Yet if you should forget me for a while And afterwards remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad. Mine are the night and morning, The pits of air, the gulf of space, The sportive sun, the gibbous moon, The innumerable days.
I hid in the solar glory, I am dumb in the pealing song, I rest on the pitch of the torrent, In slumber I am strong. No numbers have counted my tallies, No tribes my house can fill, I sit by the shining Fount of Life, And pour the deluge still;.
And ever by delicate powers Gathering along the centuries From race on race the rarest flowers, My wreath shall nothing miss. And many a thousand summers My apples ripened well, And light from meliorating stars With firmer glory fell. I wrote the past in characters Of rock and fire the scroll, The building in the coral sea, The planting of the coal. And thefts from satellites and rings And broken stars I drew, And out of spent and aged things I formed the world anew;.
What time the gods kept carnival, Tricked out in star and flower, And in cramp elf and saurian forms They swathed their too much power.
Time and Thought were my surveyors, They laid their courses well, They boiled the sea, and baked the layers Or granite, marl, and shell. But he, the man-child glorious,— Where tarries he the while? The rainbow shines his harbinger, The sunset gleams his smile. My boreal lights leap upward, Forthright my planets roll, And still the man-child is not born, The summit of the whole. Must time and tide forever run? Will never my winds go sleep in the west? Will never my wheels which whirl the sun And satellites have rest?
Nevertheless, this does not hinder Plato from expressing his philosophical arguments by means of dialogues and myths.
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- Poetry and Philosophy (completed) | Ancient Philosophy | University of Bergen.
Could this ambiguity be solved? Or, rather, is poetry a fundamental dimension belonging to philosophy itself? Throughout history of Western thought many thinkers took a position on the Quarrel.
Poetry As a Way of Knowing | Philosophy Talk
Another way of understanding the Quarrel is to consider philosophy one of the tools the poet and the writer employ in order to reflect upon their artistic activity. Philosophy plays an important role in the compositional activity of the poet: such role would consist in making possible a meta-literature, that is, a poetry whose point at issue is its own nature.
Thus, what is at stake in the quarrel between poetry and philosophy is the distinction between myths and logos, thinking in images and thinking in concepts, between the picturing and the inferential arguing, between the imitation of and the reflection upon reality. And, consequently, what is the relationship between the universals used by philosophy and the ones used by poetry?
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It is this act of curation that makes the column a celebration of the poetic imagination. I wish I could have met you at a different moment and a different place. The original post was artless. Its opening tag offered no more than a third-person description of an encounter, one participant hoping to reach the other.
When I Consider How My Light Is Spent
It continued with an awkward not-quite-apology, a churlishly direct explanation for what was inappropriate behavior, and a hinted invitation for another chance. Read literally, these words make a bad impression; the attitudes that got the guy in trouble when drunk are just as much in evidence when sober. Feuer, however, offers us a poem.
The linguistic structures identified in rendering the text into verse catch the language subverting itself, letting us see directly deeper forces at play. The lineation line breaks and placement breaks up the text using a mix of parsing and end-stopped lines. End-stopped lines conclude at a sentence boundary. Parsing lines break up larger sentences into coherent fragments.
Poetry of Philosophy, Philosophy of Poetry
The lineation seems simple, but in fact it surprises us with the unexpected parallels it reveals. Metrically, the opening stanza establishes a consistent pattern of phrasing, where two syllables in each line receive prominent accents. In the first stanza, drunk, i in irish, girl, tights, sub in subway, and queens. Here, though, Feuer sets the scene in simple chunks that characterize individuals with just a couple of key attributes.
Formal parallels in the second stanza, in particular, juxtapose inebriation a generally unattractive state and attractiveness. The annotating emphasis of the lines confirms the contrast. The directness of the alternatives reveals the presence of archetypes: ugliness chastened by an encounter with beauty. It is as if the writer is reworking and revising his wish for difference.
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The contrast between the original and its poetic rendition illustrates the distinctive engagement that poetry requires. Imagine the original presented on a smart-phone display with the exact same typographical layout Feuer imposes. You could read it unselfconsciously for literal meaning; or, struck by its formal structure, you might recognize the deeper implications.