Kireji
Encyclopedia
is the term for a special category of words used in certain types of Japanese traditional poetry. It is regarded as a requirement in traditional haiku
, as well as in the hokku
, or opening verse, of both classical renga
and its derivative renku (haikai no renga). There is no exact equivalent of kireji in English, and its function can be difficult to define. It is said to supply structural support to the verse. When placed at the end of a verse, it provides a dignified ending, concluding the verse with a heightened sense of closure. Used in the middle of a verse, it briefly cuts the stream of thought, indicating that the verse consists of two thoughts half independent of each other. In such a position, it indicates a pause, both rhythmically and grammatically, and may lend an emotional flavour to the phrase preceding it.
, thence used for both renku and haiku, the most common of which are listed below:
s, or onji
(a phonetic unit identical to the mora
), in three metrical phrases of 5, 7, and 5 onji respectively. A kireji is typically positioned at the end of one of these three phrases. When it is placed at the end of the final phrase (i.e. the end of the verse), the kireji draws the reader back to the beginning, initiating a circular pattern. A large number of hokku, including many of those by Bashō
, end with either -keri, an exclamatory auxiliary verb, or the exclamatory particle kana, both of which initiate such a circular pattern. Placed elsewhere in the verse, a kireji performs the paradoxical function of both cutting and joining; it not only cuts the ku into two parts, but also establishes a correspondence between the two images it separates, implying that the latter represents the poetic essence (本意 hon'i) of the former, creating two centres and often generating an implicit comparison, equation, or contrast between the two separate elements
One of the duties of the author of a hokku is that he must compose a syntactically complete verse capable (alone among the verses of a linked poem) of standing alone, probably because the hokku, as the first verse of the renku or renga, sets the stage for the rest of the poem, and therefore should not leave itself open to overt modification in the next verse. The conventional way of making sure that a hokku has such linguistic integrity is to include a kireji.
and hokku, as well as in translations of such verses into this language, kireji may be represented by punctuation (typically by a dash or an ellipsis), an exclamatory particle (such as 'how...'), or simply left unmarked.
Here the kireji ya appears at the end of the first phrase, and is represented in the translation by a dash. The effect is to cut the verse after 'spring going', and to draw the reader into contemplation of the relationship between that phrase and the remainder of the haiku.
Here the kireji kana is placed at the end of the verse. Its effect is to express wonderment, drawing the reader to re-read the verse. It is represented in the translation by the exclamatory 'how'.
Haiku
' , plural haiku, is a very short form of Japanese poetry typically characterised by three qualities:* The essence of haiku is "cutting"...
, as well as in the hokku
Hokku
is the opening stanza of a Japanese orthodox collaborative linked poem, renga, or of its later derivative, renku . From the time of Matsuo Bashō , the hokku began to appear as an independent poem, and was also incorporated in haibun , and haiga...
, or opening verse, of both classical renga
Renga
' is a genre of Japanese collaborative poetry. A renga consists of at least two or stanzas, usually many more. The opening stanza of the renga, called the , became the basis for the modern haiku form of poetry....
and its derivative renku (haikai no renga). There is no exact equivalent of kireji in English, and its function can be difficult to define. It is said to supply structural support to the verse. When placed at the end of a verse, it provides a dignified ending, concluding the verse with a heightened sense of closure. Used in the middle of a verse, it briefly cuts the stream of thought, indicating that the verse consists of two thoughts half independent of each other. In such a position, it indicates a pause, both rhythmically and grammatically, and may lend an emotional flavour to the phrase preceding it.
List of common kireji
Classical renga developed a tradition of 18 kireji, which were adopted by haikaiHaikai
Haikai is a poetic genre that includes a number of forms which embrace the aesthetics of haikai no renga, and what Bashō referred to as the "poetic spirit" , including haiku, renku , haibun, haiga and senryū ."Haikai" is sometimes used as an abbreviation for "haikai no...
, thence used for both renku and haiku, the most common of which are listed below:
- ka: emphasis; when at end of a phrase, it indicates a question
- 哉 kana: emphasis; usually can be found at a poem's end, indicates wonder
- -keri: exclamatory verbal suffix, past perfect
- -ramu or - ran: verbal suffix indicating probability
- -shi: adjectival suffix; usually used to end a clause
- -tsu: verbal suffix; present perfect
- や ya: emphasises the preceding word or words. Cutting a poem into two parts, it implies an equation, while inviting the reader to explore their interrelationship.
Use of kireji
Hokku and haiku consist of 17 Japanese syllableSyllable
A syllable is a unit of organization for a sequence of speech sounds. For example, the word water is composed of two syllables: wa and ter. A syllable is typically made up of a syllable nucleus with optional initial and final margins .Syllables are often considered the phonological "building...
s, or onji
Onji
On is Japanese for "sound". It is used to mean the phonetic units counted in haiku, tanka and other such poetic forms. Known as "morae" to English-speaking linguists, the modern Japanese term for the linguistic concept is hyōon moji ....
(a phonetic unit identical to the mora
Mora (linguistics)
Mora is a unit in phonology that determines syllable weight, which in some languages determines stress or timing. As with many technical linguistic terms, the definition of a mora varies. Perhaps the most succinct working definition was provided by the American linguist James D...
), in three metrical phrases of 5, 7, and 5 onji respectively. A kireji is typically positioned at the end of one of these three phrases. When it is placed at the end of the final phrase (i.e. the end of the verse), the kireji draws the reader back to the beginning, initiating a circular pattern. A large number of hokku, including many of those by Bashō
Matsuo Basho
, born , then , was the most famous poet of the Edo period in Japan. During his lifetime, Bashō was recognized for his works in the collaborative haikai no renga form; today, after centuries of commentary, he is recognized as a master of brief and clear haiku...
, end with either -keri, an exclamatory auxiliary verb, or the exclamatory particle kana, both of which initiate such a circular pattern. Placed elsewhere in the verse, a kireji performs the paradoxical function of both cutting and joining; it not only cuts the ku into two parts, but also establishes a correspondence between the two images it separates, implying that the latter represents the poetic essence (本意 hon'i) of the former, creating two centres and often generating an implicit comparison, equation, or contrast between the two separate elements
One of the duties of the author of a hokku is that he must compose a syntactically complete verse capable (alone among the verses of a linked poem) of standing alone, probably because the hokku, as the first verse of the renku or renga, sets the stage for the rest of the poem, and therefore should not leave itself open to overt modification in the next verse. The conventional way of making sure that a hokku has such linguistic integrity is to include a kireji.
Kireji in English haiku and hokku
Kireji have no direct equivalent in English. Mid-verse kireji have been described as sounded rather than written punctuation. In English-language haikuHaiku in English
Haiku in English is a development of the Japanese haiku poetic form in the English language.Contemporary haiku are written in many languages, but most poets outside of Japan are concentrated in the English-speaking countries....
and hokku, as well as in translations of such verses into this language, kireji may be represented by punctuation (typically by a dash or an ellipsis), an exclamatory particle (such as 'how...'), or simply left unmarked.
Examples
The examples below are laid out as follows:- Haiku in Japanese
- RōmajiRomanization of JapaneseThe romanization of Japanese is the application of the Latin alphabet to write the Japanese language. This method of writing is known as , less strictly romaji, literally "Roman letters", sometimes incorrectly transliterated as romanji or rōmanji. There are several different romanization systems...
transliteration - Literal word-for-word translation
- Translated poem
Mid-verse ya や
- 行く春や 鳥泣魚の 目は泪
- yuku|haru|ya| tori|naki|uo|no| me|wa|namida
- go|spring|—| bird|crying|fish|'s| eye|as-for|tear
- spring going—
birds crying and tears
in the eyes of fish
(Bashō, tr. Shirane)
Here the kireji ya appears at the end of the first phrase, and is represented in the translation by a dash. The effect is to cut the verse after 'spring going', and to draw the reader into contemplation of the relationship between that phrase and the remainder of the haiku.
End-verse kana 哉
- ひやひやと 壁をふまへて 昼寝哉
- hiyahiya|to| kabe|wo|fumaete| hirune|kana
- cool|so| wall|(accusative)|put-feet-on| siesta|how
- how cool the feeling
of a wall against the feet —
siesta
(Bashō, tr. Darlington)
Here the kireji kana is placed at the end of the verse. Its effect is to express wonderment, drawing the reader to re-read the verse. It is represented in the translation by the exclamatory 'how'.