le banro vensa
zo'u catlu xrula xu
.i le labysi'e
ku dandu so'u jimca
ne'a pa sanga cipni
-- le sondu me'e zo soseis.
le lirvensa na
.ole lerci xrula zo'u
.au mi tiltirna
tu'a le sanga cipni
.iku'i cy. no krixa
-- la fujiuaranokotonaos.
.i ca'o vensa
.i ku'i le xrula na
zvati bu'u le
mi ma'azda ca le nu
le cipni ku blesa'a
-- la ariuaranomunecanas.
https://www.wakapoetry.net/kks-i-6/
https://www.wakapoetry.net/kks-i-10/
https://www.wakapoetry.net/kks-i-15/
Lojban will of course have great difficulty reproducing poetry where each and every word can bear multiple meanings, to say less of the links to Du Fu. At best one might convey a particular image, and hope that the image is both good and speaks of other things by word choice and association, especially given how spare the 5 7 5 or 5 7 5 7 7 forms are. Mostly this is me kicking the tires of what lojban can do, and nobody is yelling at me in #lojban about the efforts. So far.
.i se ri'i gi
veslenku je cipsa'a
gi mi'o polji
pe'a le bartu munje
.e le nenri se pensi
Does this work in lojban? No idea! I don't really speak the language. With experience-of spring-chill and bird-song therefore you-and-I "fold" the outside world and inside thought-subject. Or something like that. Section "9.8 Other modal connections" in the CLL is where the gi ... gi ... form comes from:
https://www.lojban.org/publications/cll/
Some have claimed that the lojban connective system is too complicated.
Anyways the aim is to fit Old High Lojban of the CLL into a 5 7 5 or whatever form, to maybe have two images contrasted and to touch on nature as is typical in haiku, and to try not to do anything presumably awkward like putting an .i at the end of a line or ending the first two lines on the same vowel. Other restrictions may apply. See warranty for details.
tags #poetry #spring