By Noriko Takeda
In its overseas and cross-cultural evolution, the modernist move introduced the main outstanding achievements within the poetry style. via their fragmented mode through semantic scrambling, the modernist poems search to include an indestructible cohesion of language and artwork. which will elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering notice applies C. S. Peirce’s semiotic thought to the significant works of 3 modern writers: Stéphane Mallarmé’s overdue sonnets, T. S. Eliot’s 4 Quartets, and the japanese prefeminist poet, Yosano Akiko’s Tangled Hair.
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Additional resources for A Flowering Word: The Modernist Expression in Stéphane Mallarmé, T. S. Eliot, and Yosano Akiko (Currents in Comparative Romance Languages and Literatures, Volume 67)
Her white body is thus armed by masculinity, simulating the pregnant motherhood. The equality of superimposed voice, light, water, jewel, hair, sun, body, and cosmos dazzlingly imposes the absolute oneness as the structuring principle of the real world. The reader is pushed to live the overall image itself in the work’s intoxicating brightness. The luminous image becomes an ode to the universe with the accumulated reflections among the mirroring sea of 399 Tanka pieces. Yosano Akiko’s forwarding voice may be qualified as the avantgardist summer thunderbolt: its overpowering sound is evaluated as a “youthful, strong echo” (Hinatsu, Meiji Taisho- shijin 144); Shinma Shinichi mentions its “sharpness” cutting through the traditional Waka’s ambiguous generality (98).
The Waka’s 31 syllables must be a recorded everyday landscape behind which to discover the essence of the poet’s ephemeral self. Exemplifying his method of mimesis advocated in “Utayomi ni atauru sho” (“The Manual Given to the Waka Poets”), Shiki wrote a Tanka suite featuring the self-effacing voice sunk under the heap of metonymic elements of Nature observable in his death bed: The Japanese Reformation of Poetic Language 49 The wisteria cluster Thrust into the vase Is so short It does not reach As far as the tatami.
Did the peach blossoms hear? (G-S, 49) The second section with a foregrounded ship and box symbolizes enclosure, or human efforts in particular. It is at noon, on the margin of morning. The “ship” has just finished its return trip, as a spaceship, from the esoteric cosmos to the lower land; the lotus flowers, especially white ones, suggest the prenatal state of potential as a sacred sign of Buddhism closest to absence. The third section, “White Lily,” represents an allegorical conflict between chastity and sensuality: Her pride, Standing like a white lily; Her beauty, As a hibiscus Flowering in vermillion!