertain thinking like an ellipsis… I suppose here you could take it as something like a gentle, thinking-out-loud observation along the lines of “Hmm…” or “Oh” or, if you want to sound fancy, a sighing lamentation like “How!” or “Alas!” As I first read it, I came up with this unpoetic line translation:

Oh child that cries… bring (me) the harvest moon!

In terms of the rules of haiku, harvest moon (meigetsu) is the season word (kigo), recalling the autumn, while that “kana” I discussed before is the formal cutting word (kireji). As I imagine it though, I like to think of “to” as an informal cutting word as well, splitting the poem into two voices: a young child making an impossible, maybe humorous demand (“gimme the moon!”) and an adult then quoting the child to make a melancholy or frustrated reply (“oh kiddo…”). But before revising my line translation to account for the haiku features, let’s see how a few other translators have rendered the poem in English:

Continue reading “Some translations of a Kobayashi Issa haiku on a child and the harvest moon”

Bad poetry is good in Senryu Shoujo

Huh, there really is an anime for everything…

[This week in bad things I like anyway: the poetry in the spring 2019 anime Senryu Shoujo. It’s a fun and funny show, so even if my snob is showing regarding junk like metrical analysis, I mock the poems out of fondness. Better yet though, the mockery is part of the point! Senryu Shoujo succeeds because it doesn’t take its poems too seriously, instead incorporating them into the otherwise-bland high-school gag comedy to offer a light, loving parody of immature — and maybe even bad — would-be-poets. So, i’unno… with the recommendation and positivity out of the way, proceed with the snobbery!]

You’ve probably heard this before, right? Good artists copy, great artists steal?

It’s one of those apocryphal quotes that shows up everywhere but never seems to have a consistent form. Maybe Pablo Picasso said it about artists, or William Faulkner said it about writers, or Igor Stravinsky said it about composers? — none of those, nope! T.S. Eliot said it about poetry, in print even, from his 1921 collection The Sacred Wood: Essays on Poetry and Criticism:

Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.

I won’t pretend to know what makes a good or bad poem with the same confidence as Eliot, so I’ll defer to his expertise here (plus, every aphorism has its opposite: Eliot may have made “something different” out of a line from writer W.H. Davenport Adams: “The great poets imitate and improve, whereas small ones steal and spoil”). However, can we at least agree that the first poem from episode one of Senryu Shoujo might deserve an “immature” classification? As rendered by the official subtitles on HIDIVE, followed by the Japanese, a transliteration, and a line-by-line translation:

As the cherry blossoms bloom / I’m so happy / That we met

桜咲く君との出会いが嬉しくて

sakura saku / kimi to no de-a-i ga / ureshikute

cherry blossoms bloom / the meeting with you / is happy

Continue reading “Bad poetry is good in Senryu Shoujo”