Tag Archive: fall



autumn haiku d’automne – chiaroscuro = clair-obscur 

chiaroscuro
light alights on fallen leaves
à la Monet

fallen leaves a la monet 620

clair-obscur –
feuilles mortes illuminées
à la Monet

Richard Vallance


autumn haiku d’automne – never mind the rain = peu importe la pluie

never mind the rain
falling on us, fallen leaves –
cherish our colours

rain on maple leaves autumn 620

peu importe la pluie
sur nous, les feuilles tombées –
chéris nos couleurs 

Richard Vallance


We have reached 300 pins on our PINTEREST group, Canadian haiku canadiens, since September 2018

Depuis septembre 2018 nous avons atteint 300 pins sur notre groupe PINTEREST, Canadian haiku canadiens.

Click here to visit = cliquer ici pour le visiter :

300 pins Canadian haiku canadiens


Yes, it is really true! So this means my friends and I have composed 300 haiku and senryu since September 2018.

Oui, c’est la vérité. Ça signifie alors que mes amis et moi, nous avons composé 300 haikus et senryus depuis septembre 2018.


autumn haiku d’automne – the stone angel = l’ange de pierre

the stone angel
on her children’s tomb –
infinity’s love

stone angel


l’ange de pierre
sur la tombe de ses enfants –
l’amour infini

Richard Vallance


autumn haiku d’automne – a woodcock = une bécasse

a woodcock
in the underbrush
sprinkled by cold rain

woodcock in the underbrush haiku 620

une bécasse
dans le sous-bois froid,
mouillée de pluie 

Richard Vallance


autumn haiku d’automne - fallen maple leaves = feuilles d’érable

fallen maple leaves 
on a pile of soaking logs
where a field mouse hides

fallen maple leaves haiku 620

feuilles d’érable
sur une pile de bois mouillé,
cachette d’une souris

Richard Vallance


haiku d’automne – quaffing wine = dégustons le vin

quaffing wine
in our wine cellar  –
pouring outside

quaffing wine 620

dégustons le vin
dans la cave à vin –
averses dehors

Richard Vallance


5 more illustrations of the 4 major Japanese season kigo, fuyu = winter, haru = spring, natsu = summer and aki = autumn:


seasonsd

seasonsc

seasonsb

seasonsa

4 seasons in kanji



autumn haiku  d’automne – russet bonzai

the last vestige
of a frosty fall – 
russet bonsai

russet bonsai 620

le dernier vestige
d’un automne glacé-
bonsai roux

Richard Vallance

Reprint from Canadian Zen Haiku canadien, ISSN 1705-4508, Vol. 4., no. 4, autumn 2006

Réimpression tirée de Canadian Zen Haiku canadien, ISSN 1705-4508, Vol. 4., no. 4, automne 2006


Why do I write so many haiku? 

Why do I write so many haiku

To put it in the simplest terms I can, because I am so deeply inspired by the astounding beauty of our country, Canada. Being Canadian, I am naturally always moved by the vastness of the natural world in Canada. But that is not all. That is why the vast majority of my haiku are, in a word, uniquely Canadian. Of course, I also write haiku about other places in the world, as well as senryu. I am prolific in haiku, simply because I love them, no matter who writes them, so long as they are beautifully composed. I also published a quarterly haiku journal, Canadian Zen Haiku canadiens, ISSN 1705-4508, from 2004-2010.

Canadian Zen Haiku quarterly

As it so happens, I have been a natural-born poet most of my adult life. I used to write hundreds of sonnets, and I even published a multi-lingual international sonnet anthology, The Phoenix Rising from the Ashes, which features some 200 sonneteers and poets from around the world.

So you see, poetry, and above all haiku, comes so naturally that it is second-nature to me.  


As of December 29 2018, we have 100 haiku on our PINTEREST board, Canadian haiku canadiens. Click to visit:

Canadian haiku canadiens 100 haiku December 29 2018 620





new PINTEREST group, Canadian haikus canadiens


new PINTEREST group, Canadian haikus canadiens

Canadian haikus canadiens620


where you will find absolutely all of the haiku I have written right up to date. So if you are a member of PINTEREST, I sincerely hope you will follow this wonderful group, in which all of the haiku are posted by season, spring, summer, autumn and winter. To date (December 3 2018), there are 44 haiku here. I shall add each and every haiku I compose to the group.

Thanks!

Richard

autumn haiku d’automne = misty forest – forêt brumeuse


autumn haiku d’automne = misty forest – forêt brumeuse

flashlight forest

misty forest
rustling leaves  –
wobbly flashlight

 forêt brumeuse
bruissement des feuilles –
torche * oscillant

Richard Vallance

d’habitude « torche électrique » mais cette expression est trop longue dans un haiku.





autumn haiku, rain = haikus d’automne, la pluie


autumn haiku, rain = haikus d’automne, la pluie 

leaves rustling620

a beautiful contribution having nothing to do with Linear B = ma belle contribution qui n’a rien à faire avec le Linéaire B.

leaves rustling
on our cabin’s windowsills
while dreaming of them ...

froissement de feuilles
sur les rebords des fenêtres
l’on y rêve ... 

rainfall drumming
on our cabin’s windowsills
sweeping leaves off ...

averses frappant
les rebords des fenêtres
balayant les feuilles ...

© by Richard Vallance Janke 2018 (All Rights Reserved = Tous droits réservés)

I have to print the text here because it is too small on the graphics. J’ai à reproduire les textes puisque les caractères de l’impression graphique sont trop petites.

Happy New Year 2017 in Linear B, Greek, English & French!


Happy New Year 2017 in Linear B, Greek, English & French! 

happy-new-year-2017



The Gezer Agricultural Almanac 925 BCE, Comparison Between the Paleo-Hebrew Alphabet on it & Mycenaean Linear B: Click to ENLARGE

Gezer Calendar or Almanach 925 BCE original versus Linear B

The Gezer Agricultural Almanac or Calendar was discovered in 1908 by R.A.S. Macalister of the Palestine Exploration Fund during the excavation of the ancient Canaanite city of Gezer, 32 kilometres to the west of Jerusalem. Inscribed on limestone, it describes monthly or bi-monthly periods of agricultural activities such as harvesting, planting or tending to specific crops. Paleo-linguistic scholars are divided concerning the language it is written in, some believing it to be Phoenician, others Proto-Canaanite, otherwise known as Paleo-Hebrew. But since the tablet makes as much sense in Paleo-Hebrew as it does in Phoenician (even though the translations must perforce differ), this raises a serious question which cannot be safely ignored over the perceived theoretical or actual relationship between the Phoenician and the Paleo-Hebrew alphabets, which in turn raises the further question whether or not Paleo-Hebrew is itself directly derived from Phoenician. Although open to dispute, if this notion holds any water, then the Proto-Canaanite or Paleo-Hebrew alphabet may very well be directly derived from the Phoenician, in which case even the ancient classical Hebrew alphabet, spawned from Paleo-Hebrew, is also indirectly derived from the Phoenician alphabet, despite appearances to the contrary.

But the vein may run even deeper. Since many scholars believe that the Phoenician alphabet grew out of Egyptian hieroglyphics, this in turn implies that the ancient Paleo-Hebrew alphabet at least is indirectly descended from Egyptian hieroglyphics. But there is a further complication. Since Paleo-Hebrew post-dates the almost identical syllabaries, Minoan Linear A by 7 centuries & Mycenaean Linear B, the latter falling into obscurity with the destruction of the Mycenaean civilization ca. 1200 BCE, fully 200 years before the advent of Proto-Canaanite, what are we to make of that? This is all the more pressing an issue, given that no fewer than 12 of 61 or 20 % of Linear B syllabograms look strikingly like the Paleo-Hebrew letters on the Gezer Calendar? if in fact it is written in Hebrew.

For the sake of argument and sheer practicality, let us say it is. If that is the case, then we have to wonder whether or not both the Phoenician and Proto-Canaanite alphabets were actually at least partially derived from either Minoan Linear A or Mycenaean Linear B or both. Given this scenario, it is open to serious doubt whether or not the Phoenician and Paleo-Hebrew alphabets were exclusively derived from Egyptian hieroglyphics alone. This hypothesis cannot be safely ignored, given the striking similarities in particular characters in all 4 of these scripts, Minoan Linear A, Mycenaean Linear B, Phoenician and Paleo-Hebrew. However, there is a wrench in the works. If this hypothesis is correct, then why on earth did both the Phoenician and Proto-Canaanite alphabets lose the five vowels of their more ancient predecessors, Minoan Linear A, Mycenaean Linear B? So we are left with an irresolvable conundrum.

Nevertheless, this hypothesis does raise doubts over Egyptian hieroglyphics being the sole ancestor of the Phoenician and Paleo-Hebrew alphabets. Why so? ... because neither Minoan Linear A nor Mycenaean Linear B are the offshoots of Egyptian hieroglyphics. Back to our messy little paradox. The Gezer Almanac is held in the Archaeological Museum Artifacts Collection of the Istanbul Archaeological Museums (ISTANBUL ARKEOLOJI MÜZELERI), here:

Istanbul Archeological Museums Logo
In the next three posts, I shall:

1. post a table illustrating the comparison between the Phoenician and Paleo-Hebrew alphabets, which are almost identical;
2. draw a thorough comparison between the Paleo-Hebrew letters (consonants only) on the Gezer Almanac and the 12 syllabograms + one ideogram in Mycenaean Linear B which resemble them;
3. translate the Gezer Calendar into Mycenaean Linear B, to clearly demonstrate the extremely close parallel in the efficacy of both scripts for statistical inventories. If anything, this remarkable parallelism reinforces the possibility that the Phoenician and Paleo-Hebrew alphabets may at least partially be outcrops of Minoan Linear A (preceding them both by at least 700 years) & Mycenaean Linear B, disappearing two centuries prior to widespread appearance of the former at the outset of what is commonly and largely erroneously referred to as the Dark Ages of the early Iron Age (ca. 1100-780 BCE).

Richard

							
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