The Future Poetry Notes 15
How to differentiate the older poetry and new poetry?
THE RHYTHMIC change which distinguishes the new poetry, may not be easy to seize at the first hearing, for it is a subtle thing in its spirit more than in its body, commencing only and obscured by the outward adherence to the apparent turn-out and method of older forms; but there is a change too, more readily tangible, in the language of this poetry, in that fusion of a concentrated substance of the idea and a transmuting essence of the speech which we mean by poetic style. Continue reading
The Future Poetry Notes 14
How Poetry is different then other human utterance? What determines the yield of poetry? What is the inward seeing in poetry?
The natural turn of poetry, that which gives to it its soul of superiority to other ways of human utterance, is the endeavou of the interpretative cast of its mind always to look beyond the object, even to get behind it and evoke from a something that was waiting for us within its own inevitable speech and rhythm.
That inwardness is the triumph of great poetical speech, whether the poet has his eye
-> like Homer on physical object and power of action and the externalised thought and emotion which they throw up into the surface roll of life, or else
-> like Shakespeare on the surge of the life-spirit and its forms of character and passion and its waves of self-interpreting thought and reflection,
or on the play of the detached or half-detached seeing intellect or the inspired reason,
or on the strainings of the desire-soul of man striving to find the delight of things in the thousand-coloured threads of the double web of our existence. Continue reading
The Future Poetry Notes 13
What exactly happens during the appreciation of a poet or a poetry?
In poetry, as in everything else that aims at perfection, there are always two elements,
-> the eternal true substance and
-> the limitations and accidents brought in by the time element.
The first alone really and always matters, and it is that which must determine our definitive appreciation, our absolute verdict, or rather our essential response to poetry.
A soul expressing the eternal spirit of Truth and Beauty through some of the infinite variations of beauty, with the word for its instrument, that is, after all, what the poet is, and it is to a similar soul in us seeking the same spirit and responding to it that he makes his appeal. It is when we can get this response at its purest and in its most direct and heightened awakening that our faculty of poetic appreciation becomes at once surest and most intense. It is, we may say, the impersonal enjoyer of creative beauty in us responding to the impersonal creator and interpreter of beauty in the poet. Continue reading
The Future Poetry Notes 12
How to truly appreciate poetry and the poet?
Nor is it necessary to subscribe to the theory of the man and his milieu or the dogma of the historical school of criticism which asks of us to study all the precedents, circumstances, influences, surroundings, all that “created” the man and his work,—as if there were not something in him apart from these which made all the difference, something that made him a man apart and not like others. It is supposed that out of this elaborate scientific study the right estimate of his poetry will arise. But even the right historical or psychological understanding of him need not inevitably arise out of this method; for we may very easily read into him and his work things which may perhaps have been there in front of him or around him, but never really got inside him. Continue reading
The Future Poetry Notes 11
What is the poetic vision?
The native power of poetry is in its sight, not in its intellectual thought-matter, and its safety is in adhering to this native principle of vision; its conception, its thought, its emotion, its presentation, its structure must rise out of that or else rise into it before it takes its finished form.
The poetic vision of things is not a criticism of life, not an intellectual or philosophic view of it, but a soul-view, a seizing by the inner sense.
The Mantra too is not in its substance or its form a poetic enunciation of philosophic verities, but a rhythmic revelation or intuition arising out of the soul’s sight of God and Nature and itself and of the world and of the inner truth—occult to the outward eye—of all that peoples it, the secrets of their life and being. Continue reading
The Future Poetry Notes 10
Is it necessary for the poet that he must bring some change in the world through his poetry or to be meaningful and helpful through his poetry?
It is necessary therefore to say that when I claim for the poet the role of a seer of Truth and find the source of great poetry in a great and revealing vision of life or God or the gods or man or Nature, I do not mean that it is necessary for him to have an intellectual philosophy of life or a message for humanity, which he chooses to express in verse because he has the metrical gift and the gift of imagery, or that he must give us a solution of the problems of the age, or come with a mission to improve mankind, or, as it is said, “to leave the world better than he found it.” As a man, he may Continue reading
The Future Poetry Notes – 9
What are the types of imagination and what is the correct poetic imagination?
The modern distinction is that the poet appeals to the imagination and not to the intellect. But there are many kinds of imagination;
1) the objective imagination which visualises strongly the outward aspects of life and things;
2) the subjective imagination which visualises strongly the mental and emotional impressions they have the power to start in the mind;
3) the imagination which deals in the play of mental fictions and to which we give the name of poetic fancy;
4) the aesthetic imagination which delights in the beauty of words and images for their own sake and sees no farther.
All these have their place in poetry, but they only give the poet his materials, they are only the first instruments in the creation of poetic style. The essential poetic imagination does not stop short with even the most subtle reproductions of things external or internal, with the richest or delicatest play of fancy or with the most beautiful colouring of word or image. Continue reading