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5-7-5
Nature reference
Juxtaposition of themes
Cutting Word (to shift from one theme to the next - a pivot point)
Mandatory nature reference in each poem (refers to seasonal setting: "New Moon in Libra" would do it, but so would "service berries rot // hornets swarming in the heat // m m m m m)
Typically 100 poems long, as a cycle.
50/50 referencing death and life.
"[...] The focus on a brief moment in time; a use of provocative, colorful images; an ability to be read in one breath; and a sense of sudden enlightenment and illumination."
https://www.poets.org/poetsorg/text/haiku-poetic-form
"The core feature of haiku is an experience described in a concrete image designed to evoke the same experience in the reader. A good haiku is not simply a static description. Three valued attributes are:
embodiment of a transformation -- possibly with a surprising ending and/or a lingering poetic atmosphere. This may be catalyzed by describing an impression characteristic of one sensory organ through words normally descriptive of the impression through another. Images may be connected in a surprising way, possibly by changing perspectives calling for movement between them. Thinking is surprised and changes direction. Metaphors are however rarely used in haiku, because the image is expected to speak for itself and not be compared with something else in order to be accentuated or transformed in significance. However it is consequently recognized as a form that is wonderful for metaphorical descriptions. In contrast to this view, many of Matsuo Basho's haiku use metaphor and allegory to great effect [see poems].
capacity to hold several layers of meaning that may be discovered or explored -- possibly subsequently on reflection, or over a period of time. This may be achieved by using a proximate image like a fractal to imply the larger context of which it is a detail. Indirect insight is typical of haiku.
act as a container for deep meaning, as characterized by a sense of poignancy, being touched, existential tragedy, or inevitability beyond conventional frameworks. It offers a value-charged integrative perspective.
Stress is placed on the concreteness of the images. Purely abstract or intellectual concepts are not considered valid haiku -- irrespective of their conformity with the formal rules or the value of the experience they may engender. Meaningful insights overtly expressed are considered as an imposition, potentially alienating to the reader. This is an implicit aesthetic that is discovered by a receptive sensitivity rather than an invasive technique. A degree of detachment or distance is valued. Although the concrete images may be anchored in the immediate or distant past -- perhaps specifically associated with a season -- the effect sought is an experience in the present moment, the immediate here and now (cf Kate Hall, Mirroring the Moment, 2001)"
https://www.laetusinpraesens.org/musings/haiku.php#conv
Nature reference
Juxtaposition of themes
Cutting Word (to shift from one theme to the next - a pivot point)
Mandatory nature reference in each poem (refers to seasonal setting: "New Moon in Libra" would do it, but so would "service berries rot // hornets swarming in the heat // m m m m m)
Typically 100 poems long, as a cycle.
50/50 referencing death and life.
"[...] The focus on a brief moment in time; a use of provocative, colorful images; an ability to be read in one breath; and a sense of sudden enlightenment and illumination."
https://www.poets.org/poetsorg/text/haiku-poetic-form
"The core feature of haiku is an experience described in a concrete image designed to evoke the same experience in the reader. A good haiku is not simply a static description. Three valued attributes are:
embodiment of a transformation -- possibly with a surprising ending and/or a lingering poetic atmosphere. This may be catalyzed by describing an impression characteristic of one sensory organ through words normally descriptive of the impression through another. Images may be connected in a surprising way, possibly by changing perspectives calling for movement between them. Thinking is surprised and changes direction. Metaphors are however rarely used in haiku, because the image is expected to speak for itself and not be compared with something else in order to be accentuated or transformed in significance. However it is consequently recognized as a form that is wonderful for metaphorical descriptions. In contrast to this view, many of Matsuo Basho's haiku use metaphor and allegory to great effect [see poems].
capacity to hold several layers of meaning that may be discovered or explored -- possibly subsequently on reflection, or over a period of time. This may be achieved by using a proximate image like a fractal to imply the larger context of which it is a detail. Indirect insight is typical of haiku.
act as a container for deep meaning, as characterized by a sense of poignancy, being touched, existential tragedy, or inevitability beyond conventional frameworks. It offers a value-charged integrative perspective.
Stress is placed on the concreteness of the images. Purely abstract or intellectual concepts are not considered valid haiku -- irrespective of their conformity with the formal rules or the value of the experience they may engender. Meaningful insights overtly expressed are considered as an imposition, potentially alienating to the reader. This is an implicit aesthetic that is discovered by a receptive sensitivity rather than an invasive technique. A degree of detachment or distance is valued. Although the concrete images may be anchored in the immediate or distant past -- perhaps specifically associated with a season -- the effect sought is an experience in the present moment, the immediate here and now (cf Kate Hall, Mirroring the Moment, 2001)"
https://www.laetusinpraesens.org/musings/haiku.php#conv