Chunhyang concluded

Questions we need to consider:

Some other poetry matters:

Hwang Chini, a reknowned kisaeng poet

Poetry condenses, and casts IMAGES, metaphors, "ambiguous undulations" (Wallace Stevens --see, for example, The Laowai Monologues for an interesting intersection) ...and forces reconsideration of tacit assumptions and accepted categories.

It occurs to me that we're looking at another Human Universal here --just as Music is something found in every culture, so is Allusion, the play with words, dissembling, prosody... People DON'T just 'say what they mean' --they choose their words, they clothe their messages according to complex emotional calculi. Flattery, bureaucratese, levels of formality... all fascinating, and all notoriously hard to translate from one frame (e.g., one language) to another.

The question of translation is right at the heart of the problems Anthropology seeks to address. Languages are category systems, ontological arenas...

A book you should know about: Douglas Hofstadter's Le Ton Beau de Marot: in praise of the music of language (P306 .H63 1997 --but checked out at the moment to some faculty member [NOT myself --I have my very own copy...]) ...see the Wikipedia article and amazon.com record for more.
One way we can approach this is with a haiku that somebody alluded to in a blog posting, Basho's about the frog and the pond: one version, which I found via a search with TODAY's new toy (clusty.com).

There's a book in Leyburn that I discovered via the above:

Sato, Hiroaki, 1942-
One hundred frogs : from renga to haiku to English
New York : Weatherhill, 1983.
PL729 .S19 1983.

...a chapter of which has 100 variants on Basho's haiku

(See also Stalking the Wild Onji: The Search for Current Linguistic Terms Used in Japanese Poetry Circles (RICHARD GILBERT, PH.D.), and Wikipedia on haiku)