AGAIN THE PROBLEM OF REASON

Sensory reasoning in poetry, for me, always gets the achievement so that the poetry that is written is easier to understand. Sensory reasoning means, testimony to this nature according to the five senses. Someone wrote something like, "I hear the roses are blooming in the morning." If you read it at a glance, there could be no problem. But does it really sound like the rose bloom?

Phrases that are meaningful according to the senses of roses are written, "the skin blooms in the morning."

Based on sensory reasoning, we can disassemble a poem, is it steady, or is it still violating sensory reasoning? Let's take a look at the poem written by Warsono, entitled FOUR FOUR EIGHT EIGHT.

Open the door with the walls of the board
I stepped on the ground floor
I think this is hope
So that life is not too hard

"I opened the clapboard door," would it be called clapboard, or was it made of plank? Doors are doors, and walls are walls. The most appropriate word to describe a door made of boards is 'walled door', but 'door is made of', or simply written 'board door' because there is an 'iron door'. So, Warsono wrote it: I opened the door of the board.

Then on the third line, it is written: I think this is hope

At first glance, the array is also not problematic. However, when viewed with linguistic reasoning, there are irregularities, because the sentence feels ambiguous, namely between statements or questions. If the array is a statement, then it should be written: I think this is hope (not using the particle 'kah' which is meant to ask a question), whereas if the array means a sentence, then it is explained: I ask is this hope?
So for the four arrays above, I try to revise it to be:

Open the board door
I stepped on the ground floor
I think this is hope
So that life is not too hard

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IN GEOPARK CILETUH

Doddi Ahmad Fauji Not only in Andalas the hills line up as solemn as Gautama in uninterrupted retreat From the Panenjoan, it seems that they are in line beyond Sparta's ships who besieged Troy We're just dust beach arch and rock formation leaving a magic handprint The hand that drains the Seven Curug marking the lost Sawarna far away, on the horizon before names are given All fairy tales are inconceivable leads to an Authority And not in Cyprus, nor in Santorini The curse was recited, incarnating Simalakama form a row of spice forests being the snake whisper lodged in each of the pawned breath You, you know, my sweet Lucifer with a pair of pinkish red nipples are the twin cities, Bucharest and Budapest which is delayed I explore the curves but hopefully the day after tomorrow, the good is blessed Sukabumi, 2016 * Has been published in the poetry anthology Jangjawokan (2016)

NOTE FROM THE FAJR PAGES

The pieces of this poetry book were composed with the spirit of sharing fortune like the kawis. Or as taught by the teachers, carrying the intention of dulce et utile. At least meet the rules of literature, even if only a speck. Thankfully there is knowledge. About the depth, ah that's far-fetched. Most importantly, not distant from the reader, the community. Because it narrates about daily life and the city. related to the occupants. Although there are actually a collection of old poems, which have not or have not found readers, except for yourself. Which was written when I was still in school. At FIB Undip, Semarang. But as suddenly, decades later, after communicating with the poet Almukarom Doddi Ahmad Fauji (DAF), I was moved to really want to reassemble the collection of poems scattered everywhere. Also in memories, which are very difficult to trace back. Because the power of memory, it turns out, is not much. Memories, it sucks to pretend to say; "What is so-so doesn'

CONSISTENCY

A poem, if it is to be written in symbolic words, or with diction which symbolizes something, for example a symbol of nature, should be written consistently, from beginning to end. We do this, in order to make it easier for readers to understand the poetry we write. Especially for teachers, one of the audience for the poetry is students, then it is always an instinct to educate, it is born from the heart. If you want to write wild and free poetry, it means that the atmosphere of the socialization of the poetry must be in the realm of pure artists. But the teacher will always be on two legs. One leg, still in the education area, the other leg, may indeed reach the artistic area. About this consistency, sometimes I like to be surprised by the little things that make me ponder, whether this diction is needed to be changed, so that it is more in tune, or leave it at that, but maybe the reader can also understand and enjoy it. There is the phrase "sprig of the moon" in Lilis Gusti

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