By Noriko Takeda
In its foreign and cross-cultural evolution, the modernist circulation introduced the main striking achievements within the poetry style. via their fragmented mode by way of semantic scrambling, the modernist poems search to embrace an indestructible solidarity of language and artwork. so as to elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering observe applies C. S. Peirce’s semiotic conception to the valuable 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)
The original Japanese of the first piece, in which the words for “the star” (“hoshi”) and “now” (“ima”) The Japanese Reformation of Poetic Language 31 are connected by the shortest tie of one syllable “of” (“no”), forcibly scrambles the dimensions of time and space in this collection; simultaneously, the speaker’s passionate voicing strongly reverberates bodily rhythm in real life. From the very beginning, the reader is compelled to read the work, not only following the syntagmatic line with a finale at the 31st syllable, but also managing to grasp the entire volume as one synthesized complex whose elements are closely connected beyond the boundary of each one-line Tanka, a breath of catharsis connecting death to life.
But, in point of fact, an inquiry, to have that completely satisfactory result called demonstration, has only to start with propositions perfectly free from all actual doubt. If the premisses are not in fact doubted at all, they cannot be more satisfactory than they are. (Collected Papers of Charles Sanders Peirce 5: 233) In Stevens’s expression: What our eyes behold may well be the text of life but one’s meditations on the text and the disclosures of these meditations are no less a part of the structure of reality.
G-S, 134) Yosano Akiko’s symbolist humanism brought the expression “The water withers— / Regrettable” in the previous section 4. ” In later years, enjoying foreign air in a flaming French field, Yosano Akiko enhances the animated cosmos with the incantation: “Coquelicot, coquelicot, both you and I” (Natsu yori aki e, published in 1914). Following the central image of the diversified crown, “Tangled Hair,” the outcry of consumption from the first two pieces of the last section, “Thought in Spring,” draws the whole work to the finale at a breath.