truism

Unknowing Escapists

 

 

 

 

 

 

 

Unknowing Escapists 

 

 

 

Death, ..not proud—So sleep!

...dreaming of thy softer skin

—Thee—objectified!








Author's Notes/Comments: 

Reedited on 07.19.2019, 07.18.2019, 07.17.2019 (On clarifications, disambiguation, misspelled/mistyped words, grammatical/semantical errors):  Upon reviewing my notes/comments, I could not help but notice something that I had to revise.  I have edited that something in my Author's Notes/Comments, for some time, yet I had not been able to update and indicate those in the former reedition (I may have forgotten it).  Some of my previous grammatical/semantical errors were corrected/edited; but that had also lent itself to being still erroneous after I had found out about the others/another, consequently.  Those were the scruples which I had, i.e., in noticing/not noticing/ignoring an unedited/missed part, i.e., of a sentence (that was erroneous & that which was consequently omitted.)

 

The idea behind this practice poem is certainly not an allusion to John Donne's famous line or to his poem, although it sounded like it—in fact, it was sort of in my head before this was done (I do not know about his poetics until later on, after doing this).  But the usage might easily denote such notions or concepts which you might have in mind already (a correlative or a relation/association to this).  The phrase first came to mind while I was in my first few steps of composing something (which I wanted to pull off in the creation process alone & not necessarily done while visualizing my supposed ends).  That might/could be dangerous if it was Magic.  I did not know what had prompted me.  It does not necessarily end up as I supposed to have wanted it to come off (in that it was not my endpoint, to think about it).  My orientation is/was not in that specified way, as for most poetic styles &/or semblances with each poems that are rather perceptual (aside from being already conceptual).  Generally.  It is a moot point to take note of the circularity of such philosophical arguments (e.g., especially at this time) which I could have done with the rest of my haiku adaptations during the last.  I kept on feeling awkward at using haikus in the first place, or for taking on the minimalistic Japanese approaches/styles (& the use of blank spaces), just to go about such particular pieces of "literary work".  I especially connote my written English aside from my own thoughts about the subjects (&/or objects) that comprise the 'denotata'/'designata' at the moment.  Besides, if you might want to really know about my objectives, you may outright realize that these would be my test pieces or guides for mapping out my whole understanding of Language.  I just hope that this note's real message (real intention) comes across and becomes well received in conjuction with the poem's explanation/history/reason/etc. as in the other author's notes/comments that went before this.

Silvery Appearing On Dark

 

 

 

 

 

 

 

Silvery Appearing On Dark

 

 

 

Why like this—are we

While you're lying on the ground

Bedstead hovering









Author's Notes/Comments: 

This poem is reedited on 07.12.2019.

 

A replacement/substitution of a specific phrase "bed base" to the word "bedstead" was made unto the last line to properly denote what I had in mind earlier on.  I wanted to achieve something that I formerly thought would better represent those ideas (the intended imagery which was originally imprinted in my mind/thoughts during my initial creative process).  The specific word was not known to myself yet, or I also have no exact vocabulary word for that specific thought.  Neither do I know really how to call it, up until this point, because of the many specified ways to call something that resembles a type of a bed. This poem, therefore, might be tentative for that reason (due to the limited vocabulary words that I possess & for yet clarifying such undetermined objects in my mind).  Thank you for reading on.

Teacher

 

 

 

 

 

 

 

Teacher


 

True.  I am learned.  But—

I don't apply what I've learned

See you tomorrow









Preacher

 

 

 

 

 

 

 

Preacher

 

 

—Truly righteous.  But...

No better than a mystic

Ah, divine nature...








The Smell of Bog

 

 

 

 

 

 

The Smell Of Bog

 

 

Old ways, olden days

Can it impart wisdom now?

Peats, earthworms, rhizomes—

 

 

 

 

 

 

 

Author's Notes/Comments: 

Reedited 07.17.2019 (italicization of a phrase "Old ways" in the first line of the poem), 06.26.2019 (misspelling of occurring, a single "r" in occuring was changed to occurring):  



Once more, I've come up with a practice haiku to reflect upon something naturally occurring.  It may even be seen as rather banal (and/or clichéd) that it might sound as if drawn out from a science textbook explanation.  However, if you like the natural sciences (or if you are in love with nature), then you probably have heard of boggy wetlands & seen swampy marshes.  Until then, I would suppose you could relate to this particular haiku.  My real reason for composing this is quite a private one, for it was coming from the sheer original intentionality of recording just another mental note (& its relevancy to me, hence).  It is definitely not an aspect of an autobiographical note, it just seems that I have slipped into a kind of a reverie, whereof I have contemplated on a "correlative" about the earth/soil & the smell of turd one night.  It is a basic assumption to an end to every supposed life cycle.  Which is why I thought of its gravitas, that despite being imminent in this correlation to the undoubtable reality of his or her temporal existence, that is a paradox in itself.  Therefore my poem, in this manner of a haiku, is intended to also be reflective of old age & the ageing process—& its trappings.  Yet due to the mysterious properties of time, there is always a particular wisdom that is being imparted or shared wherever/whenever there's an unwarranted rumination (such as this, whence).  Some could have referred to an event and equate it to indirect learning (versus a self-directed one); but, as to learning experiences, in the circle of life, if constantly passed onwards, every imaginable generation espouses the same kind of conditioned existence (as regards to Media Cultures and the whole of humanity).  It need not be a catechismal byproduct of a certain religious order because we are cultural products in ourselves.  Like, perhaps, looking intently at the prominence of our public intellectuals, with their erudition & elucidations (e.g., in their online presences in social media), the same could be my theme.  In one's own right, there seemed to be a historical perspective which is to be conveyed here.  My poem could also be a reminder that they, too, have once lived throughout their youth; for that reason, someone (or something) has to have also taught them something (or anything/about something).  It is a sort of a passed on wisdom.  It is a recurring process.

Orchestrated Flowers

 

 

 

 

 

 

Orchestrated Flowers

 

There are fake people

in terms of situations,

and the way they live








Author's Notes/Comments: 

This is just another of my haiku practice poems that I've decided to compose one time.  The theme could be as clear as day & has an equally clear metaphor if not in your face, crystal clear allusion to social realities (or, at least, the conscious thought of it).  The simple goal was to enrich my poetic know-how in terms of understanding both the deep and surface aspects of language & meaning (in light of some of Chomsky's take on Linguistics vs. other theories of language).  The English words could involve various elements/parts from my general use and those might include the semantic & semiotic relationships.  Simplistic and shallow as it may seem, with my learning objectives in mind, to capture the real essence of a haiku (while I'm on this undertaking) could be deemed worthwhile even though I pretty much have believed beforehand that I have not even gotten closer to my goals, as far as how the Japanese poets have done their haikus is concerned (the original Japanese approach to poetry).  The reason, I have always believed it to be, was about my turn of mind (as compared to theirs, the very Japanese people/poets/artists)..or other influential factors within one's own mental environment.  Thank you for looking on!


Forest I

 

 

 

 

 

 

 

Forest I

 

 

Sleeping while awake

A log must notice mushrooms

Feeding off of him








Author's Notes/Comments: 

A "haiku" that emerged from this unholy time of day (wee hours) which must be a direct result of an experience or, maybe, just another well-constructed, affected poem to depict or evoke something that is yet to be discovered or untangled (all according to time).  It could be a philosophically directed theme since it is using vague references (my unusual metaphors) despite the use of ordinary language.


Trees On Here (First Haiku, ca. '19)




Trees On Here (First Haiku of 2019)

 

Raindrops have been drained

Taking things with it on earth

Life demystified









Author's Notes/Comments: 

This is just a first ever attempt at composing a "haiku" (a Japanese poem/poetic style or form, described as traditionally evoking nature—according to my mobile device's built-in definition).  It is, in fact, my first ever haiku this year (the year 2019).  The poem was meant to be an affected poem, since it was originally done with little clue about the Japanese mindset & was considered to be a practice poem batched with another similar poem (my first ever "tanka" composition: Trees In The Green).  The motivation for it was neither considered meaningful nor entirely meaningless, also (to be quite descriptive about its neutralist view of the whole process).  Not meaningful in that the metaphor might not really consist a significant/insignificant part among the majority of my entry posts; but just by virtue of, admittedly, trying to make this type of a poem for its objective praxis.  Therefore my compositional skills is on its experimental stages.  Please kindly bear with me.


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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!