DEFINITION: The "crystalline" is a new haiku analogue; a seventeen syllable couplet that assimilates as much as possible from the Japanese haiku tradition into the English poetic tradition. A primary concern for the crystalline is the euphony of the verse.

GUIDELINES: The grammar (inflections and syntax) of the lines, which usually comprise one or two sentences in a couplet, should be relatively straightforward and natural. Unnaturally abbreviated or telegraphic grammar is to be avoided. The traditional omission of "understood words" is permissible (e.g., "Catch me." rather than "You catch me.").

Initial capitalization of the first word of a sentence, a proper name, etc., should follow common usage; do not capitalize the first word of the second line solely on the basis of its position. Terminal punctuation also should follow common usage. The versification of the poem into two lines, that is, the couplet form itself, serves the function of the Japanese kireji or cutting word.

All traditional English poetic devices (including, but not limited to, metaphor, simile, alliteration, assonance, consonance, onomatopoeia, allusion, rhyme) which can be used to advantage within the other rules and the set prosody are permissible. In such a short form, verbosity is to be avoided. Poets should strive for highly condensed and concrete imagery that enhances perception and understanding.

Transparency of meaning need not diminish the depth of poetic resonance.

While immediacy is highly desirable and, therefore, the present tense is normative, use of other tenses is not at all prohibited.

PROSODY: A crystalline is, ideally, a couplet of exactly 17 syllables. A couplet may be "regular" or "irregular" depending upon the symmetry of the lines. A regular couplet's syllables are distributed 8+9 or 9+8. Other distributions are "irregular" but entirely acceptable if the verse works best divided unevenly.

A regular couplet is not inherently better than an irregular couplet. It is more important that the lines break where they should (remember the principles of kireji). The crystalline's syllabic limit is consistent with the common western definition of haiku as a "seventeen-syllable poem." A regular crystalline may be iambic or trochaic tetrameter, with or without one excess unstressed syllable, but a completely regular beat can be boring. Writing to a metrical formula will, predictably, yield formulaic, unsatisfactory, verses.

The harmony or beauty of sound that has a pleasing effect to the ear is achieved both by the selection of individual word-sounds and also by their relationship in the repetition, proximity, and flow of sound patterns. This is euphony, more important than strict metrics. Skillful word selection to modify the rhythmic pattern, i.e., modulation, is desirable.

For further study regarding Japanese "on", click here.

LINKING CRYSTALLINES:
A crystalline is an untitled couplet, either a complete poem or a stanza, which follows a strict syllabic verse form, as described in the previous paragraphs. Several crystallines may be linked together as stanzas of a larger poem. In line with the renga tradition behind the development of haiku, alternating crystallines by different poets may be combined in a single poem.

This is not to debar a single poet writing a linked poem, which is entirely permissible. In any such linked crystalline, each couplet must be autonomous, able to stand on its own, yet each couplet must be closely related to its following and preceding couplets; the internal links are substantial so that the whole poem has a poetic unity.

The rhyme scheme for linked rhymed couplets should have sufficient variety to avoid a cloying effect. Three adjoining couplets should not use the same rhyme. Some sample rhyme schemes for linked crystallines include: aa bb cc aa bb cc; aa bb bb aa cc dd dd cc; aa aa bb bb cc cc; aa bb cc bb dd ee ff ee. These are only samples; many other combinations exist.

Also, please do not take these examples to mean that linked crystallines must include 6 or 8 couplets. While 2 couplets (viz., a quatrain) is obviously the minimum, there is no necessary upper limit. The poets need to be able to recognize excess and limit the poem appropriately. Remember, rhyme is not required for a crystalline, but also is not prohibited.

KEYWORDS: The use of keywords (e.g., kigo and analogues thereto) is desirable in order to most succinctly establish a couplet's context, whether the context is a natural surrounding, time of year, or day, or phase of moon, a manmade surrounding, or even a situation.

The success of a poem's keyword depends upon whether it conveys essential information to the reader; it is not dependent upon compliance with a poetic canon of keywords, kigo, etc.. Nevertheless, the poet may be well-advised to consider canonical keywords and kigo precisely for their potential utility.

CONTENT: It is in content that the more fundamental difference from traditional haiku will be found. While traditional haiku value direct observation with the greatest possible degree of non-subjectivity, subjectivity is permissible in a crystalline. The poet's response to the object is admissible. The poet's thoughts and feelings are admissible.

The content of the poem is not of greater importance than the beauty of the language. As stated at the beginning of this article, a primary concern for the crystalline is the euphony of the verse. Now, content is of great importance also, but not so great importance that the beauty of the verses should be sacrificed.

That having been said, poets are advised to keep the haiku tradition in mind, to consider natural elements for each couplet, to consider the poetic value of objective imagery, and to consider the concept of the poem as objective correlative of the emotional and perceptual content which the poet wishes to communicate to the reader. Poets are also advised to keep in mind other haiku techniques such as juxtaposition for resonance and the "third effect."

In summary, three major characteristics of haiku, in western estimation, are the seventeen syllable limit, the kireji (cutting word) and the kigo (season word). The crystalline form incorporates all three of these characteristics. Furthermore, the haiku traditions of natural subjects and of objective imagery / the "objective correlative" are highly valued, albeit not enforced.

This new form is named the "crystalline" because the core value of the form is the highly condensed and concrete imagery of the couplet, transparent in its accessibility. The fact that the name breaks down to "crystal - line" is serendipitous.

Copyright © 2001-2003 by Denis M. Garrison.