Page 36 - GALIET METAPOIESIS AND TRUTH IV+

Galiet & Galiet
whose meta-poiesis is the lyric breath of the making cosmos: Muse and Mused. Phusis 3⁄4 primordial motion, breath, force that, too, moves the azurean, tremolous feather of beauty. Aletheia 3⁄4 reminiscence, spark, intuitive force that, too, is moved by Plato’s anamnesis, not only as spiritual act, but also as natural act. Splendid act in whose virtue the soul not only naturally sees, vividly, but also hears, acutely, the sensible in the intelligible’s meta-poem of the cosmos according to models, archetypes contemplated, heard not only as the soul is released, in Plato’s cosmos, from the body’s chains, its sepulchre, but also as the soul, within the world, becomes, fulfils, its own nature, never far off from beauty’s beloved dream. Just as phusis is phusis in itself, self-moved, so is spirit, spirit in itself, self-moved. Phusis as spiritual act and spiritual act as phusis, in self-becoming and being, truly remembers itself as itself: a-letheia, not as a presence that appears and conceals in its own appearing, but as that which is always appearing, never concealing the splendour of its becoming into being.
What does Lethe then forget? Necessity and the Fates, never its very own nature: forgetfulness. Poetry as meta-poiesis is the sublimation of the image just as Agape is the sublimation of Eros. It forgets philosophy’s nature: poetry, a song that is singing and a singing that is song whose denuded metaphors signify the other as itself, A as B or B as A,130 that is, it does not explain, but describes sublime emotive awe, feeling also itself as itself, A as A, as it is. It is true that Plato divests metaphor to scientific language, to A as A, to suppress the ambiguity and error that Aristotle too endorses.131 It is not fully clear, in Heidegger’s definitions, that a- letheia as phusis too belongs to metaphor, or A as B, as much as to truth, or A as A, in the unfolding or becoming as being, that is, A as B as A or the rose unfolding, changing as itself, the rose in the realm of mythos-logos, not logos-logos, of poiesis, not noesis. Phusis is not just poiesis remembered as aletheia, but meta-poiesis and meta-metaphor. Only that which belongs to meta-poiesis can truly be said to be a metamorphosis of metaphor elevating it to zenith’s sublimity: A as B as C, as D as AA, as infinitely, progressively becoming itself A as truth that corresponds to this world, as much as to parallel and unparallel ones, some, strewn, heroically, with asphodels and roses, immortal, revealing all things and whose openness is beyond the enigmatic clearing. In this sense, in its being-becoming, temporally, it becomes endless, timeless in the tempiternal. Poetry, as such, does not participate in poetriness, instead, its cause is phusis
130 For Aristotle, metaphor consists in giving a thing a name that corresponds to another thing, producing a transference (epiphora) of the genre to the species or the species to the genre or from the species to the species or according to analogous parallels. Aristotle in Poetics, XII, 1457b and in Rhetoric III, 4, 1406b, as maintained by Hegel in Aesthetik, ed. Glockner 12: 533 to 540. Aristotle. The Basic Works of Aristotle. Ed. Richard McKeon. New York: The Modern Library, 2001.
131 Aristotle posits how important it is in dialectic discussion to avoid metaphors. In Posterior Analytics 139b 34 he also reiterates that everything that is said through metaphor is obscure. Posterior Analytics. 97b 37-39 and 158b 17. Aristotle. The Basic Works of Aristotle. Posterior Analytics. Ed. Richard McKeon. New York: The Modern Library, 2001.
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