Each tanka contains a few examples of simple assonance. In “I waited and I” by Princess Nukada, the long “I” sound is repeated several times. “I waited and I/… My blind” (Nukada 1-3). In the phrase “But… Of the summer mountain” (Mitsune 1-3) in “The End of My Journey” by Oshikochi Mitsune, the words “but,” “summer,” and “of” repeat the “uh” sound. “Now, I cannot tell” by Ki Tsurayuki has examples of both assonance and alliteration. The words “But” and “plum” (Tsurayuki 3) share the same sound, as do the words “place” and “fragrance” (Tsurayuki 4-5). The line “But the petals of the plum/In this place” (Tsurayuki 3-4) is alive with alliteration. In the poem “How Helpless My Heart!” by Ono Komachi, assonance appears in the words “stream” and “reed” (Komachi 2-3) and “helpless” and “tempt” (Komachi 1-2). The first line is also an excellent example of alliteration -- “How helpless my heart!” (Komachi 1), with the “h” sound at the beginning of every word. Finally, the last tanka by Priest Saigyo has the same sound throughout, in the phrase “single thing” (Saigyo 1), as well as the words “changing” (Saigyo 2), “in” (Saigyo 3), and “shining” (Saigyo 5). Assonance is important in these poems because it draws everything in together -- because of the necessary brevity, tankas are at risk of sounding pieced-together and awkward. Inner rhyme also helps the flow of the poem, and strengthens the themes by putting the emphasis on words that sound the same.
Every poem has inner themes of nature, but each deals with a unique issue as well. “I Waited and I” by Princess Nukada is about the ties between two lovers, and how sadness from being separated can break one’s heart. “The End of My Journey” by Oshikochi Mitsune is about a man, who, tired from a long journey, rests briefly in a beautiful spot in nature. This talks about how it is beneficial to sometimes take a break from busy life and reflect. The theme of “Now, I Cannot Tell” by Ki Tsurayuki is more complex -- friends move on in life, but the memories of time spent together still remain. “How Helpless My Heart!” by Ono Komachi is about how the speaker has had his or her heart broken and now feel lost and separated from the rest of the world. The final tanka by Priest Saigyo (“Every Single Thing”) is about how though our lives seem to move fast and sometimes out of control, we can always find something steady to hold on to.
Monday, April 27, 2009
Thursday, April 16, 2009
LRJ 5 -- Tu Fu Poetry Comparisons
The two poems “Jade Flower Palace” and “Night Thoughts Afloat” by Tu Fu are both striking, not easily forgotten fragments of an ancient Chinese civilization. “Jade Flower Palace” has a haunting, chilling mood that transports the reader back into the very image it provokes. “Night Thoughts Afloat” is more calm and gentle, like the waves lapping against the side of a boat. Their tones are similar -- both are lonely, while “Jade Flower Palace” echoes with reminiscent memories, and “Night Thoughts Afloat” seems more hopeless and sad.
The settings in both poems have natural aspects to them. “Jade Flower Palace” flies us to the ruins of an old castle, taken over by nature. It is rustic and overgrown, and the descriptions send shivers down one’s back. Vivid pictures appear when Tu Fu describes how the “wind moans in the pines” (2), how there are “green ghost fires in the black rooms,” (6) and how “their painted cheeks have crumbled/ away” (13-14). “Night Thoughts Afloat,” on the other hand, is in the quiet peace of a river at night, undisturbed by human interference. Gentle scenes from nature both soothe the mind and sadden it, like “bent grasses/ in a gentle wind” (1-2) and “the moon’s afloat/ in this Great River” (6-7). Both poems use many images from nature, as well as lush descriptions and bright colors to convey the emotion of the poet.
“Jade Flower Palace” has more concrete detail contained in it than “Night Thoughts Afloat,” but both poems are in such a dreamlike trance it is hard to pin anything down. In the former, the images of “ruins beside the cliffs” (5) and “only/ a stone horse is left” (14) are stark and realistic, showing how Tu Fu is mourning the loss of perhaps not just the palace. In the latter, “stars hang/ above the broad plain” (5-6) is such a realistic image one can almost believe they are under the exact night sky being described. The phrase also carries a slightly lonely edge, because the stars seem quiet, alone in the heavens, waiting for something that never seems to appear.
The settings in both poems have natural aspects to them. “Jade Flower Palace” flies us to the ruins of an old castle, taken over by nature. It is rustic and overgrown, and the descriptions send shivers down one’s back. Vivid pictures appear when Tu Fu describes how the “wind moans in the pines” (2), how there are “green ghost fires in the black rooms,” (6) and how “their painted cheeks have crumbled/ away” (13-14). “Night Thoughts Afloat,” on the other hand, is in the quiet peace of a river at night, undisturbed by human interference. Gentle scenes from nature both soothe the mind and sadden it, like “bent grasses/ in a gentle wind” (1-2) and “the moon’s afloat/ in this Great River” (6-7). Both poems use many images from nature, as well as lush descriptions and bright colors to convey the emotion of the poet.
“Jade Flower Palace” has more concrete detail contained in it than “Night Thoughts Afloat,” but both poems are in such a dreamlike trance it is hard to pin anything down. In the former, the images of “ruins beside the cliffs” (5) and “only/ a stone horse is left” (14) are stark and realistic, showing how Tu Fu is mourning the loss of perhaps not just the palace. In the latter, “stars hang/ above the broad plain” (5-6) is such a realistic image one can almost believe they are under the exact night sky being described. The phrase also carries a slightly lonely edge, because the stars seem quiet, alone in the heavens, waiting for something that never seems to appear.
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