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Gertrude Stein, in her work, has always been possessed by the intellectual passion for exactitude in... Video
Gertrude Stein, in her work, has always been possessed by the intellectual passion for exactitude in the description of the inner and outer reality. She has reproduced simplification by this concentration, and as a result the destruction of associational emotion in poetry and prose. She knows that beauty, music, decoration, the result of emotion should never be the cause, even events should never be the cause of emotion nor should they be the material of poetry or prose. Nor should emotion itself be the cause of poetry and prose. They should consist of an exact reproduction of either an outer or inner reality.
Concentration is the factor that causes the great discrepancy between men and the results they achieve... the difference in their power of calling together all the rays of their ability and concentrating on one point.
Orison Swett Marden
We must believe that emotion recollected in tranquillity is an inexact formula. For it is neither emotion, nor recollection, nor without distortion of meaning, tranquillity. It is a concentration, and a new thing resulting from the concentration of a very great number of experiences which to the practical and active person would not seem to be experiences at all; it is a concentration which does not happen consciously or of deliberation. These experiences are not recollected and they finally unite in an atmosphere which is tranquil only in that it is a passive attending upon the event.
T. S. Eliot
A work of art consists of two elements,the inner and outer. The inner is the emotion in the soul of the artist.. ..it has the capacity to evoke similar emotions in the observer.. ..it must exist otherwise the work of art is a sham.
In an age of synthetic images and synthetic emotions, the chances of an accidental encounter with reality are remote indeed.
Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God.
A cause a day keeps reality away.
Consider some of the qualities of typical modernistic poetry: very interesting language, a great emphasis on connotation, "texture"; extreme intensity, forced emotion â€” violence; a good deal of obscurity; emphasis on sensation, perceptual nuances; emphasis on details, on the part rather than on the whole; experimental or novel qualities of some sort; a tendency toward external formlessness and internal disorganization â€” these are justified, generally, as the disorganization required to express a disorganized age, or, alternatively, as newly discovered and more complex types of organization; an extremely personal style â€” refine your singularities; lack of restraint â€” all tendencies are forced to their limits; there is a good deal of emphasis on the unconscious, dream structure, the thoroughly subjective; the poet's attitudes are usually anti-scientific, anti-common-sense, anti-public â€” he is, essentially, removed; poetry is primarily lyric, intensive â€” the few long poems are aggregations of lyric details; poems usually have, not a logical, but the more or less associational style of dramatic monologue; and so on and so on. This complex of qualities is essentially romantic; and the poetry that exhibits it represents the culminating point of romanticism.
Poetry is emotion put into measure. The emotion must come by nature, but the measure can be acquired by art.
Reality is the leading cause of stress amongst those in touch with it.
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