INTRODUCTION TO THE POEMS

This introduction presents the presence of a major unidentified layer/ factor of being, of existence, the application of which transforms the understanding of the physical and mental world and the overall dynamic and purpose of existence. It relates directly to the identification and understanding of art, probably for the first time formally stating 'this is art, this is poetry'- not a mere description but a defination.
Related to this, the poems and presentations in the ‘Tribe of Earth’collection are of a fresh identification and presentation of the sense of destiny, identity, drives, actions, beliefs and rituals of the human race. Among the many identifications from this is that all formal art is a specific affirmation of the natural mystical, presented as the aura, the experience of the Being of beings.

The notion of Art and The notion of Being
This introduction presents an unidentified layer or factor of existence, of being, regarding the reality of the physical and metal world and of the related nature of human knowing. In direct relationship and in the implementation of this factor, the universal problem of art is actually identified for the first time, finally answering the questions ‘what is art, what is poetry?’ - a factor simply absent in universal presentations of literary theory and criticism.
In the absence of the projected missing element , conventional attempts to identify art are reduced to the application of a circular intensity, to specially created technicalities and themes and devices, special phraseology, all to counteract the ever dominant impasse. Often attempts to explain literature, notable poetry, is a case of confusion presented as depth, sometimes no more that the dissection of a corpse. It is the same with music, painting and all formal art.
Despite four thousand years and more of recorded thought and the volumes activated by the quest, the mysteryof art remains intact. While there exists a vast multiplicity of descriptions, no authentic identification as to what art actually is has presented itself, its actual dynamic in human thought, its function within life and so on.
But art is only one of a multitude of mysteries and problems that remain beyond human comprehension.
This includes the on-going impasse regarding the resolution of brain/consciousness, the origin of life, of physical and mental existence and including such as mind, memory, truth, beauty, love, death, motion, time, causality, meaning, universals, process, the unconscious, the notion of a beginning, of religious experience, of the mystical, and specific modern scientific problems notably the century-long impasse regarding a unified field theory. The reality behind the on-going modern presentations of imagined progress is of ‘getting there,’ but of course never, ever arriving.
Traditionally, the word “art” as a skill or craft denotes the Latin origin (ars / artis) of a term that has come into universal usage. The notion largely relates to the mysterious human dynamic of painting, literature, music, sculpture and dance and the why and source of these phenomena which are projected as somehow different to mainstream knowing.
Parallel to this, the understanding of the very notion of meaning remains unidentified, and art criticism, far from moving into the actual authentic life of a piece is forced to adapt the circularity as above.
Statements such as ‘art is art because it is not life,’ or ‘the holding up of a mirror to nature,’ are all conceptual descriptions, a circling around the object but never alighting.
Take the following struggle of Wordsworth in his preface to the Lyrical Ballads regarding the celebrated statement that “poetry is the spontaneous overflow of powerful feelings…. that it takes its origin from emotion recollected in tranquillity; the emotion is contemplated ‘till, by a specious of reaction, the tranquillity gradually disappears and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind….But the emotion. ..is qualified by various pleasures so that in describing any passions whatsoever, which are voluntarily described, the mind will, upon the whole, be in a state of enjoyment.’
Shelley, in much the same vein, in his ‘Defence of Poetry’ and with all the specific intensity of his approach to his art, presents his position that poetry is not like reasoning.
‘A man cannot say- I will compose poetry. The greatest poet cannot even say it, for the mind in creation is a fading coal which some invisible influence like an inconstant will awakens to transitory brightness…this power arises from within….. and the conscious power portions of our natures are unprophetic either of its approach or departure. When composition begins, inspiration is already on the decline and the most glorious poetry that has ever been communicated to the world is probably a feeble shadow of the original conception of the poet.’
However, the ‘invisible influence’ of Shelley remains invisible, the ‘power rising from within’ is unidentified, and neither he nor Wordsworth placed or defined the actual concrete dynamic of their art, that the dramatic language of their search cannot put shape on what they seek to discover. There is the sense that they could go on and on, page after page, fill a book, and the struggle would infect every line with no result and the notion of meaning fading more and more with every attempt.
The usual attempts at defining art present such ideas as the experience of the mysterious, the expression of the imagination, of ritualistic and symbolic functions and so on.
The notion of art as imitation dating back to ancient Greece was strong throughout history. While Plato identified art as such imitation (nemesis), he claimed that it failed to depict the eternal ideal realities that he referred to as ‘forms’ or ‘ideas.’ Aristotle asserted that the aim of art was to represent not the outward appearance of things, but their inward significance. In modern times Arthur Schopenhauer, 1788-1860, for example, made heroic attempts to identify the dynamic of music, but as with all others, the whole universal approach to the undertanding of art is missing one critical factor.
Out of this relentless impasse it is sometimes argued, largely in frustration,that there is simply no stable reality for a definition of art to capture.
But the totally new identification of the being of art changes all that.
As mentioned at the top, one huge question asks if what is generally accepted as physical and mental existence is the actual reality of what exists, and if the knowing factor applied is the reality of human knowing. It asks if there is some specific missing factor that keeps all the above mysteries and problems locked in impasse, and that its identification can transform what exists and its knowing. Otherwise there is endemic scepticism, arbitrary limitation to human knowing.
The major theses in this entire presentation is that the physical and the mental world do not have independent existence, but exist of their being.
Accordingly, the problem must relate to the very base of reality, that is, the factor of being itself, the ontological, and the related factor of human knowing, the epistemological.
German philosopher Martin Heidegger, I889-1976, is mentioned here specifically for his assertion that western metaphysics had ‘forgotten’ being, and had always concentrated on beings, never being itself. (The notion of Being is forthwith given a capital B- not referring to a supreme Being- a totally different phenomenon- but merely to differentiate the notion from a being, from beings.)
To understand this relationship, there is a distinct difference between the notion of a being and that of its Being, its mode of existence. Every single thing and every person is a being- objects and subjects. things, thoughts, properties and relations.
But then the question rises as to what factor makes them present as beings, what confers their actual existence as beings. It asks the authentic and formal identification of the Being of beings, and why beings as beings cannot be the reality of what exists.
Yet Heidegger’s own approach in Being and Time, 1927, and later writings is ultimately unsatisfying from the perspective of this new development, for the major reason that the beings he sought to relate to Being- the Being of beings- through notions such as unconcealedness and disclosure -were accepted as of the conventional causal dynamic of motion, time and occupation of space. It never seemed to strike him, or anyone else, that the Being of beings identification would radically re-identify the very structure of the beings, and accordingly render all notions of idealism and conventional realism inauthentic.
Related to this whole problem, other phenomena of existence present themselves such as the notions of immortality, eternity, everlasting, infinity. The projection of infinity in particular presents itself consistently and universally such as in mathematics and various physical and metaphysical assertions. It somehow belongs and does not belong, is outside and is still within, has a presence in its very absence. But can such notions of infinity project physical and mental existence in any direct manner, and can notions of infinity be directly identified with notions of Being?
To progress with all this, the factor of infinity as mentioned immediately reacts negatively to any projected integrity of beings existing as beings, that is, a being as a being of its own inherent physical or mental dynamic, its own inner integrity as an independent entity in every respect, cannot enter existence, cannot involve process, does not exist. This is because of the totally negative effect of infinite divisibility on any proposed causal factor of inherent time, motion and occupation of space. In other words, the notion of infinite divisibility and that of beings as beings is the one factor, that the belong to each other, that beginnings cannot begin, process cannot happen, and accordingly all A-B process is naturally impossible. (Incidentally, none of the conventional projections of causality, time, motion or occupation of space have ever been conventionally resolved as phenomena in themselves.)
Yet physical and mental reality do exist. They are real. So what is the actual nature of this existence? Here, a totally new identification is presented, that the dynamic of both the beings and of the infinity factor are not as conventionally imagined. The new position asserts that physical and mental beings exist of the infinity- the true identification of the Being of beings. This notion transforms what exists and its knowing, and is critical to the understanding of art. Identity can not be of the traditionally held A-B causal dynamic of beings as beings, but of the newly termed A-A dynamic of the Being of beings.
This specific identification of Being provides the missing factor regarding so many traditional problems/mysteries-such as the problem at hand, the notion of art, of poetry.
Accordingly, we must now speak of process as existing of its Being, such as the Being of evolution, of the causal and so on, eliminating the traditional problems of infinite divisibility.
The major factor toward understanding process, including art, is the nature of human knowing and leading to this, the actual major, dominant human drive. This drive/urge can no longer be as presented by the well known but disputed psychoanalysis or psychotherapy but the totally different and much wider factor of the primordial memory of Being, experienced as the possession of Being. It refers to the actuality of the human conscious experience of existence, and is common and constant to all peoples of all ages.
The intensity of this possession varies from people to people, race to race, and its sheer dynamic presence activates all creative human endeavour as developed down page. This ense of presence is sometimes referred to a state of mystical awe, of the numinous, a 'taste for the infinite' and so on.
The position here is that all creative human endeavour and its knowing is a response, a reaction, to the experience of the possession of Being in order to experience and express the world around us.This naturally activates the creation of moulds of access to the experience, resulting in the following five universal assertions; the mythologies of the world, the scientific/empirical positions, the universal religious affirmations, the philosophical theories and systems, and formal art. Accordingly there are not several notions of human knowing such as the traditional presentations of the scientific and religious knowing.
There is one authentic mode of human knowing, that is, the inheritance of Being experienced as the possession of Being. Each of the five affirmations represents a response, a reaction to this experience, and are of equal integrity because all exist within the wider dynamic of their Being, not in the manner of beings as beings but of the mystical Being of beings dynamic.
But there is a citical factor here that reveals- probably for the first time ever the dfference between the knowing of formal art and that of other knowing such as philosophy and science. What is at stake is the factor of knowing applied, the conceptual or the ural. Both the universal religious experience and that of formal art of their very nature apply the aural knowing factor the Bing of beings to the base of their existance. In the other two affirmations, philosophy and science, the dominant lead is the conceptual beings as beings, but which eventually leads to the Being of beings in the inevitable impasse as above.
In the other three, the natural mode of approch to the reality at stake is the aura knowing of the Being of beings and where the conceptual beings as beings knowing application is reversed to consider such as dogma and related philosophical implications.The aura knowing is the ultimate factor of the experience of existence.
This factor and no other identifies the nature and scope of what is at stake, formal art and of course, poetry, and the authenticity of the experience as a phenomenon of human knowing, an act of revelation. Remember, as already asserted, that all creative human endeavour is art, that the scientific for examply all is ultimately a process of access to Being-and so of the aura knowing. Also remember that all knowing is not into a void, but a factor of access to the possession of Being that leading with either the conceptual or the aura are merely variations of access to the experience of the same possession.
At this point we impose the factor that the possession of Being is not a creation of human thought, but an inheritance of which human thought exists and responds to as above. This position also represents the authentic identification of the notion of will, and widens the notion of revelation which has its basis in this inheritance, and so involves all five universal affirmations.
The aura, the Being of beings position, is the natural mystical element of existence as experienced. So
all formal art, of which literature, poetry exists along with music, painting, sculpture and dance, are different from all other modes of knowing in their approach, because in a surge of the existing mystical dynamic, they generate immediate and impulsive access to the possession, involving unfettered imagination.
This also means to more readily, directly, deeply experience access to the possession of Being. Of its very nature, formal art seeks direct access to the memory of the unconscious in this same mystical intensity. As well, it confers a deeper knowing of existence, by-passing all conventional restrictions and obstacles and not contaminated by conceptual limitations-becuse of this same mystic intensityof the aura knowing.
Its the same reality from the pre-historic cave wall markings to the most recent poems and paintings and music, the exact same mystical experience of expressing, identifying the world around me as creating direct access to the possession of Being
But two related explanations. The notion of a mould of access to Being, an ether, as indicated, is the necessary bond of relationship regarding all process, that a being can only exists in such relationship, for example, the womb facilitating the process of the foetus, or, such as the moisture, light, warmth and water as a mould of access to the growth of a plant and so on. The entire process of physical and mental existence, animate and inanimate, is of this dynamic.
Accordingly, all actions whatsoever, all human endeavour, all memory, represents the creation of moulds of access to the possession of Being in certain manner- the triple dynamic of impasse, adaption and access. This latter represents a factor of the fundamental dynamic of existence in relationship to its Being, of which all conventional notions of the dialectic exist, such as associated with Hegel or Darwin.
These three are also the elusive factors of Truth, Beauty, and Love- Truth, the dynamic of existence as presented, Beauty, the living out of this from impasse through death to access and Love, the conscious Being power of the application of this process.
The physical and mental world are not of an independent existence of beings as beings that somehow made a dramatic entry into existence in a causal dynamic of motion, time and occupation of space. The physical and mental world exists of their being, a totally different phenomenon, and means that the causal factors as above do not exist as projected.
The aura knowing is the conscious memory of existence, that is, the prominent human knowing factor of the Being of beings. This is a natural reaction/response to the major human drive as the primordial memory of Being at the apex of evolution- experienced as the possession of Being. The aura is the core of all knowing, the experience of the A-A Being of beings of which the sense experience and related reason projections exist. It is the factor and structure of all knowing, all relationship, animate and inanimate, specifically all creative human endeavour, existing as moulds of access to Being. This is often casually identified as experiences ‘beyond words,’ of great art, being in love and so on.
The aura is the opposite to the noumenon. The aura is the experience of authentic direct knowing regarding the Being of beings. The noumenon is a projection of what can not be known from the false knowing base of inherent beings as beings. The essence of the aura experience, the pure knowing, is that of access or absence of access to a desired destination.

Reverting to the uderlying factors, all process whatsoever is shown to be not of the traditional inherent causal dependence, but the totally opposite notion as follows: existence as the process of access to Being through the relationship of a mould of access to Being. In other words, the physical and mental world exists, not as inherent, independent concrete beings as beings of their own inner dynamic and integrity, but existence as a living process of access to Being through the bond /relationship of another being from its base of Being- the A-A identification. This is the natural universal process factor of physical and mental existence- the inheritance of Being- existence as a mould of access to Being, the universal law of physical and mental existence.
In other words it is clear that the physical and mental world do not exist independently, somehow entering into a reality of motion, time and occupation of space in some damatic manner. They exist of their Being totally outside of these projected fators.
The identification of the Being of beings factor accordingly radically re-identifies what exists and its knowing, that for example the notion of mind is no longer active agent of consciousness in the traditional mind/matter projection, but is my conscious experience of Being in the utterly different I-mind- Being formula. Every being in the new identification has an I-ness, an ownership, the unifying factor of the being in question in all its internal and external relationships. This I-ness represents its deepest point of access into the evolutionary process, and so unifies all the ‘I-nesses’ of the entity involved.
The factor of aura as presented changes the actual dynamic of the word, the music note, the painting strokes and so on, the scope of its actual ultimate dynamic and meaning. In its origin and construction, a word represents a mould of access to Being beyond the bare immediate mode of communication. The I-ness of a word, a phrase, a line, a verse, an entire poem, represents its authentic identification and meaning. In other words, it could be said that a given word, a phrase etc. has a soul, a spirit, is not mere verbal flesh and bone but a totally different factor of a mould of access to Being in its very construction and adoption. In other words, this aura element, the experience of the actual Being as beings, is the actual dynamic of the word and the realityof all formal art.
The intensity, drama of a poem, as of all formal art, is the inbuilt tension between access and the absence of access to a desired destination, of access to Being, the I-ness of the parts unified in the I-ness of the completed poem. Again, a word has existence only in relationship with another word in keeping with the very basis of existence.
A poem, as all formal art, represents the natural immediate experience of access to the unconscious memory of existence and its depth, its reach into existence itself, that is, the Being of evolution as remembered in the manner of the aura- not as conceptual beings as beings. This does not mean that poets are consciously aware of the dynamic involved, but that they naturally embody and experience this reality. It must be remembered that conventional demands for A-B verification, for proof, represents an appeal to inherent beings as beings-a projection that does not exist.
Directly related to this, the traditional A-B dynamic of knowing represents the universal empirical projection of what is immediate to the senses, that is, sense experience-and which is accepted by related reason because of the overwhelming presence of sense experience- and which is accordingly imposed on the projected physical and mental world. Such notions of sense experience and a different reality behind it are not new, but this position transforms the very notion of sense experience and its knowing. Remember again, the Being of beings knowing, the aura, is the presence of the natural human mystical, the wider notion of revelation- and all human knowing, all drama, is this experience of access or absence of access to a desired destination.
Again, the very notion and understanding of the Being of beings identifies itself as follows, that a being can only exist as relationship, in a bond with another being. A projected individual, isolated being can not exist. This is structured in the manner of a mould of access to Being and as a mould of access to Being, and immediately sets up the factor of entity and relationship, the fundamental law of existence, the primitive ancestor of the Being of matter and mind.
No biological/scientific approach or application can remotely resolve the problems/ mysteries of existence because they are not of the reality of what exists and its knowing. The A-A Being of beings approach is presented as the authentic reality of the understanding of existence.
It dramatically means for example, that while evolution is a fact, it is not an A-B scientific/biological fact of beings as beings, that its evolutionary process exists only within its Being and as a process of access to Being. That was the great flaw of the 19th century. The great flaw of the 20th century is a similar A-B requirement for a beings as beings point of beginning to physical existence and process, that is, the requirement for a Big Bang dramatic entry into existence of the causal dynamic of inherent motion, time and occupation of space .There is no such requirement in the A-A- Being of beings, the absence of the causal factors and the related knowing expectation.
The reality is the Being of beings reality knowing experience as the aura, a presence of access to Being.
The notion of the unconscious as newly identified represents a major development in that the vast unknown abyss of the psyche now has a source and destination related to its Being. From this specific understanding, the unconscious memory holds the total memory of human existence, that is, the whole evolutionary dynamic of access to Being, that the unconscious in its very core is a source of revelation of the deepest memory of existence. But again, this is only revealed in the intense manner of the aura, and which is necessary for the understanding of formal art.
All creative human endeavour is art, formal and informal art. Formal art is identified as the deliberate, functional creation of a mould of access to Being through literature, music, painting, sculpture, dance. All other creativity is informal art, all scientific and philosophical theory. For example the theory of Relativity is a work of art, Quantum theory, the American Constitution, the Critique of Pure Reason, Being and Time, Being and Nothingness, the Communist Manifesto, -all are works of art because their actual ultimate destination is that of a mould of access to Being, a subsuming into the aura knowing.
As said before, only in impasse is there a reckoning. The particular intensity of experience, notably of formal art, is the experience of the A-A reality of the being in its mode of relationship, hence the aura.
Philosophy can activate factors of formal art, but only to give a particular intensity to the direct proces of art.
But the absence of authentic ontology and epistomology leading to notions of verification, of domination by a non existent beings as beings integrity seeks an ultimate identity that can not be reched on their own trems
Formal art often responds to philosophical movements such as romanticism, modernism , scientific findings and so on, but only to mysticalise them as factors of access to Being.
All literature, painting, music etc. is a particular affirmation of the memory of existence and which is experienced, as all experience, as the manner of the aura, and so it is a mode of revelation. Literature, notably poetry is a mode of revelation of the same factor as the intensity of the prophets, seers and palmists of history who all experience the direct revelation of the possession of Being as the actual aura experience.
Accordingly, projections of deconstruction and linguistic analysis are conventionally approached regarding in the manner of beings as beings, and not the authentic dynamic of moulds of access to Being, not of authentic meaning, and so are false and ultimately lead to impasse.

All developments in the historic process of formal art, including of course poetry- all the ‘ism’s’, movements, variations, styles, ages, approaches, represent the unconscious drive to identify the Being of beings, the unconscious quest for Being which no specific interpretation can fully satisfy. So notions of the classical, the enlightenment, the romantic, modernism, post modernist in all their variations are of this phenomenon of impasse seeking ultimate resolution. All are of equal integrity regarding their artistic validity. Again, the notion of revelation is the natural, normal experience of existence through the human ambitions and imaginations, fears and aspirations. It must be remembered that the essence of revelation, as creativity, is always the creation of a mould of access to Being.
To clarify, revelation is a remembrance, an experience of the process of existence which is held deeply in the unconscious in what might be termed the conscious experience of the unconscious. The traditional notion of ‘heaven speaking’ is specifically of a serious application from intense people within the inheritance of the possession of Being , representing themselves or their people, their cultural aspirations- in reality the human race. The Being of beings is the common inheritance of the human being to be so meditated on in the creation of a mould of access to Being as already expounded. Revelation is always expressed in writing or orally using common forms of literature including poetry (the psalms). The deeper into the unconscious memory of the Being of existence, the more profound the revelation. Resolutions of death and the overcoming of death are a major dynamic of deep revelation.
The scope of poetry, as all five affirmations of response to the possession of Being, is best identified as that of revelation. It is of the same direct factor as the great writings and literatures of the world, the prophets and seers and psalmists, the creators of the vedas and so on. The notion of revelation in this regard means the confrontation with the memory of the unconscious. Poetry is only understood from the perspective of revelation. This is ultimately the sense of inspiration as the scope of direct access to formal art. All poetry is of the same revelationary structure as the ancient spiritual writings, that the ancient poets are of the same living out of the immediate contact with the aura experience of the unconscious knowing of revelation.
This identification of the Being of beings and its aura knowing marks the identification of the mystical factor inherent in formal art, in poetry. This notion of the mystical is no longer the preserve of the isolated hermit or the famous named mystics of history. It is an inherent factor in all human beings following the understanding of the hitherto unidentified Being of beings and the dominant human drive of the possession of Being. This factor of the pure experience of the Being of beings is the 'natural mystical.' All the familiar forms and features of poetry such as of epic, sonnet, ode, elegy, and whether narrative, dramatic or lyric, have their very existence and development of this phenomenon. Again, art was never identified because it was approached from the position of beings as beings and not the authentic Being of beings reality.
To stress this point, the origin of the word, of language, is not an arbitrary factor of communication but is the creation of a mould of access to a particular experience of Being, a factor common to all creative human endeavour, but immediate to formal art. In its outward dynamic it is an utterance of an agreed identification, but the underlying reality is as above. Poetry, as all other forms of literature and formal art is not a process into a void but of direct access to the possession of Being, a knowing bypassing all traditional obstacles and positions of conventional knowing and projection, again, why it is strictly different to philosophy.
Poetry is accordingly activated and governed by the possession of Being to create a particular mould of access to Being that all might afterwards enter and experience.
Regarding the structure of a poem, all figures of speech, such as factors of rhyme and rhythm, are toward the intensity of the inherent drama of all formal art, the tension between access and absence of access to a desired destination. Rhyme for example is the creation of a point of destination and the drama of its consummation. The use of variations of rhythm are a natural creation of intensity of tension. The use of image and symbol draws in parallel factors of sense experience which themselves come from this same creation of a mould of access to Being. The factor of the possession of Being takes precedence over such notions as the sense of place which is dominant in modern verse.
Rhythm is a factor of the very structure of oral and written communication, a mode of the creation of access to Being, the dynamic of existence. It is in keeping with the process of existence, the nature of the bond, of relationship within and between beings, that all process is accordingly of wave, a process of all electromagnetic radiation, of sound, of planets and moons, atoms and molecules, the vibration of the singing voice, of the drone, the rhythms of the speaking voice, the waves of the sea and so on. Death is a straight line.
Rhythm is a factor of the very process of evolution, of the A-A dynamic as expressed, of existence as the process of access to Being. Different rhythmic patterns are set up by choosing where the emphasis (stress) falls in the line, the iamb, troche, spondee anapaest and dactyl. The type of meter is determined by the number of feet in a line, dimeter, trimeter, tetrameter, pentameter and hexameter, i.e. 2,3,4,5, and 6, giving an exhaustive coverage in this regard. (Everybody seems to have heard of iambic pentameter, five iambic feet.) All is a development of the creating of levels of tension in the core dynamic of all formal art, the drama between access and absence of access to a desired possession of Being destination.
Such requirement of language and rhythm for the specific purpose of verse - and beyond normal speech- has led to this formal art creation of verse. But along with the many figures of speech employed, it all works to the creation of a union of purpose. There is an I-ness of communication at every stage in the process of a poem- the word, the phrase, line, verses, poem- each and all moulds of access to Being under the dominant I-Ness. This is the essence, purpose and definition of a formal work of art such as poetry and the mode of its construction. For example the notion of immediacy, -the particular intensity generated a poem never comes from the bare words involved, but from their aura, the source of meaning in language.
Just as the different colours exude different modes of aura experience of the unconscious memory of evolution, so different sounds such as vowels are of the same dynamic. These different vowel sounds in all languages, such ‘o’ or ‘u’ and the deliberate use of these with their development in evolutionary process via the same unconscious memory, evoke spasms of aura knowing. The use of consonant and vowel in variations of rhythm and verbal variation is toward the same creation of a tension, a drama toward the destination of the theme. This is in keeping with the actual purpose of a work of formal art as the creation of a mould of access to the possession of Being.
All rhythm is toward the intensification of the drama through a particular momentum just as o the Italian tempo terms in music indicate all the variations of expression required of the piece- the same drama structure.
Accordingly, the notion of inspiration is common to all people having its natural source in the factor of the unconscious memory as revelation. The dynamic of music is equally profound, is probably a pre- literature knowing, and so of the same unconscious inherited moods of access and absence of access to Being in the evolutionary process. This directly relates to the development of sound, to factors of harmony in the evolutionary process, corresponding both horizontally and vertically to primitive moods. This is why music precedes the verbal as a mode of authentic aura knowing, why a simple Irish slow air can stir such depths of feeling, direct loss or gain regarding access to Being that no science can explain.
The notion of the symbol is naturally common in poetry because it is a particularly strong factor regarding the possession of Being in its creation and presence. This often involves a natural parallel evolutionary process or cycle structure that can be used to embody a particular human aspiration or opposing emotion. But the poet’s artistry is required to confer an appropriate intensity - such as that of Burns in the lines ‘The wan moon is setting ayoint the white wave/ And time is setting with me-o’, (Open the door to me, O'.1793) an intense creation of the mystical as identified.
The factor of construction is all important in the creation of an artistic piece that an identification of a theme or angle of a theme is a mere starting point. An original opening line or phrase is often a positive beginning, remembering that a poem, as all formal art is a mystical phenomenon of direct access to the memory of revelation. In any work of literature, the notion of I-ness as presented is central regarding construction.
All figures of speech whatsoever relate to this tension factor and were originally discovered and applied for this specific function. The core poetry experience is a journey of response to the possession of Being- unchangeable and untouchable irrespective of form or style. The ultimate poetic immediacy is naturally beyond all conceptual assertion. Elements of such as chant and provincial dialects can add factors of intensity to verse because of the disturbance of their difference.
With the application of the new identification of Being, all the positions of impasse mentioned at the beginning begin to melt and move and flow into a flood of resolution.
There are four sections in this overall collection, each related to specific aspects of the Tribe of Earth in the fundamental theme that the possession of Being sources all human endeavour and behaviour.
The opening section, Sellected Verse, is a series of lyrical poems referring to the human drives in the light of the new identification, to the frailty of reason in confronting the power of the possession of Being and which at once is the source of all creativity and all conflict. The notion of I-ness as the possession of Being is traditionally taken up as the notion of Will. But this power of will, propounded by such as Schopenhauer, must be re-identified as the response of the possession and is meaningless outside it. Within each human being there is a dominant memory or I-ness, that is, a particular dominating personal ambition adopted in life and around which all memory revolves. This comes directly from the possession of Being, is mystical and governs all good and evil, all conflict and war.
Another and related theme in this first section is the projection of a fresh and central role for Ireland in the modern world, that nationhood today means the giving of a lofty mode of intellect and art to the world that it does not otherwise have. This points to a projected Fifth Age of the Ireland of the Light where the identification and development of the Being of beings represents the basis of such a new age. This follows the four earlier ages, that of the raising of the early monuments; the monastic age, fifth to the ninth century involving the great Irish schools and missions to Europe; the cultural and artistic restoration in the latter half of the nineteenth century and Imperium Hibernium, the immense Irish emigrant contribution to world civilization over the past two centuries. These poems depict the creative process involved in this regard, along with the related source and dynamic of human creativity and the parallel destructiveness.
The second section, ‘Ninety nine variations on a mystical theme,’ presents a series of very short, condensed poems in an attempt to place a deep thought into a single poetic expression. The third part is a fresh presentation of the notion of Logos. This section of poems depicts the drama of the origin of the word, spoken and written, culminating in the preparation and creation of illuminations regarding the great Irish manuscripts such as the book of Kells, which is presented as a supreme universal artistic affirmation of the Logos.
The final section, the Temple, projects an imaginary influence of the transforming identification of the Being of beings, of this fresh notion of the mystical on the poetry approach of W.B. Yeats, T.S. Eliot, the creators of the Upanishads and Dante. The first two sections are on this Web Page
I would like to thank the Arts Council of Northern Ireland through their National Lottery Support for the Individual Artists funding programme, specifically for the creation of the ‘Temple’ section of this collection.