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The Journal of Japanese Language Literature Studies > Volume 9(1); 2019 > Article
Border Crossings: The Journal of Japanese-Language Literature Studies 2019;9(1): 97-112.
doi: https://doi.org/10.22628/bcjjl.2019.9.1.97
A Comparative Study of the Difficulty of Translating Haiku
Weihong ZHU
Associate Professor, Shanghai University of Finance and Economics
俳句の漢訳における諸問題―― 松尾芭蕉を例にして
Correspondence  Weihong ZHU ,Email: zhuwh@mail.shufe.edu.cn
Published online: 30 December 2019.
Copyright ©2019 The Global Institute for Japanese Studies, Korea University
This is an open access article distributed under the terms of the Creative Commons Attribution Non-Commercial License ( http://creativecommons.org/licenses/by-nc/4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
It is generally considered difficult to translate poetry, and even more so to translate the Haiku. This is a traditional form of Japanese poetry which is composed of only 17 syllables over three lines, in a “5-7-5” pattern. Therefore, the Haiku is the shortest form of poem in the world. In addition to brevity, it also has the salient characteristics which result from vagueness. Matsuo Bashō has been called “the greatest master of Haiku”, and his poems are not only brief and vague, but also full of “Zen” (meditation), because he was significantly influenced by the thought of Zhuangzi. In the 1920s, Zuoren Zhou, a famous Chinese translator, published “Japanese Poetry” in order to promote Japanese Haiku in China. In that article, Zhou included translations of seven Haikus of Matsuo Bashō. This study compares Zhou’s seminal translations with the translations of other contemporary translators (i.e., Minxin Zheng, Lin Lin, and Yuan Tian), in order to examine the difficulties of translating Haiku in three respects:rhythm, Kigo (season-related words), and Kireji (cutting words).
Keywords: Haiku, Chinese translation, Rhythm, Kigo, Kireji

キ―ワ―ド: 俳句, 漢訳, 音律, 季語, 切れ字
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