Hatano Soha

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Hatano Soha (Sooha) 波多野爽波

(1923-1991)



He started to learn haiku during his university years, with Takahama Kyoshi since 1939.
He published the haiku magazine AO 青 when he was 30.


His Haiku Collections

Michi no Hana 舗装の花 in 1956 (a flower on the road)
Yunomi 湯呑 in 1981 (teacup)
. . . . . and in
Gendai Haiku Zenshu Nr. 4 現代俳句全集四
source :　kanchu-haiku



掛稲のすぐそこにある湯呑かな
kakeine no sugu soko ni aru yunomi kana

right next
to the mounds of rice -
this tea cup

. . . . .


His motto was:
写生の世界は自由闊達の世界である
The realm of shasei
is the realm of freedom and a broad mind.

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冬ざるるリボンかければ贈り物
fuyu zaruru ribon kakereba okurimono

winter bareness -
when I wrap a ribbon around it,
it becomes a present

. Ribbon and Haiku .


. . . . .


新緑や人の少なき貴船村　
shinryoku ya hito no sukunaki Kifune mura

fresh green -
there are few people
in Kifune village

. Kifune Shrine Festivals and Haiku .

. . . . .


茸番の声を発する続けざま
kinoko ban no koe o hassuru tsuzukezama

the watchman for mushrooms
has his way in shouting and
raising his voice

. Mushrooms and Haiku .


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The following was composed by Larry Bole
. Translating Haiku Forum .



Hiroaki Sato writes:

Hatano Sooha (1923-1991) (given name Yoshihide)
was an older classmate and friend of Yukio Mishima at the Peers School. Hatano published just one book of haiku, 'Michi no hana', in 1956, although more of his haiku appear in vol. 4 of 'Gendai haiku zenshu', issued in 1977, edited by Rippuu Shoboo.

The title of Hatano's book derives from this haiku:

　金魚玉とり落しなば舗道の花　　　
Kingyodama toriotoshinaba michi no hana

Should I drop the goldfish bowl,
[it would turn into] a flower on the pavement.


Hatano wrote that 'michi' in the above haiku should be read that way, and not as 'hodoo', as one would think, thus making the last phrase five syllables and not six.

Sato wonders what 'shasei' actually meant to Hatano, who belonged to Kyoshi's 'Hototogisu' group, because of these two examples:

桜貝長き翼の海の星
Sakuragai nagaki tubasa no umi no hoshi

Cherry clam: its long wings among the stars of the sea


夜の海の暗きを流れ桐費一葉
Yo no umi no kuraki o nagare kiri hitoha

flowing in the dark of the night lake a paulownia leaf


Hatano's 'jikai' [explanations] of these haiku:
"Hatano says he wrote the first by the sea and the second by the lake, both at night, but he also flatly tells you that there was no way of seeing a 'cherry clam', a small pink bivalve ('Nitidotellina hokkaidoensis), moving about in the sea, or a paulownia leaf afloat on the lake. The first was a fanciful description of a particularly bright star, and the second was a description of what he imagined might be afloat on the lake off the beach."


ドレスの背につきまとふ蚊よ遠い月
doresu no se ni tukimatou ka ya tooi tsuki

On the back of her dress a mosquito persists:
distant moon


竹葉降り子犬も固き茉をする
Takeha furi koinu mo kataki mari o suru

Bamboo leaves falling a puppy too issues firm shit


蟹歩き亡き人宛にまだくる文
Kani aruki nakihito ate ni mada kuru fumi

A crab walks and letters still come to the one deceased


雨の鵙書信の濡れをかなしめば
Ame no mozu shoshin no nure o kanashimeba

A rainy shrike as I sorrow over an epistle that's wet

source : roadrunnerjournal.net PDF file


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Hatano Sooha is also mentioned in Simply Haiku, Autumn, 2005, vol. 3, no. 3, in an interview with Naoki Kishimoto:

KN: Among the poets I have studied under, Mr. Hatano Sôha is the most important. I met Mr. Hatano when I was 20 years old. I studied under his tutelage for 10 years until he passed away at the age of 68. Mr. Hatano was a disciple of Mr. Takahama Kyoshi. Perhaps you have heard of him. He was one of the most important modern haiku poets in Japan.
("Modern" means "in and after the Meiji Era, 1868-1912, in Japanese history.")

Mr. Hatano's style is known for its objectivity and sensitivity. Please allow me to introduce to you my favorite haiku by Mr. Hatano:

西日さしそこ動かせぬものばかり
nishibi sashi soko ugokasenu mono bakari

the sun penetrates from the west
from there is nothing movable

Mr. Hatano lived near Kyoto while I lived far away in Yokohama near Tokyo. We met therefore, only once or twice a year. I sent my haiku to him monthly. He selected my good pieces and abandoned the bad ones. We discussed haiku mostly over the telephone. When he died of cancer, I felt a need to become independent as a poet. Mr. Hatano was also in his thirties when his teacher, Mr. Takahama Kyosi, passed away.
source : www.simplyhaiku.com


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Hatano Sooha is quoted at the online site, "tempslibres":

"My haikus are not founded on a trifle such as emotion.
When I produce a haiku, words come to me at the very moment I see things. I wait for neither emotion nor surprise. Haiku is like sports. A competitor doesn't think about anything during the game. His trained body functions unconsciously. In the same way, haiukists must train their mind so that words might be always ready.
If one waits for an emotion, the words will evaporate."
source : www.tempslibres.org


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あかあかと屏風の裾の忘れもの
いろいろな泳ぎ方してプールにひとり
きれぎれの風が吹くなり菖蒲園
ちぎり捨てあり山吹の花と葉と
ねんねこの人出て佇てり鞍馬山
チューリップ花びら外れかけてをり
柿の木と放つたらかしの苗代と
掛稲のすぐそこにある湯呑かな
大金をもちて茅の輪をくぐりけり
鳥の巣に鳥が入つてゆくところ
冬ざるるリボンかければ贈り物
冬空や猫塀づたひどこへもゆける
入学の朝ありあまる時間かな
末黒野に雨の切尖限りなし
老人よどこも網戸にしてひとり
炬燵出て歩いてゆけば嵐山
骰子の一の目赤し春の山

source : weblio.jp

. . . . .


滝見えて滝見る人も見えてきし
螢とぶ下には硬き舗道かな
遠足の列伸ぶところ走りをり
秋草の中や見事に甕割れて
桜貝長き翼の海の星
隙間風さまざまのもの経て来たり
矢の如く速達がきて石榴の家
菜蟲とる顔色悪き男出て
鳥渡る理髪休みに白布引き
空港出て田植汚れの電柱立つ
秋の蛇ネクタイピンは珠を嵌め
茸番の声を発する続けざま
鯉泳ぐ底も白砂や堂雪解
ちぎり捨てあり山吹の花と葉と
帚木のつぶさに枝の岐れをり
帚木が帚木を押し傾けて
凍鶴を見てきぬ皿に肉赤き
ドレスの背につきまとふ蚊よ遠い月
柏餅の太い葉脈メス煮られ
猫走り去りてしぐるる捨椀あり
青柿の夜々太りつつ星は気儘
掛稲のすぐそこにある湯呑かな
焼藷をひそと食べをり嵐山
六月の藪の大きく割れゐたる
じやがいもの花の三角四角かな
掃きながら木槿に人のかくれけり

source :　kanchu-haiku

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　　鳥の巣に鳥が入ってゆくところ　
　　瓜刻む気兼ねの音の聞えくる　　　
　　赤と青闘ってゐる夕焼かな　　　　
　　ちぎり捨てあり山吹の花と葉と　
　　鶴凍てて花の如きを糞りにけり　　
　
source : masakokusa.exblog.j


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Japanese Reference

. 波多野爽波


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Related words

***** Introducing Japanese Haiku Poets　


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