Now, haikus, like monostichs, are simply not the sort of thing you can introduce with a drum-roll; you have to come across them accidentally, alone, as in a deserted rock-garden. But there is a linguistic aspect that goes deeper than this.
Japanese, which is syllable-timed, lends itself gracefully to the haiku form.
English, by contrast, is stress-timed, the syllable-count being not even wholly determinate: Is fire one syllable or two? (I would vote one; but for Jim Morrison, it’s two). The Germanic languages (including English), with their traditional forestress, and the alliterative possibilities afforded by their semantically-laden word-initial consonants and consonant-clusters, are best suited -- structurally -- to Stabreim and balladry, which tell a tale, and where the meter is nothing fancy. (A sample here.) -- Arabic, by contrast, with its often merely inflectional or derivational initial consonants, but with (en revanche) a semantically and structurally and rhythmically rich system of root-and-pattern, is ideal for the dazzling palette of intricate meters characteristic of its early poetry. (An English imitation here.)
As for the English haiku -- the world needs but one. In a spirit of minimalist aesthetic economy, I here offer The Only English Haiku You’ll Ever Need; all others should be discarded promptly.
one two 3 four five
six sept eight nine ten Onze Douze
treize q’torze QUINZE seize bleize
Not beautiful, but it’ll do.
[Note: bleize means ‘seventeen’ in one of the minor dialects of Basque.
All fans of Ezra Pound will love this poem for that reason alone.]
~ ~ ~
[Stunning update]
There has been an amazing breakthrough. The super-secret Poetry Labs ® of the World of Dr Justice ©, located in reinforced bunkers
deep beneath an undisclosed location, have just invented a new,
fully-Americanized, fully-weaponized Mach
II Haiku ©®. Breathless
details here:
[Update April 2014]
So long as it doesn’t fetishize the syllable-count (very valid for
Japanese, but not for English), a brief tripartite production -- call it a “meta-haiku”,
can be meritorious.
Here, a found example (from ostensible prose):
the poppies so sweet
and gold,
like a Buddhist monk’s
robe,
like little cups you could drink from.
--
Anne Lamott, Crooked Little Heart (1997)
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