"Strainings of Poetry" Rªju uhkrhÄƋ gšy¡F€ ö¡»fŸ áWfijf˚ mâfkhfnt ïl« bgW»wJ. n#.n#. áy F¿¥òfŸ ehtȋ gy gFâfËY«. Mdhš m¡fijfˋ bt‰¿ mit ïWâƚ ciueilƋ j®¡f€â‰FŸ x‹Wg£L rk‹ brŒJbfh©L ÉL« j‹ikna. t©zÃytŋ áy fijf˚ ï€j‹ikia¥ gh®¡fyh«. (ãz€J¡fhu®fŸ, gh«ò« ãlhuD«..) e. K€JrhÄƋ áWfijf˚ ïªj¡ fÉ€Jt m«r« ednthil c€âƚ rhâ¡f¥g£L ïWâƚ ciueilƋ j®¡f bkhÊ¡FŸ rk‹g£LÉL»wJ. ït®fŸ vGâa vªj¡ fijÆY« ftd¡Fiwthd th¡»a§fisnah mr£L€jdkhd, Étuiz¡F mtáak‰w fÉ€Jt a€jd§fisnah gh®¡f KoahJ.

j‰fhy€ jĜ¥ òidfijƋ ï‹iwa eiy -- 2

thœÉ‹ ajh®€j« g‰¿a xU kha€njh‰w€ij€ ju nt©oa f£lha€âÈU¥gJ òidfij. fÉij¡F m¥go ïšiy. fÉij fÉijahfnt ïU¡fyh«. bjhl® Ãfœîfisnah, Ãfœ¢á mL¡Ffisnah thœ¡if nghynt bjÇí«go mL¡f nt©oa f£lha€âš fÉij ïšiy. ghš btnyÇƋ xU nk‰nfhis ï§F jUtJ gaDŸsjhf ïU¡F«.

Thus understood, poetry is radically different from all prose : in particular, it is clearly opposed to the description and narration of events that tend to give the illusion of reality. that is to the novel and the tale when their aim is to give the force of truth to stories, portraits, scenes, and other representation of real life.

[Paul Valery, Rmarks on Poetry ( from the Art of Poetry : tr. Denise Folliot (1958)]

ï‹D« xU K¡»a ftÅ¥ig ï§nf thrf®fS¡F K‹ it¡f nt©oa mtáaÄU¡»wJ. ïªj eåd€Jt€ij (eh‹äÅa®, bk£lh~ã¡õ‹, nkÍfš ajh®€j«, ï€ahâ) miwFiwahf¥ òǪJ bfh©L vGâ¡ bfh©oU¡F« fjh¢RUŸfhu®fS«, òJ vG€J bkhÊ¡fhu®fS« v¥bghGJnk KjȚ j« Mj®r vG€jhs®fshf K‹ it¥gJ ngh®nAití« kh®¡btÞi[í«. ngh®nAit M§»y€âš go€jt®fS¡F KjȚ x‹W bjÇí«. mt® bkhÊeil bjŸs€bjËthdJ. miunt¡fhL th¡»a§fŸ ïšyhjJ. cUtf¥ gok§fshš milrYwhjJ. kh®¡btÞi[¥ bghW€jtiu mt® bkhÊ M§fh§nf fÉijia€ bjh£L¢ bršY« j‹ikia cilajhŒ ïU¥ãD« Äf¢ áwªj fij brhšÈahf És§Fgt®. fij brhštj‰F¥ gâyhf btW« bkhÊ¢ r£lf€ij it€JÉLgt® mšy®.

Mdhš ï‹iwa jĜ¥ òidfij MáÇa®f˚ áy® bkhÊ¢r£lf€ij ãuâƋ ika€âš it€JÉ£L mJjh‹ òidfij v‹W brhš»wh®fŸ. ïªj¥òidfijf˚ fij xU òŸËÆÈUªJ ntW xU òŸË¡F ef®€â¢ bršy¥gLtâšiy. miuFiwahfî«, mtru€âY«, ãuÄ¡f it¡f nt©Lbk‹w neh¡f€âY« F¥igahf jftšfŸ mŸË thrfŋ _is¡FŸ bfh£l¥gL»‹wd. jftšfËnyh Vf¥g£l ãiHfŸ ÃiwªJ »l¡»‹wd. m®€j€ijí« kâ¥ÕLfisí« mtDila thrf®fS¡F mt‹ bjËîgL€Jtj‰F K‹d®, jd¡F€jhnd xU òidfijaháÇa‹ bjËîgL€â¡ bfhŸs nt©Lbk‹W K‹ng F¿¥ã£nlh«. Mdhš ï‹iwa Ãiyik gL nkhrkhf ïU¡»wJ. vGJgt®fŸ jh§fŸ vGâaJ j§fS¡F òǪjjh v‹W nfŸÉ Tl nf£L¡ bfhŸshkš Ãiwa bryî brŒJ mHfhd ò€jf§fŸ jahÇ€J btËÆ£L¡ bfhŸ»wh®fŸ. j§fS¡F€ jh§fns bjËîgL€â¡ bfhŸshJ vGâ btËÆl¥gL« ïªj¥ òidfij vG€J¡fŸ thrfid kW¥gtifahfnt tªJ nr®ªâU¡»‹wd. thrf‹ j‹Dila ãuâia c‰g€â brŒJ bfhŸS« btË ïªj¥ òâd§f˚ kW¡f¥gL»wJ. j§fis€ jh§fns FH¥ã¡ bfhŸS« ãuâfshf ïU¥gjhš ï¥òâd§fŸ thrf kW¥ò¥ ãuâfshf cUtht⚠M¢rÇa« x‹WĚiy.

nkY« nuhyh‹ gh®€ (Rolland Barthes ) F¿¥ã£l ãuâƋ rªnjhõ§fŸ ït‰¿š njodhY« »il¥gâšiy. F¿¥ghf nfhz§» k‰W« bfsjk á€jh®€j‹ ngh‹nwhNj ãuâfis¥ go¥gbj‹gJ thrfD¡F mË¡f¥g£l j©lidahfnt ïU¡»wJ. ït®fˋ e©g®fns Tl KGikahf ït®fˋ ãuâfis¥ go€âU¥gh®fsh v‹gJ rªnjfnk. (áyÇl« nf£l bghGJ ïšiy v‹W ne®ikahf gâyË€jh®fŸ) tȪJ tutiH€J¡ bfh©l òâa vG€J bkhÊ ït®fŸ ïUtUilaJ«, cjhuzkhf bg© v‹w th®€ijia¥ ãunah»¥gj‰F¥ gâyhf ÞÔß vdw brhšiyna ga‹gL€Jth®fŸ. ehr« v‹w brhšY¡F¥ gâyhf xÇÍdš rkÞ»Uj brhšyhd Éehr« v‹gijna ga‹gL€Jth®fŸ. Mdhš ï⚠xU xG§F ïU¡fhJ. ïilƚ bg© v‹w brhšY« tªJÉL«. th¡»a§fŸ xUikƚ bjhl§» g‹iƚ Koí«. mšyJ g‹ikƚ bjhl§» xUikƚ Koí«. _‹W eh‹F th¡»a§fŸ xnu th¡»a€âš ïiz¡f¥g£L bjhl¡f« v‹d Koî v‹d v‹gJ bjÇahkš brŒa¥g£oU¡F«. ïJ ãuâaháÇaŋ ftd¡Fiwî« FH¥gKnk jÉu thrfŋ ïayhik mšy.