THE MANIFESTATION OF KIGO IN THE POEM “FOUR SEASONS”

УДК 81'1

Abstract

Poetry is a literary form that expresses the beauty of nature, human emotions, and life experiences through rhythmic and artistic language. Its meaning is conveyed not only through the literal sense of words but also through their aesthetic, symbolic, and evocative qualities. Although profound emotions and natural landscapes can be described in prose, poetry communicates them with greater conciseness and emotional intensity. Even short poetic forms can capture a particular atmosphere and convey deep meanings through carefully chosen words. Poetry occupies an important place in literary education, and students are introduced to both the appreciation and composition of poems as part of the school curriculum. Nevertheless, writing poetry remains challenging for many learners because it requires not only linguistic competence but also creativity and an understanding of poetic conventions. This study investigates the possibility of composing haiku in the Mongolian language. It examines the structural and aesthetic characteristics of the Japanese haiku tradition and explores how these features can be adapted to the linguistic and cultural context of Mongolian. Through comparative and descriptive analysis, the study demonstrates that haiku can be successfully composed in Mongolian while preserving its essential poetic qualities. The findings suggest that adapting haiku into Mongolian contributes to the diversification of poetic expression and promotes intercultural literary exchange.

Аннотация

Поэзия является одной из форм художественного выражения красоты природы, человеческих чувств и жизненного опыта посредством ритмичного и образного языка. Смысл поэтического произведения передаётся не только через прямое значение слов, но и благодаря их эстетическим, символическим и эмоционально-выразительным свойствам. Несмотря на то, что глубокие чувства и красоту природы можно описать в прозаической форме, поэзия позволяет передать их более лаконично, выразительно и художественно. Даже небольшое по объёму стихотворение способно создать определённую атмосферу и выразить глубокий смысл с помощью тщательно подобранных слов.

Поэзия занимает важное место в литературном образовании, поскольку в рамках учебной программы учащиеся знакомятся с искусством чтения, анализа и создания стихотворных произведений. Однако сочинение стихов остаётся сложной задачей, требующей не только владения языком, но и творческого мышления, а также понимания принципов поэтической композиции. Настоящее исследование посвящено изучению возможности создания японских хайку на монгольском языке. В работе рассматриваются структурные и эстетические особенности традиционного японского хайку, а также анализируются возможности их адаптации к языковым и культурным особенностям монгольского языка. На основе сравнительного и описательного методов исследования установлено, что создание хайку на монгольском языке возможно при сохранении его основных поэтических характеристик. Полученные результаты свидетельствуют о том, что адаптация жанра хайку способствует обогащению выразительных возможностей монгольской поэзии, развитию новых поэтических форм и укреплению межкультурных литературных связей.

Keywords: Haiku; Japanese poetry; Mongolian poetry; kigo (seasonal words); kireji; poetic structure; intercultural literary exchange.

Ключевые слова: хайку; японская поэзия; монгольская поэзия; киго (сезонные слова); кирэдзи; поэтическая структура; межкультурный литературный обмен.

Introduction

In the early 1960s, the renowned Mongolian poet B. Yavuukhulan translated poems by Matsuo Bashō, a prominent representative of Japanese haiku, from Russian into Mongolian. Since then, many poets and researchers have translated haiku into Mongolian and have continued to make valuable contributions to Mongolian literature.

While Mongolian readers initially became acquainted with haiku poetry through translations, a considerable amount of time has now passed since the emergence of a new poetic genre known as “Mongolian haiku.” Haiku is a form of concise poetry, and the creation of numerous Mongolian haiku poems that express profound meanings using the minimum possible number of words in the Mongolian language demonstrates the expansion and development of Mongolian poetry. Haiku poetry has three main characteristics: a short one-stanza structure consisting of 17 syllables arranged in a 5–7–5 pattern, the use of kigo (a seasonal word or keyword expressing a particular season), and kireji (a cutting word that conveys a modal or emotional nuance). A classical haiku can be created when these three essential features are incorporated into the translation or composition of haiku. Since haiku poems are commonly translated and presented in three lines, they are generally understood as a three-line poetic form in Mongolian literary practice. However, in the original Japanese tradition, haiku is conventionally written as a single-line poem, while the three-line format is primarily a feature of translation and typographical presentation in many other languages.

The famous Mongolian poet D. Natsagdorj composed his poem “Four Seasons” in 1929, reflecting Mongolia’s four seasons, climate, traditional lifestyle, Mongolian worldview, and culture. This remarkable work is one of the most widely known poems among Mongolian readers. By selecting and analyzing the kigo—the seasonal keywords—in this poem, this study aims to contribute to future practices of translating and composing haiku poetry. In other words, this paper examines whether it is possible to compose poems in Mongolian that incorporate the structure and characteristics of haiku. It also aims to clarify whether Mongolian poetry can be interpreted through the concept of kigo in haiku. The aim of this study is to examine whether the characteristics of haiku, particularly the concept of kigo, can be applied to Mongolian poetry.

The objectives of the study are:

1. To analyze the seasonal expressions (kigo) found in D. Natsagdorj’s poem “Four Seasons”;
2. To identify how Mongolian natural environment, lifestyle, and cultural traditions can function as seasonal symbols in poetry;
3. To explore the possibility of composing haiku in the Mongolian language while preserving its essential poetic characteristics.

Materials and Methods

The main research material of this study is the poem “Four Seasons” written by the renowned Mongolian poet D. Natsagdorj in 1929. This poem was selected because it represents Mongolia’s four seasons, natural landscapes, traditional pastoral lifestyle, and cultural worldview.

The study employs descriptive and comparative research methods. The seasonal expressions related to spring, summer, autumn, and winter were selected and analyzed according to the concept of kigo in Japanese haiku poetry.

The research methodology includes:

• identifying words and phrases representing seasonal changes in the poem;
• comparing these expressions with traditional Japanese haiku kigo;
• analyzing their relationship with Mongolian culture, nomadic life, and natural environment;
• evaluating the possibility of adapting haiku principles into Mongolian poetic practice.

The analysis focuses particularly on three main aspects of haiku:

1. seasonal representation through kigo;
2. concise expression of natural and human experiences;
3. emotional and symbolic meanings conveyed through poetic images.

When composing haiku in the Mongolian language, it may not always be possible to follow the traditional 5–7–5 syllable structure. However, it is considered possible to incorporate seasonal keywords that represent Mongolian lifestyle, culture, and traditions, as well as kireji that conveys emotional and modal meanings. To demonstrate this, the present study analyzes how kigo is reflected in the poem “Four Seasons,” written by the renowned Mongolian poet D. Natsagdorj in 1929, a work composed before the poet was familiar with the characteristics of haiku poetry. The analysis results are presented in the following table.

Table 1. Analysis results

Results and Discussion

The analysis demonstrates that D. Natsagdorj’s poem Four Seasons contains numerous expressions that function similarly to kigo in Japanese haiku poetry. These seasonal keywords represent not only changes in nature but also the traditional lifestyle, cultural values, and worldview of the Mongolian people. These expressions reflect Mongolia’s severe winter climate and the adaptation of nomadic communities and livestock to harsh natural conditions.

The findings indicate that although Mongolian poetry does not necessarily conform to the traditional Japanese 5–7–5 syllabic structure, it is capable of incorporating the essential characteristics of haiku, particularly the use of seasonal keywords (kigo) and symbolic imagery. Recent studies on haiku translation have shown that preserving kigo and kireji remains one of the greatest challenges in translation, while seasonal expressions are generally retained more successfully than the original syllabic structure [1].

The nomadic pastoral culture of Mongolia offers rich opportunities for creating poetic imagery associated with the four seasons. Although Japanese civilization developed primarily within an agricultural context and Mongolian civilization evolved through nomadic pastoralism, both cultures share a deep awareness of four distinct seasons. This common environmental foundation provides favorable conditions for developing a Mongolian form of haiku rooted in local cultural traditions. Recent research further emphasizes that kigo should be understood not merely as seasonal markers but also as cultural symbols that embody ecological knowledge, collective memory, and literary traditions [6].

Haiku is widely regarded as a philosophical poetic form because it conveys profound meaning through concise and indirect expression. Rather than explicitly stating an idea, the poet invites readers to discover deeper meanings through imagery, symbolism, and emotional resonance. Contemporary studies have also demonstrated that seasonal imagery functions not only as an indicator of time but as a cognitive and cultural framework that shapes poetic interpretation [5]. Therefore, the adaptation of haiku into Mongolian should be understood not merely as a process of linguistic translation but as a creative cultural transformation that enriches the expressive potential of Mongolian poetry

Conclusion

Eastern literature represents an important and distinctive component of world literature, reflecting unique cultural values, philosophical perspectives, and ways of understanding human relationships with nature and society. Due to differences in historical development, geographical environment, lifestyle, customs, and traditions, literary expressions vary across cultures. Nevertheless, the translation and creative adaptation of literary works between cultures serve as significant means of promoting intercultural communication and enriching national literatures.

Poetry, as a form of cultural expression embedded in language, provides valuable insights into the worldview and aesthetic values of a nation. Since the introduction of haiku poetry to Mongolia, Mongolian poets and researchers have engaged in translating, interpreting, and experimenting with this poetic form from their own cultural perspectives. This process has contributed to the diversification and development of Mongolian poetic expression. Haiku is a concise poetic genre that unites images of nature with human emotions and conveys profound meanings through carefully selected words. Although Japanese and Mongolian cultures have developed different lifestyles—Japan being traditionally associated with settled agricultural culture and Mongolia with nomadic pastoral culture—both societies share a deep appreciation of seasonal changes and the relationship between humans and nature. These common elements create possibilities for adapting haiku principles to the Mongolian literary context. The findings of this study indicate that, although the traditional Japanese 5–7–5 syllabic structure cannot always be directly applied to Mongolian due to linguistic differences, the essential characteristics of haiku, particularly the use of seasonal keywords (kigo) and emotional expressions similar to kireji, can be incorporated into Mongolian poetry. Seasonal symbols derived from Mongolian natural environments, pastoral traditions, and cultural practices provide rich resources for creating original Mongolian haiku. Further systematic research on seasonal imagery and symbolic expressions in Mongolian poetry will contribute to a deeper understanding of the relationship between Japanese haiku and Mongolian poetic traditions. Such studies may also provide a theoretical foundation for both the translation of haiku into Mongolian and the creation of original haiku works within the Mongolian language and cultural context.

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