An exploration of the poetic process of translating enlarged reality to a poem, can illuminate the process by which all people limit reality. That understanding may serve as the basis for further research.
The poet seems to perceive elements, which may also be perceived by other people, yet seem to produce a strong impression on the poet alone. This chapter explores the perceptive patterns of the poet through three elements: Beauty, Love, and Change.
My heart to you, my son,
Through emotional identification poets seem to attach their perception to external events, such as events of nature that do not stem from human physical experience. The poet's experiences are projected psychologically upon nature, as nature seems to provide physical expressive objects and a vocabulary of terms:
Even the smallest atom
#In order to choose, opposites of things have to be present to choose from. Opposites seem crucial for the capacity of the human mind, as the human mind seems to comprehend things by the act of comparing one thing to the other (Einstein, 1962: 141). The mind chooses elements and compares them. Although many people seem to believe that external events have power over them, it seems that there exists no element outside man that has the power to influence free will to choose (Aquinas, 1952: 674; Leibowits & Lavi, 1997: 15-27). The poet's creative perception seems to come not from external circumstances, such as place of birth, culture or education, but rather from the poet's free will to constantly choose. Poets will themselves to empty themselves from ego-personas, and instead to open up to constantly changing experiences:
With the move between changing contents, poets seem to detach themselves from a specific content, and instead collaborate with an all-encompassing stage of creativity. This chapter explores creative patterns through three elements: Both/And, Attention, and Challenge.
Such selective attention is the product of both individual and collective patterns of thought (Jung, 1990: 79). Thus, the created one, objective reality", which is the world as people perceive it, is determined in such way by the context of the choices of the subjective observer. What people decide to look at, is what people will eventually perceive, whilst ignoring other existing aspects of reality that pass unnoticed (Desilet, 1999: 348; Lancaster, 1996: 31-33). Perceptive patterns set by contemporary society (Barlow, Blakmore & Weston-Smith, 1990: 2) seem to manipulate thought to focus regularly on material objects perceived with the human five senses (Descartes, 1972: 35-36). Yet, the human senses seem to form reality inasmuch as they seem to perceive reality. For example, dream contents produce a sensation of objects although actual physical objects do not seem to be presented in the dream (Descartes, 1972: 36). It seems that humans are born with a priori symbols, which hold active impressions, and serve initially as a tool of learning. As babies open their eyes, external reality reshapes itself to fit inner patterns. We train the external physical reality to fit our inner constructions (Roberts, 1995: 215). Space, for example, may not be something 'out there', but rather a state of the human mind. Even if a body is "deleted", the idea of the space that the body used to be in still remains (Kant, 1964: 44-47; Kant, 2000: 31). Time also seems to be a construction
With the challenging of common perception the poet seems to open up to patterns of psychological initiation, where inspiration flows in a form of peak-experience. That experience is then reduced to a poem in a form of words. This chapter explores the process of communication in poetry making through three elements: Initiation, Inspiration, and Limitation.
Although the poet reaches that creative moment through a psychological enlargement of their higher-self, that creative force comes from outside the psyche of the poet and seems to hold its own independent validity (Jung, 1990: 80-86; Sheldrake, Mckenna & Abraham, 2001: 15). The poet is simply a psychological-channel through which inspiration flows (Roberts, 1994: 34; Kandinsky, 2003). As such, the poet serves as a link to a larger consciousness reality, which exists around us and communicates information to us through the use of symbolizing words delivered by the poet. Poems seem to serve as a written archetype of a cosmic consciousness. The role of poetry, thus, is not just an expression of an individual poet's emotion, but rather a connection to higher realities, aiming at reminding humanity of an available enlarged reality. With such a connection, the poet is no longer an individual, but the collective race; the voice of all mankind (Jung, 1990: 82). Poetry is a tool to communicate information to humanity, and the process of poetrymaking is the response of the poet to an archetypal voice that calls upon him/her to create (Kandinsky, 2003). This inner voice may call to all people, and yet it seems that the poets actively responds to that call, through the expression of their inner emotions:
Design and layout©, production and editing, Helen Gavaghan. This essay by Gil Dekel© was published first by GavaghanCommunications in Science, People & PoliticsISSN: 1751-598X (online).