Page 19 - GALIET POETRY & Metaphor: Shelley IV

Galiet & Galiet
poet, in the Muse’s and poesy’s arms, succumbs and perishes.49 Inspired song of the most beautiful forms, which blossoms in the poet’s starry being. Song, that becomes a cosmotheandric union where alphabets take new forms in endless infinitudes of potentialities. Poetry that breathes on Shelleyan altitudes, thus, preserving its metaphysical dignity. Poetry that “makes immortal all that is best and most beautiful in the world.”50 Poetry that “arrests the vanishing apparitions haunting the interlunations of life, and veiling them, or in language or in form, sends them forth among mankind.”51
Thus, high poetry 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 bathes in the tumultuous sea. 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. High poetry sings of its utopia drawn by the perpetuity of its metaphysical light. It awakens to see what the day and night reserves, and it enjoys and loves our earth, our skies, the simple and the sublime, the Apollonian and Dionysian realms, and endures, from our tragic consciousness, 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 of the supra-sensible realm, if he sings as it corresponds.” Shelley’s nostalgic poet, in the singing of his song, amidst the gaze of lavenders, feels and grasps the delightful forms in their glorious beauty, and all things and circumstance that, perennially, in our universe dance in-between: “from the moan of thunder, to the song of night’s sweet bird.” (Adonais, 370). Shelley’s alienated, yet perplexing poet shall not only then legislate our world and universe, but he shall always be ‘a burning fountain... [and] a portion of the Eternal’ (Adonais, 339) in the immeasurable mirror of being reflecting forever and ever
“...a portion of the loveliness Which once he made more lovely”
(Sonnet XLIII, 380)
49 Heath, William. Major British Poets of the Romantic Period. Shelley. Alastor or the Spirit of Solitude. New York: McMillan Publishing Co., 1973.
50 Heath, William. Major British Poets of the Romantic Period. Shelley. A Defence of Poetry. New York: McMillan Publishing Co., 1973. 527
51 Heath, William. Major British Poets of the Romantic Period. Shelley. A Defence of Poetry. New York: McMillan Publishing Co., 1973. 527
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