By Eliot, Thomas Stearns; Mallarmé, Stéphane; Yosano, Akiko; Takeda, Noriko; Mallarmé, Mallarmé Stéphane; Eliot, Eliot Thomas Stearns.; Yosano, Akiko
In its foreign and cross-cultural evolution, the modernist circulation introduced the main amazing achievements within the poetry style. via their fragmented mode by means of semantic scrambling, the modernist poems search to include an indestructible solidarity of language and paintings. so as to elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering Word applies C. S. Peirce’s semiotic concept to the important works of 3 modern writers: Stéphane Mallarmé’s past due sonnets, T. S. Eliot’s Four Quartets, and the japanese prefeminist poet, Yosano Akiko’s Tangled Hair.
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Extra info for A flowering word : the modernist expression in Stephane Mallarme, T.S. Eliot, and Yosano Akiko
Commanding a panoramic observation of the upper and lower worlds, Rossetti’s cosmic ballad must have played a major role in the creation of Yosano Akiko’s expansive poetic universe. ” The piece, apparently rivaling the positivity of the world, intensifies laconism by superimposing ominous images. The repeatedly verbalized negativity turns to be allegorically too dense, without given syntactical explication in the restricted 31 syllables. The density equals the strategic equivocation by which the reader simply romanticizes the author-speaker’s real state of mind: The harp I sold out Tenaciously conveyed to me The buzzes of a pathetic piece; A black lily snapped In the devilish darkness.
The Waka authors participate in a euphoric fusion for an eternal life comprising all, by way of language. Their words are thus productively self-effacing as the communicative node for differential signification. Negishi school’s metonymic Nature poetry of “absence,” developed by the followers of Shiki, situates itself as another avant-gardist point for the traditional Waka of the overall oneness: When cowherds begin To make poems, Many new styles In the world Will spring up. (By Ito- Sachio) (B-T, 158) Out on the lake This ice has melted.
Thus authenticated internally and externally, the 31-syllable short poem was successful in inculcating poets with its conventional aristocratic requirements, which imposed limitations both on the themes and terms. As is indicated by Anthony Thwaite (XXXVIII), “unrequited or fading love, the sad lessons of transience which nature teaches us, the quiet pleasures of solitude” were to be enveloped by the “gentle melancholy,” or “mono no aware” in Japanese. The pathetic fusion was expressed in the selected vocabulary that followed “strong restrictions for the combination of words” (Kawamoto, “Haiku no shigaku” 85–87).