Petits Haïkus Français (French Edition)

Un orme de mars, Comme un squelette de souris. Le piano se tait Et chacun sur sa figure A son propre spectre. Les signaux malveillants Barrent de leurs damiers Des passages de sanglots. Trois belles filles aux cuisses nues Qui prenaient leur tendresse Pour de la fatigue.

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Georges Friedenkraft — Wikipédia

Of nearly all literature, one can say that it is too long. Reduce life to its simplest expression. With the early 20th C. This period can be divided into two stages running from to The French intellectuals and poets were not the first to write about haiku, but they were the first Westerners to attempt to adapt the poetic principles of the Japanese genre to a Western language and culture.

According to Gary L. Undoubtedly, these articles must have had an influence on the French intellectuals and poets who were interested in Japanese literature and were looking for new modes of poetic expression. Couchoud who taught his friends the Japanese genre, was a professor of philosophy and doctor of medicine.

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He had traveled to Japan and had been seduced by Japanese poetry and the haiku. Indeed, this appellation is not really adapted to the genre. An epigram is a short, witty statement which may be complimentary, satiric or aphoristic. The epigram being the shortest literary form in Europe, it was only natural that this designation be used in the first definitions of the Japanese genre.

Perhaps this appellation was too misleading for in their attempts to approximate the haiku form, a few poets after Couchoud used the epigram in the form of quatrains, which were still the commonest stanzaic form in European poetry at the end of the 19th century. In the hot evening Looking for an inn.

Ces fleurs de glycines.

Improvements in Rhythm

I arrive tired Looking for an inn Ah! Une simple fleur de papier Dans un vase Eglise rustique. A simple paper flower In a vase Rustic church. Simply An anemone in a pot Rustic temple. The borrowings only prove how much Couchoud desired to nurture the genre and assimilate it. As a student and a practitioner of haiku, Couchoud must also have been aware that it was not unusual for some poets to borrow a haiku from someone else and only change a few syllables. They are brief and terse, not rimed and remote from the lyrical, wordy effusion common to the French poetic tradition.

Most of the poems contain a reference to the season and concretely are associated with nature. Note also that Couchoud carefully uses the themes of flowers, insects and trees such as dragonfly, nasturtia, willow, which are traditional Japanese themes. The result is a series of interesting pictures of French rustic life. In the work of all French poets it would be possible to trace passages which, if isolated, would exist as haikai. The white birch trees, diffuse Among the dark green shade Seem to hold to their trunks An eternal moonlight.

Here we have a heptasyllabic quatrain. Some of his other poems were composed in classic alexandrines. Furthermore, the formulation is too verbose, therefore avoiding the immediacy and suggestiveness of the images. The free stanza form allows the poems to be closer to haiku as far as brevity is concerned. His anthology was one more step into the understanding of Japanese literature. The moon lights the whole sky: Here appears Mount Fuji, twinning, With elegant and delicate print-like traits In the green water of the lake its pink and white profile.

Moon, Mount Fuji, water are used here in carefully crafted quatrains. The period of exoticism had not yet totally disappeared. Indeed in , poets were still in the process of discovering the various facets of Japanese poetry. French language haiku was simply a curiosity.

It was something that had to be tried because it was in the air of time. Both the Japanese themes and brief poetic form had not seduced to the point of radically changing the French artistic mentality and the resolutely intellectual approach that were still characteristic of most of the literary production at the time.

Georges Friedenkraft

Even the Dadaist and Surrealist movements that were then beginning to flourish and bring a new type of perception could not help being intellectual and therefore remote from artistic simplicity. As a matter of fact only a few of the great figures of French literature will venture to tackle the Japanese genre. The haiku remained limited in scope among the poetic establishment.

It was only beginning to plant its seeds. In the middle of World War I, this soldier decided to materialize his emotions and impressions of life in the trenches in the form of haiku. My head hardly inside A mosquito whizzes and suddenly The tuft of earth falls in.

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White wooden crosses Surging from the soil, Each day, here and there. Dans les vertebres Du cheval mal enfoui Mon pied fait: Among the vertebrae Of the badly buried horse My foot goes: His poems are more faithful to the rules of haiku composition. In the midst of the tragic war, he realized how much the haiku was better adapted to these terrible conditions than any other longer poetic or prose genre.

The war haiku will have many followers among the young poets. It is true that as William J. Furthermore, his haiku are terse and concrete, less verbose.