Paradox Poetic Quotes

all paradox and enticing mystery, street-tough one moment, then lifted by a lyrical and poetic sensitivity

There is a paradox in fiction that was first noticed by Aristotle in the Poetics. We are drawn to fiction because fiction gives us pleasure. But most of what is actually in fiction is deeply unpleasant: threat, death, despair, anxiety, Sturm und Drang.

There are objects made up of two sense elements, one visual, the other auditory—the colour of a sunrise and the distant call of a bird. Other objects are made up of many elements—the sun, the water against the swimmer's chest, the vague quivering pink which one sees when the eyes are closed, the feeling of being swept away by a river or by sleep. These second degree objects can be combined with others; using certain abbreviations, the process is practically an infinite one. There are famous poems made up of one enormous word, a word which in truth forms a poetic object, the creation of the writer. The fact that no one believes that nouns refer to an actual reality means, paradoxically enough, that there is no limit to the numbers of them.

As I stood in contemplation of the garden of the wonders of space," Milosz writes, "I had the feeling that I was looking into the ultimate depths, the most secret regions of my own being; and I smiled, because it had never occurred to me that I could be so pure, so great, so fair! My heart burst into singing with the song of grace of the universe. All these constellations are yours, they exist in you; outside your love they have no reality! How terrible the world seems to those who do not know themselves! When you felt so alone and abandoned in the presence of the sea, imagine what solitude the waters must have felt in the night, or the night's own solitude in a universe without end!" And the poet continues this love duet between dreamer and world, making man and the world into two wedded creatures that are paradoxically united in the dialogue of their solitude.

To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work "the mirror with a memory" as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth" (Minor White, Newhall, 281).

Poetry isn't important in today's culture, but the fact that it's useless and people still continue to write it makes it important, in that weird paradoxical, poetic sort of way.

Our life story is a reflection of our internal poetry in motion, a poem which lyrical lines croons life as a groping accident, a playful roughness, a throbbing ordeal. Life’s posy permutations jell together to create a brawly emotional ambiguity. An interlacement of untidy paradoxes, fastened by a tincture of pyretic hopelessness, sounds the charming pitch of life.

An artist is identical with an anarchist,' he cried. 'You might transpose the words anywhere. An anarchist is an artist. The man who throws a bomb is an artist, because he prefers a great moment to everything. He sees how much more valuable is one burst of blazing light, one peal of perfect thunder, than the mere common bodies of a few shapeless policemen. An artist disregards all governments, abolishes all conventions. The poet delights in disorder only. If it were not so, the most poetical thing in the world would be the Underground Railway.' 'So it is,' said Mr. Syme. 'Nonsense!' said Gregory, who was very rational when any one else attempted paradox.

Maybe God is only the most powerful poetic idea we humans’re capable of thinkin’,” he said one night, after a few drinks. “Maybe God has no reality outside our minds and exists only in the paradox of Perfect Compassion and Perfect Justice. Or maybe,” he suggested, slouching back in his chair and favoring her with a lopsided, wily grin, “maybe God is exactly as advertised in the Torah. Maybe, along with all its other truths and beauties, Judaism preserves for each generation of us the reality of the God of Abraham, of Isaac, of Jacob, of Moses—the God of Jesus.” A cranky, uncanny God, D.W. called Him. “A God with quirky, unfathomable rules, a God who gets fed up with us and pissed off! But quick to forgive, Sofia, and generous,

Dostoevsky–to speak paradoxically–thought not in thoughts but in points of view, consciousnesses, voices. He tried to perceive and formulate each thought in such a way that a whole person was expressed and began to sound in it; this, in condensed form, is his entire worldview, from alpha to omega.

Fortunately, there are other, more poetic ways of ridding oneself of freedom - that of gaming, for example, where what is at stake is not a freedom subject to the law, but a sovereignty subject to rules. A more subtle and paradoxical freedom which consists in a rigorous observance, an enchanted form of voluntary servitude that is, as it were, the miraculous combination of master and slave: in gaming no one is free, everyone is both the master and the slave of the game.

People were happier, felt more fulfilled by what they were dong, while they were at work than during their leisure hours. In their free time, they tended to feel bored and anxious. And yet they didn't like to be at work. When they were on the job, they expressed a strong desire to be off the job, and when they were off the job, the last thing they wanted was to go back to work. 'We have,' reported Csikszentmihalyi and LeFevre, 'the paradoxical situation of people having many more positive feelings at work than in leisure, yet saying that they 'wish to be doing something else' when they are at work, not when they are in leisure.' We're terrible, the experiment revealed, at anticipating which activities will satisfy us and which will leave us discontented. Even when we're in the midst of doing something, we don't seem able to judge its psychic consequences accurately. Those are symptoms of a more general affliction, on which psychologists have bestowed the poetic name miswanting. We're inclined to desire things we don't like and to like things we don't desire.

The power of the mind over reality was expressed in a different way by Oscar Wilde, who called Pater's Studies in the Renaissance his 'golden book' and yet did not himself write poetic art criticism. Wilde is deceptive: his gifts for paradox and aphorism and the absence of philosophical reference points mask the radicality of his thought. Wilde identified the destination of Fiedler's and Hildebrand's doctrines, for once art is no longer evaluated by comparison to nature, there are no limits to the critic's power to shape the evolution of art. In Wilde's dialogue of 1890, 'The True Function and Value of Criticism,' the straight man Ernest contends that 'the Greeks had no art-critics': 'By the Ilyssus, my dear Gilbert, there were no silly art congresses, bringing provincialism to the provinces and teaching the mediocrity how to mouth. By the Ilyssus there were no tedious magazines about art, in which the industrious prattle of what they do not understand.' The ironist Gilbert, who speaks for Wilde, contradicts him: I assure you, my dear Ernest, that the Greeks chattered about painters quite as much as people do now-adays, and Arts and Crafts guilds, and Pre-Raphaelite movements, and movements towards realism, and lectured about art, and wrote essays on art, and produced their art-historians, and their archæologists, and all the rest of it. According to Gilbert, the Greeks were in fact 'a nation of art-critics.' The critic is the one who filters art and literature through a sensibility and a prose style. The critic, for Gilbert and Wilde (and Pater), is anything but a parasite on art. The critic only completes the work of repetition and combination begun by the artist: 'I would call criticism a creation within a creation. For just as the great artists, from Homer to Æschylus, down to Shakespeare and Keats, did not go directly to life for their subject-matter, but sought for it in myth, and legend, and ancient tale, so the critic deals with materials that others have, as it were, purified for him, and to which imaginative form and colour have been already added.' Art is secondary from the start. The artist is a critic, for does he not also dominate nature with his subjectivity, which has already been shaped by art? 'The very landscape that Corot looked at was, as he said himself, but a mood of his own mind.

The 64th Siddhi of Illumination and its programming partner the 63rd Siddhi of Truth represent the two wings of tantra and yoga — opposite paths towards the same ultimate reality. These are the higher frequencies of art and science respectively. Whereas yoga is a path of discipline aiming at progressive attainment of higher Truth, tantra is the path of surrender, which deals in sudden leaps in consciousness. Those who manifest the 64th Siddhi are those who teach spontaneously. They will use anything they feel like using as an illustration of what it means to be one with Truth. There is no logic or pattern to such people or their teachings. They may even use logic as a device and then contradict it entirely through their behaviour or words. The tantric path is the easiest path to misunderstand because it cannot be followed with the mind, but only with the heart. It takes a certain degree of madness in a person to follow this path, uncharted as it is. It is the path of the poetic soul — the lover of wildness, of spontaneity, of paradox — the lover of the moment.