It is curious how the writing process always seems unpleasant, or at the very least, overexposes its worst aspects. We start a prose piece, and our mind remembers how much more beautiful poetry is; we draft a volume of verse, and our mind seems to miss the productivity of prose. There is no escape: whatever we create, the process will always be a struggle, and abandoning it will always be easier. That’s why it makes us envious when we observe those who play around making art or make it thinking of figures, of fame, of readers. Although they produce mediocre works, they free themselves from this unbearable anguish and this terrible desire for annihilation.
Category: Notes
Stupor in the Face of the Cultural Destruction
Sometimes it seems that we live in a time not of decadence, but of stupor in the face of the cultural destruction that has already taken place. It is as if we were in the midst of the rubble, perplexed and without action. Gone are the safe, the stable, the “certain”, gone are the north and the good; words have been emptied of meaning and criteria deconstructed, while the subversive has been put on a pedestal. Culturally, absurdities stand out that, after a moment of brilliance, are soon forgotten and replaced by others; and in this succession in which nothing lasts but the nonsense, there seems to be nothing firm to stand on.
Freedom in Discipline
Auguste Dorchain, in L’art des vers, admirably defined the charm provided by poetry: “la surprise dans la sécurité”, “la variété dans l’unité”, “la liberté dans la discipline”. It is the balance between such contrasts that gives us a sense of pleasure in going through a poetic work. Without the security, the unity, the discipline, we do not find the whole harmonious; without the surprise, the variety, the freedom, it does not seem stimulating. Thus, it is fair that a poet defines which elements will represent the first qualities, and which the second in his poem. It is by balancing them that a well-made whole is built, even if it leans more toward the most desired effect. While the yearning for freedom that inspired poets of the past is understandable, while many innovations have renewed and enhanced admirably the poetic art, it seems a depreciation of art to accept it performed in any way, as if the music of a layman playing a musical instrument in disorderly fashion were rewarded with praise.
Regularity and Dynamism
We jump from English to Portuguese poetic theory and observe a contrast. In English, rhythmic regularity is valued, when it seems Portuguese theorists agree that variety gives dynamism to poems and is, therefore, preferable to avoid “monotony”. The curious thing is that the latter do not suspect that there is no rhythm without regularity and end up fatally praising the rhythm of poems that do not have it. Any sentence spoken in any language will have an intonation, or a “cadence” of its own when analyzed individually. Poetry, however, arranges phrases in such a way that there is a harmonious link between them, a link determined by rhythm. If, from one verse to the next, everything changes, there can be no rhythm in the composition, unless one makes a creative and non-musical use of this word.