英語のガザル（ウルドゥー詩で最も人気のある詩型）について解説し、ウルドゥー語やパキスタンの他のインド・アーリヤ諸語で俳句を書く伝統が出てきたことに焦点を当て、講演を行います。

学生、教職員から一般の方まで、どなたでもお気軽にご参加ください。

なお、講演は英語で行われます。

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東洋から西洋へ、西洋から東洋へと文学の移植はなにも目新しいものではない。英語やヨーロッパ諸語で書かれた俳句の作品量は膨大である。さらに最近は多くのアメリカの詩人たちが、（できにムラはあるが）英語のガザル（ウルドゥー詩で最も人気のある詩型）を書くことに挑戦している。

本講演では、英語のガザルについて解説し、ウルドゥー語やパキスタンの他のインド・アーリヤ諸語で俳句を書く伝統が出てきたことに焦点を当てる。初期の試みでは、日本の俳句そのものというよりもむしろ、五・七・五の音に注目している。題材、形象、風趣については、パキスタンの俳人はガザルやルバーイー（四行詩）という古典ウルドゥー文学の詩型に依存している。

その結果、混合詩型「シェール俳句」、すなわち、西アジアの押韻の伝統と、ガザルおよび川柳への関心が高まり、その作り方が結合したものができあがる。（文責：西岡美樹）

The Cypress for the Pine Tree, the Chrysanthemum for the Rose:
Transplanting Traditional Literary Genres
Peter Edwin Hook
Universities of Michigan and Virginia

It is a commonplace that poetic and other literary genres are fundamentally mobile. In early stages of English rhyme was borrowed from outside and went on to replace alliteration as the chief segmental invariant informing English verse. Syllabic prosody was adopted from Continental sources and eventually replaced accent-based prosody. The sonnet, the villanelle, the sestina are all imports. In fact, transnational diffusion of formal pattern is found in the history of every mature literature. The introduction of regulated verse forms ( lü-shi and jie-ju ) during the High Tang was (according to Mair and Mei) stimulated by exposure (along with Buddhism) to Sanskrit quantitative prosody. The haiku has become an entrenched fixture in many of the world's literatures (including in Urdu). And there has been no shortage of traffic in literary forms from the West to the East.
In this talk I examine two attempts to adopt and adapt genres of traditional poetry involving South Asia, in the first case as donor, and, in the second, as recipient.

1. The novelty of the freedom from thematic unity offered by the ghazal has attracted the attention of many Anglophone poets. While the absence of an established tradition of oral performance of poetry in the West may be a social impediment to the full development of the English ghazal , in this paper I wish to examine the ghazal 's prospects both as a cultural phenomenon and a linguistic form. Do the formal restrictions of the ghazal provide too little room for the poet "to turn around in"? Are its formal characteristics too intrusive to allow the English ghazal the depth and range of its South Asian models?
In short, how well-suited is the ghazal to the typological characteristics of English (and other western European languages)?
2. Perhaps because of their brevity and few formal constraints the writing of haiku in languages of wider communication has become a common activity around the world in elementary schools as well as elite literary circles. The medium through which knowledge of haiku has spread to South Asia is English. But while the tradition of writing haiku in America and Europe is old and mature enough to yield some satisfying results, the successful transplantation of the form to developing nations has still a long way to go. This paper examines recent attempts at composing haiku in Urdu and other regional languages of Pakistan. In it I will show that 99% of Pakistani haiku are much closer to being senryu , not because Pakistani poets intend to cultivate the senryu , but because in composing a haiku they have immediate recourse to the native tradition of writing ghazals composed of couplets or shers and can't help thinking of the haiku as being a new (and briefer) kind of sher . Thus Pakistani haiku have rhyme and regular meters (like shers ), treat the usual religious, erotic, philosophical, and political topics commonly addressed in shers , and verge on the epigrammatic.

In my paper I will give examples of successful (and not so successful) efforts to (re)create the ghazal in English and the haiku in Urdu.