Haiku matter. The loosening of traditional standards has resulted in the term "haiku" being applied to brief English-language poems such as "mathemaku" and other kinds of pseudohaiku. Some sources claim that this is justified by the blurring of definitional boundaries in Japan. Subsequent to Paul-Louis Couchoud’s popularisation of the form in France through his essays and translations, the next major haiku collection to appear there was the sequence of war poems by , "Cent visions de guerre" (1916). Later haiku by him were included among the work of the twelve published together in the "Nouvelle Revue Française" (No. 84, September 1920),
Haiku the 5-7-5 pattern. Although the word ""on"" is sometimes translated as "syllable", one "on" is counted for a short syllable, two for an elongated vowel or doubled consonant, and one for an "n" at the end of a syllable. Thus, the word "haibun", though counted as two syllables in English, is counted as four "on" in Japanese (ha-i-bu-n); and the word ""on"" itself, which English-speakers would view as a single syllable, comprises two "on": the short vowel o and the . This is illustrated by the Issa haiku below, which contains 17 "on" but only 15 syllables. Conversely, some sounds,