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Chrysanthemum Nr. 20. Oktober 2016 72
surreal: a porcelain cup with a halfmoon purple lips which are snow soft at the rim. This
image may allude again to Snow White, since the color purple implicates the cold and,
together with the cup, also poison-induced death. This theme-reprise reverts to the first
stanza with contrasting colors of white and purple. That purple lips may also simply indicate
the body temperature is shown by the image of the second line. There, the light
spring dress and bare feet in thawing weather cause the purple lips, a sign of little blood
circulation and probably even hyperthermia. The two paralleled images of this last stanza
are tied together by the physical condition (soft, melting, fluid), by temperature, by color
(white, black, purple), and by effect and cause, both separated in each image, the same
as we have encountered in the previous stanza. The result is a lightheaded premature
choice in unstable conditions and the revival from winter hybernation or even death, like
in the case of Snow White, and the awakening of the inner speaker from reminiscing.
For some part of this analysis, we have used the term “form” to designate a certain
genre or literary type, the lyric-form, and to describe patterns of lines, meter, and
rhythm, i. e. the verse-form and the stanza-form. Looking closer into the structural
organization and composition design of the featured poem, it becomes evident that the
form of the work is a principle that determines how a work is ordered and organized. In
Werner Reichhold's poem, all nested lyrical forms (segments, [free-verse] lines, linepairs
[couplets], ghazal) bring their tradition of content into the composition and share one
similarity: their inherited, already intercultural and structurally interrelated tradition in
the conceit [ 4 ] or parallelism [ 5 ], as it is used in the sonnet, in the ghazal, and in the
haiku. In other words, the form is not a fixed vacant container into which the subject
matter is poured, but rather a shaping principle. As such, it controls and synthesizes the
structure of the poem with its inner order, dynamics, emphasis, rendering of subject
matter and parts, including its emotional power. In short, the form shapes all its structural
elements into a whole.
Thus, the images generated by individual display the progress of winter in three stages:
The first starts out with the onset of winter. That is followed by the serious and playful
deepening of winter with black and white contrasting moments. It ends with the melting
snow, the foreboding spring. Using style and content of these initial images is inspired by
Japanese short form poetry and Imagism. The depictions evoke many fresh sensations of
winter experiences, which are successively expanded by German culture and history. On
the second level, the parallel images unfold the many aspects of winter as a metaphor of
the transitory and the permanent: its gentle beginning, the life-threatening moments, the
losses, the good times, the human attitude, and finally the hope of spring. With the
means of the conceit and parallelism, (black and white) contrast and juxtaposition, the
aspects of winter are confronted with the paralled stages of reminiscence: the unknown
and the forgotten, the assumed and predicted, the superstition and the beliefs, the
unknown and the intuitive knowledge, the inherited and the passed on. Following roughly
the structural content of the sonnet with thesis, antithesis, and implied synthesis, — as
they are established also in Western ghazals, especially in the type of German ghazals
created under the influence of A. W. Schlegel — these five images combine the actual
process of remembering related experiences as winter progresses and white, purple, and
black interpenetrate each other. With the final linepair, the synthesis in form of a cycle
Chrysanthemum No. 20. October 2016 72