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Analysis of the Haiku structure

learning to eat
around bruises
winter apples

apprendre à manger
autour des marques de coups
pommes d’hiver


Debbi Antebi, UK
cco 2019-02-1

Commentaire.

Un haïku qui me semble dire quelque chose d’autre que ce qui est écrit. C’est la technique du discours feuilleté. Un discours de surface recouvre un ou plusieurs autres avec lequel il partage des similitudes et des sèmes. Ici, on sent quelque chose mais on ne peut le définir clairement. Cette disposition donne de sa force au texte. Il nous reste bien des interrogations et des hypothèses, une fois le texte lu.

Keywords

apple winter eating fruit

Structure of this haiku.

Used techniques :

* auteur - Presence of the author.
Presence of the author in the haiku, the author stages himself but does not necessarily speak about him.

* S21 - Caesura between L2 and L3.
Caesura between L2 and L3.

* psycho - Haiku with a psychological background.
Haiku can have a reading level that expresses an underlying psychological situation that is still active. It is not sure if this analysis is accurate. It can simply exist in the reader's mind. It is almost always absent from the author's intention, as can be seen from the author's request for information.

* feuilleté - Multilevel discourse, layered haiku.
Haikus with two (or more) reading levels. A first objective level referring to a situation, another underlying level saying something else. The Chinese are fond of this type of discourse with many levels.

These various levels may be conscious or unconscious.

We find a little bit of this technique consciously applied in the weather haiku. The weather element can be understood as an mention to the weather and as the element that creates the atmosphere of haiku.

The two levels of discourse are conscious and disjointed and well visible in haiku tanka, of which they form the two parts. However, they overlap in the layered haiku.

Translated with www.DeepL.com/Translator

* lectures - Multiple readings. Several possible meanings.
Haiku has several possible meanings but always at the surface level. It is not a question of a layered discourse where the meaning of surface and deep differs. Not to be confused with layered discourse with a surface discourse and one or more deep discourses.

* absence - The main element is not explicit.
The haiku is structured around an unnamed element to which each image refers. The interest is to save the space that would be used by naming the element while having the effect it produces.

The haiku can appear as a vault from which the scaffolding has been removed. If the haiku is well composed, the main element is absent but everything refers to it.

This technique delays storage in memory because the reader must complete the discourse with the unnamed element so that the haiku is unambiguously understandable. It then acquires a higher memory weight.

Archetypes and dialectics

* T_Immobile - Frozen Time.

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