Feuilles d'automne

Poetry (2)

We previously talked about the two sources from which the artist, the poet, can draw his inspiration, namely: the individual or personal subconscious, and the soul. As far as the individual subconscious is concerned, everyone living on Earth has it. Modern psychology has already spoken often about it; attributing it many causes for just as many problems, mostly related to childhood or trauma experienced later in life. Along with the difficulties or traumas stored in this (invisible) reservoir called the subconscious, it is also possible to find good memories, fruits of positive experiences thus far. In short, the human subconscious is to be considered as a reservoir of positive and negative psychic data linked to the individual himself, to his character, to his psychic structure and to his personal reactions to the vagaries of life, of his life.

If we are talking about inspiration here, this personal database is the number one source that the majority of today’s artists rely on (subconsciously); and in principle, there is nothing wrong with that. However, the only downside is that this form of inspiration cannot lead us beyond human life. Inspiration from this source can be called pretty ’or even beautiful’, interesting, innovative, surprising, but it will not transcend. What does that mean? This means that the human subconscious remains linked with the lower nature, with the personality. Even the most wonderful, touching inspiration will remain human, if it drinks from this source, and therefore it will never convey an energy, a light that is stronger or capable of exceeding this level. If we are content to leave it there throughout our life, we will have to be satisfied with this human level of consciousness.

That is precisely what is happening now. Few people seem to feel the need to read any other form of poetry than this… as long as they still have a genuinely interested audience! Why is it like that? Was there more interest in elevated poetic performances in the past? In absolute terms, no! For the good reason that, 150 years ago, there were still many illiterate people in the world, including in the western, civilized world. However, those who could read and write at that time had relatively more taste for poetry than they do have now. Where does it come from? Originally, this situation was based on the fact that for a long time, throughout history, knowing how to read and write remained the privilege of that part of mankind, or society which had an advanced level of consciousness. Those who could read and write, until about a hundred years ago, were mostly from high society or were well-educated religious or even intellectuals who were invested in a philosophical or scientific process. Because of the higher nature of people at that time, they were readily interested in poetry because they sought to elevate themselves through reading and they had a desire to extend their inner horizon.

There were not as many distractions then as there are today in the social, human context. In the old days, the outside world was simpler, more natural, which encouraged the internalization of individuals and helped those who felt a need to reflect more. A more natural environment, a mind oriented to higher levels of existence, favored, then more than today, the practice of an artistic discipline such as poetry.
Nowadays poetry has become a much rarer phenomenon but that does not mean that there are no listeners anymore. However, the majority of people are looking for more fun or more physical activities. The modern world offers a large amount of activities, which do not require much effort or offer many possibilities for physical training in the form of sports and recreation.
In order to appreciate poetry, it is necessary to be interested in a form of self-reflection, of internalization and it is important to have the will to go further in understanding life. Nowadays, for example, many people enjoy listening to song lyrics that cannot be considered real poetry. They generally deal with human experience, told in a poetic way, but without trying to go further. In addition, this is precisely what makes the difference between a “poetic text” and “real poetry”: the purpose! A poetic text that rhymes and deals with human existence without a goal to go further, higher, limits itself to present human experience as it is, without adding a transcendent reflection to it, and cannot be regarded as real poetry.

True poetry has always sought to create a link between man and the world that transcends him; and in order to achieve this, the poet was compelled to seek his inspiration from a higher level. Only poetry emanating from the world of the soul was able to inspire readers, from this level, and in this way, to elevate their soul. Man can get access to this soul world, or let us say this source of inspiration, through his super-consciousness, or via the connection he has with his own soul.
The true poets of the past had, in this way, established contact with the soul world, through their own soul; and the inspiration that came to them from this world, from this reality, was of a different order than that from the more ordinary poetic texts. The proof is that these poems were not only true sources of a high inspiration for many individuals in these times, but that in addition, a good number of them have traveled through time to the present day. If they have resisted oblivion, it is precisely because they were imbued with this element, which transcends the temporary and touches a reality that goes beyond earthly, everyday life.

Only poems that originate in the super-consciousness of the individual, of the poet, can receive the seal of immortality. Everything else is automatically, naturally doomed to be erased. Only the light of soul and Spirit is capable of making poetry more powerful than the words, which emanate from the human intellect, as ingenious and well-chosen as they are! In fact, we are directly addressing another phenomenon linked to the world of poetry, namely that of the influence words have in the elaboration of a poem. Alternatively, what effect do they have on whoever reads them, or listens to them?

(To be continued)