Analysis Of The Literary Works Of Bash Ō, Khayyam, And Tagore

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The World is an Image

Image, as a word, originates from Latin imago—which means “‘to imitate’” (Varshney 86). Hence, imagery in literature is an “artificial imitation of the external form of an object” (Varshney 86). In other words, an image is a form of expressing thoughts and feelings through representing reality by employing visual expressions. In the literary works of Bashō, Khayyám, and Tagore, natural imagery play a fundamental role in illustrating inner thoughts, vocalizing silent feelings, and dramatizing frozen emotions. A good deal of Western scholarship on the works of Bashō, Omar Khayyám, and Tagore describe the employment(s) of imagery (among other literary techniques) in their poems and prose as avant-grade, which minimizes the literary traditions of the East and narrowly historicizes the notion of avant-grade. If avant-grade, as a western concept, means expressing thoughts and emotions through unorthodox or untraditional approaches, then it cannot be applied to the works of Basho, Khayyam, and Tagore without ignoring the literary past. As Kawamoto declares, “nothing is absolutely new”—it can be new only when it is compared to something else that has already existed (Kawamoto 712). Language, in itself, is traditional—it can evolve and develop, but it cannot break roots with the past. Imagist poetry thrives within short-formulated poems, like in the works of Basho and Omar Khayyam, for two major reasons. First, short poems don 't leave a

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