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Haiku, presumably the shortest poetic form in the world, has become an international literary genre, written in numerous languages. The paper deals with the question of how haiku has acquired universality, despite its poetics heavily dependent on the intertextuality within the system of Japanese language and literature.
A brief history of introducing haiku into European languages is provided, giving a rough idea about the ways haiku was conceived in the Western minds. A corpus of haiku was translated mainly into English and French before World War Ⅱ. The most outstanding outcome was the Imagist poetry which was supposed to have been influenced by the poetics of haiku.
After World War Ⅱ, haiku enjoyed an extensive popularity in the North America. The crucial figure in propagating haiku as a genre was R.H. Blyth who published in the 1950s Haiku in four volumes. The paper discusses Blyth'understanding of haiku, taking as an example one of the most famous compositions by Basho: Furuikeya kawazutobikomu mizuno'oto (The old pond; A frog jumps in, - The sound of the water). Blyth's idiosyncratic interpretation of haiku, which fully exploits philosophical speculations of Zen, successfully provides another channel for their understanding other than the literary associations within the framework of Japanese language. It offers to haiku a context open to everyone who might accept Zen way of thinking or Zen-like vision of the world. Blyth liberated haiku from the confinement of indigenous cultural background and gave it universality.
Literary works of a certain linguistic tradition needs to have some channel in order to be accepted by people belonging to another literary convention. The context of Zen philosophy, devised by the British translator, might be considered having little to do with the poetics of haiku per se, but was highly functional in terms of haiku's reception as a literary genre in the world.
A brief history of introducing haiku into European languages is provided, giving a rough idea about the ways haiku was conceived in the Western minds. A corpus of haiku was translated mainly into English and French before World War Ⅱ. The most outstanding outcome was the Imagist poetry which was supposed to have been influenced by the poetics of haiku.
After World War Ⅱ, haiku enjoyed an extensive popularity in the North America. The crucial figure in propagating haiku as a genre was R.H. Blyth who published in the 1950s Haiku in four volumes. The paper discusses Blyth'understanding of haiku, taking as an example one of the most famous compositions by Basho: Furuikeya kawazutobikomu mizuno'oto (The old pond; A frog jumps in, - The sound of the water). Blyth's idiosyncratic interpretation of haiku, which fully exploits philosophical speculations of Zen, successfully provides another channel for their understanding other than the literary associations within the framework of Japanese language. It offers to haiku a context open to everyone who might accept Zen way of thinking or Zen-like vision of the world. Blyth liberated haiku from the confinement of indigenous cultural background and gave it universality.
Literary works of a certain linguistic tradition needs to have some channel in order to be accepted by people belonging to another literary convention. The context of Zen philosophy, devised by the British translator, might be considered having little to do with the poetics of haiku per se, but was highly functional in terms of haiku's reception as a literary genre in the world.
목차
Ⅰ. 하이쿠(俳句)의 번역과 서양 전파
Ⅱ. 블라이스의 『Haiku』 소개의 특징
Ⅲ. 문학의 번역과 보편성
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