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Galiet & Galiet
perpetuity of its immanent-metaphysical light. What dialectics and noesis are for Plato, poetry and insight are for true poets and their poems. They are inspired and possess an inner vision or intuitive grasp giving way to knowing the Forms. It awakens to see what the day and night reserves, and it enjoys and loves the earth, the skies, the simple and the sublime, the Apollonian and Dionysian realms, and endures from this tragic consciousness, as Nietzsche posits,161 this mystery, this vicissitude, this horror, this absurd. Not far from Dante and Cervantes, tenderly holding Plotinus’s and Shelley’s hands, we shall journey back through timelines to dare correct Plato: “perhaps only the poet adequately sings and comes to know the Forms of the supra- sensible realm, if he sings as it corresponds.”162 Shelley’s nostalgic Poet-King, in the singing of his song, amidst the Aristotelian gaze of this immanent reality, its lavenders, feels and grasps the delightful Forms in their glorious beauty, and all things and circumstances that, perennially, in our universe dance in-between: “from the moan of thunder, to the song of night’s sweet bird.”163 Shelley’s alienated poet not only shall legislate the world and universe, but he shall always be ‘a burning fountain... [and] a portion of the Eternal’164 in the immeasurable mirror of being, reflecting endlessly
“...a portion of the loveliness Which once He made more lovely”
(Sonnet XLIII, 380)
161 Nietzsche stresses the contraposition and tension between the Apollonian and Dionysian will. To this contraposition, two series of oppositions are subordinated: light and darkness, dream and drunkenness, appearance and reality, resolution and irresolution, action and inaction. Music, having given birth to myth and the tragic chorus, absorbs the individual, and for brief moments, he dwells in primordial self or being. Mysticism or metaphysical comfort, the art of Dionysus, reinstates humans in the real after understanding the limitations of science and of Socrates, its founder. Nietzsche. The Birth of Tragedy. Chapter or Aphorisms 16 and 20. Nietzsche. The Birth of Tragedy and Other Writings. Ed. Edmund Geuss and Ronald Speirs. Cambridge: Cambridge University Press, 1999.
162 This form of singing is inspired, intuitive, as the breath of the Muses, leads poets to grasp and see the Forms as mediators between gods and humans. It negates the writing of poetry as a didactic tool, that is, to use it to educate the lowly, ignorant masses incapable of understanding philosophical discourse by commanding or compelling poets to produce stories philosophers and the state require that will encourage temperate, self-discipline, pious, courageous acts. Plato. Republic. 378e. Laws 660a, 840b and Republic 379a, 392b, Laws 660a. Plato. Complete Works.Ed. John M. Cooper. Indianapolis, Hackett Publishing, 1997.
163 Heath, William. Major British Poets of the Romantic Period. Shelley. Adonais. New York: McMillan Publishing Co., 1973. 370
164 Heath, William. Major British Poets of the Romantic Period. Shelley. Adonais. New York: McMillan Publishing Co., 1973. 339
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