1.2. V isual imagery in Basho’s poem of the prostitutes written in spring 1689
Under one roof, prostitutes, too, were sleeping;
the bush clover and the moon Suzuki, 1988: 230
The poem captured the view of the roof, the prostitute, the bush clover and the moon. This poem seems strongly suggest a calm image that bring the
messages of Japanese life. The calm image of the poem suggest the sadness situation of Japanese people. Basho lived in Tokugawa period 1615-1868, The
era of war and poverty even starvation. Basho’s poem pictured that poverty. This scenery
pictured Basho’s feeling of empathy. In Basho’s poem of the prostitutes, Basho employs visual imageries, the
flowering bush clover was lightened under the moon. Basho also employs the house of prostitutes, prostitutes, and the moon.
1.3. Visual imagery in Basho’s stormy sea poem written in autumn 1689
Stormy sea- Stretching out over Sado,
Heaven’s River Bahmil, 2004: 97
In the first line of his Haiku, Basho wrote the expression of his feeling of gratitude of the greatness of sea.
Basho also wrote about the Heaven’s river. Image of the light in the sky is mainly red and green, seen in the sky at night
stretched near north pole until north Asia. www.naturefacts.comarticleaurora. In Basho
’s stormy sea poem, Basho employs visual imageries, the wavy sea in the first line, the night sky and the aurora in the last line.
1.4. Visual imagery in Basho’s poem of dragonfly written in autumn 1690
Dragonfly Unable to hold on
To the Grass Blade Bahmil, 2004: 114
This poem contains the intense of visual image of the dragonfly Basho came back to Ueno in autumn 1690, when he stood to look the dragonfly flew
around. His eyes watched the dragonfly with high intensity. In this poem there is also the grass as a visual image. Then the dragonfly flew lower to the grass on the
ground. In Basho’s poem of the dragonfly, Basho employs visual imageries, the
dragonfly, the grasses, and the grass blade.
1.5. Visual imagery in Basho’s cherry tree’s poem written in spring 1691
Year upon year Fertilizing the cherry trees:
Blossom dust Bahmil, 2004: 121
This poem imagery is visual image of the cherry trees. In this poem the cherry trees appear as a focus. Cherry trees in Japanese culture is a significant
image, as a flower that grows in Japan and becomes time signal. Cherry trees is japanese national symbol.
Basho lived on the hill and found another experience that when one thing goes away, the new thing comes.
In Basho’s poem of the cherry trees, Basho employs visual imageries, the cherry trees, and the bloosom dust.
2. Auditory Imagery in Basho’s haiku
2.1. Auditory imagery in Basho’s frog poem written in spring 1686
Old pond- a frog jumps in,
water’s sound Bahmil, 2004:54
In his Haiku he wrote in line three it is written ‘water sound’. It is sound of
a frog that jumps in to the pond, and in a second there is a sound when the frog hit the surface of water.
One of the variant sound that is heard in the reader’s imagination is when this line is read, the sound will be heard
‘plup’. In Basho’s poem of the frog, Basho employs auditory imagery of the
water’s sound. The water’s sound of the splashing water when the frog jumps into the pond.
2.2. Auditory imagery in Basho’s stormy sea poem written in autumn 1689
Stormy sea- Stretching out over Sado,
Heaven’s River Bahmil, 2004: 97
The wavy sea made a loud voice, Basho wrote his experiance when he saw the power o the stormy sea, which means there are crashing sound of the waves
and the sound of the wind. In Basho’s poem of the stormy sea, Basho employs
auditory imagery of the sound of the storm, and the sound of the wavy sea.
2.3. Auditory imagery in the Basho’s cicada’s cry poem written in summer
1690
Soon to die Yet no sign of it:
A cicada’s cry Bahmil, 2004: 114
Kategori