Kireji

are a special category of words used in certain types of Japanese traditional poetry. It is regarded as a requirement in traditional haiku, as well as in the hokku, or opening verse, of both classical renga and its derivative renku (haikai no renga). There is no exact equivalent of ''kireji'' in English, and its function can be difficult to define. It is said to supply structural support to the verse. When placed at the end of a verse, it provides a dignified ending, concluding the verse with a heightened sense of closure. Used in the middle of a verse, it briefly cuts the stream of thought, indicating that the verse consists of two thoughts half independent of each other. In such a position, it indicates a pause, both rhythmically and grammatically, and may lend an emotional flavour to the phrase preceding it.

List of common ''kireji''

Classical renga developed a tradition of 18 ''kireji'', which were adopted by haikai, thence used for both renku and haiku, the most common of which are listed below:

* (): emphasis; when at end of a phrase, it indicates a question
* (): emphasis; usually can be found at a poem's end, indicates wonder
* (): exclamatory verbal suffix, past perfect
* or (): verbal suffix indicating probability
* (): adjectival suffix; usually used to end a clause
* (): verbal suffix; present perfect
* (): emphasises the preceding word or words. Cutting a poem into two parts, it implies an equation, while inviting the reader to explore their interrelationship.

Use

Hokku and haiku consist of 17 Japanese syllables, or '' on'' (a phonetic unit identical to the mora), in three metrical phrases of 5, 7, and 5 on respectively. A ''kireji'' is typically positioned at the end of one of these three phrases. When it is placed at the end of the final phrase (i.e. the end of the verse), the ''kireji'' draws the reader back to the beginning, initiating a circular pattern. A large number of hokku, including many of those by Bashō, end with either ''-keri'', an exclamatory auxiliary verb, or the exclamatory particle ''kana'', both of which initiate such a circular pattern. Placed elsewhere in the verse, a ''kireji'' performs the paradoxical function of both cutting and joining; it not only cuts the ku into two parts, but also establishes a correspondence between the two images it separates, implying that the latter represents the of the former, creating two centres and often generating an implicit comparison, equation, or contrast between the two separate elements.

The hokku author must compose a syntactically complete verse capable (alone among the verses of a linked poem) of standing alone, probably because the hokku, as the first verse of the renku or renga, sets the stage for the rest of the poem, and therefore should not leave itself open to overt modification in the next verse. The conventional way of making sure that a hokku has such linguistic integrity is to include a ''kireji''.Konishi Jin'ichi; Karen Brazell; Lewis Cook, ''The Art of Renga'', in ''Journal of Japanese Studies'', Vol. 2, No. 1. (Autumn, 1975), p.39

In English haiku and hokku

''Kireji'' have no direct equivalent in English. Mid-verse ''kireji'' have been described as sounded rather than written punctuation. In English-language haiku and hokku, as well as in translations of such verses into this language, ''kireji'' may be represented by punctuation (typically by a dash or an ellipsis), an exclamatory particle (such as 'how...'), or simply left unmarked.

Examples

The examples below are laid out as follows:
*Haiku in Japanese
*Rōmaji transliteration
*Literal word-for-word translation
*Translated poem

Mid-verse ''ya''

End-verse ''kana''

References

{{Japanese poetry

Japanese poetry
Japanese literary terminology
Articles containing Japanese poems