Hi, below I copy a humorous hiabun, which I shared as an exercise to mentor enquiring and inspired poets to learn, so they might adopt and try different techniques and then give critique together with awesome comments... Yes, I used the words ***, ****** and **** for context the rest was left to an individual imagination as in good poetry!

It included reflective commentary encompasses innocent classification terminology used in the critique, reading, examining, appreciating, understanding and writing of poetry for example: POETIC DEVICES (enjambement, duality, keriji, images, collocation, semantic, oxymoron, repetition, listing etc.), STORY (personification, characterisation, subject, context, voice etc.), IMAGERY (synaesthesia), STRUCTURE ( lineation, breaks, syntactic etc.), SOUNDS (syllables, rhyme, alliteration, pace, musicality, phrasing, beat, assonance, onomatopoeia, mouthed rhythms, patterned) and WORDS (preposition, determiner, verbs, adverbs, lexical, nouns, adjectives) used by poets, critics and academics...

And here it is :

****** tongue-in-cheek haibun - a reflective commentary on writing a popular tanka

Eye lashes flicker
a shared urgent interest
parting - dancing smile


My first inspiration was ***, passionate life squeezing screaming ***, the thumping wall musicality of ***, exhaustingly inventive sweaty and wet.

I wanted to make it a senryu but for duality the female characterisation demanded two more lines each extending to seven syllables.  

Arousing images captured her moaning splashing loneliness in unusual collocation.

I was first excited by the placement of a hovering extended enjambement to give life to my final line, whilst also considering the satisfaction in using noisy mouthed rhythms.  

I believe I easily hid the wet aroused context with a watery semantic field, that suggested she would choke and drown.

So in my last line I had ‘pleasures’ as a cutting keriji to make clear the dominating ****** context, having previously used a preposition and determiner to maintain duality!


Exhausted shivers
in windowed naked currents
unfolding sinking
then surfing vital wavelets
drowning screams - pleasures wet bite

Eye lashes flicker
a shared urgent interest
parting - dancing smile

My first inspiration was ***, passionate life squeezing screaming ***, the thumping wall musicality of ***, exhaustingly inventive sweaty and wet.

I wanted to make it a senryu but for duality the female characterisation demanded two more lines each extending to seven syllables.  

Arousing images captured her moaning splashing loneliness in unusual collocation.

I was first excited by the placement of a hovering extended enjambement to give life to my final line, whilst also considering the satisfaction in using noisy mouthed rhythms.  

I believe I easily hid the wet aroused context with a watery semantic field, that suggested she would choke and drown.

So in my last line I had ‘pleasures’ as a cutting keriji to make clear the dominating ****** context, having previously used a preposition and determiner to maintain duality!


Exhausted shivers
in windowed naked currents
unfolding sinking
then surfing vital wavelets
drowning screams - pleasures wet bite


.

The question is
Where to begin?
Why, with honest heart
And boldly sin!
And sin I must
Against myself
Pinning the inkwell
A bespoken purpose
--The poetic confession
Since speech commands silence
And advances regression.
My courage it falters
And guts turn all queer
Neither could reckon
With our distances near
And confessing this outright
Is just plain absurd,
I hope I have made
My cowardice clear.
True, this is petty
And prideful at best
Poem’s the proper vehicle lest
My weakness runs wild
As ornery thoughts
And binds up my tongue
And stomach in knots.
But onward! I bore you!
My pen spitting gibb'rish
Thinking sense and writing none  
I’m too far to turn back
And the day is yet won!
But can I be blamed
For nerves all on end
When the single string in every thought
Goes day’s beginning to its end
And all around and back again?
This whole semester
I’ve felt a fool
Beside this mind of eloquence
Of enervating sensation
Like, I, a simple candle
And auroras’ collocation
On the clearest luminescent night
With incensing breeze blown left and right,
Coupled with creative flair
And womanly chic, short, brown hair
I’m distracted, diverted stupidly
A boy's been made
Of the man in me.
I’m a mustard seed among
Religious men,
And profanation blossoms
Brought to transcendent, if divine heights
My words reaching an Elysian place
Touching new Heavens
With (excuse the pun) Grace.
Please don’t hold daft obligation
That you must reciprocate
The sentiments, here, laid before you
And mushiness innate
But the purpose is here
Not to woo
Nay, to salve this tiny,
Yet consumptive flu
So for stoic, normal me
This is something radically new.
So excuse the upheaval
And heavily borne load
It’s just perseverance
Through pessimistic mode,
I know this is weighty
And clichéd and trite
But I've been made weary
(And that’s creepy a mite)
Through countless embattled days
And resultant restless nights
With no intention to do so.
I hope this has struck you
Not perturbed or amused
Because right now I’m trembling
Sclerotic and bruised
And will follow, oh follow
This to its end;
To see this message
Read in your hands.
But until then, condemned
To sleep sad and wake gaily
To think only one thought
And think that thought daily
And thought is of you
Of you,
–.

you and I
is a collocation
that was never
meant to
exist

The collocation in relation .
The delineation of misplacement .
The inhabitants of Kismet , the third .

The depletion of mortality .
The marauder of consumption .
The lamentation of Raul , the bird .

The offing of defence .
The pardon too myriad .
The submission to Pentateuch , the word .

The agrarian underground war .
The capricious rule of super-cities .
The ebb of vulgarity is heard .