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Poetry and the Muses Part 4
Poetry, as discussed in earlier parts of this article, depends on the Muses and access to the deeper self or soul of each person; this is not an easy thing. In the C18th, Lord Chesterfield noted how an individual could be anything he wanted except a ‘great poet’. Throughout history, in every society, it has always been recognized that the calling of a true poet, like a true prophet, is rare and difficult. But this was not always the case; there was a time when, of course, everyone was a poet. This time, in Christian theology, we call it prelapsarian, that is, before the fall, the fall of Adam and Eve and their subsequent expulsion from paradise.
In my opinion, you don’t have to be a Christian to accept this statement; only the Christian myth explains this in a simple way. But the reality is that all peoples throughout time have been religious and engaged in religious practices. Why is this? For it is evident that at an early stage in the history of the human race he was involved in some pernicious and primitive error. People were once happy, and then they weren’t. The Hindus, the ancient Greeks, and perhaps others speak of a golden age—an age in which people were happy, at peace with the gods, enjoyed extraordinary longevity and health, and possessed extraordinary abilities far beyond our own. Then – according to the Greeks – the golden age gave way to the silver and so on, until finally we arrive at the iron age of barbarism, where people behave more like animals than animals themselves.
In short, what we find in these powerful and effective myths is a complete refutation of the modern idea of progress; on the contrary, we are regressing. It seems hard to understand this when the west has central heating, three meals a day, rockets to the moon and threats to blow up anyone who hacks us; but it’s not that hard when you consider that the technology and science that made these “advancements” possible are the very mechanisms by which we will perish as the gods—God—balance the book at some point in the nearby. future. The signs are already here. Sadly, as Geri Giebel Chavis has noted, “The tragedy we bring upon ourselves is worse than the tragic fortune destined for us.”
But to return to the Garden of Eden, the paradise before our expulsion, what will happen to poetry then? Well, this much is clear: poetry was what God gave Adam and Eden—the power of language and naming—and naming to control, the real magic of all language—animals and all things; and by “all things” I mean most essentially our own minds and understandings. At that time there was no such thing as prose; the people in the garden spoke only poetry, and it must have been poetry, for the language would be entirely eponymous. In other words, the intellect and the voice would perfectly match each other, they would be in balance – or a better word, in harmony. And, as we discussed in Part 3, this is what poetry is: harmony between inner impulse and outer expression, framed in such a way that its self-evident beauty compels it. It’s impossible to lie, of course. Imagine this: a conversation with someone whose every word makes you ecstatic – a simultaneous manifestation of goodness, truth and beauty that you don’t want to interrupt even when you want to answer! Except – their poetry would be incomplete without your answer…
Of course, even in this state – the right and left brain hemispheres were in perfect sync – wellness is endemic, and our own language continues to hypnotize us to even deeper levels of pleasure. Not surprisingly, even after the initial fall (there was actually a second fall that triggered the flood, an event remembered by all cultures except the Japanese), the Ancients are recorded as living extraordinarily long lives.
And at this point we must remember that Adam was said to have been created as a “living soul”; also that he was created in the image of God, just like Eve. What was this simile? As Dorothy L Sayers pointed out in her book “The Mind of the Maker”, human beings are creative because that is all we know about God based on Genesis 1 and 2. We are creative by nature, and if we are not, our humanity and divinity are diminished. Second, to be like God—to the infinite—is, of course, to be infinite ourselves in some mysterious sense; because the infinite cannot be diluted – if we are like what is infinite, then we have this quality. So where is it located?
Here we get to the heart of the matter: Adam was created as a “living soul”. This is our true, eternal self; this is where the true language comes from, which cannot lie – and neither can the conscience – and gently suggests, silences and corrects the left side of the brain, i.e. the ego mind; at least until the ego spins it. Like our subconscious, it is buried within us, or more precisely, as the ancient Egyptians and others knew, it resides in the heart. Yes, we are in our hearts, and true poetry comes from the heart, not the head.
How does the heart speak? This hits. The primary sound of the living soul is the beat; and the new living soul, the baby, grows as a result. First of all, there is nothing – absence – that we can indicate with a hyphen -. Second, there is a beat that can be marked with a cross, x. Thus the genius of the English language becomes evident; not all languages are stress driven, but English is. Why is this important? Because what moves us the most, what is emotionally strongest in our lives, is not the sight – the image – but the sound, the rhythm, and especially the metrical pattern, which we call iambic. This hardly needs to be elaborated on, but it’s why movies have soundtracks, why we invest so much time listening to music, and why music has such a healing effect when used properly. And this is why more than 90% of the greatest poetry in the English language is written in iambic meter.
And here is the really incredible thing: so much is written in this meter not because the poets are deliberately trying to figuratively reproduce the beating of the heart and the engineer’s emotion; but because the English language is iambic in nature. The writing of iambic poems goes with the language; writing in other meters is much more difficult, and there are not so many extended long poems that can be named that are not iambic; at least it’s still readable. Of course, writing in free verse is always – with respectable exceptions – completely ignoring the task of poetry.
So where do we see this structure in language? At the most basic and thus most common levels. First, in our language’s requirement that most nouns be preceded by a definite or indefinite nominative, as well as the fact that we have a large number of monosyllabic nouns. Thus we have ‘pen’, ‘book’, ‘cheese’ and so on; there is the iambic pattern. In addition, secondly, there is the requirement that verbs be preceded by pronouns. Again: ‘I walk’, ‘you run,’ ‘they talk’ and so on; hundreds and thousands of combinations of strong and common words (indeed, many monosyllabic verbs are called “strong” verbs). Finally, with the plethora of monosyllabic prepositions and conjunctions, we are constantly creating iambic patterns without thinking: “of love”, “above”, “but no”, “or go”, etc.
All this means that the English language is perhaps above all (its poetry – worldwide – the crowning glory of art, let’s say music is the crowning artistic achievement of the Germans) expressive of the heart, the emotion, the soul – and the eternal soul is beautiful. And this is important because, as Alan Watts said, “Wonder, and its expression in poetry and the arts, is one of the most important things that seem to distinguish man from other animals, and intelligent and sensitive people from stupid.”
Thus, as I come to the end of the article, it should be made clear that poetry writing is of primary interest to all of us and to our civilization as a whole, because of its divine origin, its healing power, and its healing power. for as Norman O. Brown put it, “Art and poetry have always changed the ways we perceive and feel—that is, they have changed the human body and the human mind,” and this leads Derek Steinberg to observe that “even the complex psychodynamic theories have limitations; many agree that literature and poetry far surpass them.” Wow – what a statement! All the money and effort and time poured into “research” and the “science of psychodynamic theories” and poetry – and muses and myths , can fly above them, which means that you have to go deeper – if you can reverse the metaphor. ; because the journey of the soul – where poetry resides – always goes down, that’s why Orpheus – and then Dante – had to go down first.
We also remind you that initially addressing the Muse indicated that the speaker was working within the poetic tradition, according to established formulas. How important this is is shown by Christopher Bryant’s comment when he said: “Poetry is the most powerful ally of the revealing spirit of modern reductionism.” Poetry comes from the Muses and comes from the Muses, and for all the reasons I have stated and explored, when we leave this tradition – the Muses – we do not write poetry at all, but we have a spirit of self-delusion, and the spirit is pride when we cling for the pantheon of poets to give way to our petty self and its will-driven works.
In our world today, we recognize this as largely post-modern – completely overrun by secularism and a deep atheism that seeks to remove wonder, mystery, truth, goodness and beauty from our world. Its form is invariably, but not always, in free verse; the lack of structure that proudly surrounds you, proclaiming false freedom – from its shackles – from its forms – those greater than us. But whether they reject the form (as they usually do) or embrace it (usually to corrupt it), we can always notice their work. We need only return to Edgar Alan Poe’s famous and true definition of poetry: “Poetry is the rhythmic creation of beauty in words.” Yes, not necessarily metrical, but rhythmic, and critically the creation of beauty. The beauty that is balm for our soul; which enlightens us spiritually, emotionally, mentally; and thus sheds a healing light on our lives. This is what we want, we must stick to it. No one says it’s easy to create; in fact, I think this article has shown how difficult the business of poetry is – the summoning of the Muse. But difficulty is no reason not to do it; on the contrary, it is the spur. As Yeats put it: “The charm of a difficult thing.”
If we can’t be exactly like Orpheus, then I suggest we be like Odysseus—everyone sets out from the ruins of Troy and tries to find his way home to his true love, Penelope. Penelope will naturally be a man for women, since we turn to the subconscious. But here’s the important thing to understand: the journey home to find our true love is a symbol, because our true love is our own soul – which we said before is essential, eternal and… beautiful.
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