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Galiet & Galiet
becomes, in Shelley’s universe, the immeasurable mirror of beauty:156 a sublime kaleidoscope of being. Though Poetry or Poiesis continues to be an imitation or reproduction, its mimetic tendency ceases to be pejorative in the measure that the referent is not empirical but transcendental. The objects are not mere copies, but qualified representations of the very Ideas. The poet, thus, no longer will reproduce materiality, but will materialize the Ideas or Forms by gazing at imagination as it appears only in beauty’s mirror: mirror of poetry and of p o e s í a.
P o e s í a: whose versification seeks always the rhythmic beauty and majesty of harmonious melodies as an echo of the heavenly spheres.157 Poesía: ever present in the looking glass of Neo- Platonism irradiating its splendour on Shelley’s sublime ideas of a transcendental poetics, never fully devoid of empiricism. Indeed, the poet has a most sensitive soul that apprehends the Platonic Forms of the true and the beautiful,158 says Shelley. Alastor’s poet,159 a recluse and ‘luminary’, loses himself in poetical and philosophical altitudes contemplating the immaculate Forms seeking, in his veiled Lady philosophy, his very being: the voice and essence of his soul. Poetry for him shall never be a mere crepuscular adornment, a mere imitation, or an anthropological affair, but a two-fold song: mysterious key that unlocks the grand unknown, and Diotiman ladder160 that beckons the essence of the other realm within the immanent realm of Aristotle without fully relinquish the ascending ladder, as Descartes, too proposes. A necessary ladder that entices humans, ever and ever, to climb its constellated stairs towards the wondrous essence of beauty (kaleidos): those palpable resplendent Forms whose being once existing only in transcendental reality can be perceived immanently in all things. An immanent ladder that leads humans, ever and ever, through its wondrous euphonies towards that ineffable universal beyond temporality; yet never forgets the tragic consciousness of the world.
Thus, meta-poiesis, inspired poetry, no longer a mimesis, but an aspect of poetic noesis, immanent, invokes the air and the snow, it bleeds in the thorns of time, in impotence, in agony, in frustration, in joy’s departure, and denuded it no longer bathes in the tumultuous sea and Plato’s cave. High poetry dwells in the universe and the universe in its being; the earth breathes in its mouth, and it becomes sacred as a star. Meta-poiesis sings of its utopia drawn by the
156 Heath,William. Ibid.Shelley. ADefenceofPoetry.978.Heath,William. MajorBritishPoetsoftheRomanticPeriod. Shelley.A Defence ofPoetry. New York: McMillan Publishing Co., 1973.
157 Heath,William. MajorBritishPoetsoftheRomanticPeriod. Shelley.ADefenceofPoetry.NewYork:McMillanPublishingCo., 1973.
158 Heath,William. MajorBritishPoetsoftheRomanticPeriod. Shelley.ADefenceofPoetry.NewYork:McMillanPublishingCo., 1973. 978
159 Heath, William. Major British Poets of the Romantic Period. Shelley. Alastor or the Spirit of Solitude. New York: McMillan Publishing Co., 1973. 789
160Plato. Complete Works. Symposium. Ed. John M. Cooper. Indianapolis, Hackett Publishing, 1997. •41•