[ Thanks to everyone for the questions, answers and statements; I will try to settle all doubts about my initial writings, and in advance, I apologize if I forget to talk about any point already mentioned and that should be better discussed; it's great to know that interest in the "epistemology of poetry" doesn't just afflict me. ]
And I don't think art - poetry, music, visual art - are about emotions in particular. At least not just emotions. I think they're about something that can't be explained or understood, only expressed and experienced. — T Clark
And can
"emotions" be understood and explained? In fact, if we are debating
"instinctive and/or biological emotions", they can be objectively detailed so that in a basic research, all their causes and effects can have a rational and logical conclusion.
However, if we are discussing a philosophical concept of
"emotion", which, as it is already a
"concept in itself", includes metaphysics in itself, something that can be
"experienced and expressed" being pre-mediated by an idealizing conception must
necessarily be plausible in terms of understanding and comprehension, whether this understandness is subjective or not.
None of this is to say that some metaphysic of Poetry doesn't exist, but if it does, it's at best apprehended by the poet at the time of writing and possibly at no other time, but probably not by readers, and certainly not by dilettante philosophers hundreds of years later. Just off the top of my head; I probably missed some things — Noble Dust
Fact, it is very likely that (1) or the poetic metaphysical
"substance" is something completely subjective, where only the creator and momentary projector of such writing is the only one able to
"grasp" the true meaning and
"essence" of the text, or (2) the poetic metaphysics is a
"quasi-field of substances" from which ideas are drawn and put into existence through the human mind
- and by the very end of the process: - the writing of such a concept -, which afterwards
- and externally to the "creator of such sayings" - and subjectively, can be discovered through the linguistic analysis of such a poem
- as, for example, the Sufis were able to do -.
Take, for example, Khatai's first poem which I quoted in my original post; in a deeper analysis of the linguistic means used there, we can, with certainty, affirm that the
"ousia" of the first text is the concept of
"Faith", so
- through this interpretation of poetic metaphysics - the
"world of ideas" of the concept of
"Poetry" can be reached by others than the writer.
the OP is not restricting the term "metaphysics"/"metaphysical" to a school or period of English poetry, as Sam Johnson did. Rather, he appears to be using those terms to describe the commonalities of all poerty, the purpose and intent behind the "poetic enterprise". In this, Gus seems to be suggesting that the impulse behind the poetic undertaking is the elucidation of fundamental truths of the human experience of life. — Michael Zwingli
:100:
What is meant by an 'authentic metaphysics' ? — Amity
"A field of metaphysics distinct and unique to the imaginative world of general metaphysics"
So, poetry itself is supposed to be able to deconstruct its meaning to enable an understanding of its 'metaphysical essence' ? Or a 'substance' such as 'Faith' or 'Heredity/Glory' ?
What is 'substantial', in 'metaphysical essence', about 'Faith' — Amity
The thesis defended by me in my original publication is the Sufi linguistic-mystical analysis, which, through the use of tools used in the construction of language, during the development of such a text
- poetry -, allows, after completion, with a deconstructive analysis of the tool used
- linguistic - and with a
"temporal" - mystical - analysis of the entire process of the production of the text
- beginning, middle and end - the
"substance" - idea - of such work to be understood.
What on earth does this mean ? — Amity
"Poetry" could only comprise an authentic metaphysics if the individual linguistic methods of each text produced were, not only its bases, but also its processes and conclusions.
In summary: - Khata'i, Muhibbi, etc... when searching for the essence of some work they had written, they looked only for those where they used only one method from beginning to end
- not only materially, but also consciously - since conception of the idea with the same method - -.
Isnt it the case that it is the particular CONTENT conveyed by any of the innumerable modes of cultural expression within an era ( including poetry) that manifests a mataphysics? For instance , if one were to delimit a cultural history of poetry in the West, would one not be able to correlate the changes in the way poets considered their craft over the centuries with changes in metaphysical outlook? Doesn’t classical Greek poetry reflect a different metaphysical thinking than the poetry of the Renaissance or the Modern or postmodern eras? — Joshs
I personally believe not, because the idea presented here
- in the original publication - does not defend a
"plurality" of
"metaphysical fields" that differ in culture, religion, geography, etc...
The point made is as follows:
"If the metaphysical field of the concept of "Poetry" exists and can be perceived - as evidenced by the Sufi poetry -, whether through language, mysticism, etc..., it is more than plausable that more fields of knowledge also contain their own individual metaphysics, which should be further researched and analysed."