A haiku with juxtaposition / Mizu No Oto - Every Image Has Its Haiku Contest - WEEK #9
Dear friends of Steemit, it has been a very pleasant circumstance to have found the beautiful @bananafish contest, Mizu No Oto, which is now in its ninth week.
Fotografía de @f3nix, proporcionada por los organizadores del concurso.
Haiku is such a sophisticated form of poetry. It always had a special interest for me, however, its difficulty chickened me. The encounter with the @bananafish initiative gave me the impetus I needed to write and learn about this art.
So, in order to do it with method, I will try to explore each one of the characteristics of the haiku that review @bananafish (here). I'll start with the so-called kireji.
Let's see how they define it:
• Kireji (切れ字), a cut between the 1st and the 2nd verses, or between the 2nd and the 3rd; the cut can be grammatical, as a sign of punctuation, or it can be a cut in the meaning, like two different images.This is what we know in Spanish-language poetry rhetoric as the figure of juxtaposition.
This figure manifests itself at the syntactic level as the combination of sentences whose logical implications we want to put in contact. The relationship between these sentences is established by means of punctuation signs (comma, semicolon, colon, including periods). Something similar happens when we want to put in contact images, metaphors, symbols... realities created by language, so that they construct an implicit dialogue.
Fotografía propia. LGPhoenix3
As a discursive resource, this figure exceeds the composition of haiku. It is a way of logically synthesizing ideas. What we would like to describe as one of the forms of elegance of thought.
Having said that, all that remains is to place my poem, in which I have tried to work the juxtaposition.
I am grateful for your readings.
Good luck!
Presento mi haikú en mi lengua materna:
La piedra arraiga
su duro ojo en la nube:
¡Elevación!
English Version
The stone takes root
his hard eye in the cloud:
Elevation!
Textos consultados
Helena Beristáin (1995). Diccionario de retórica y poética. México: Porrúa.
José María Pozuelo Yvancos (2003) Teoría del lenguaje literario. Madrid: Cátedra.
Posted from my blog with SteemPress : http://adncabrera.vornix.blog/2018/11/19/a-haiku-with-juxtaposition-mizu-no-oto-every-image-has-its-haiku-contest-week-9/
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Sublime as the statue itself.
A haiku of amazing strength, @adncabrera.
I appreciate the unusual and elegant metaphorical game of your haiku, which is traditionally simple and plain in their use of language, although profound in meaning. The juxtaposition has been achieved perfectly. One can see how lines one and two mirror line three, and there’s the instant magic of realization right there on the spot, which is that moment the poet wants to express through poetry like this.
Long time ago, peasants took great pleasure in haiku writing (peasants who had the talent); they relied on the images of the countryside, on simple things which conveyed marvelous epiphanies. However, today the city with its hardness and coldness emulates memories of fauna and flora starring in the quotidian scenes of the modern movies of our hectic and fabricated biosphere. Our eyes scan for Zen moments among cosmopolitan puzzles, and bricked-up doors to nature.
Thanks for sharing and good luck ♥
Bienvenida en Mizu no Oto! Gracias por tu explicaciòn del kireji y por tu hermoso haiku!
Agradecida con usteds por la oportunidad y el impulso para aprender.