Haibun by Kala Ramesh in India (2)

2012/12/22

 

Kala Ramesh is a poet in India, who writes haiku, tanka, haibun, senryu and renku.

 

Kala Ramesh (London) 

 

On September 12, 2012, Kala presented us with her haibun ‘The Touch of Rain in Haiku’.

 

“The Touch of Rain in Haiku”

「俳句における雨の一筆」

 

Haiku along with its genres like tanka and haibun are nothing but word paintings. In film jargon we could refer to it as “a shot” frozen in time.  So in a poem comprising of just six or seven words, resonance becomes the key word!

 

同じジャンルである短歌や俳文と共に俳句は言葉によって絵を描くこと以外の何物でもない。

映画用語では、俳句を時間の中で動かなくなった「一場面」と言うことがあり得るだろう。

だから、たった6,7語から成る詩では、余韻がキー・ワードとなるのです!

 

Anu-naad is a Sanskrit word for resonance . . . now what do we mean by Anu-naad?

Naad or sound, as stated in the Hindu ancient texts is a primordial sound existing in the cosmos, referred to metaphorically as AUM.

 

Anu-naad は余韻に対するサンスクリット語である...今ではAnu-naad で何を意味するだろうか?

Naad または音は、ヒンドゥ-語の古代の原典で述べられているように、隠喩的に AUM と言われている宇宙に存在する根源的な音である。

 

According to ancient texts, an instrument (such as the voice) only resonates the cosmic sound, and thus all that the body does is to extricate the sound from the cosmos and faithfully reproduce it, when a person sings or talks.

 

古代の原典によれば、(声のような) 媒介者はただ宇宙の音を鳴り響かせるだけです。

したがって、身体がなすことの全ては人が歌ったり、または話すときに、宇宙から音を脱出させることと忠実に再生することです。

 

The cavities in the body – like the oral cavity and the sinus cavities – including the spaces from the toes to the brain, all act as resonators or amplifiers for the ‘sound’ to vibrate and reverberate, which in Sanskrit is called as Anu-Naad. In other words, like Saint poet Kabir has rightly expressed in a spiritual song, that, his body is only a musical instrument that transmits the timeless cosmic resonance.

 

身体の中の空洞は-口頭の空洞や静脈洞のように-つま先から脳までの空間を含み、全てはその 「音」 が振動し、そして反響するための共鳴装置または拡声器としての役目を務めます。そのことは、サンスクリット語でAnu-Naad と呼ばれています。

換言すれば、聖詩人カビアがまさしくそのことを神聖な歌の中で表現しているように、彼の身体は時間を超越した宇宙の共鳴を伝える単なる一つの楽器にすぎないのです。

 

wave-calls

haunting melodies linger

in mind’s abyss

 

波の呼び声

しばしば心に浮かぶメロディ-が残って消えない

心の深淵で

 

I’ve just picked out a few poems, in reference to this season, from my poems spanning haiku, tanka and haibun.

Each poem tells a story, if only you care to peep and stay with the spaces within the words, for a while . . .

 

俳句、短歌、そして俳文に及ぶ私の詩からこの季節に関する詩を少し取り上げてみたところです。

 

Haiku

 

cyclonic rains
coconut leaves dip
into streetlights

 

サイクロンによる雨

ヤシの実の葉が少しつかる

街灯に

 

 

thunderclap
the darkening sky splits
into liquid night

 

雷鳴

薄暗くなりつつある空が割れて

透明な夜になる

 

 

neighbour’s tin roof

what a ruckus it creates

this rain!

 

隣人のスズの屋根

なんてすごい騒動を創り出すのだろう

この雨は!

 

 

swamp frogs . . .

singing the chorus

all over again

 

沼地のカエル...

コーラスをしている

もう一度最初から

 

 

water buffaloes . . . 
shoreline shadows pleat
the monsoon lake

 

スイギュウ...

湖岸線の影がひだをつける

雨季の湖に

 

 

cyclone

she holds the umbrella

the sari holds her

 

サイクロン

彼女は傘をつかんでいる

サリーは彼女をつかんでいる

 

 

The next posting Seasonal words in India by Kala Ramesh appears on December 29.

 

 

 蛭田秀法Hidenori Hiruta

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2 Responses to “Haibun by Kala Ramesh in India (2)”

  1. idebenone Says:

    Compact micro-haibun limit the prose text, such as to 20-to-180 words. Most commonly only one haiku is included, placed after the prose, and serving as a climax or epiphany to what came before.


  2. 4. If your haibun or tanka prose is unpublished, but the haiku or tanka has been previously published, notify us of the publication venue and date. 5. Please query the Reviews Editor before sending an unsolicited article, interview, review, close reading or poet’s choice offering or before forwarding any books for possible review. A close reading is an explication by one writer of a haibun or tanka prose that was composed by another writer. A poet’s choice is a commentary by the author of a haibun or tanka prose upon his or her own work.

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