What is the meaning of Pomegranates poem by Sin Hum?
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Pomegranates Analysis
It rained last night. The pomegranates,
Red and orange-red,
Have all burst open into flower.
Not to be comforted,
I sit in this cool pavilion
Set in a lotus lake
And under its glass-bead curtains wait
The poem, Pomegranates, looks Japanese Haiku because its first stanza is written in three lines with no rhyming of the words, and it is Korean sijo for it is a three-line observation about a fleeting moment involving nature. Though it is arranged into two stanzas, its movement is described in three parts, such as the opening description, which talks about the natural setting, the second part, which has a turn right from its first line, and a twist arises in the last line of the poem. However, just as this poem has been translated, it seems to have copied the subliminal four-line structure by using two rhymes, for example; “orange-red/comforted” and “lake/break” – which punctuates the ends of four “lines” of equal syllabic length.
But let me tell you that the Korean verse isn’t syllabic but accentual, and the most important thing to be noted here is that each of these lines contains two phrases, which get separated by a pause for breath. This rhythmical consistency makes it quite clear that the primary object of singing sijo was to wind accompaniment.
It rained last night. The pomegranates,
Red and orange-red,
Have all burst open into flower.
Not to be comforted,
I sit in this cool pavilion
Set in a lotus lake
And under its glass-bead curtains wait
The poem, Pomegranates, looks Japanese Haiku because its first stanza is written in three lines with no rhyming of the words, and it is Korean sijo for it is a three-line observation about a fleeting moment involving nature. Though it is arranged into two stanzas, its movement is described in three parts, such as the opening description, which talks about the natural setting, the second part, which has a turn right from its first line, and a twist arises in the last line of the poem. However, just as this poem has been translated, it seems to have copied the subliminal four-line structure by using two rhymes, for example; “orange-red/comforted” and “lake/break” – which punctuates the ends of four “lines” of equal syllabic length.
But let me tell you that the Korean verse isn’t syllabic but accentual, and the most important thing to be noted here is that each of these lines contains two phrases, which get separated by a pause for breath. This rhythmical consistency makes it quite clear that the primary object of singing sijo was to wind accompaniment.
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