↪Gus Lamarch thank you for this. It is much needed by myself: lover of poetry, poetical philistine. — Michael Zwingli
The conclusion reached by Ismail, and by other poets and philosophers, was that:
"Poetry comprises only an authentic metaphysics, from the moment on that its analysis is done in such a way that the linguistic poetic basis is also its development and conclusion."
Therefore, poetic metaphysics is something that can only be conceived through the incomplete visualization - not absolute but subjective - of concepts. — Gus Lamarch
Metaphysical poets
A group of 17th-century poets whose works are marked by philosophical exploration, colloquial diction, ingenious conceits, irony, and metrically flexible lines. Topics of interest often included love, religion, and morality, which the metaphysical poets considered through unusual comparisons, frequently employing unexpected similes and metaphors in displays of wit. The inclusion of contemporary scientific advancements were also typical. John Donne is the foremost figure, along with George Herbert, Andrew Marvell, Abraham Cowley, Richard Crashaw, and Henry Vaughan. For more on metaphysical poetry, see Stephen Burt’s poem guide on John Donne's “The Sun Rising.” — Poetry foundation: Glossary of terms
The word ‘Metaphysical Poetry’ is a philosophical concept used in literature where poets portray the things/ideas that are beyond the depiction of physical existence. Etymologically, there is a combination of two words ‘meta’ and ‘physical in word “metaphysical”.’ The first word “Meta” means beyond. So metaphysical means beyond physical, beyond the normal and ordinary. The meanings are clear here that it deals with the objects/ideas that are beyond the existence of this physical world. Let us look at the origin of word metaphysical poetry in more detail. — What is Metaphysical Poetry
The messages of art, including poetry, are not received by interpreting it. They are received by experiencing it. — T Clark
ASSISI by Norman McCaig
Resource by Jane Cooper.
Getting In
Before you read the poem, think about these questions:
1. If you see someone begging in a public place, what do you feel?
2. And, if you see someone begging in a public place, what do you do? Give them
money? Buy them food? Stop to talk to them? Walk away? Something else?
Meeting The Text
You are about to read the Norman MacCaig poem ‘Assisi’. As you read it for the first
time, work out the answers to these questions.
1. Where does the speaker seem to be in this poem? Be as exact as you can.
2. Which two different individual people does he notice? What are these people
doing?
3. Which group of people does he notice? What are these people doing — Poem: Assissi by Norman MacCaig - Teaching notes
Author's note:
I rarely talk about what my own poems are about but for me poetry is the only written form where I am completely truthful.
I have been writing poetry for as long as I can remember and it is the oldest form of expression for me.
When I need to make sense of something it is often poetry that helps me to do so. When none of the other literary forms are enough — poetry is the one I reach for.
'The Narcissist & the Light Stasher' is a simple truth best told in this form. It is concerned with how ordinary people cope with extreme circumstances and how we all have choices to make in how we respond to the people in our lives. — Scottish Poetry Library - Jenni Fagan
lyric (n.)
"a lyric poem" (one suggestive of music or fit to be sung), 1580s, from French lyrique "short poem expressing personal emotion," from Latin lyricus "of or for the lyre," from Greek lyrikos "singing to the lyre," from lyra (see lyre). Meaning "words of a popular song" is first recorded 1876. — Origin and meaning of lyric
Maybe better to separate them in separate threads? — Corvus
Blank verse is incredible. The rhythm of words freed from the distraction of rhyme allows the poet to explore overlooked corners of language. — Noble Dust
Give me an example of "life is [both] ugly...good poets tell it like it is" — TheMadFool
The buds luminous in white sway happily,
and sparkling valleys darkened by angst. — Literary devices: blank verse
The Dark - by Carol Ann Duffy
If you think of the dark
as a black park
and the moon as a bounced ball,
then there’s nothing to be frightened of
at all.
(Except for aliens…)
— Poem: Dark
Any passing philosophical aphorisms? Put down in this thread. — Corvus
Judgments presents problems of a serious nature to both psychology and metaphysics. - F. H. Bradley — Corvus
At the root of all Western literature is ancient Greek poetry—Homer’s great epics, the passionate love poems of Sappho, the masterpieces of Greek tragedy and of comic theatre. Almost all of this poetry was or originally involved sung music, often with instrumental accompaniment. Scholars are now in a position to reconstruct from surviving documents how Greek music actually sounded. By combining this knowledge with modern analogies and imaginative musicianship we may make a start at understanding why it was thought to exert such extraordinary power...
...Now that we can reconstruct some of the sung versions of this poetry in musical form, we are bound to ask the question: how did ancient Greek music affect or interact with the texts of poetry? — Rediscovering Ancient Greek Music
...This recording thus presents four compositions in suite form and three pieces of a different nature, all belonging to the florid repertoire of the courtly Salonmusik that was in vogue among the German upper classes at the time. Performing them is acclaimed Italian lutenist Mario D’Agosto, whose changes in tonality aim to better serve the capacities of the instrument (BWV 996 and 997, for instance, were written for the ‘Lautenwerk’, a sort of lute-harpsichord favoured by Bach) and whose embellishments are testament to the high level of ornamentation which played such an intrinsic role in baroque performance practice. — Composer: Johann Sebastian Bach Artist: Mario D'Agosto (lute)
This video features clips from 4 of my many albums of my of ancient lyre music, featuring both the actual surviving fragments of the music of Ancient Greece, as well as my original compositions for replica lyre, in a selection of some of the original Ancient Greek Modes... free PDF booklets of all the detailed album notes are available from my website:
http://ancientlyre.com/ancient_greek_...
For full details, and all the historical research behind my myriad of "Musical Adventures in Time Travel", please visit my official website:
http://www.ancientlyre.com — Michael Levy
Ci risiamo col lockdown… quindi un’altra canzone (versione speciale) per ammazzare il tempo e il Covid-19.
Abbiate cura di voi.
We're in lockdown again...so here's another song (a special version) to kill some time and to kill some Covid-19. Take care of yourselves.
Zucchero — Zucchero
See Nietzsche's On the Use and Abuse of History for Life, how second natures become first natures. Existentialism does not fall on one side or the other of natural/supernatural, physical/metaphysical. . — Fooloso4
The Foreword
“Incidentally, I despise everything which merely instructs me without
increasing or immediately enlivening my activity.” These are Goethe's words.
With them, as with a heartfelt expression of Ceterum censeo [I judge
otherwise], our consideration of the worth and the worthlessness of history
may begin. For this work is to set down why, in the spirit of Goethe's saying,
we must seriously despise instruction without vitality, knowledge which
enervates activity, and history as an expensive surplus of knowledge and a
luxury, because we lack what is still most essential to us and because what is
superfluous is hostile to what is essential. To be sure, we need history. But we
need it in a manner different from the way in which the spoilt idler in the
garden of knowledge uses it, no matter how elegantly he may look down on
our coarse and graceless needs and distresses. That is, we need it for life and
action, not for a comfortable turning away from life and action or merely for
glossing over the egotistical life and the cowardly bad act. We wish to use
history only insofar as it serves living. But there is a degree of doing history
and a valuing of it through which life atrophies and degenerates. To bring this
phenomenon to light as a remarkable symptom of our time is every bit as
necessary as it may be painful. — Nietzsche - On the Use and Abuse of History for Life
Idetestdon't read Nietszche. — Wayfarer
Music helps us be alone with our thoughts. It transports us to a magic world, to a place where everything becomes more tolerable. A place where we can cry until we dry up or smile until we’re sore. — exploring your mind - the magic of music
The air in the forest smells good. It may smell like damp moss, rain, wet tree trunks, flowers, and needle-covered path.
It may smell like a tree stump that is already creating new life, or even snow, frost, and softwood.
According to a research, just five hours per month in a forest will greatly improve our mental health. What about, say, five hours per week, then? — Finnish forest
Melvyn Bragg and his guests discuss Plato's Symposium, one of the Greek philosopher's most celebrated works. Written in the 4th century BC, it is a dialogue set at a dinner party attended by a number of prominent ancient Athenians, including the philosopher Socrates and the playwright Aristophanes. Each of the guests speaks of Eros, or erotic love. This fictional discussion of the nature of love, how and why it arises and what it means to be in love, has had a significant influence on later thinkers, and is the origin of the modern notion of Platonic love. — BBC Radio 4 - In Our Time, Plato's Symposium
You sure live up to your forum name! — Wayfarer
You need to notice that calling other folks’ philosophy « woo » is disrespectful, condescending and useless. — Olivier5
While still a student Hunt read John Ruskin's 'Modern Painters' in 1847 and became influenced by the idea of a moral purpose for art. Ruskin also encouraged artists to carefully study nature and Hunt embraced this practice. Hunt's style is easily distinguished from other Pre-Raphaelite painters by the emotional intensity of his characters and his choice of mainly religious and moral subjects. — About Holman Hunt artist
From Neil Young to Keith Richards, a generation of musicians revered Phil and Don’s haunting music.
US music star Don Everly dies aged 84.
Among the hundreds of hours of outtakes from the recording sessions that eventually became the Beatles’ Let It Be album, there is a version of Two of Us, taped on 25 January 1969. As John Lennon and Paul McCartney harmonise, the latter says to the former: “Take it, Phil”, a reference to Phil and Don Everly, the duo upon whom the pair had originally attempted to model themselves. On an early holiday, Lennon and McCartney attempted to impress local girls by telling them they had a band back home and they were “the British Everly Brothers”. — The indelible influence of the Everly Brothers
Y'all do realize you just have to highlight the youtube link you copied and hit the "media" button in order to create an image link, right? — Noble Dust
I've literally not listened to any music either of you have posted for this reason. — Noble Dust
Catch You On the Flip Flop"
— Amity
Slap and Tickle
— Amity
Curious selections. — Hanover