Tanka

beauty and sadness

 

 

 

 

 

 

beauty and sadness

 

 

whence, the pretty girl

who is adorned with makeup;

and falling for her

without much thinking of what

the consequences will be—








Author's Notes/Comments: 

Reupdated 01.18.2020:

 

I have omitted two hashtags (#dewdrop & #dewdrops) that were included by mistake, while doing the prior editing (i.e., cutting and pasting the hashtags from another poem during those earlier postings).

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a fertile ground

 

 

 

 

 

 

 

a fertile ground



as I hiked up there,

to that slender chance

of finding real love—

the tender kisses of hers

were just the dewdrops on leaves








Author's Notes/Comments: 

Reedited on 01.24.2020:



I can not help but review and double-check my works from time to time (for its accuracy, consistency, and intentionality such that to correlate phenomenology, in relation to metaphysics and one's own poetics and for my own literary development).  Those are just aspects of my poems, yet instead not disregarding the refutal of the obvious of just being myopic in one particular genre or aspect.  There are other sociological/social, linguistic or philosophical aspects that, in fact, encompass within that conscious thought, which is mainly the reason why I had to give my explanations (or its explananda/explicandum and explicantia) to some of these edit's comments; perhaps, you can already find such an edition in so many of my poems where I also had already given some author's commentaries which you can read by now.   I discovered some past erroneous input while contemplating on those factors stated above (and even long before, in my other comments), after which I thought that I had to clarify those (especially in a computer-mediated communication, where intentionality & other factors are taken for granted, yet instead that which may contribute to miscommunicated thoughts, misperceptions, and whatnot).  In doing so, I can not help but notice just another error at this hour (e.g.:  I have, therefore, supplanted "  'The tender kisses of hers were just the dewdrops on leaves' for 'the tender kisses of hers'.  Thank you for" for " 'The tender kisses of hers were just the dewdrops on leaves' for 'the tender kisses of hers were just the dewdrops on leaves'.  Thank you for" in my last edit).  



Unedited, retained, cut-and-pasted version (of that section containing the error):


"The tender kisses of hers were just the dewdrops on leaves" for "the tender kisses of hers".  Thank you for



Reupdated/reedited/emended/revised on 01.23.2020:

 

 

(Edit/correction:  I simply have supplanted

"The tender kisses of hers

were just the dewdrops on leaves"


for


"the tender kisses of hers

were just the dewdrops on leaves".)

 

 

I have mistakenly left out a capitalized letter that should not be capitalized (just in order to conform to this type of a tanka style).  This has occurred while, I believe, I was in the process of reediting during the last (when I also have regularized some of my other haiku's/tanka's capitalization in the same manner.  Those reeditions included the regularization or resizing of texts in each line/verse (in the most recent days of their composition).  They were intended to look like the other lowercase letters both in the former, and most current, English tankas that I have done which were intended that way (i.e. to not be capitalized).  If you may have noticed, I have sometimes changed the style of my English-Japanese poems (e.g., my English tanka/haiku poem entries) a bit..for experimentation, as I have continued figuring on my poetry/poetics or literary development.  Therefore, I had merely supplanted "The tender kisses of hers were just the dewdrops on leaves" for "the tender kisses of hers were just the dewdrops on leaves".  Thank you for reading on.



Unedited, retained version:

 

 

 

 

 

 

 

a fertile ground



as I hiked up there,

to that slender chance

of finding real love—

The tender kisses of hers

were just the dewdrops on leaves







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Munting Tubigan (Sa Kabihasnan)

 

 

 

 

 

 

 

Munting Tubigan (Sa Kabihasnan)

 

 

Mayroon bang mas

hihigit pa sa ilog?

Sa kanyang simoy..

Tahimik na agusan,

haplos para sa hapdi—








—'Tis More Fun Using

 

 

 

 

 

 

 

—'Tis More Fun Using

 

 

'Tis more fun using

—money in my pocket, but

I know where it's from...

From other people's pockets

I'm now on top of the world

 

 

 

 

 

 

 

Author's Notes/Comments: 

Reedited 12.04.2019 (some sentence/paragraph emendations which included misspelling corrections & misidentified/misused words); 11.23.2019 (I have supplanted the previous commentary emendation); 09.04.2019:

 

that spur, was seemingly a corresponding familiar song (i.e., either something out of a Carpenter's song or its title), I simply then came to the conclusion that it was indeed an American/English idiomatic expression that relates to its real connotation (the expression, versus the Carpenter song title—contrastingly—where it was actually derived from, & whose real lexical meaning was what I also have meant to relay).  But not to outright convey the distinctively intended (versus an oblique intention) meaning.  Thank you for reading on.

 

 

The Immoralists Next Door

 

 

 

 

 

 

 

The Immoralists Next Door

 

 

 

There is/was a struggle

The scuffle of symbolists

Dreaming of Succor

Masturbation & Comfort

Left & Right, Neither Right nor Wrong—







Caught In-between Toxic Thoughts

 

 

 

 

 

 

 

Caught In-between Toxic Thoughts

 

Please don't fade away

the Color of jet-black shirts

Tumbling through washes

Forever stressed, stretched, laundered

Just to clean impurities








Author's Notes/Comments: 

 Reedited 07.11.2019, 07.08.2019; 07.03.2019; 07.02.2019; 06.26/27.2019 (for general grammatical &/or semantical errors, misspelled words, & ambiguities/clarifications):  

 

This is, indeed, just another "tanka" exercise.  Like most of the other tankas that have been published here, for the same stated purposes, they were also primarily intended for me to learn from the get-go.  That was the surface reason:  in understanding my own notions of the poetical distinctions between a tanka & a haiku (&/or/versus other poetical forms, their fundamental use as a vehicle for expression in classic/modern/postmodern literature; still considered as modes of expression anyhow despite the varying adaptations even up to now, especially in my investigations of the "indeterminacy of translation", Quine).  Nonetheless, I do not intend to make anything more out of them other than that which was stated, i.e., the didactic part of it.  It neither means anything more than that which was implicitly explained nor anything else that may possibly be assumed (assumptions that may also be expected, which might precede these developments as they get showcased or self-published).—Because it is also a learning experience, so to speak a synonymy of a learning objective, I solely wanted to learn (& relearn the essences) about how language(s) (or theories of language, in general) are distinguished in respect to its many contradistinctions/aspects/properties/use/etc., ie., descriptivism vs prescriptivism, how those [said features] interrelate to meaningfulness/meaninglessness to either myself or others, & penultimately how the Japanese, themselves, supposed to have intended their own expressions/ideas to mean—in relation to my "own" usage).  Of course, that could still mean going to back to historical accounts of their own systematized body of knowledge in its foundational knowledge (as pertains to literature & those multifarious factors that have mainly contributed to those movements (i.e., in their art forms).  I know of the basic premises..that there must exist, either metaphysically or empirically, a divide between two cultural traditions and how my poems could be considered too synthetic, by comparison.  An intellectual's pursuit (e.g., his intellectualisation about anything, or for the matter at hand) can be only deemed so (a so-called "claim", even by him); one may even seem to appear megalomaniac, because like a maxim, that's how intellectualizing may look like (e.g., that's how it may appear to work within a particular linguistic/phenomenological/logical system).  But more than this, there is still an overriding principle which is my aim, i.e., to further analyze the philosophical distinctions between them, as well (when observed through a wide-ranging lens or purview/scope which also could mean its "analyticity" in regards to theoretical analyses that span intersubjectively, e.g., trans-/inter-/multi-/cross-disciplinarity).  Pretty much how Quine have been said to have arrived at one of his theses about translation &/or his ideas on synonymy—as by having his pragmatic stance on one of those said theses (versus, in what I've studied so far, e.g., logicists/logical positivists vs. the continental philosophers' take on Linguistic Philosophy & other sociolinguistical concepts and theories which I will mention in the next instance when given a chance).  There is no definite goal to be achieved right now, but for my own self-discovery of my casual use of language by its direct/indirect applications (about effective communication/communicative action) and for enhancing my unripe understanding of the dichotomies involved in  semantics/pragmatics/syntactics/semiotics which could be one instance alone of that exercise in my daily application.  It is, in fact, a part of current curricula in Sociology & Psychology (according to one of my co-workers).  In an English-speaking world, where English is predominantly taught as primary subject matter in most learning institutions, my self-directed studies may be deemed significant by my own standard of measure due to it has given me a good start to align certain variables versus many other linguistic factors/phenomena (social phenomena) & other traditions in the Western analytic tradition (in Philosophy, as by the use of the English language or its translations from German & French or Latin/Greek for use in both Continental & Analytic Philosophy).  Howsoever, this concept that I just had formed here may be deemed insignificant by others, e.g., in another [specified] way or contrastingly. It is both a phenomenon and a noumenon (e.g., if one should go by Kant's basic descriptions of such).

Trees In The Green




Trees in the Green

 

A view of the trees

Remembering that they are

life forms jutting out

In cemetery prairies

Also, in parks & parklands

 







Author's Notes/Comments: 

Reedited 08.31.2019 (corrected a misspelled word in the Author's Notes/Comments: introspecive - intros*pective); 07.05.2019; 07.02.2019 grammatical error correction: (due *to, versus due *from, self-directedness versus self-directed learning)  


Reedited 06.22.2019 (for corrections regarding the mismatched syllables in the last line which was not seven syllables (when I thought it was before), if the 5-7-5-7-7 basic tanka description is to be followed.  This error was intuitable in that specific time, yet the error was still committed because I thought that I was doing it right  (I would recall that it was possibly due to excitability in those initial moments; & which I only have been able to finally confirm along the way by verifying its initial descriptive notion as I went over it this time (ipso facto, earlier today).  This is a helpful aid in my self-directed learning since this was an issue with descriptivism.



06.07.2019 reedition (for grammatical & semantical errors):



This was just an attempt at composing a "tanka" after a very, very long time that I had not composed one.  Although not published here, I have known that I have created some Japanese poems beforehand  (in the decades that are passé).  Believing, at first, that I was mindfully creating a haiku, which was my 'real intention' (until this was being thought out right now), my recounting proved that I am mistaken (mostly due to the descriptions I once held in my mind to be 'true'—e.g., a 'Gettier problem', in an epistemological sense).  In my mind, I was wanting to make a poem, in short verses.  And I could not help but recall the 'Japanese art', until later when I began realizing that—via a causal relation—"I might have gotten something wrong" (also by virtue of merely going by the term's/definition's sake).  Both of their definitions were readily available in my mobile device's built-in dictionary & are easily accessible; yet despite that obvious breakthrough of technological convenience, I figured that it is not enough for me to truly grasp the essence of such a particular Japanese "art form" (from an 'a priori' knowledge).  And then, somehow, the 'a posteriori' notion prodded me because of this process in my introspective/reflective note/commentary). This particular poem, (i.e., an actual example of my 'tanka') has got me in that realization.  Its poetic style have me liking it more, which emphatically may have quite something to do with why I liked it all the more (because of its refined/distilled appeal).  Quite, I liked it so much (I thought)..even though I still have yet to figure out both of their distinctive qualities (i.e., tanka vs. haiku) which does not warrant a self-directed learning in any way.  Right now, I cannot yet say why, in terms of technicality, because I just wanted to emphasize a 'particularity' whenever I expound on its adverbialism (in this respect, with my objectification/objectivity).  The rest would be left to the spontaneity of the learning experiences of life.  Although, truthfully, a tanka - how my experimentation turned out to be, has that totally different approach & meaning to poetry (as compared to a "haiku")..while I mistakenly was thinking that I was actually composing a haiku for that matter.  That spontaneous occurrence mattered in that it happened aptly, when I would have liked it to be happening at this time.  The end result is valuable empirical data [outcome].—The mobile device, where the sources of informational products were "actually" taken from, & that which had provided me with the quickest possible reference at the time, was just a particular "language text" defining the "definiendum" ["tanka"].  This was seemingly the recallable driving force and decision point for its final publication.  Thus, it ended up here, howsoever, & that had also given me enough (or more) reasons to examine my poems—in this capacity.  Once again, I apologize for my long notes (which you can expect sometimes whenever I have something to post/to share here).  Kindly please pardon my philosophizing as I have tried to give my comment on several accounts or viewpoints (a multiperspective approach with a lot of contextual dimensions & intertextuality).  Thank you for looking on!