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{{short description|Japanese poetry form}}
{{about|the Japanese poetic form|haiku poetry written in English|Haiku in English|other uses}}
{{distinguish|Haikou}}
[[File:Basho Horohoroto.jpg|thumb|right|250px|Haiku by [[Matsuo Bashō]] reading "''Quietly, quietly, / yellow mountain roses fall – / sound of the rapids''"]]
{{Nihongo|'''Haiku'''|[[wikt:俳句|俳句]]||{{ipac-en|lang|'|h|ai|k|.|u:}},<ref>{{cite book |editor-last=Wells |editor-first=John |editor-link=John C. Wells |title=Longman Pronunciation Dictionary |publisher=Pearson Longman |edition=3rd |year=2008 |isbn=978-1-4058-8118-0}}</ref> {{ipa|ja|audio=ja-haiku.ogg|hai.kɯ(ꜜ)|lang}}<ref>{{cite book|script-title=ja:NHK日本語発音アクセント新辞典|publisher=NHK Publishing|editor=NHK Broadcasting Culture Research Institute|date=24 May 2016|lang=ja}}</ref>}} is a type of short form [[poetry]] that originated in [[Japan]]. Traditional Japanese haiku consist of three phrases composed of 17 [[Mora (linguistics)|morae]] (called ''[[On (Japanese prosody)|on]]'' in Japanese) in a 5, 7, 5 pattern;<ref>Lanoue, David G. ''Issa, Cup-of-tea Poems: Selected Haiku of Kobayashi Issa,'' Asian Humanities</ref> that include a ''[[kireji]]'', or "cutting word";<ref name="Hiraga 1999 27">{{cite book|last=Hiraga|first=Masako K.|title="Rough Sea and the Milky Way: 'Blending' in a Haiku Text," in Computation for Metaphors, Analogy, and Agents, ed. Chrystopher L. Nehaniv|year=1999|publisher=Springer|location=Berlin|isbn=978-3540659594|page=27}}</ref> and a ''[[kigo]]'', or seasonal reference. However, haiku by classical Japanese poets, such as [[Matsuo Bashō]], also deviate from the 17-''on'' pattern and sometimes do not contain a ''kireji''. Similar poems that do not adhere to these rules are generally classified as ''[[senryū]]''.<ref>{{cite book |last1=Shirane |first1=Haruo |date=March 2016 |orig-year=2015 |chapter=Satiric poetry: Kyōshi, Kyōka, and Senryū |editor1-last=Shirane |editor1-first=Haruo |editor2-last=Suzuki |editor2-first=Tomi |editor3-last=Lurie |editor3-first=David |title=The Cambridge History of Japanese Literature |publisher=[[Cambridge University Press]] |doi=10.1017/CHO9781139245869 |isbn=9781107029033 |page=509 |quote=Many English haiku composed outside Japan, which do not require a seasonal word, are in fact senryū.}}</ref>

Haiku originated as an opening part of a larger Japanese genre of poetry called [[renga]]. These haiku written as an opening [[stanza]] were known as ''[[hokku]]'' and over time they began to be written as stand-alone poems. Haiku was given its current name by the Japanese writer [[Masaoka Shiki]] at the end of the 19th century.<ref name=Vásquez-Rocca>{{cite journal |title=Lógica paraconsistente, mundos posibles y ficciones narrativas |url=http://serbal.pntic.mec.es/~cmunoz11/vasquez38.pdf |last=Vásquez Rocca |first=Adolfo |date=January 2005 |access-date=28 June 2018 |journal=A Parte Rei |issue=37 |language=es |page=8 |archive-date=12 May 2022 |archive-url=https://web.archive.org/web/20220512214022/http://serbal.pntic.mec.es/~cmunoz11/vasquez38.pdf |url-status=dead }}</ref>

Originally from Japan, haiku today are written by authors worldwide. [[Haiku in English]] and [[Haiku in languages other than Japanese|haiku in other languages]] have different styles and traditions while still incorporating aspects of the traditional haiku form. Non-Japanese language haiku vary widely on how closely they follow traditional elements. Additionally, a minority movement within {{nihongo|modern Japanese haiku|現代俳句|gendai-haiku}}, supported by [[Ogiwara Seisensui]] and his disciples, has varied from the tradition of 17 ''on'' as well as taking nature as their subject.<!-- This information is summarized from Keene's "Dawn to the West" and various encyclopedia articles found at https://kotobank.jp/word/%E4%BF%B3%E5%8F%A5-112775 -->

In Japanese, haiku are traditionally printed as a single line, while haiku in English often appear as three lines, although variations exist. There are several other forms of [[Japanese poetry]] related to haiku, such as [[tanka]], as well as other art forms that incorporate haiku, such as [[haibun]] and [[haiga]].

==Traditional elements==
===''Kiru'' and ''kireji''===
{{Main|Kireji}}
In Japanese haiku, a ''kireji'', or cutting word, typically appears at the end of one of the verse's three phrases. A ''kireji'' fills a role analogous to that of a ''[[caesura]]'' in classical Western poetry or to a [[Volta (literature)|volta]] in [[sonnet]]s.<ref>{{cite video|first=Elliott|last=Manley|title=Approaching haiku from the west}} https://www.youtube.com/watch?v=RTJtTvGTu2A&t=110</ref>{{better source needed|date=April 2022}} A ''kireji'' helps mark rhythmic divisions.<ref>{{cite book |last1=Adiss |first1=Stephen |title=The Art of Haiku |date=2022 |publisher=Shambhala Publications, Inc. |location=Boulder, Colorado, USA |isbn=978-1-64547-121-9 |pages=4–5}}</ref> Depending on which ''kireji'' is chosen and its position within the verse, it may briefly cut the stream of thought, suggesting a parallel between the preceding and following phrases, or it may provide a dignified ending, concluding the verse with a heightened sense of closure.<ref>{{cite book| first=Haruo |last=Shirane |title=Early Modern Japanese Literature: An Anthology, 1600-1900 |publisher=Columbia University Press |year=2004 |isbn=978-0-231-10991-8 |page=521 }}</ref>

The ''kireji'' lends the verse structural support,<ref>[http://www.haiku.jp/haiku/nyumon_English_03.htm Brief Notes on "Kire-ji"] {{webarchive|url=https://web.archive.org/web/20090827041242/http://www.haiku.jp/haiku/nyumon_English_03.htm |date=2009-08-27 }}, Association of Japanese Classical Haiku. Retrieved 2008-10-16.</ref> allowing it to stand as an independent poem.<ref>Steven D. Carter. ''Three Poets at Yuyama. Sogi and Yuyama Sangin Hyakuin, 1491'', in ''Monumenta Nipponica'', Vol. 33, No. 3. (Autumn, 1978), p.249</ref><ref>Konishi Jin'ichi; Karen Brazell; Lewis Cook, ''The Art of Renga'', in ''Journal of Japanese Studies'', Vol. 2, No. 1. (Autumn, 1975), p.39</ref> The use of ''kireji'' distinguishes haiku and hokku from second and subsequent verses of [[renku]]; which may employ semantic and syntactic disjuncture, even to the point of occasionally end-stopping a phrase with a {{nihongo|sentence-ending particle|終助詞|shūjoshi}}.  However, [[renku]] typically employ ''kireji''.<ref>Sato, Hiroaki. ''One Hundred Frogs: from renga to haiku to English'', Weatherhill 1983, {{ISBN|0-8348-0176-0}}</ref>

In English, since ''kireji'' have no direct equivalent, poets sometimes use punctuation such as a dash or ellipsis, or an implied break to create a juxtaposition intended to prompt the reader to reflect on the relationship between the two parts.

The ''kireji'' in the Bashō examples "old pond" and "the wind of Mt Fuji" are both "ya" ({{nihongo2|や}}). Neither the remaining Bashō example nor the Issa example contain a ''kireji''. However, they do both balance a fragment in the first five ''on'' against a phrase in the remaining 12 ''on'' (it may not be apparent from the English translation of the Issa that the first five ''on'' mean "Edo's rain").

===''On''===
{{Main|On (Japanese prosody)}}
In comparison with English verse typically characterized by syllabic [[Meter (poetry)#English|meter]], Japanese verse counts sound units known as ''on'' or [[Mora (linguistics)|mora]]e. Traditional haiku is usually [[fixed verse]] that consists of 17 ''on'', in three phrases of five, seven, and five ''on'', respectively. Among modern poems, traditionalist haiku continue to use the 5-7-5 pattern while free form haiku do not.<ref name="literary encyclopedia">{{cite book |last1=Jonsson |first1=Herbert |title=The Literary Encyclopedia |date=September 2019 |publisher=The Literary Dictionary Company Limited |url=https://www.litencyc.com/php/stopics.php?rec=true&UID=19528 |access-date=11 July 2024 |chapter=Modern Haiku}}</ref> However, one of the [[#Examples|examples below]] illustrates that traditional haiku masters were not always constrained by the 5-7-5 pattern either. The free form haiku was advocated for by [[Ogiwara Seisensui]] and his disciples.<!-- This information is summarized from Keene's "Dawn to the West" and various encyclopedia articles found at https://kotobank.jp/word/%E4%BF%B3%E5%8F%A5-112775 Proper citations to be added later. -->

Although the word ''on'' is sometimes translated as "syllable", the true meaning is more nuanced. One ''on'' in Japanese is counted for a short syllable, two for an [[Vowel length|elongated vowel]] or [[Gemination|doubled consonant]], and one for an "n" at the end of a syllable. Thus, the word "haibun", though counted as two syllables in English, is counted as four ''on'' in Japanese (ha-i-bu-n); and the word "''on''" itself, which English-speakers would view as a single syllable, comprises two ''on'': the short vowel '''o''' and the [[b:Japanese/Pronunciation#Moraic nasal|moraic nasal]] '''[[Japanese phonology#Moraic nasal|n]]'''. This is illustrated by the Issa haiku below, which contains 17 ''on'' but only 15 syllables. Conversely, some [[Yōon|sounds]], such as "kyo" ({{nihongo2|きょ}}) may look like two syllables to English speakers but are in fact a single ''on'' (as well as a single syllable) in Japanese.

In 1973, the [[Haiku Society of America]] noted that the norm for writers of [[haiku in English]] was to use 17 syllables, but they also noted a trend toward shorter haiku.<ref name="HSA defs">{{Cite web|url=http://www.hsa-haiku.org/archives/HSA_Definitions_2004.html|archive-url=https://web.archive.org/web/20210414105733/http://www.hsa-haiku.org/archives/HSA_Definitions_2004.html|archive-date=14 April 2021|title=Official Definitions of Haiku and Related Terms|publisher=[[Haiku Society of America]]}}</ref> According to the society, about 12 syllables in English approximates the duration of 17 Japanese ''on''.<ref name="HSA defs"/>

===''Kigo''===
{{Main|Kigo}}
A haiku traditionally contains a ''[[kigo]]'', a word or phrase that symbolizes or implies the season of the poem and is drawn from a ''[[saijiki]]'', an extensive but prescriptive list of such words. Season words evoke images that are associated with the same time of year, making it a kind of [[Ezra Pound's Three Kinds of Poetry|logopoeia]].<ref name="haiku seasons">{{cite book |last=Higginson |first=William J. |author-link=William J. Higginson |author-mask=2 |title=The Haiku Seasons: Poetry of the Natural World |location=Berkeley |publisher=Kodansha|date=1996|url=https://books.google.com/books?id=_q69itupXQsC |page= |isbn=4770016298|pages=94–97; 109–111}}</ref> ''Kigo'' are not always included in non-Japanese haiku or by modern writers of Japanese free-form haiku.<ref name="haiku seasons"/>

==Examples==
One of the best-known Japanese haiku<ref>Higginson, William J. The Haiku Handbook, Kodansha International, 1985, {{ISBN|4-7700-1430-9}}, p.9</ref> is [[Matsuo Bashō]]'s "old pond":

{{poemquote|
{{Nihongo2|古池や蛙飛び込む水の音}}
    {{nihongo2|ふるいけやかわずとびこむみずのおと}}
        ''furu ike ya kawazu tobikomu mizu no oto''
}}

Translated:<ref>[http://www.bopsecrets.org/gateway/passages/basho-frog.htm Translated by William J. Higginson in Matsuo Bashō: Frog Haiku (Thirty Translations and One Commentary)], including commentary from Robert Aitken's ''A Zen Wave: Bashô's Haiku and Zen'' (revised ed., Shoemaker & Hoard, 2003)</ref>

{{poemquote|
old pond
frog leaps in
water's sound
}}

This separates into ''on'' as:

{{poemquote|
fu-ru-i-ke ya (5)
ka-wa-zu to-bi-ko-mu (7)
mi-zu-no-o-to (5)
}}

Another haiku by Bashō:

{{poemquote|
{{Nihongo2|初しぐれ猿も小蓑をほしげ也}}
    {{nihongo2|はつしぐれさるもこみのをほしげなり}}
        ''hatsu shigure saru mo komino o hoshige nari''<ref>[http://www.ict.ne.jp/~basho/works/winter/04.html ''Works of Basho, Winter''] on Iga and Basho ict.ne.jp website.</ref>
}}

Translated:

{{poemquote|
the first cold shower
even the monkey seems to want
a little coat of straw
}}

As another example, this haiku by Bashō illustrates that he was not always constrained to a 5-7-5 ''on'' pattern. It contains 18 ''on'' in the pattern 6-7-5.

{{poemquote|
{{Nihongo2|富士の風や扇にのせて江戸土産}}
    {{nihongo2|ふじのかぜやおうぎにのせてえどみやげ}}
        ''Fuji no kaze ya ōgi ni nosete Edo miyage''<ref>[http://www.ict.ne.jp/~basho/works/summer/03.html ''Works of Basho, Summer''] on Iga and Basho ict.ne.jp website.</ref>
}}

Translated:

{{poemquote|
the wind of [[Mount Fuji|Fuji]]
I've brought on my fan
a gift from [[Edo (Tokyo)|Edo]]
}}

This separates into ''on'' as:

{{poemquote|
fu-ji no ka-ze ya (6)
o-u-gi ni no-se-te (7)
e-do mi-ya-ge (5)
}}

This haiku example was written by [[Kobayashi Issa]]:<ref>{{cite web|url=http://haikuguy.com/issa/search.php?keywords=gallons&year=1813 |title=Issa archive |publisher=Haikuguy.com |access-date=2012-01-06}}</ref>

{{poemquote|
{{Nihongo2|江戸の雨何石呑んだ時鳥}}
    {{nihongo2|えどのあめなんごくのんだほととぎす}}
        ''Edo no ame nan goku nonda hototogisu''
}}

Translated:

{{poemquote|
of Edo's rain
how many mouthful did you drink,
cuckoo?
}}

This separates into ''on'' as,

{{poemquote|
e-do no a-me (5)
na-n go-ku no-n-da (7)
ho-to-to-gi-su (5)
}}

==Origin and development==

===From hokku to haiku===
{{Main|Renga|Renku}}
[[Hokku]] is the opening stanza of an orthodox collaborative linked poem, or [[renga]], and of its later derivative, [[renku]] (or ''haikai no renga''). By the time of [[Matsuo Bashō]] (1644–1694), the hokku had begun to appear as an independent poem, and was also incorporated in [[haibun]] (a combination of prose and hokku), and [[haiga]] (a combination of painting with hokku). In the late 19th century, [[Masaoka Shiki]] (1867–1902) renamed the standalone hokku to haiku.<ref>Higginson, William J. ''The Haiku Handbook'', Kodansha International, 1985, {{ISBN|4-7700-1430-9}}, p.20</ref> The latter term is now generally applied retrospectively to all hokku appearing independently of renku or renga, irrespective of when they were written, and the use of the term hokku to describe a stand-alone poem is considered obsolete.<ref>van den Heuvel, 1986, p.357</ref>

===Bashō===
{{Main|Matsuo Bashō|Hokku}}
In the 17th century, two masters arose who elevated ''[[haikai]]'' and gave it a new popularity. They were Matsuo Bashō (1644–1694) and [[Uejima Onitsura]] (1661–1738). ''[[Hokku]]'' is the first verse of the collaborative ''haikai'' or ''[[renku]]'', but its position as the opening verse made it the most important, setting the tone for the whole composition. Even though ''hokku'' had sometimes appeared individually, they were always understood in the context of ''renku''.<ref name=sato /> The Bashō school promoted standalone ''hokku'' by including many in their anthologies, thus giving birth to what is now called "haiku".  Bashō also used his ''hokku'' as torque points {{clarify|date=May 2017}} within his short prose sketches and longer travel diaries. This subgenre of ''haikai'' is known as ''[[haibun]]''. His best-known work, ''[[Oku no Hosomichi]]'', or ''Narrow Roads to the Interior'', is counted as one of the classics of Japanese literature<ref>Yuasa, Nobuyuki. ''The Narrow Road to the Deep North and other travel sketches'', Penguin 1966, {{ISBN|0-14-044185-9}} p.39</ref> and has been translated into English extensively.

Bashō was deified by both the imperial government and [[Shinto]] religious headquarters one hundred years after his death because he raised the haikai genre from a playful game of wit to sublime poetry. He continues to be revered as a saint of poetry in Japan, and is the one name from classical Japanese literature that is familiar throughout the world.<ref>Rimer, J. Thomas. ''A Reader's Guide to Japanese Literature'', Kodansha International 1988, {{ISBN|4-7700-1396-5}} pp.69-70</ref>

===Buson===
{{Main|Yosa Buson}}
[[Image:YosaBusonGrave.jpg|thumb|upright|Grave of [[Yosa Buson]]]]
The next famous style of haikai to arise was that of [[Yosa Buson]] (1716–1784) and others such as Kitō, called the Tenmei style after the [[Tenmei|Tenmei Era]] (1781–1789) in which it was created.

Buson is recognized as one of the greatest masters of [[haiga]] (an art form where the painting is combined with haiku or haikai prose). His affection for painting can be seen in the painterly style of his haiku.<ref>Ross, Bruce. ''Haiku Moment: An Anthology of Contemporary North American Haiku,'' Tuttle Publishing, 1993, {{ISBN|0-8048-1820-7}}  p.xv</ref>

===Issa===
{{Main|Kobayashi Issa}}
No new popular style followed Buson. However, a very individualistic, and at the same time humanistic, approach to writing haiku was demonstrated by the poet [[Kobayashi Issa]] (1763–1827), whose miserable childhood, poverty, sad life, and devotion to the [[Pure Land]] sect of [[Buddhism]] are evident in his poetry. Issa made the genre immediately accessible to wider audiences.

===Shiki===
{{Main|Masaoka Shiki}}
[[Masaoka Shiki]] (1867–1902) was a reformer and modernizer. A prolific writer, even though chronically ill during a significant part of his life, Shiki disliked the 'stereotype' of haikai writers of the 19th century who were known by the deprecatory term ''tsukinami'', meaning 'monthly', after the monthly or twice-monthly ''haikai'' gatherings of the end of the 18th century (in regard to this period of ''haikai'', it came to mean 'trite' and 'hackneyed'). Shiki also sometimes criticized Bashō.<ref>{{cite book |last1=Addis |first1=Stephen |title=The Art of Haiku |date=2022 |publisher=Shambhala Publications, Inc. |location=Boulder, Colorado, USA |isbn=978-1-64547-121-9 |pages=274–276}}</ref> Like the Japanese [[intellectual]] world in general at that time, Shiki was strongly influenced by Western culture. He favored the painterly style of Buson and particularly the European concept of ''[[En plein air|plein-air]]'' [[painting]], which he adapted to create a style of haiku as a kind of nature sketch in words, an approach called {{Nihongo3|sketching from life|写生|shasei}}. He popularized his views by verse columns and [[essay]]s in [[newspaper]]s.

Hokku up to the time of Shiki, even when appearing independently, were written in the context of renku.<ref name=sato>Hiroaki Sato. ''One Hundred Frogs'', Weatherhill, 1983, {{ISBN|0-8348-0176-0}} p.113</ref> Shiki formally separated his new style of verse from the context of collaborative poetry. Being [[Agnosticism|agnostic]],<ref>Henderson, Harold G. ''An Introduction to Haiku: An Anthology of Poems and Poets from Basho to Shiki,'' Doubleday Anchor Books, 1958, p.163</ref> he also separated it from the influence of Buddhism. Further, he discarded the term "hokku" and proposed the term ''haiku'' as an abbreviation of the phrase "''haikai no ku''" meaning a verse of ''[[haikai]]'',<ref>Earl Miner, ''Japanese Linked Poetry''. Princeton University Press, 1980. {{ISBN|0-691-01368-3}} pbk.</ref> although the term predates Shiki by some two centuries, when it was used to mean ''any'' verse of haikai.{{citation needed|date=February 2013}} Since then, "haiku" has been the term usually applied in both Japanese and English to all independent haiku, irrespective of their date of composition. Shiki's revisionism dealt a severe blow to renku and surviving haikai schools. The term "hokku" is now used chiefly in its original sense of the opening verse of a renku, and rarely to distinguish haiku written before Shiki's time.{{citation needed|date=February 2013}}

==Exposure to the West==
The earliest Westerner known to have written haiku was the Dutchman [[Hendrik Doeff]] (1764–1837), who was the Dutch commissioner in the [[Dejima]] trading post in Nagasaki during the first years of the 19th century.<ref>[http://kulturserver-nds.de/home/haiku-dhg/Netherlands.htm ''Haiku in the Netherlands and Flanders''] {{Webarchive|url=https://web.archive.org/web/20160303194021/http://kulturserver-nds.de/home/haiku-dhg/Netherlands.htm |date=2016-03-03 }} by Max Verhart, in the German Haiku Society website</ref> One of his haiku is the following:<ref>Otterspeer, W. ''Leiden Oriental connections, 1850-1940'', Volume 5 of Studies in the history of Leiden University. Brill, 1989, {{ISBN|9789004090224}}. p360</ref>

{{Verse transliteration-translation
|lang = ja

|稲妻の
腕を借らん
草枕

|inazuma no
kaina wo karan
kusamakura

|lend me your arms,
fast as thunderbolts,
for a pillow on my journey.
}}

Although there were further attempts outside Japan to imitate the "hokku" in the early 20th century, there was little understanding of its principles.{{citation needed|date=June 2012}} Early Western scholars such as [[Basil Hall Chamberlain]] (1850–1935) and [[William George Aston]] were mostly dismissive of hokku's poetic value.{{Citation needed|date=May 2024}}

===Blyth===
{{Main|Reginald Horace Blyth}}
[[Reginald Horace Blyth|R. H. Blyth]] was an [[Englishman]] who lived in Japan. He produced a series of works on [[Zen]], haiku, senryū, and on other forms of [[Japanese literature|Japanese]] and Asian literature. In 1949, with the publication in Japan of the first volume of ''Haiku'', the four-volume work by Blyth, haiku were introduced to the post-war English-speaking world.{{Citation needed|date=May 2024}} This four-volume series (1949–52) described haiku from the pre-modern period up to and including [[Masaoka Shiki|Shiki]]. Blyth's ''History of Haiku'' (1964) in two volumes is regarded as a classical study of haiku. Today Blyth is best known as a major interpreter of haiku to English speakers.{{Citation needed|date=May 2024}} His works have stimulated the writing of haiku in English.

===Shimoi===
{{Main|Harukichi Shimoi}}
The Japanese-Italian translator and poet [[Harukichi Shimoi]] introduced haiku to Italy in the 1920s, through his work with the magazine Sakura as well as his close personal relationships within the Italian literati. Two notable influences are the haiku of his close friend [[Gabriele d'Annunzio]], and to a lesser extent, those of [[Ezra Pound]], to whom he was introduced in the early 1930s.<ref>Livio Loi, A Flower With Many Stems: Tradition and Innovation in the Poetry of Sandro Penna [https://ro.uow.edu.au/cgi/viewcontent.cgi?referer=&httpsredir=1&article=5299&context=theses]</ref> An early example of his work appears in the 1919 novella ''La guerra italiana vista da un giapponese'', which features a haiku by the Japanese feminist poet [[Yosano Akiko]]:

{{Verse translation|italicsoff=y|
''{{lang|it|L'autunno giovane è come un salone della Reggia,
}}''
''{{lang|it|perchè in esso gli alberi, gli uccelli, i fiori e tutte le altre cose
}}''
''{{lang|it|sono placcati di oro}}''
|
The young autumn is like a salon in the palace,
for in it the trees, the birds, the flowers and all other things
are plated with gold.}}

===Yasuda===
{{Main|Kenneth Yasuda}}

The Japanese-American scholar and translator [[Kenneth Yasuda]] published ''The Japanese Haiku: Its Essential Nature, History, and Possibilities in English, with Selected Examples'' in 1957. The book includes both translations from Japanese and original poems of his own in English, which had previously appeared in his book titled ''A Pepper-Pod: Classic Japanese Poems together with Original Haiku''. In these books Yasuda presented a critical theory about haiku, to which he added comments on haiku poetry by early 20th-century poets and critics. His translations apply a 5–7–5 syllable count in English, with the first and third lines end-rhymed. Yasuda considered that haiku translated into English should utilize all of the poetic resources of the language.<ref>Yasuda, Kenneth, Introduction 'The Japanese Haiku' Charles Tuttle Co Rutland 1957 {{ISBN|0804810966}}</ref> Yasuda's theory also includes the concept of a "haiku moment"  based in personal experience, and provides the motive for writing a haiku: {{"'}}an aesthetic moment' of a timeless feeling of enlightened harmony as the poet's nature and the environment are unified".<ref>Otsuiji(Seiki Osuga) Otsuji Hairon-shu 'Otsuiji's Collected Essays on Haiku Theory' ed.Toyo Yoshida, 5th edn Tokyo, Kaede Shobo 1947</ref> This notion of the haiku moment has resonated with haiku writers in English, even though the notion is not widely promoted in Japanese haiku.{{NoteTag|See however, 'Shiki's Haiku Moments for Us Today'.<ref>Hirai, Masako ed.Now to be! Shiki's Haiku Moments for Us Today' (Ima, ikuru!Shiki no sekai) U-Time Publishing, 2003 {{ISBN|4860100409}} [http://terebess.hu/english/haiku/shiki.html]</ref>}}

===Henderson===
{{Main|Harold G. Henderson}}
In 1958, ''An Introduction to Haiku: An Anthology of Poems and Poets from Bashô to Shiki'' by [[Harold G. Henderson]] was published by Doubleday Anchor Books. This book was a revision of Henderson's earlier book titled ''The Bamboo Broom'' (Houghton Mifflin, 1934). After World War II, Henderson and Blyth worked for the [[Occupation of Japan|American Occupation in Japan]] and for the [[Imperial House of Japan|Imperial Household]], respectively, and their shared appreciation of haiku helped form a bond between the two.

Henderson translated every hokku and haiku into a [[rhyme scheme|rhymed]] [[tercet]] (ABA), whereas the Japanese originals never used rhyme. Unlike Yasuda, however, he recognized that 17 syllables in English are generally longer than the 17 ''on'' of a traditional Japanese haiku. Because the normal modes of English poetry depend on accentual meter rather than on syllabics, Henderson chose to emphasize the order of events and images in the originals.<ref>{{Cite book|title=An introduction to haiku : an anthology of poems and poets from Bashō to Shiki|last=Henderson|first=Harold G.|date=1958|publisher=Anchor Books|isbn=9780385052252|pages=viii|oclc=857309735}}</ref> Nevertheless, many of Henderson's translations were in the five-seven-five pattern.

==Haiku in other languages==
{{Main|Haiku in languages other than Japanese}}
In France, haiku was introduced by [[Paul-Louis Couchoud]] around 1906.

In the early 20th century, Nobel laureate [[Rabindranath Tagore]] composed haiku in [[Bengali language|Bengali]]. He also translated some from Japanese. In [[Gujarati language|Gujarati]], [[Jhinabhai Desai]] 'Sneharashmi' popularized haiku<ref>[http://www.gujaratisahityaparishad.com/prakashan/photo-gallery/sahitya-sarjako/SnehaRashmi.html Article on Sneh Rashmi] on website of [[Gujarati Sahitya Parishad]] (Gujarati Literary Council). In it, we read: "{{lang|gu|જાપાની કાવ્યપ્રકાર હાઈકુને ગુજરાતીમાં સુપ્રતિષ્ઠિત કરી તેમણે ઐતિહાસિક પ્રદાન કર્યું છે}}" ("By pioneering and popularizing the famous form of Japanese poetry called Haiku in Gujarati, he has gained a place in history").</ref> and remained a popular haiku writer.<ref>Ramanathan S. & Kothari R. (1998). Modern Gujarati Poetry: A Selection. Sahitya Akedami. {{ISBN|81-260-0294-8}}, {{ISBN|978-81-260-0294-8}}</ref> In February 2008, the World Haiku Festival was held in Bangalore, gathering ''haijin'' from all over India and Bangladesh, as well as from Europe and the United States.<ref>{{Cite journal|date=March 2008|title=Special Feature on India — Part One: World Haiku Festival in India. 23-25 February 2008, The Art of Living Ashram, Bangalore, India.|url=https://sites.google.com/site/worldhaikureview2/editorial/specialfeatureonworldhaikufestivalinindi|journal=World Haiku Review|volume=6|pages=1}}</ref> In South Asia, some other poets also write Haiku from time to time, most notably including the Pakistani poet Omer Tarin, who is also active in the movement for global nuclear disarmament and some of his 'Hiroshima Haiku' have been read at various peace conferences in Japan and the UK.<ref>See article by Yasuhiko Shigemoto, on [[Hiroshima]] Haiku and Omer Tarin, in ''The Mainichi'' daily, [[Tokyo]], [[Japan]], 15 August 1998, p 11</ref> Indian writer in Malayalam language, [[Ashitha (writer)|Ashitha]], wrote several Haiku poems which have been published as a book.<ref>{{Cite news|last=T. Pillai|first=Meena|date=22 November 2018|title=Small is beautiful|work=The Hindu Newspaper|publisher=The Hindu|url=https://www.thehindu.com/books/books-reviews/ashitha-articulates-the-profundity-of-the-simplest-moments-through-haiku-in-ashithayude-haiku-kavithakal/article25556697.ece|access-date=24 June 2020}}</ref><ref>{{Cite news|title=അഷിതയുടെ ഹൈക്കുകവിതകള്‍|work=Mathrubhumi Newspaper|url=https://www.mathrubhumi.com/books/poems/ashithayude-haiku-kavithakal-malayalam-poem-1.4035033|access-date=24 June 2020}}</ref> Her poems helped popularise haiku among the readers of [[Malayalam literature]].<ref>{{Cite news|date=27 March 2019|title=Author Ashitha, who popularised Haiku in Kerala, passes away|work=Malayala Manorama Newspaper|url=https://www.onmanorama.com/news/kerala/2019/03/27/malayalam-writer-ashitha-dies.html|access-date=25 June 2020}}</ref>

In 1992 Nobel laureate [[Czesław Miłosz]] published the volume ''Haiku'' in which he translated from English to Polish haiku of Japanese masters and American and Canadian contemporary haiku authors.

The former [[president of the European Council]], [[Herman Van Rompuy]], is a haiku writer and known as "Haiku Herman".<ref>{{cite news |last1=Writer |first1=Yuka Matsumoto / Yomiuri Shimbun Staff |title='Haiku Herman' speaks of allure, appeal of haiku |url=https://japannews.yomiuri.co.jp/culture/books-literature/20220915-58307/ |access-date=11 July 2024 |work=japannews.yomiuri.co.jp |date=15 September 2022 |language=en}}</ref> He published a book of haiku in April 2010.<ref>{{Cite news|title= Herman Van Rompuy publishes haiku poems |url= https://www.telegraph.co.uk/news/worldnews/europe/eu/7595054/Herman-Van-Rompuy-publishes-haiku-poems.html |archive-url=https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/news/worldnews/europe/eu/7595054/Herman-Van-Rompuy-publishes-haiku-poems.html |archive-date=2022-01-11 |url-access=subscription |url-status=live |publisher= Telegraph.co.uk|date= 16 April 2010}}{{cbignore}}</ref><ref>{{cite news|title= EU's "Haiku Herman" launches first poetry book |url= https://www.reuters.com/article/idUSTRE63E3RN20100415 |work= Reuters |date= April 15, 2010 }}</ref><ref>{{cite news|title= 'Haiku Herman' Van Rompuy: poet, president and fish out of water |url= http://www.timesonline.co.uk/tol/news/world/europe/article7099088.ece#cid=OTC-RSS&attr=797093 |archive-url= https://archive.today/20100615225818/http://www.timesonline.co.uk/tol/news/world/europe/article7099088.ece#cid=OTC-RSS&attr=797093 |url-status= dead |archive-date= June 15, 2010 |newspaper= Times Online|date= April 16, 2010 | location=London | first1=David | last1=Charter}}</ref>

===English-language haiku===
{{Main|Haiku in English}}
[[Paul-Louis Couchoud]]'s articles on haiku in French were read by early [[Imagist]] theoretician [[F. S. Flint]], who passed on Couchoud's ideas to other members of the proto-Imagist [[Poets' Club]] such as [[Ezra Pound]]. [[Amy Lowell]] made a trip to London to meet Pound and learn about haiku. She returned to the United States, where she worked to interest others in this "new" form. Haiku subsequently had a considerable influence on Imagists in the 1910s, notably Pound's "[[In a Station of the Metro]]" of 1913,<ref>''Haiku in English: The First Hundred Years'', eds. Jim Kacian, Philip Rowland, and Allan Burns, W.W. Norton & Co, New York, 2013</ref> but, notwithstanding several efforts by [[Yone Noguchi]] to explain "the hokku spirit", there was as yet little understanding of the form and its history.{{citation needed|date=June 2012}}

One of the first advocates of English-language hokku was the Japanese poet [[Yone Noguchi]]. In "A Proposal to American Poets," published in the ''Reader'' magazine in February 1904, Noguchi gave a brief outline of the hokku and some of his English efforts, ending with the exhortation, "Pray, you try Japanese Hokku, my American poets!"  At about the same time the poet [[Sadakichi Hartmann]] was publishing original English-language hokku, as well as other Japanese forms in both English and French.

Scholar Richard Iadonisi writes in his article, "I Am Nobody" that novelist [[Richard Wright (author)|Richard Wright]] is considered, "the first noteworthy American minority writer" to produce haiku.<ref name=":0">{{Cite journal |last=Iadonisi |first=R. |date=2005-09-01 |title="I Am Nobody": The Haiku of Richard Wright |url=http://dx.doi.org/10.1093/melus/30.3.179 |journal=MELUS: Multi-Ethnic Literature of the United States |volume=30 |issue=3 |pages=179–200 |doi=10.1093/melus/30.3.179 |issn=0163-755X|url-access=subscription }}</ref> There is much scholarly debate over why Wright became interested with the haiku form. It is known that he had begun to study haiku while battling [[dysentery]].<ref name=":1">{{Cite web |last=ashawnta_jackson |date=2021-04-23 |title=The Haiku of Richard Wright |url=https://daily.jstor.org/the-haiku-of-richard-wright/ |access-date=2023-04-01 |website=JSTOR Daily |language=en-US}}</ref> While Wright was purportedly an avid reader of Ezra Pound— whose Imagist poetry was based on the haiku form— Iadonisi suggests that Wright was not interested in American style haiku.<ref name=":0" /> Instead, Wright opted to study the techniques of British writer [[Reginald Horace Blyth]].<ref>{{Cite journal |last=Ogburn |first=Floyd |date=1998 |title=Richard Wright's Unpublished Haiku: A World Elsewhere. |url=https://doi.org/10.2307/467678 |journal=MELUS |volume=23 |issue=3 |pages=57–81 |doi=10.2307/467678 |jstor=467678 |url-access=subscription }}</ref> He also studied classical haiku poets such as [[Kobayashi Issa]] and [[Matsuo Bashō]].<ref name=":2">{{Cite journal |last=Hakutani |first=Yoshinobu |date=May 2007 |title=Richard Wright's Haiku, Zen, and the African "Primal Look Upon Life" |url=https://www.jstor.org/stable/10.1086/519191 |journal=[[Modern Philology]] |volume=104 |issue=4 |pages=510–528 |doi=10.1086/519191 |jstor=10.1086/519191 |s2cid=224832039 |via=University of Chicago Press|url-access=subscription }}</ref> Wright began writing a series of haiku in the summer of 1959, completing it in 1960. He had written thousands of haiku between that time span. Wright titled his work ''Haiku: This Other World'' and submitted it to William Targ of World Publishing, who rejected it.<ref name=":0" /><ref name=":1" /><ref name=":2" /> In 1998, thirty-eight years after Wright's death, ''This Other World'' was finally published.<ref name=":0" />

===Italian-language haiku===
Probably one of the first Italian encounters with Japanese poetry took place through the literary magazine ''L'Eco della Cultura'' (founded in 1914), which published texts of Japanese poetry edited by Vincenzo Siniscalchi.{{Citation needed|date=May 2024}} From 1920 to 1921, the [[University of Naples]] published a magazine, ''Sakura'', on the study of Japanese culture, with the collaboration of the Japanese scholar [[Harukichi Shimoi]]. An Italian translation of a haiku by [[Akiko Yosano]] is included in Shimoi's 1919 novella ''La guerra italiana vista da un giapponese''. [[Gabriele D'Annunzio]] also experimented with the haiku in the early twentieth century.<ref>{{cite web |url=http://www.zenfirenze.it/approfondimenti/bibliografia-haiku.asp#ita |title=Bibliografia Haiku - Lo Zen - Centro Zen Firenze |website=www.zenfirenze.it |access-date=27 April 2022 |archive-url=https://web.archive.org/web/20140729000844/http://www.zenfirenze.it/approfondimenti/bibliografia-haiku.asp#ita |archive-date=29 July 2014 |url-status=dead}}</ref>

In 1921 the magazine ''La Ronda'' published a negative critique of the Japanese "Hai-kai" fashion that was spreading in France and Spain, while in the following years many futurists appreciated the fast haiku style.<ref>{{Cite journal | url=https://www.academia.edu/5588596 | title=Le 'giapponeserie' di Giuseppe Ungaretti nel dibattito critico italiano | journal=Soglie. Rivista Quadrimestrale di Poesia e Critica Letteraria | date=January 2010 | last1=Somma | first1=Anna Lisa }}</ref> In Italy, the national haiku association was founded in Rome in 1987 by Sono Uchida, the well-known Japanese haijin and the ambassador of Japan in Vatican. Soon after, the national association called Italian Friends of the haiku (Associazione Italiana Amici dell'Haiku) was established, and then the Italian Haiku Association. The poet Mario Chini (1876–1959) published the book of haiku titled "Moments" (Rome, 1960). Later, Edoardo Sanguineti published some of his haiku. The famed poet Andrea Zanzotto also published a collection of haiku in English, which he translated back into his native Italian (Haiku for a Season / Haiku per una stagione, Chicago: U. of Chicago Press, 2021).

===Spanish-language haiku===
In Spain, several prominent poets experimented with haiku, including [[Joan Alcover]], [[Antonio Machado]], [[Juan Ramón Jiménez]] and [[Luis Cernuda]].<ref>Octavio Paz, [http://terebess.hu/english/haiku/paz.html#4haiku ''La tradición del haikú''], Cambridge 1970</ref> [[Federico García Lorca]] also experimented with and learned conciseness from the form while still a student in 1921.<ref>Leslie Stainton, ''Lorca a Dream of Life'', Bloomsbury 2013, [https://books.google.com/books?id=sSPQXJGRt6oC&dq=Lorca++haiku&pg=PT80 chapter 6]</ref> The most persistent, however, was Isaac del Vando, whose ''La Sombrilla Japonesa'' (1924) went through several editions.<ref>[http://labibliotecadebashir.blogspot.co.uk/2013/08/sobre-el-haiku-13-el-haiku-en-lengua.html ''La haiku en lengua española'']</ref> The form was also used in Catalan by the avant-garde writers Josep Maria Junoy  (1885–1955) and [[Joan Salvat-Papasseit]], by the latter notably in his sequence ''Vibracions'' (1921).<ref>Jordi Mas López, [http://www.tdx.cat/handle/10803/5255 ''Els haikús de Josep Maria Junoy I Joan Salvat-Papasseit''] Barcelona Free University, 2002</ref>

The Mexican poet [[José Juan Tablada]] is credited with popularising haiku in his country, reinforced by the publication of two collections composed entirely in that form: ''Un dia'' (1919),<ref>Entire collection [http://www.los-poetas.com/a/tabla1.htm#DE%20ATL%C3%81NTIDA online]</ref> and ''El jarro de flores'' (1922).<ref>Entire collection [http://www.tablada.unam.mx/poesia/jarro/16.htm online]</ref> In the introduction to the latter, Tablada noted that two young Mexicans, Rafael Lozano and Carlos Gutiérrez Cruz, had also begun writing them. They were followed soon after by [[Carlos Pellicer]], [[Xavier Villaurrutia]], and by [[Jaime Torres Bodet]] in his collection ''Biombo'' (1925).<ref>Sonja Karsen, ''Selected poems of Jaime Torres Bodet'', Indiana University 1964, p.27</ref> Much later, [[Octavio Paz]] included many haiku in ''Piedras Sueltas'' (1955).<ref>Spanish text [http://terebess.hu/english/haiku/paz.html#4haiku online]; and some translations by Muriel Rukeyser in ''Selected Poems of Octaviao Paz'', Indiana University 1963</ref>

Elsewhere the Ecuadorian poet and diplomat [[Jorge Carrera Andrade]] included haiku among the 31 poems contained in ''Microgramas'' (Tokio 1940)<ref>''The Quarterly Conversation'', [http://quarterlyconversation.com/micrograms-by-jorge-carrera-andrade March 2012] {{Webarchive|url=https://web.archive.org/web/20210917231401/http://quarterlyconversation.com/micrograms-by-jorge-carrera-andrade |date=2021-09-17 }}</ref> and the Argentine [[Jorge Luis Borges]] in the collection ''La cifra'' (1981).<ref>[https://pequeniosuniversos.wordpress.com/literatura/los-haikus-de-jorge-luis-borges Pequeños Universos]</ref>{{better source needed|date=April 2022}}

=== Southeastern Europe ===
The first publication in Yugoslavia treating haiku was [[Miloš Crnjanski]]'s ''Poezija starog Japana'' (Poetry of Ancient Japan), published in 1925. He was attracted to the aesthetics of ''aioi-no-matsu'' - the eternal - and Buddhist empathy, in common with his poetic theme of connecting distant things and concepts through affection.<ref name=":3">{{Cite web |last=Pajin |first=Dušan |date=2018 |title=Haiku na Balkanu |url=https://www.rastko.rs/cms/files/books/5acc722ca9f84.pdf |url-status=live |archive-url=https://web.archive.org/web/20211129033450/https://www.rastko.rs/cms/files/books/5acc722ca9f84.pdf |archive-date=29 November 2021 |access-date=11 April 2023 |website=Projekat Rastko: Biblioteka srpske kulture}}</ref>

In socialist Yugoslavia, development of haiku poetry began during the 1960s, when the first haiku books were written, starting with ''Leptirova krila'' (The Butterfly's Wings) by [[Dubravko Ivančan]] in 1964. Other writers include [[Vladimir Zorčić]] (1941–1995), [[Milan Tokin]]'s (1909–1962) unpublished collection ''Godišnja doba'' (Seasons), [[Desanka Maksimović]], [[Alexander Neugebauer]] (1930–1989), and [[Zvonko Petrović]] (1925–2009). [[Vladimir Devide]] (1925–2010) published the first book on haiku theory in 1970, titled Japanese Poetry and its Cultural and Historical Context, with many translations of Japanese classics. Dejan Razić (1935–1985) published two books on haiku in 1979, The Development of Haikai Poetry from its Beginning to Basho, and The Peak of Haikai Poetry. The journal Haiku ran from 1977 to 1981.<ref name=":3" />

The Haiku Marathon (1982) and the Yugoslav Haiku Competition (1985) were organised in the 1980s by Slavko Sedlar. The first Serbian haiku journal Paun started being published in 1988 with Milijan Despotović as an editor. The journal Kulture istoka (1983–1992) gave further impetus to the study of Japanese and other oriental cultures. In 1991, the Belgrade-based haiku club Šiki was formed, named after Masaoka Shiki. In 1999, Anakiev together with Serge Tome created the web site Haiku Association of Southeastern Europe.<ref>The site is offline, but can be accessed through the [https://web.archive.org/web/20000901074933/http://users.win.be/W0056898/ Internet Archive]</ref> The Haiku Association of Yugoslavia was formed in 2000. The multilingual "Knots- The Anthology of Southeastern European Haiku Poetry" was published in 1999 with poems from writers all over southeastern Europe. The 2000 conference of the World Haiku Federation was held in Slovenia.<ref name=":3" />

In addition to its traditional aesthetic functions, haiku has also been adapted globally as a form for social commentary and critique. A 2025 academic study from [[Salahaddin University]] highlighted this trend, arguing that poets from diverse cultural backgrounds, including the United States, Japan, and [[Iraq]], have used the concise form to address social reform and critique issues such as racial capitalism, post-war alienation, and the trauma of conflict.<ref>{{Cite web |title=في نقاش علمي: جامعة صلاح الدين دراسة تطبيقية في الهايكو |url=https://sotkurdistan.net/2025/09/30/%D9%81%D9%8A-%D9%86%D9%82%D8%A7%D8%B4-%D8%B9%D9%84%D9%85%D9%8A-%D8%A8%D8%AC%D8%A7%D9%85%D8%B9%D8%A9-%D8%B5%D9%84%D8%A7%D8%AD-%D8%A7%D9%84%D8%AF%D9%8A%D9%86-%D8%AF%D8%B1%D8%A7%D8%B3%D8%A9-%D8%AA/ |website=SOTKurdistan |date=2025-09-30 |access-date=2025-10-01}}</ref><ref>{{Cite web |title=سلمان عبد الحليم في مديح الصرخة الهاديء |url=https://www.raialyoum.com/%D8%B3%D9%84%D9%85%D8%A7%D9%86-%D8%B9%D8%A8%D8%AF-%D8%A7%D9%84%D8%AD%D9%84%D9%8A%D9%85-%D9%81%D9%8A-%D9%85%D8%AF%D9%8A%D8%AD-%D8%A7%D9%84%D8%B5%D8%B1%D8%AE%D8%A9-%D8%A7%D9%84%D9%87%D8%A7%D8%AF%D8%A6/ |website=Rai al-Youm |date=2025 |access-date=2025-10-01}}</ref><ref>{{Cite web |title=Study finds Japanese haiku a powerful tool for social change |url=https://english.hathalyoum.net/articles/211029 |website=HathaLyoum English |date=2025 |access-date=2025-10-01}}</ref>

==Related forms==
===Haibun===
{{Main|Haibun}}
[[Haibun]] is a combination of prose and haiku, often autobiographical or written in the form of a [[travel journal]]. Well-known examples of haibun include ''[[Oku no Hosomichi]]'' by Bashō and ''Ora ga Haru'' by Issa.

===Haiga===
{{Main|Haiga}}
[[Haiga]] is a style of Japanese painting based on the aesthetics of [[haikai]], and usually including a haiku. Today, haiga artists combine haiku with paintings, photographs and other art.

===Kuhi===
The carving of famous haiku on natural stone to make poem monuments known as ''kuhi'' ({{nihongo2|句碑}}) has been a popular practice for many centuries. The city of [[Matsuyama]] has more than two hundred ''kuhi''.

==Famous writers==

===Pre-Shiki period===
{{Div col|colwidth=22em}}
* [[Arakida Moritake]] ([[1473 in poetry|1473]]–[[1549 in poetry|1549]])
* [[Matsuo Bashō]] ([[1644 in poetry|1644]]–[[1694 in poetry|1694]])
* [[Nozawa Bonchō]] (c. [[1640 in poetry|1640]]–[[1714 in poetry|1714]])
* [[Hattori Ransetsu]] ([[1654 in poetry|1654]]-[[1707 in poetry|1707]])
* [[Takarai Kikaku]] ([[1661 in poetry|1661]]–[[1707 in poetry|1707]])
* [[Uejima Onitsura]] ([[1661 in poetry|1661]]–[[1738 in poetry|1738]])
* [[Yokoi Yayū]] ([[1702 in poetry|1702]]–[[1783 in poetry|1783]])
* [[Fukuda Chiyo-ni]] ([[1703 in poetry|1703]]–[[1775 in poetry|1775]])
* [[Yosa Buson]] ([[1716 in poetry|1716]]–[[1783 in poetry|1783]])
* [[Ryōkan Taigu]] ([[1758 in poetry|1758]]-[[1831 in poetry|1831]])
* [[Kobayashi Issa]] ([[1763 in poetry|1763]]–[[1827 in poetry|1827]])
{{div col end}}

===Shiki and later===
{{Div col|colwidth=22em}}
* [[Masaoka Shiki]] ([[1867 in poetry|1867]]–[[1902 in poetry|1902]])
* [[Takahama Kyoshi]] ([[1874 in poetry|1874]]–[[1959 in poetry|1959]])
* [[Samukawa Sokotsu]] ([[1875 in poetry|1875]]–[[1954 in poetry|1954]])
* [[Taneda Santōka]] ([[1882 in poetry|1882]]–[[1940 in poetry|1940]])
* [[Ozaki Kōyō]] ([[1882 in poetry|1882]]–[[1926 in poetry|1926]])
* [[Ogiwara Seisensui]] ([[1884 in poetry|1884]]–[[1976 in poetry|1976]])
* [[Natsume Sōseki]] ([[1867 in poetry|1867]]–[[1916 in poetry|1916]])
* [[Ryūnosuke Akutagawa]] ([[1892 in poetry|1892]]–[[1927 in poetry|1927]])
* [[Mitsuhashi Takajo]] ([[1899 in poetry|1899]]-[[1972 in poetry|1972]])
{{div col end}}

==See also==
{{Portal|Poetry}}
{{Div col|colwidth=22em}}
* [[Estonian haiku]]
* [[Hokku]]
* [[Japanese poetry]]
* [[List of kigo]]
* [[Masaoka Shiki International Haiku Awards]]
* [[Matsuyama Declaration]]
* [[Saijiki]] (''kigo'' list)
* [[Senryū]]
* [[Tanka]]
{{div col end}}

== Notes ==
{{NoteFoot}}

== References ==
{{Reflist}}

==External links==
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{{wikisource category}}
{{commons category|Haiku (poetry)}}
* [https://web.archive.org/web/20170305034806/http://www.betterthanstarbucks.org/haiku-page Haiku for People in North America and beyond] Online Haiku page curated by Kevin McLaughlin, Haiku Editor of "Better Than Starbucks - not your ordinary poetry magazine"
* [https://web.archive.org/web/20110722071611/http://haiku.cc.ehime-u.ac.jp/ Shiki Haikusphere and NOBO list]
* [http://www.haiku-hia.com/index_en.html Haiku International Association] {{Webarchive|url=https://web.archive.org/web/20090514014817/http://www.haiku-hia.com/index_en.html |date=2009-05-14 }}
* [http://www2.famille.ne.jp/~haiku/index-e.html Museum of Haiku Literature, Tokyo]
* [[Haiku Society of America]]
* [https://www.theheronsnest.com/ The Heron's Nest] A quarterly online Haiku journal, founded in 1999
* [https://nippoem.com Nippoem] Journal of Japanese Poetry Translation, publishing translations of haiku in bilingual format

{{Japanese poetry}}

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