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Poem of Return by Jofre Rocha: Questions and Answers – Analysis

Poem of Return by Jofre Rocha: Questions and Answers - Analysis

Poem of Return by Jofre Rocha Analysis: Questions and Answers

Introduction to “Poem of Return” by Jofre Rocha: Questions and Answers – Analysis

“Poem of Return” by Jofre Rocha stands as a poignant reflection on exile, return, and the enduring scars of conflict. This analysis explores the depth of Rocha’s work through a series of questions and answers , delving into the significant elements of diction , imagery , and tone that shape the poem’s profound messages. Each question aims to unravel the layered meanings and emotions embedded in the text, providing insights into how the poem communicates the complex realities of those who stayed behind during times of upheaval, as well as the personal turmoil of the returning speaker. This approach not only enhances understanding of the poem’s literary qualities but also offers a broader perspective on its social and historical contexts, revealing why Rocha’s voice remains essential in discussions of resistance and remembrance in literature.

Poem Overview

“Poem of Return” by Jofre Rocha is a poignant reflection on the feelings of displacement and longing associated with exile. Rocha’s choice of imagery vividly conveys the raw emotions of returning to a homeland marked by conflict and loss. Instead of conventional welcomes like flowers, he seeks elements that bear witness to his homeland’s hardships—dews, dawn’s tears, and the pervasive hunger for love and understanding that characterizes his poetic voice.

About the Poet: Jofre Rocha

Jofre Rocha , whose birth name is Roberto Antonio Victor Francisco de Almeida, was born in 1941 in Caxicane, Angola . He adopted the pseudonym ‘Jofre Rocha’ as a ‘war name’ during Angola’s struggle for independence . Rocha’s early life in rural Angola was deeply influenced by political unrest and guerrilla warfare, prompting his family’s move to Luanda where he became an active political activist. His activism led to his imprisonment between 1961 and 1968 , a period during which he also pursued his academic studies.

Post-Independence Career

After Angola gained independence in 1975 , Rocha continued his involvement in politics as a member of the ruling MPLA party . He held various government positions and significantly contributed to the cultural landscape of Angola as a founding member of the Union of Angolan Writers . Rocha’s extensive body of work includes over twenty-two works in seventy-three publications, highlighting his prolific contributions to literature and social thought.

Literary Themes and Diction

The diction in “Poem of Return” is carefully chosen to reflect deep-seated emotional and physical landscapes. Terms such as “Land of Exile” , “dews” , and “drama” convey both the physical reality and the emotional weight of exile and return. The phrase “immense hunger for love” and the “plaint of tumid sexes” illustrate the complex interplay of desire, conflict, and the human condition that Rocha often explores in his poetry.

Rocha’s poetry is not just an expression of personal sentiment but a broader commentary on the socio-political conditions of Angola during a tumultuous period. His works serve as a bridge between personal experiences and national history, providing a powerful voice for those who have suffered displacement and longing.

Summary and Analysis of “Poem of Return”

“Poem of Return” by Jofre Rocha is an introspective piece that explores the complex emotions tied to the poet’s anticipated return to his homeland after a period of exile. The poem is structured around the speaker’s reflections on his displacement and the struggles endured by his compatriots in his absence. It captures the profound sense of loss, missed opportunities, and the alienation felt in a “land of exile and silence,” suggesting dissatisfaction and unhappiness in the host country.

Reflections on Exile and Return

The speaker contemplates his return with mixed feelings, addressing the contrast between his survival in exile and the sacrifices made by those who stayed behind. He explicitly states that he does not view himself as a hero, underscoring a sense of guilt for having survived while others suffered or died under oppressive conditions. This sentiment is expressed through his refusal of traditional symbols of welcome like flowers, instead requesting tokens that symbolize the true cost of the struggle endured by his people—tears, dews of dawn, and the intense yearning for connection and love lost during the years of conflict.

Themes of Guilt and Heroism

The poem delves into themes of guilt and the nuanced definition of heroism. Rocha challenges conventional notions of heroism, redirecting admiration towards those who remained in the homeland, fighting against colonial and oppressive forces. This perspective is a poignant reflection on the personal and collective sacrifices that define political and social struggles.

Cultural and Political Commentary

Through his vivid imagery and emotional depth, Rocha also critiques the lasting impacts of colonialism, war, and exile on personal and national identities. The poem is a powerful lament for the “lost opportunities, mourning, and sadness” brought about by these forces, offering a voice to the often silent suffering and resilience of the oppressed.

Jofre Rocha’s “Poem of Return” not only narrates a personal journey but also serves as a broader commentary on the socio-political upheavals experienced by Angola. It encapsulates the complex emotions of returning to a place that has endured much suffering and transformation, making it a significant piece in the study of post-colonial literature and the human condition.

Line-by-Line Analysis from “Poem of Return”

Line 1-2: refusal of flowers.

In the opening lines, the speaker states, “When I return from the land of exile and silence, do not bring me flowers.” This explicit rejection of flowers, traditional symbols of celebration or a hero’s welcome, sets a somber tone for the poem. The speaker does not view his return as a triumphant event but rather as a reflective and profound acknowledgment of ongoing struggles.

Line 3-4: True Heroes

The speaker deepens the narrative by emphasizing respect for those who stayed behind and faced the harsh realities of conflict. He shifts the honor to those who bear the scars of war, stating, “Bring me rather all the dews, tears of dawns which witnessed dramas.” This line elevates the survivors and fighters as the true heroes, focusing on their resilience and sacrifices rather than his own journey back.

Broader Implications

These lines underscore a profound sense of solidarity and reverence for his fellow countrymen and women who endured suffering and fought against the oppressors. The speaker’s return is framed not as a personal triumph but as a humble reintegration into a community that has endured much pain and loss. Through this stanza, Rocha articulates a narrative that challenges conventional notions of heroism, instead highlighting the collective struggle and the emotional and physical toll it exacts on those involved.

Line-by-Line Analysis of Stanza Two from “Poem of Return”

Update on home.

In this stanza, the speaker seeks an update on the events that transpired during his absence. He expresses a desire to reconnect with the experiences of those who remained, underlining his need to understand and empathize with their struggles.

Line 5-6: Dramas Witnessed

The speaker asks to be brought “all the dews, tears of dawns which witnessed dramas” . This metaphorical request emphasizes his desire to absorb the raw emotions and significant events that unfolded—reflecting the intensity and the impact of the conflicts endured by his community.

Line 7-8: Shared Pains

Continuing from the previous thought, he seeks a deeper emotional connection by experiencing the collective pain, “Bring me the immense hunger for love and the plaint of tumid sexes in star-studded night.” These lines convey his need to feel the pains and the deep-seated yearnings that his people suffered, drawing him closer to the shared human experience of his community.

These lines showcase the speaker’s profound need to empathize with and understand the emotional and physical toll on those who stayed behind. By immersing himself in their experiences and suffering, he seeks not only knowledge but also emotional solidarity with the ongoing struggles of his homeland. This stanza highlights his transition from an individual returning from exile to a member of a community bound by shared pain and resilience.

Focus on Fallen Heroes

In this stanza, the speaker shifts focus to commemorate those who fought and died in the war of liberation, particularly those who did not live to see the day of independence.

Line 9-10: Tribute to the Fallen

The speaker repeats his request from the first stanza, emphasizing, “When I return from the land of exile and silence, no, do not bring me flowers …” This repetition serves as a somber reminder that traditional symbols of welcome or celebration are inappropriate given the sacrifices made.

Line 11-14: Honoring Their Last Wishes

He asks to be brought “only, just this—the last wish of heroes fallen at day-break” . The phrase “heroes fallen at day-break” poignantly symbolizes those who died at the beginning of a new era, just as independence dawned. The mention of “a wingless stone in hand” suggests unfulfilled potential and unfinished battles, while “a thread of anger snaking from their eyes” implies lingering resentment and unresolved struggles.

This stanza serves as a tribute to the martyrs of the liberation struggle, highlighting the profound loss and the unfinished nature of their fight for freedom. By focusing on these fallen heroes, the speaker underscores the deep scars left by the war and the ongoing need for remembrance and justice. The imagery used enriches the narrative, adding layers of meaning to the sacrifices that shaped the nation’s history. This stanza not only reflects a personal journey of return but also a collective memory of loss and the enduring spirit of resistance.

The structure of the Poem

Form and structure of “poem of return”.

Jofre Rocha’s “Poem of Return” employs a form that is evocative of contemporary poetry while deviating from classical structures such as the sonnet. Here are the key features of the poem’s form and structure:

Non-Sonnet Structure

Despite consisting of 14 lines, the poem does not conform to the traditional sonnet structure, which typically features a specific rhyme scheme and a volta (turn of thought). Rocha’s choice emphasizes the modern and free-flowing nature of his poetic expression.

The poem makes extensive use of enjambment, where one line flows into the next without terminal punctuation, contributing to a more conversational and urgent tone. This can be seen in transitions between lines such as 5-6 and 7-8, where the continuation of thought across lines mirrors the ongoing and unresolved issues addressed in the poem.

The repeated phrase “do not bring me flowers” acts as a refrain throughout the poem, enhancing its musical quality and reinforcing the central theme of rejecting traditional celebratory gestures in favor of a more profound and somber reflection.

The poem is written in free verse, typical of contemporary poetry, which allows for greater flexibility in expression and structure. This format supports the poem’s thematic exploration of freedom and constraint, mirroring the poet’s own experiences with political censorship.

Unequal Stanza Length

The division into three stanzas of unequal length reflects the varying intensities and focus of the thematic elements discussed in each section. Each stanza introduces a different perspective or element of the speaker’s anticipated return, from the personal to the collective, from the emotional to the commemorative.

Use of a Pseudonym

The use of a pseudonym by the poet, necessitated by censorship, adds another layer of complexity to the poem, highlighting the risks and constraints under which the poet operated. This background enriches the reader’s understanding of the poem as not just a personal narrative but also a political statement.

This form and structure analysis reveals how Rocha’s techniques contribute to the depth and impact of his poetry, reflecting both personal experiences and broader socio-political themes.

Deep Analysis of “Poem of Return” by Jofre Rocha

Stanza one: exile and isolation.

Line 1: The phrase “When I return from the land of exile and silence” highlights the speaker’s certainty and inevitable return to his homeland, despite currently being in exile. The term “land of exile” suggests a place of forced retreat, while “silence” underscores the isolation and lack of communication with loved ones, amplifying the emotional pain of his separation.

Line 2: “do not bring me flowers.” The use of the imperative “do not” reveals a commanding tone. The speaker rejects traditional celebratory gestures, such as flowers, which symbolize happiness and welcome. This rejection reflects his feelings of guilt for having left his countrymen to endure the struggles alone, and his view that his return does not warrant celebration due to the ongoing suffering of others.

Stanza Two: Yearning for Connection and Witness to Suffering

Lines 3-4: “Bring me rather all the dews, tears of dawns which witnessed dramas.” This command, repeated for emphasis, expresses a desire to be connected to the intense experiences—both natural and human—that persisted in his absence. The personification of dawn as a “weeping witness” and the harsh alliteration of “d” sounds emphasize the severity and sadness of the events witnessed.

Lines 5-6: “Bring me the immense hunger for love and the plaint of tumid sexes in star-studded night.” Here, the speaker underscores the deep human need for intimacy and connection that he missed. The words “immense” and “plaint of tumid sexes” highlight the physical and emotional longing exacerbated by separation due to exile.

Lines 7-8: “Bring me the long night of sleeplessness with mothers mourning, their arms bereft of sons.” These lines depict the endless sorrow of mothers who lost their sons to conflict or exile. The prolonged “night of sleeplessness” symbolizes the ongoing distress and worry over the safety and fate of loved ones.

Stanza Three: Homage to the Fallen

Lines 9-10: The repetition of the first line of the poem emphasizes that the speaker’s return should not be seen as a celebratory event. The forceful “no, do not bring me flowers”_ underlines his insistence on not being treated as a hero, reflecting his ongoing internal conflict and sense of guilt.

Line 11: “Bring me only, just this” The redundancy in “only, just this” stresses the singularity and importance of his request, focusing on the essence of what he feels is necessary for his return.

Line 12: “the last wish of heroes fallen at day-break” suggests that the fallen heroes’ last desires were for the dawn of a new era of change, which they did not live to see. This metaphor of “day-break” as both a literal and symbolic new beginning underlines the tragic timing of their deaths at the cusp of change.

Lines 13-14: “with a wingless stone in hand and a thread of anger snaking from their eyes.” The “wingless stone” symbolizes the unfulfilled potential and actions of those who died without seeing their efforts come to fruition. The imagery of “anger snaking from their eyes” conveys a deep-seated resentment and the poisonous legacy of colonial oppression that continues to influence the living.

Overall, Jofre Rocha’s “Poem of Return” is a complex reflection on exile, loss, and the burdens of those who survive. The poem is a call to remember and honor the true costs of freedom and the sacrifices of those who fought for it, urging a recognition that transcends conventional celebratory gestures.

The Tone of the Poem

The tone of Jofre Rocha’s “Poem of Return” is complex and evolves throughout the poem, reflecting a spectrum of emotions connected to the speaker’s anticipated return from exile. Here are the key tones identified:

Regret and Sadness

The poem opens with a tone of regret and sadness, indicated by the speaker’s rejection of traditional celebratory symbols like flowers. This mood is established through references to the “land of exile and silence,” emphasizing the speaker’s feelings of alienation and estrangement. The melancholic tone is underscored by the longing for a connection with the harsh realities left behind, rather than superficial celebrations.

Nostalgic and Earnest

As the poem progresses, there is a nostalgic tone when the speaker reflects on the experiences and sacrifices of those who remained in the homeland. This nostalgia is paired with an earnest desire to reconnect with the lost time and to understand the “tears of dawns which witnessed dramas.” The speaker’s requests for tokens of endured suffering rather than flowers convey a deep earnestness to embrace the full emotional weight of what was experienced in his absence.

Humble and Militant

The tone also becomes humble as the speaker acknowledges that he does not view himself as a hero and dismisses any heroic welcome. He expresses a clear preference for solidarity with those who truly suffered and fought, which transitions into a more militant tone towards the end of the poem. The description of “a thread of anger snaking from their eyes” signifies a buildup of anger and a call to remember the ongoing struggles and the sacrifices made by the liberation fighters.

The final lines of the poem crescendo into a tone of anger, encapsulated by the vivid imagery of “anger snaking from their eyes.” This anger is directed towards the injustices endured and the ongoing fight against oppression that the speaker connects with even in his absence. It suggests a rallying cry for remembrance and justice, channeling the collective resentment against the colonists and oppressors.

Overall, the poem’s tone shifts from personal grief and alienation to a collective call to action, intertwining the speaker’s personal journey with the broader political and social struggles of his homeland.

The mood of the Poem

The mood of Jofre Rocha’s “Poem of Return” is predominantly pensive, characterized by deep reflection on serious and poignant themes. The speaker’s contemplation of his return from exile is filled with introspection about the implications of his absence and the consequences it had on those who remained to face oppression. This mood is conveyed through the imagery of suffering and the sacrifices made by others, which the speaker wishes to acknowledge and honor instead of receiving celebratory gestures.

The pensive mood is also evident in the speaker’s rejection of flowers, a symbol typically associated with joyous occasions. Instead, he requests elements that represent the true emotional and historical weight of the struggles faced by his countrymen—such as the “tears of dawns” and the “immense hunger for love.” These requests reflect his serious engagement with the themes of loss, sacrifice, and the ongoing fight for justice, emphasizing a mood that is reflective rather than celebratory.

Overall, the mood of the poem invites the reader to engage with the complex emotions and historical realities of returning from exile, fostering a reflective and somber atmosphere that resonates with the speaker’s earnest desire to reconnect with the painful truths of his homeland’s past and present struggles.

Questions and Answers

Essay question examples and guidance, question 1:.

In the poem “Poem of Return,” the speaker seems to believe that those who stayed behind during the exile suffered greatly. With reference to diction, tone, and imagery, discuss to what extent you agree with the above statement. Your response should be in the form of a well-constructed essay of 250-300 words.

Guidance for Answer: In “Poem of Return,” the speaker uses somber and reflective diction, a melancholic and sometimes militant tone, and vivid imagery to convey the suffering of those who stayed behind. Phrases like “tears of dawns which witnessed dramas” and “mothers mourning, their arms bereft of sons” paint a picture of a community in distress. Discuss how the speaker’s choice of words emphasizes the emotional and physical toll on those who were not in exile. Analyze how the tone shifts from sadness to anger, reflecting a buildup of collective suffering and resilience against oppression. Consider the imagery of the “thread of anger snaking from their eyes,” which symbolizes the deep-seated resentment and ongoing struggle of his people.

Question 2:

Examine the use of symbolism in Jofre Rocha’s “Poem of Return.” How do symbols like flowers and stones contribute to the poem’s overall message about exile and return?

Guidance for Answer: In the poem, flowers symbolize traditional welcomes and celebrations, which the speaker rejects, indicating that his return is not a joyous occasion but a reminder of unresolved strife and loss. The “wingless stone” represents unfulfilled potential and the burdens of those who fought for freedom but did not live to see the results. Discuss how these symbols contrast with each other and contribute to the poem’s themes of sacrifice and the complex emotions associated with returning from exile.

Question 3:

Discuss the role of nature imagery in conveying the themes of “Poem of Return.” What does the depiction of elements like dawn and night suggest about the speaker’s perception of his homeland and exile?

Guidance for Answer: Nature imagery in the poem serves as a powerful conduit for expressing the emotional landscape of the speaker’s experiences. Dawn is personified as a witness to tragedy, suggesting the beginning of suffering and the continuous cycle of pain experienced by those at home. The “long night of sleeplessness” represents the enduring anxiety and sorrow of a nation under duress. Analyze how these natural elements enhance the emotional depth of the poem and reflect the speaker’s conflicted feelings about his return and the ongoing struggles of his people.

These questions encourage a deep analysis of the poem’s literary elements, inviting students to explore how Rocha uses language and symbolism to convey complex themes related to exile, return, and the human condition.

Short Questions and Answers

1. Why does the speaker not want flowers upon his return? The speaker rejects flowers because they represent superficial gestures of welcome or celebration, which he feels are inappropriate given the suffering and struggles faced by those who remained in his homeland. He does not view himself as a hero deserving of accolades, emphasizing his guilt for having left others to fight.

2. What does the speaker want instead of flowers? Why? Instead of flowers, the speaker requests symbols of suffering and emotional depth , such as tears, hunger, intimacy, mourning, and sleeplessness . He seeks recognition of the hardships endured rather than a celebratory welcome, highlighting the gravity of the ongoing struggles.

3. Comment on the description of the speaker’s “host country” as the “land of exile and silence”. The terms “exile” and “silence” suggest not only physical displacement but also emotional and communicative isolation. The speaker may have felt linguistically and culturally alienated, adding layers of solitude and sadness to his experience of exile.

4. Identify and comment on the effectiveness of the figure of speech in “tears of dawns”. The personification of “dawn” weeping ( “tears of dawns” ) is an effective use of personification , suggesting that even nature mourns the sorrows and tragedies experienced by the speaker’s homeland. This figure of speech deepens the emotional resonance of the poem, emphasizing the pervasive impact of the atrocities.

5. Why are the mothers “bereft of sons” (line 8)? The phrase “bereft of sons” highlights the harsh realities of political strife where many young men were either imprisoned, killed, or forced into exile . This loss deeply affected their mothers, leaving them without their children and contributing to the poem’s overall mood of mourning and loss.

6. How does the imagery of “a wingless stone in hand” contribute to the poem’s message? The imagery of “a wingless stone in hand” symbolizes the unfulfilled potential and the incomplete actions of those who died in the struggle. It suggests that these individuals were ready to fight but did not have the chance to see the outcomes of their efforts, reflecting on the premature loss of life and opportunity.

7. Analyze the use of the word ‘snaking’ in the context of the poem. The word “snaking” evokes a sense of something hidden, dangerous, and slowly spreading. It effectively conveys the deep, underlying anger and resentment that grows among the oppressed, suggesting a pervasive and lingering bitterness that continues to affect the community.

8. Discuss the significance of the repeated command ‘do not bring me flowers’ throughout the poem. The repeated command “do not bring me flowers” serves as a refrain that underscores the poem’s somber tone. It rejects traditional symbols of celebration to focus attention on the harsh realities of the speaker’s homeland. This repetition is a powerful rhetorical device that reinforces the speaker’s desire for recognition of suffering over superficial gestures of welcome.

9. What does the description of ‘the long night of sleeplessness’ suggest about the emotional state of the community? The description of “the long night of sleeplessness” suggests a community plagued by worry and grief. It portrays an enduring sense of anxiety and mourning, indicating that the traumas of conflict and loss have left deep psychological scars on those who remain.

10. Why does the poet choose to use free verse for this poem? (The use of free verse in this poem allows the poet more flexibility to explore complex emotions and themes without the constraints of traditional poetic forms. This style mirrors the chaotic and tumultuous experiences described in the poem, enabling a more natural and expressive delivery of the speaker’s feelings and the community’s struggles.

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essay of poem of return

Poem of Return

essay of poem of return

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The complete Analysis of the poem Poem of Return by Jofre Rocha.

 title of the poem .

essay of poem of return

The title "Poem of Return" by Jofre Rocha suggests that the poem is centered around the theme of returning from a period of exile and silence. It implies a sense of homecoming or reintegration after a prolonged absence or isolation. The poem delves into the emotions, memories, and experiences of those who have been in exile and are now returning. It explores the complex feelings and experiences associated with this return, as well as the profound impact it has had on the individuals involved. The poem seems to emphasize the idea that this return is not necessarily a joyous occasion, as indicated by the refrain "do not bring me flowers," suggesting that the returning individuals may have gone through difficult and painful experiences during their exile. Instead, the poem calls for the remembrance of the struggles, emotions, and sacrifices endured during the period of exile, symbolized by the request to bring dews, tears, and the memories of heroes.

Overall, the title "Poem of Return" sets the stage for a reflective and thought-provoking exploration of the complex emotions and experiences associated with returning from exile and silence.

Themes of the poem

The poem "Poem of Return" by Jofre Rocha explores several themes:

1. **Exile and Return:** The central theme of the poem is the experience of exile and the subsequent return. It delves into the emotions and challenges faced by those who have been exiled from their homeland and are now coming back. The poem conveys the complexity of such a return, emphasizing that it may not be a straightforward or joyful process.

2. **Memory and Nostalgia:** The poem highlights the importance of memory and nostalgia in the return of the exiled. It asks for the remembrance of dews, tears, and the experiences of the past, suggesting that memory is a vital part of the return journey.

3. **Sacrifice and Loss:** The poem alludes to the sacrifices and losses endured during exile, with references to heroes who fell at daybreak. It reflects on the price paid for the cause or ideals that led to the exile.

4. **Social and Political Commentary:** The poem carries political and social undertones, as it speaks of mothers mourning the loss of their sons and heroes who may have fought for a cause. It may be seen as a commentary on the impact of exile and political conflict on individuals and society.

5. **Human Emotions:** The poem explores a range of human emotions, from hunger for love to the lament of the dispossessed. It delves into the depth of human experience and emotion in the context of exile and return.

6. **Contrasts and Irony:** The poem uses contrasts and irony to convey its message. The request not to bring flowers but instead to remember the harsher aspects of exile and the fallen heroes creates a sense of contrast and irony.

Overall, "Poem of Return" touches on the multifaceted nature of the return from exile, incorporating elements of memory, sacrifice, loss, and human emotion in its exploration of this theme.

Tone and Mood of the poem

The tone of "Poem of Return" by Jofre Rocha is somber, reflective, and even somewhat mournful. It conveys a sense of seriousness and contemplation. The poem does not express overt joy or celebration but instead focuses on the complex emotions and experiences associated with returning from exile. It calls for the remembrance of past hardships and sacrifices, which contributes to the overall tone of solemnity.

The mood of the poem is one of nostalgia, longing, and a certain heaviness. It evokes a sense of looking back on a painful past and the experiences of exile. The use of phrases like "tears of dawns which witnessed dramas" and "mothers mourning, their arms bereft of sons" contributes to a mood of sadness and reflection. The poem does not create a particularly uplifting or cheerful mood; instead, it invites the reader to contemplate the challenges and emotions tied to the return from exile.

Imagery of the poem

"Poem of Return" by Jofre Rocha employs vivid imagery to evoke a sense of the experiences and emotions associated with exile and return. Here are some key examples of imagery in the poem:

1. **"tears of dawns which witnessed dramas"**: This imagery combines the tears of dawns with the witnessing of dramas, creating a visual and emotional image of the difficult and dramatic events that occurred during the exile.

2. **"plaint of tumid sexes in star-studded night"**: This image of the plaint (lament) of "tumid sexes" in a star-studded night conveys a sense of longing, desire, and perhaps even sensuality amid the night sky.

3. **"long night of sleeplessness"**: This image captures the restlessness and anxiety experienced during the exile, emphasizing the hardships endured.

4. **"mothers mourning, their arms bereft of sons"**: This image is poignant and sorrowful, depicting the heart-wrenching scene of mothers grieving the loss of their sons, highlighting the human cost of the exile.

5. **"wingless stone in hand"**: The image of a hero holding a "wingless stone" suggests the futility of their actions, as if their efforts were in vain or lacked the means to bring about the desired change.

6. **"thread of anger snaking from their eyes"**: This imagery portrays the intensity of the heroes' emotions with the "thread of anger snaking from their eyes," conveying their determination and passion.

These images collectively contribute to the vivid and evocative nature of the poem, allowing readers to visualize and emotionally connect with the experiences and emotions of those returning from exile.

Symbolism of the poem

"Poem of Return" by Jofre Rocha incorporates various symbols to convey its themes and messages. Here are some of the key symbols in the poem:

1. **Flowers**: The absence of flowers in the poem symbolizes the rejection of conventional, celebratory symbols of return. Instead of flowers, the poem calls for the remembrance of more profound and painful aspects of exile, such as the sacrifices and losses endured during the period of exile.

2. **Dews and Tears of Dawns**: These represent the emotional and difficult experiences of the past, emphasizing the importance of memory and nostalgia in the return from exile. The dews and tears symbolize the collective tears shed during challenging times.

3. **Heroes' Last Wish**: The heroes mentioned in the poem symbolize individuals who have sacrificed for a cause. Their "last wish" and the "wingless stone in hand" represent the persistence of their ideals and the unfulfilled nature of their mission. They symbolize the enduring spirit and commitment of those who have faced adversity.

4. **Thread of Anger**: The "thread of anger snaking from their eyes" is a symbol of the intense emotions and determination of the heroes. It signifies their unwavering commitment to their cause and their readiness to continue the struggle.

5. **Mothers Mourning**: The mothers mourning the loss of their sons symbolize the profound human cost of exile and conflict. They represent the suffering and grief experienced by families torn apart by political turmoil.

6. **Exile and Return**: The concept of exile and return itself serves as a symbol in the poem. It symbolizes the broader human experience of being uprooted from one's home and the desire to come back, even though that return may be bittersweet and fraught with complex emotions.

These symbols add depth and complexity to the poem, allowing readers to interpret its themes and emotions on multiple levels.

"Poem of Return" by Jofre Rocha contains several metaphors and similes that enrich the poem with figurative language. Here are some examples:

1. **Metaphor**: "dews, tears of dawns which witnessed dramas."

   - In this metaphor, "dews" and "tears of dawns" are compared to witnesses of dramas. This implies that the natural elements have observed and absorbed the emotional turmoil and hardships experienced during the exile, turning them into silent witnesses.

2. **Simile**: "plaint of tumid sexes in star-studded night."

   - This simile compares the "plaint" (lament) to "tumid sexes" (intensely passionate or aroused) in a star-studded night. It suggests that the lament is as intense and passionate as the heightened emotions of lovers on a romantic night.

3. **Metaphor**: "wingless stone in hand."

   - The "wingless stone" is a metaphorical way of describing the object held by the heroes. It implies that their efforts or actions lack the ability to soar or achieve their intended goals, emphasizing the futility or difficulty of their mission.

4. **Simile**: "thread of anger snaking from their eyes."

   - This simile compares the anger to a "thread" that snakes from the heroes' eyes. It vividly portrays the intensity and focus of their anger as if it were a tangible, weaving element emanating from their gaze.

These metaphors and similes contribute to the poetic and evocative nature of the poem, allowing readers to connect with the complex emotions and experiences described within it.

Language and diction

The language and diction of "Poem of Return" by Jofre Rocha are carefully chosen to convey the poem's themes and emotions. Here are some characteristics of the language and diction in the poem:

1. **Poetic and Symbolic Language**: The poem employs poetic and symbolic language to create a vivid and evocative atmosphere. It uses imagery, metaphors, and symbols to paint a rich picture of the emotions and experiences associated with exile and return.

2. **Sensory Language**: The poem often appeals to the reader's senses by describing sights and sounds, such as "dews," "tears of dawns," and "star-studded night." This sensory language enhances the reader's connection to the poem.

3. **Elevated and Reflective Tone**: The diction is elevated, reflecting the seriousness and contemplative nature of the poem. It is not a casual or colloquial language but rather a more formal and reflective style.

4. **Concise and Precise Language**: The poem uses concise and precise language to convey its message. Each word and phrase seems carefully selected to carry a specific meaning and emotional weight.

5. **Repetition**: The poem employs repetition for emphasis. The refrain "When I return from the land of exile and silence" is repeated, underscoring the central theme of return and the emotions associated with it.

6. **Figurative Language**: The poem is rich in figurative language, including metaphors and similes, to create layers of meaning and to evoke strong emotions and imagery.

7. **Symbolic Words**: Certain words, such as "heroes," "wings," and "thread of anger," carry symbolic weight and add depth to the poem's meaning.

Overall, the language and diction of the poem are integral to its poetic and reflective nature, allowing readers to explore the complex themes and emotions tied to the experience of returning from exile.

Structure of the poem

The poem "Poem of Return" by Jofre Rocha has a structured form that contributes to its overall impact. Here are some key elements of its structure:

1. **Refrain**: The poem features a repeated refrain, which is the line "When I return from the land of exile and silence." This refrain appears at the beginning and end of each stanza, creating a sense of continuity and emphasizing the central theme of return. The repetition of this line serves as a structural anchor for the poem.

2. **Stanzas**: The poem is divided into stanzas, with each stanza containing a specific set of thoughts and imagery. The stanzas are not uniform in length, but they serve to separate different aspects of the poem's exploration of exile and return.

3. **Parallelism**: The poem employs parallelism by repeating the request "do not bring me flowers" at the beginning and end of each stanza. This repetition reinforces the idea of rejecting conventional symbols of celebration in favor of a deeper remembrance.

4. **Enjambment**: The poem uses enjambment, where lines do not end with punctuation, flowing from one line to the next without a pause. This technique creates a sense of continuity and fluidity, connecting the thoughts and images throughout the poem.

5. **Imagery and Symbolism**: The poem's structure allows for the incorporation of vivid imagery and symbolism, each stanza building on the previous ones to create a multi-layered exploration of the themes.

6. **Progression of Thought**: The poem follows a logical progression of thought, starting with the request not to bring flowers and moving on to the specific elements and memories the speaker wants to be brought back from the land of exile. This progression guides the reader through the poem's thematic development.

Overall, the structure of the poem is purposeful and contributes to the effectiveness of the poem in conveying its themes and emotions. The use of refrains, stanzas, and poetic techniques enhances the impact of the poem's message.

Sound and rhythm

"Poem of Return" by Jofre Rocha exhibits a distinct sound and rhythm that contribute to its overall impact:

1. **Sound Patterns**:

   - The poem features a lyrical and melodic quality in its use of language, with alliteration, assonance, and consonance contributing to the sound. For example, in the line "the immense hunger for love," there is an alliteration of the "m" sound, which adds a musical quality to the line.

   - Consonance can be observed in phrases like "dews, tears of dawns" and "arms bereft of sons," where the repetition of consonant sounds creates a harmonious effect.

2. **Repetition**:

   - The repeated refrain, "When I return from the land of exile and silence," enhances the poem's rhythm and sound. This repetition creates a sense of musicality and reinforces the central theme of return.

3. **Rhythm**:

   - The poem has a structured and rhythmic quality, aided by the consistent use of refrains and stanza breaks. The enjambment and line breaks also contribute to the flow of the poem, with the lines often smoothly transitioning from one to the next.

4. **Cadence**:

   - The poem's cadence varies, reflecting the changing emotional tones within the poem. It can be both reflective and solemn in its rhythm, aligning with the contemplative nature of the poem.

5. **Internal Rhyme**:

   - While not pervasive, the poem includes internal rhyme, where words within a line or between lines rhyme. For example, "dews" and "dawns" in the phrase "tears of dawns" create an internal rhyme.

In summary, "Poem of Return" employs sound and rhythm to create a musical and contemplative quality, making the poem both aesthetically pleasing and emotionally resonant. The repetition, sound patterns, and structured form contribute to the poem's overall auditory impact.

The syntax of "Poem of Return" by Jofre Rocha is carefully structured to convey the poem's themes and emotions effectively. Here are some key aspects of the poem's syntax:

1. **Parallel Structure**: The poem exhibits a parallel structure, with each stanza beginning and ending with the same phrase, "When I return from the land of exile and silence." This parallelism emphasizes the central theme of return and sets a consistent structural pattern for the poem.

2. **Repetition**: The poem makes use of repetition not only in the refrain but also in the request not to bring flowers. This repetition emphasizes the rejection of conventional symbols and the speaker's desire for something deeper and more meaningful.

3. **Enjambment**: The poem often uses enjambment, where lines continue to the next without a pause or end punctuation. This technique contributes to the flow of the poem and allows for a continuous stream of thought and imagery.

4. **Descriptive Phrases**: The poem is rich in descriptive phrases that provide vivid and detailed imagery. These phrases are woven into the sentences, adding depth to the poem's meaning and emotions.

5. **Complex Sentences**: The poem contains complex sentences that extend over multiple lines, allowing the poet to explore the intricacies of exile and return in depth.

6. **Questions and Commands**: The poem contains both questions and commands. The questions prompt reflection on the speaker's desires and the experiences of exile, while the commands emphasize the speaker's requests for what should be brought upon their return.

7. **Descriptive Clauses**: The poem uses descriptive clauses to expand on certain aspects of the imagery and themes, such as describing "tears of dawns which witnessed dramas."

The careful use of syntax in the poem serves to structure the poet's exploration of the complex emotions and experiences related to exile and return. It creates a sense of continuity and purpose in the poem's narrative.

I don't have specific information about the historical or biographical context of "Poem of Return" by Jofre Rocha because the poem appears to be relatively lesser-known, and information about the poet and the context of the poem is limited in my training data. It's possible that the poem is a work of contemporary or relatively obscure poetry.

To fully understand the context of the poem, it would be helpful to research the poet, Jofre Rocha, and the time period in which the poem was written. Examining the poet's life, influences, and the historical events or social issues of the time could provide valuable insights into the poem's themes and meaning. You might also consider looking for literary analyses or scholarly articles that discuss the poem and its context if available.

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What is Poetry?

Preface—for a book with an intimidating title 1.

Why and how does this thing called “poesy” or poetic mind occur in our mind?

I’m giving a humble introduction to this book that has a somewhat intimidating title, What is Poetry , while clumsily speaking and carefully listening to my own voice. I expect, by doing so, that a subtle hum-like voice would be heard beyond or besides my voice, or from afar. 2

There used to be poets like Chuya Nakahara 3 or Kenji Miyazawa 4 who established their poetry in their youth with their innate genius. However, in my case—and perhaps this is the norm of all my contemporaries—it’s taken more than sixty years to become aware of and be able to talk about my subconscious poetic history and memory . . . about so many things that I’ve unconsciously preserved in a “storage room” in my mind. I never know if it will go well, and I always have these nagging doubts, but still I persist.

The poetic side, or mind, or spirit; poesy, or simply “poetry” . . . we have many names for it, but it must be basal, primordial, and unnamable, and more like an incorporeal body of concepts rather than so-called “thought.” What we must do is seize its workings, as well as the faint inducements for it to work. Now that we’ve experienced several great wars and terrible natural disasters, it’s high time to take it as our duty, although I know “duty” sounds too heavy, that we try and reach for nontrivial fragilities. Poetry is one of the few narrow paths for that. Poetry has drastically changed after World War Ⅱ; it’s parted from art—including poems, waka, haiku, and novels written until around the end of the War—that adheres to a certain purposive style and “shape.”

I only write in Japanese, a language that is plural by nature. It’s a language that has embraced several languages in its making, so you may hear the Chinese of the Tang, Song, Ming, or Qing periods, or the languages of Okinawa, Ainu, or Korea resonating within it. Asia is a region with an extensive history of a totally different sort from the West. Like in Africa, I guess, we inherit a thick layer of profound time in our basal memory that shapes our physical and mental subconscious gestures, and we always have to remember that.

That being said, Japanese is too complicated to discuss, so let me return to the topic of poetry. I know from experience that my mind goes blank if I’m suddenly given a pen or pencil and asked to write poetry. And that’s what matters. While discussing translation, Walter Benjamin advocated a concept of “pure language” as an extreme goal of all languages. Supposing that every language aspires to this “pure language,” we must make efforts to set our sights on it. 

There’ll be neither failure nor success in doing so, as it’s just an attitude of mind. Basho 5 famously phrased it as “fuga no makoto,” 6 the essence of poesy, and claimed that poetry must reach for this invisible “fuga no makoto,” which is slightly different from so-called poesy, poetry, or uta. 7 We must ceaselessly reach for it, as though eternally transcending the previous state, just as Nietzsche put it. All living things, including plants and animals, are destined to live out the given that is their ever-changing mortal life in this universe. Language is a particular given, as is the “original sin” in the language of Christianity, to us humans. We must tirelessly reach for our primitive mind, remembering “an unending motion of a primitive hand,” 8 an image that I conceived when I was intensely copying Takaaki Yoshimoto.

Sometimes, poetry unexpectedly comes into being, just like an out-of-place smoke or cloud. Let me talk about my recent experience. It was sometime in June 2021. I was proofreading the final draft of my latest book, Voix (2021), which took me three years to complete, in a hotel room in Ishinomaki. 9 I was thinking to myself, “This part is weak, I can’t see an image, maybe I should cancel it,” and it might have oozed out. It was a part where I mentioned a woman whose life was taken by a tsunami in Onagawa;  I was writing that her spirit was entering my room (206, Hotel New Sakai) through a vent in the wall. The phrase was “a white smoke or a dolomite cloud came into my room,” and then I realized that the white smoke-cloud was also entering my mind as a concrete form of poetry.

The smoke was a sensible variation of poetry. There are those apparently negligible, weak, and ephemeral things that slip through the net of highbrow notions as “pure language” and “primitive hand.” The gateway of poetry is opened by frail things, which also pave the way for music, paintings, and philosophy because of their elusive nature. 

A Path to Pure Language

Pure language isn’t the privilege of scholarly discourse, philosophy, or the history of art and poetry. It’s for everyone, just like a humble streetlamp in some impoverished village, or a streak of salvative lightning that strikes after a long struggle. Poetry would come into being if we searched tirelessly for it, for what we used to call a flash of inspiration or an afflatus, by voluntarily undertaking it as our task. (Remember that the character for “task,” 課, is composed of “word,” 言, and “exhaust, limit, result,” 果.)

The question now is how, and in what shape, it comes into being. Sometimes it comes out as a great piece, but that’s a rare and miraculous case. “Poetry” here refers to not only poems but to the hearts of uta and paintings, such as those of Paul Klee, Wassily Kandinsky, van Gogh, Gyokudo Uragami, Sesshu Toyo, Franz Kafka, and Buson Yosa, which border on language and faintly signal the whereabouts of a path to “pure language.”

Walter Benjamin owned a work by Paul Klee 10 —you know those unforgettable lines, I reckon—and he kept it with him until he killed himself on the French-Spanish border after being persecuted by the Nazis. Not long after World War Ⅱ, I saw the lines of informalist and abstract painters such as Wols and Arshile Gorky, along with Klee, for the first time, and they made me realize that the lines, as well as the smudgelike, stainlike shapes—even the very nature of being informal—aspired to “pure language.”  

Walking down Heidegger’s Holzwege

I’ve been carefully speaking, keeping in mind that this is for a shinsho pocket paperback for general readers. I’ve been thinking of my own reaction to “what is poetry,” as though . . . being amused by the phrase “as though,” which leads to an odd time and gesture . . . listening to my mind while observing my stance, gesture, and attitude . . . Now it’s early summer of 2021. If it were twenty years ago or ten years later, the gesture, posture, and tone of my voice would be completely different. Despite being somewhat overwhelmed by that presumption, I started anyway.

I’ve tried to answer this ultimate question, “what is poetry,” in writing before. As I tried, however, I heard a voice that went, “That’s not what you can answer in a written form,” as if my thought had obtained its own voice. For sixty-odd years, I’ve ceaselessly moved my hands and devoted myself to make poetry through écriture. Chuya Nakahara likened poetry writing to “wrinkling,” but the metaphor is no longer adequate. There is a narrow path that leads a tiny way away from writing, from écriture, and that seems to be where it’s justifiable to question what poetry truly is. Takaaki Yoshimoto’s hypothetical proposition, “poetry is a wrong expression,” would also hold up there.

I enjoy reading philosophy books and repeatedly return to Nietzsche, Kierkegaard, Wittgenstein . . . and Heidegger. I know Heidegger is controversial nowadays due to his political stance, but when it comes to the philosophical appreciation of the essence of poetry, I feel the strongest kinship with him.

Among his writings, there is a book titled Holzwege , which was rendered as “woodsman’s paths” in Japanese. “Holzwege” are narrow paths in the forest, often covered in undergrowth, whose destinations are unclear and may or may not lead to a clearing. Heidegger compared the clearing to “truth,” a grandiose word that I’d avoid; and I have a feeling that what I’m trying to do in this book is like tracing a narrow path that leads to “something true.”

Interestingly, the French title of Holzwege means “paths to nowhere” 11 . . . But I wouldn’t be able to make a book if the path led nowhere. So, I hope and try—although my effort may not be worth much—to get as close to the imposing question of “what is poetry” as possible.  

I just talked about the incident when I was proofreading a final draft in a hotel room in Ishinomaki. I also said that I saw white smoke as a tangible poem—but then, before I knew it, it metamorphosed into the phrase “i no ki no kimi ga tatte kite ita” (a tree of “i” was rising). 12 I said to myself, “I’ve waited for this line for three, ten years, or even my whole life.” I was deeply moved. It was one example of how poetry could come into being. 

I have a feeling that poetry exists beyond “pure language” as excellently articulated by Benjamin . . . in a space that cannot be confined by the concept of “pure poetry.” What we ought to do is to mine beneath “pure language” to seize not a positive but a negative existence, as impossible and futile as that may be. Maybe it’s unsound to make this claim . . . But I believe that the struggle to reach out for the impossible is poetry; that poetry momentarily reveals itself in our hesitation, in our vacillations, not in the petrified “works” that we produce. 

Before I conclude the preface, let me refer to Dogen, a great Buddhist priest and philosopher of the Kamakura period. Dogen went to China during the Song dynasty, acquired the language, and composed his thoughts in Song Chinese. After his return, he established the Soto school of Zen and wrote a massive volume of philosophical essays titled Shobogenzo (正法眼蔵, True Dharma Eye Treasury), in which he said we must think “as though scooping water with a sieve.” 13  

It should be the other way around, right? The water would just go through if you scooped it with a sieve.  It presumably means that all we have to do is listen to the falling water and just concentrate on that very moment. In other words, we must think beyond the “purpose” or “efficiency” of our actions and keep reorienting our mind toward somewhere beyond Benjamin’s “pure language.”

Well, it is a tough journey, indeed. Having turned eighty-two, I’ve tried to expound on where I am, an old poet with a weird name, as a foreword to this book. Arigato gozaimashita.

1. In 2021, Gozo Yoshimasu published a dictated book titled What is Poetry ( Shi to ha nanika ) at the age of eighty-two, having devoted more than sixty years to writing, performing, and tirelessly thinking about poetry. The book was published by Kodansha, the largest Japanese publisher by sales (as of 2023), as a shinsho pocket paperback designed for the general public. This essay appears as the preface of the book.

Despite the intended audience, What is Poetry is not an easy read. Gozo frequently makes digressions, leaves sentences unfinished, omits the object of a verb or blurs the grammatical subject. Speaking of the subject, he frequently uses “we” in the preface: “we must,” “we have to.” This “we” is ambiguous. It could refer to contemporary poets, literati, or his contemporaries in general, or it could refer to the poet and his alter egos (“the others in me”), which Gozo frequently speaks of in his recent writings. You may remember the first paragraph of the preface, in which he says, “a subtle hum-like voice would be heard” from somewhere afar or just next to his voice. He’d then write the voice down to metamorphose it into a verse. (Shamanic? Yes, a little. As he avows.) ↩

2. “A subtle hum-like voice would be heard”: Gozo often compares the way he receives poetic inspiration to “hearing a voice”. ↩

3. Chuya Nakahara (1907–1937): A poet who was strongly influenced by Dada and other European, mostly French, experimental poetry of the time. He is often called the “Japanese Rimbaud.” Note: All Japanese names in this text are written in the so-called Western order, with the family name coming last. ↩

4. Kenji Miyazawa (1896–1933): A poet, novelist, and writer who is widely known for junior novels, such as Night on the Galactic Railroad and Kaze no Matasaburo . ↩

5. Basho (1644–1694): Known as the greatest poet in the Edo period. Initially recognized for his works in the renga form—collaborative linked verse—Basho also made the opening seventeen-syllable verse of renga independent as haiku, and promoted the art of haiku as equivalent to the traditional higher-rank poetic forms, such as kanshi, uta/waka/tanka, and renga (explained in more detail in Footnote 7). ↩

6. Fuga no Makoto: Makoto (誠) means “truth” or “essence”. Fug a (風雅) means 1) “poetry” and 2) “elegance,” “refinement,” and “grace,” especially with appreciation of the transient beauty of nature and the seasons. With the particle no (の), the phrase “fuga no makoto” therefore means 1) the essence of poetry and 2) the true refinement (of poetry). ↩

7. Uta (歌) primarily means “song” in contemporary Japanese, but it also means, especially in literary and historical contexts, waka/tanka, a structured thirty-one-syllable poem. In Basho’s time, there was a poetic hierarchy. The most authorized, and therefore most official and sophisticated, were Chinese-style poems (kanshi); next were thirty-one-syllable poems (called waka or tanka); then linked verse (renga); and lastly haiku, the shortest poetic form, which originated as the opening part of renga and was largely promoted by Basho. Gozo’s use of the word “uta” here is intended to mean both the rich tanka/waka tradition as well as “songs” in general. ↩

8. “An unending motion of a primitive hand”: Gozo published a book on Takaaki Yoshimoto’s poetry, Kongen no Te (A primitive hand), in 2016. He spent more than two years hand-copying Yoshimoto’s writings, including 480 poems, as a gesture of mourning, soon after Yoshimoto passed away—which happened to be a year after the East Japan Great Earthquake and Tsunami of March 11, 2011 (hereinafter called “3.11”). In the book, Gozo describes Yoshimoto’s manner of relating himself to the world as “a primitive hand that is ceaselessly reaching out for all things in the universe.” ↩

9. Ishinomaki: A city in Miyagi prefecture in the northeast of Japan, which was devastated during  3.11. Gozo was invited to a reconstructive art project, “Reborn Art Festival,” in 2019, and stayed in room 206 in Hotel New Sakai. In the room, he wrote poems that were later published as Voix (2021), kept a video diary, and inscribed quotations from his poems on the window that faced the sacred island mountain Kinkasan. His room was made available for public viewing during the Art Festival in following years. ↩

10. “A work by Paul Klee”: Angelus Novus ( New Angels ), made by Paul Klee in 1920 as a monoprint. Benjamin purchased the print in 1921 and owned it until his death in 1940. It is currently in the collection of the Israel Museum. https://www.imj.org.il/en/collections/199799-0 ↩

11. The French title of Holzwege means “paths to nowhere”: Martin Heidegger, trans. Wolfgang Brokmeier, Chemins qui ne mènent nulle part ( Holzwege , 1950), Gallimard, 1962. ↩

12. A tree of “i” was rising: This line says , “ A tree, which takes the shape of “i” and pronounces /i/, was rising.” Gozo has particular liking for the letter “i” (lowercase) for its pronunciation (/i/ and /ai/) and shape (a stick with a dot on top), admitting several layers of metaphor to be included in it in both Japanese and English contexts. ↩

13. “As though scooping water with a sieve”: From the chapter “Bussho” (仏性, Buddha nature) in Shobogenzo . A modern literal translation is “one should scoop water with a fishing net again and again; the capability (of catching, of understanding) is in the net,” whereas the modern interpretative translation that Gozo refers to goes, “One must go through (the monk’s words to appreciate) slowly, thoroughly, and repeatedly, as though scooping water by a sieve.” The original text says to “dredge water (for something) with a seine again and again,” but the translation that Gozo refers to says “with a sieve” instead of a seine or fishing net, and Gozo sees the water, not the fish, as the objective. ↩

© Gozo Yoshimasu. Translation © 2024 by Sayuri Okamoto. By arrangement with the author. All rights reserved.

Gozo Yoshimasu

Gozo Yoshimasu is a poet born in 1939. He has led the Japanese poetic scene for more than half a century with his unconventional expressions that push the borders of literary language.

Sayuri Okamoto

Sayuri Okamoto is a translator, curator, and founder of Alba, a studio and gallery space in Kyoto.

“This, Here, Is Home”: Shalim M. Hussain on Miyah Poetry from Assam

Transformation: japan.

IMAGES

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  6. Return Poem by Robert Francis

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COMMENTS

  1. Poem of Return by Jofre Rocha: Questions and Answers

    Poem Overview. "Poem of Return" by Jofre Rocha is a poignant reflection on the feelings of displacement and longing associated with exile. Rocha's choice of imagery vividly conveys the raw emotions of returning to a homeland marked by conflict and loss. Instead of conventional welcomes like flowers, he seeks elements that bear witness to ...

  2. 2024 Grade 12 Poem of Return

    POEM 3 : Poem of Return by Jofre Rocha. 1 When I return from the land of exile and silence 2 do not bring me flowers. 3 Bring me rather all the dews, 4 tears of dawns which witnessed dramas. 5 Bring me the immense hunger for love 6 and the plaint of tumid sexes in star-studded night. 7 Bring me the long night of sleeplessness 8 with mothers mourning, their arms bereft of sons.

  3. PDF Poem of return

    Summary of the poem The speaker is contemplating his upcoming return to his home country. The speaker mentions his return from exile and the anguish associated with those who died whilst oppressed. The poem is written from the perspective of an individual who has been exiled, someone who had to flee their country of birth. The poem captures

  4. Poem of Return Notes and Answers

    GRADE 12 POETRY 2024. POEM OF RETURN - Jofre Rocha Analysis Stanza 1 Line 1 "When" creates sense of expectation of returning to his homeland. The "silence" refers to him having lost contact with those who stayed behind. The line has connotations of excitement/celebrations. Line 2; Speaker rejects tributes paid to heroes.

  5. Grade 12 Poetry: 'Poem of Return' by Jofre Rocha

    An analysis of the poem 'Poem of Return' by Jofre Rocha as part of the new 2023 Grade 12 English Home Language syllabus.00:00 Introduction00:22 Jofre Rocha01...

  6. Poem-of-Return

    Poem of Return Jofre Rocha; POEM OF RETURN - JOFRE ROCHA. 1 When I return from the land of exile and silence 2 do not bring me flowers. 3 Bring me rather all the dews, 4 tears of dawns which witnessed dramas. 5 Bring me the immense hunger for love 6 and the plaint of tumid sexes in star-studded night. 7 Bring me the long night of sleeplessness 8 with mothers mourning, their arms bereft of sons.

  7. Mrs Richards English Class

    Poem of Return. Talk to the Peach Tree. The Morning Sun is Shining by Olive Schreiner. It is a Beautous Evening. Prayer to Masks by Léopold Sédar Senghor. This Winter Coming by Karen Press. Solitude by Ella Wheeler Wilcox. Shipwreck by Emily Dickinson. Fern Hill by Dylan Thomas.

  8. Poem of Return Notes

    The poem explores the speaker's impending return from exile in a foreign land. He does not want to be celebrated as a hero, instead wanting to acknowledge the suffering of those who remained behind to fight oppression. The speaker lists the hardships faced by the people - mourning mothers who lost sons, the hunger for love and companionship in a time of turmoil. He conveys a sense of guilt for ...

  9. Poem of Return Flashcards

    Question 1: EssayIn the poem 'Poem of Return' the speaker believes that the people who were not in exile suffered a great deal'With reference to diction, tone and imagery discuss to what extent do you agree with the above statement. Your response should be in the form of a well-constructed essay of 250-300 words (about 1 page) · People who ...

  10. "Poem of Return" by Jofre Rocha

    A line-by-line analysis of the poem.

  11. Poem of Return

    An analysis of Rocha's 'Poem of Return'.

  12. POEM OF RETURN: JOFRE ROCHA Flashcards

    captures sentiment of loss, lost opportunity and lost experience. Poignant poem about the return from exile and what should be celebrated is sadness, mourning and anger. message. poet expressing thoughts on returning home from exile. Showing praise towards his people who stayed behind to fight in contrast to his leaving.

  13. Poem of Return

    Bring me the long night of sleeplessness. with mothers mourning, their arms bereft of sons. When I return from the land of exile and silence. no, do not bring me flowers …. Bring me only, just this. the last wish of heroes fallen at day-break. with a wingless stone in hand. and a thread of anger snaking from their eyes.

  14. The complete Analysis of the poem Poem of Return by Jofre Rocha

    The title "Poem of Return" by Jofre Rocha suggests that the poem is centered around the theme of returning from a period of exile and silence. It implies a sense of homecoming or reintegration after a prolonged absence or isolation. The poem delves into the emotions, memories, and experiences of those who have been in exile and are now returning.

  15. POEM OF RETURN

    6. Write an essay of 200-250 words in which you discuss the reasons why this poem is NOT a sonnet and also discuss the effectiveness of the usage of anaphora to emphasize his opinion about his return to his home country. THE SHIPWRECK QUESTIONS: 1. What are the two reasons for the ' glee ' of the opening line? 2.

  16. POEM OF Return

    poetry. TITLE The speaker is returning to his country. At this stage he does not know whether it will be a voluntary or forceful return. STANZA 1: Line 1 When I return from the land of exile and silence. The poet is absolutely certain that he is going to return to his country. He has not yet returned, but it is inevitable that he will return.

  17. Poem of Return Essay

    Poem of Return Essay - Free download as PDF File (.pdf) or read online for free.

  18. Poem of Return Jofre Rocha POEM OF RETURN

    Poem of Return Jofre Rocha; POEM OF RETURN - JOFRE ROCHA. 1 When I return from the land of exile and silence 2 do not bring me flowers. 3 Bring me rather all the dews, 4 tears of dawns which witnessed dramas. 5 Bring me the immense hunger for love 6 and the plaint of tumid sexes in star-studded night. 7 Bring me the long night of sleeplessness 8 with mothers mourning, their arms bereft of sons.

  19. Poem of return.pptx

    2 When I return from the land of exile and silence, do not bring me flowers. Bring me rather all the dews, tears of dawns which witnessed dramas. Bring me the immense hunger of love and the plaint of tumid sexes in star-studded night. Bring me the long night of sleeplessness with mother mourning, their arms bereft of son. When I return from the land of exhile and silence no, do not bring me ...

  20. Poem of Return

    Seen poetry questions (and exemplar answers) on the poem 'Poem of Return'.

  21. Poem of Return

    Poem-of-Return - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. The poem reflects on the speaker's impending return to his home country after years in exile. In three stanzas, the speaker expresses that he does not want to be celebrated as a hero, but instead wants to acknowledge and honor those who suffered and sacrificed during his absence.

  22. "Poem of Return" by Jofre Rocha

    Explore the evocative and emotional "Poem of Return" by Jofre Rocha with this comprehensive digital poetry pack. This pack is perfect for teachers, homeschooling parents, and students alike. The comprehensive PowerPoint presentation offers a thorough analysis of the poem, delving into its themes, imagery, and structure.

  23. What is Poetry? by Gozo Yoshimasu

    1. In 2021, Gozo Yoshimasu published a dictated book titled What is Poetry (Shi to ha nanika) at the age of eighty-two, having devoted more than sixty years to writing, performing, and tirelessly thinking about poetry.The book was published by Kodansha, the largest Japanese publisher by sales (as of 2023), as a shinsho pocket paperback designed for the general public.

  24. CRAWFORD

    It began with poetry, in Ireland. What better way to start? Florida State, having argued for two years that it deserves better than the ACC, becomes the first team to occupy 17th place in the ...