Disruption in poetic discourse: conceptual content

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Disruption in poetic discourse: conceptual content

Natalia Pavlivna Neborsina

Doctor of science, assistant professor,

Professor of English Philology Department, Institute of Philology

Taras Shevchenko National University, Ukraine



Summary

In poetic discourse the aesthetic experience of disruption is significant. Traditionally, to "meet" a poem is to examine its prosody. Intellectual attention to the laws of versification is relevant only if it makes the reader aware of how they contribute to understand the aim of the poem. This paper develops a particular type of reading poetry based on the conceptual meaning of disruption which consists of a number of determinants, such as the division of the whole into parts (Aristotle), freeplay of presence and absence (Derrida), the balance of opposite qualities (Coleridge), the method of transcendence (Emerson), and the embodied mind (Polanyi). disruption poem prosody

Key words: poetic disruption, embodied mind, tacit knowledge, epistemic status, temporal disruption



Introduction

Traditionally, to "meet" a poem is to examine its prosody since it is the rhythm that sets poetry off from ordinary speech transforming the reader into another world. At the same time, intellectual attention to the laws of versification is useful only if it makes the reader aware of how they contribute to the aim of the poem. It is recommended to the inexperienced reader of poetry "to find a beginning point from which he may advance to an absorption and understanding of the whole poem" [Bloom 1961: -Xi]. The guiding principle is to follow the unfolding of the poem's discourse. As [Nims, 1992] puts it: "When a poem begins to germinate in a poet's mind, could it not grow simply and naturally, the way a flower grows, instead of being forced to follow a pattern? This seems a good question - but it shows little knowledge of how flowers do grow. Nature has been working on her flowers for some million of years; a close look at them, as at anything in the natural world, will show why Pythagoras said that all things are numbers, why Plato said that God always geometrizes. Part of the pleasure we feel in contemplating the unfolding of poetic discourse is due to the Golden Section, a way of proportioning dimentions so that the parts have the most aesthetically pleasing relationship to each other and to the whole" (pp. 302-304).

An apt illustration of the use of Golden Section in poetry is the form of the sonnet. According to [White & Rosen, 1972:1-3]: "The first "legitimate" sonnet was composed by Fra Guittone d'Arezzo in the middle of the thirteenth century in the form now familiar as the "Italian" sonnet. Its two parts, octave and sestet, are sharply separated by their rhyme scheme. An "English" form of the sonnet had been invented, consisting of three quatrains and a couplet. The form of the sonnet is dramatic in nature. It begins with a scene or image drawn from the external world, compares it by statement, implication, or symbol with some state of mind or emotion, and through analogy thus reflects upon or presents an insight into some particular or universal situation. Essentially it objectifies an inner conflict of some kind, commenting on or resolving it in brief compass. It is far more logical in structure, more precise in thought, more concise and unified in both substance and design than the ordinary lyric. Its symmetry, its very life, is the internal logic, intellectual and emotional, that governs the balance and relationship of its parts. The qualities of a good sonnet are found not in its conformity to some external pattern but in its unity of design, condensation of thought, exactitude of language and image, and - even at its most meditative and abstract - its essentially dramatic nature" (pp.1 -3). It should be emphasized that the 'dramatic nature' of the sonnet is due to counterpoint - a mode of adding melodies as accompaniment according to fixed rules. In music a meeting point of two opposite results in the change of rhythm or melody. A more general term that corresponds to counterpoint is d i s r u p t i o n.

According to [Webster], 'to disrupt' means 'to interrupt the normal course or unity of'. As A. Manu [2022] says, "... a disruption occurs when human motivation embraces new technologies and allows it to enhance and expand the experience of everyday life. In this definition, the disruptor is the technology, while disruption is the human being engaged in a new behaviour" (p. 3-16).

In a recent article on disruption [Guido, 2023] notes: "Modern technologies like machine learning, robotics, large language models, geo-engineering, social media, or next-genomics have expressed concern that such disruptive innovations will lead to significant disruption of established beliefs, social norms and practices, the disruption of the concept of space, our conception of trust, and the concept of personal identity".

In poetic discourse the aesthetic experience of disruption is significant since it has both "positive" effects regulating metrical patterns and rhyme schemes, and "negative" consequences becoming operative in the seemingly chaotic distribution of poetic lines.

The aim of the paper is to conceptualize disruption and to trace the ways it is actually used of in poetic discourse.



Theory and method

To begin with, it is worthwhile to turn to Aristotle's theory of form which is summed up by Norman Friedman (1975) who singled out four basic assumptions that underlie the argument of the Poetics.

The basic assumption is that the creative process must be organized by the work's intention, which cannot be discovered until near the end of that process (p. 51).

The next assumption is that we can infer the purpose from the design, the effect from the causes: cause is the purpose that produces design which is effect (p. 53).

The third assumption is to go back over the work and explain the whole, i. e. the functioning or purpose of its parts and their relations (p. 54).

The fourth assumption is the naming of parts (p. 55).

Aristotle finds that four causes are both necessary and sufficient to explain a product. The formal cause is the shape of the object. The material cause is that out of which the object is made. And the efficient cause is the maker forming the material in a certain manner. The final cause is the purpose for which the object is made (p. 57).

Aristotle's scheme of four causes thus provides differentiae for making formal definitions, and from these definitions we derive in turn certain parts, the whole being a combination of certain parts related in a certain way (p. 59).

As is well known, the greatest contribution of the Romantic school of criticism with Coleridge as the most authoritative spokesman in English, was the idea that poetic imagination works by unifying the disparate and conflicting elements of our experience.

This is how Coleridge dwells on the role of imagination in the creation of a poem in his Biographia Literaria (1817): "The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its faculties to each other, according to their relative worth and dignity. He fuses a tone, the spirit of unity, that blends, and (as it were) fuses, each into each, by that synthetic and magical power, which we have exclusively appropriated the name of imagination. This power, first put in action by the will and understanding, and retained under their irremissive, though gentle and unnoticed, control [...] reveals itself in the balance or reconciliation of opposite or discordant qualities: of sameness, with difference; of the general, with the concrete; the idea, with the image; the individual, with representative; the sense of novelty and freshness, with old and familiar objects; a more than usual state of emotion, with more than usual order; judgement ever awake and steady self-possetion, with enthusiasm and feeling profound or vehement; and while it blends and harmonizes the natural and artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with poetry" [BL, II, 16-17].

G. B. Mohan points out that Coleridge believed that art was a reconciler of nature, the objective principle, and man, the subjective principle. These two antithetical principles are reconciled under his monistic principle which he calls 'infinite I AM'. [....] Coleridge's concept of the Imagination as a synthesizing agent and his consideration of a work of Art as an organic unity are interrelated. Like most aesthetic terms Coleridge's doctrine is both descriptive and normative. It enables the critic not only to describe aesthetic experience but also to fix the relative worth of poems. The greatness of a poem is proportionate to the amount of heterogeneous material fused into an organic whole and the degree of unity which it has achieved [Mohan 1968: 80-81].

According to Hyatt H. Waggoner, the. distinguishing feature of Emerson's metaphysical idealism is its emphasis on "mind over matter": the knower somehow creates the known, that the conditions of perceiving determine the content of perception. Emerson tried to elaborate this proposition into a system, he found that his experience was too rich and various to be held by his thought. Sacrificing consistency to new experience, logical coherence to growth, he contradicted himself more and more and did not care. Why should he, when his most important insight was that life always bursts the bonds of systematic thought? When the clearest implication of his "system" was that there could be no system?

The core insight of Emerson's original Transcendentalism is that the God who exists and manifests Himself in "the eternal now" matters to us in ways we have not understood. A God who only "was" cannot matter to us: "I draw from nature the lesson of an intimate divinity". "Why did so many men seem unaware of the revealation nature continuously offers? Experience, our experience, is all, and is sufficient. Truly apprehended, all experience is miraculous. Apprehended, not reasoned about. The "method of nature" is the method of "ecstasy". Emerson thought that to find God in experience, we had to learn how to look for Him.

Using vision as a metaphor for all sensuous experience, Emerson developed, unsystematically but fully, a method of transcendence. Seeing with transparent eyeballs, opening the doors of our being, we could see the eternal Beauty, the flowing Spirit, everywhere.

There are many passages in "The Over-Soul" in which Emerson puts his meanings. In the first, the image of "light" finally carries the meaning; in the second, the image of "seeing" and of being "invaded":

...All goes to show that the soul in man is not an organ, but animates and exercises all the organs; is not a function, like the power of memory, of calculation, of comparison, but uses these as hands and feet; is not a faculty, but a light; is not the intellect or the will, but the master of the intellect and the will; is the background of our being, in which they lie, - an immensity not possessed and that cannot be possessed. From within or from behind, a light shines through us upon things and makes us aware that we are nothing, but the light is all.

We distinguish the announcements of the soul, its manifestations of its own nature, by the term Revelation. These are always attended by the emotion of the sublime. For this communication is an influx of the Divine mind. It is an ebb of the individual rivulet before the flowing surges of the sea of life. Every distinct apprehension of this central commandment agitates men with awe and delight. A thrill passes through all men at the reception of new truth, or at the performance of a great action, which comes out of the heart of nature. In these communications the power to see is not separated from the will to do, but the insight proceeds from obedience, and the obedience proceeds from a joyful perception. Every moment when the individual feels himself invaded by it is memorable.

It stands to reason, fusion implies the split of the form. James S. Hans (2009) argues that the universe and the human discourse that is a part of the larger world always manifest themselves through the play of rhythm, of pattern, of measure, and, quoting J. Derrida's assertion "Freeplay is the disruption of presence," finds it a problematic issue we seem to have lost interest in. But freeplay is also the disruption of history; it inevitably undermines or causes ruptures within the historical rubrics that seek to establish themselves as the official discourse. We have forgotten this fundamental point, and our discourse has suffered greatly as a result.

Just what does it mean for freeplay to be the disruption of presence, or for it to be that which disrupts the course of our historical narratives? Most importantly, the disruption of presence leads to our realization that nothing in the world is selfpresent, nothing is transparent, nothing is immediately available to us. This acknowledgement derives from Nietzsche's assersion that everything is interpretation. The implications of the declaration that everything is interpretation are by now well integrated into our modes of thought, even if it always remains easy for us to lose sight of the fact that any discourse is bricolage, composed of various strains of the broken heritage with which we deal every day.

[...] Traditionally, presence and absence were construed as the main binary couplet through which we made sense of the world. A thing was either present or absent, available to us or not, and the freeplay of the world determined which of these two states obtained. In a crucial way, Derrida's meditation on the relationship between freeplay, presence and absence is the most profound moment of the essay.

<...> According to Derrida, the traditional form of interpretation is based on a distaste for the need to "decipher" the codes of texts and the world. It "lives like an exile the necessity of interpretation" and "dreams of an end to such a necessity". This is what Nietzsche characterized as the nihilist tendency in the species, our unwillingness to face the need for endless interpretation because we don't believe we are capable of living under that burden over the long term" (pp.365-367).

"Derrida urges us to recognize that "The other [mode of interpretation], which is no longer turned toward the origin, affirms free play and tries to pass beyond man and humanism" (p.371).

In his essay Yu Zhenhua (2008) points out an important contribution Machael Polanyi made to epistemology putting emphasis on the "form" aspect of knowing by highlighting the centrality of the subsidiary awareness of our body: "Polanyi tackles the problem of mind - body relation from the perspective of the logic of tacit knowing and the ontology of stratified reality. While acknowledging that mind is essentially embodied, he nevertheless wants to bring out a difference between mind and body. Owing to the existence of two kinds of awareness - focal and subsidiary - we can distinguish sharply between the mind as a from-to experience and the subsidiaries of this experience, which seen focally, as a bodily mechanism.

For instance, in driving a nail we are not only aware of nail, but also aware of hammer and the feelings in our palm and fingers is subsidiary awareness. Tacit knowing rests on the dynamic relationship between these two terms of awareness. In order to grasp an object (a comprehensive entity), we need to integrate its various clues, particulars. Here we can identify the two terms of tacit knowing. Our subsidiary awareness of various clues, particulars and parts constitutes the first term of tacit knowing, and our focal awareness of the comprehensive object is the second term. We rely on the former so as to know the latter. Tacit knowing manifests itself in the dynamic process of attending from the first term to the second term. Tacit knowing is a from-to knowing.

In Polanyi's view, the from-to structure of tacit knowing clarifies the nature of consciousness. It not only displays intentionality, that is, the vectorial quality of consciousness, but also reveals the fact that such directedness of consciousness is based upon a tacit awareness of the subsidiaries. In addition to its "to" aspect, consciousness also has a "from" aspect.

In the act of knowing an object, at least three kinds of subsidiary awareness are involved: the subsidiary awareness of the particulars of the comprehensive entity which is the object of knowing, the subsidiary awareness of our body, and the subsidiary awareness of the cultural heritage based upon past experiences" (pp. 127-133).

Thus, the concept of disruption is created in conjunction with three theories of Poetics: each of which relates to a particular aspect of poetic discourse but which also find a place in a general logic of disruption. Differential status of disruption is reflected in 1) the division of the whole into parts, 2) the balance of opposite qualities, 3) the image of "light", the image of "seeing", and of being "invaded", 4) "the tacit dimension" of knowledge, 5) the play of presence and absence. Conceptual content of disruption is illustrated in Figure 1.

Fig. 1.

Discussion

The concept of reading space is described [Koseoglu 2011], as observation, understanding, analysis or evaluation. It becomes possible to point to as many types or methods of reading space as dimensions of space. Perception can be described as a process in which sensory input is transfigured into meaningful experiences and interpretations (Sartain et al, 1967). The interpretation part is especially important [p.1191-1192].

At the core of text-comprehension a predominant role is given to a freeplay of disruption and the ways it is conceptualized by cognitive events.

Here is a fragment from THE PRELUDE by William Wordsworth

Imagination! lifting up itself

Before the eye and progress of my song

Like an unfathered vapour - here that Power,

In all the might of its endowments, came

Athwart me; I was lost as in a cloud,

Halted without a struggle to break through;

And now recovering, to my soul I say -

'I recognize thy glory': in such strength

Of usurpation, in such visitings

Of awful promise, when the light of sense Goes out in flashes that have shown to us The invisible world, doth greatness make abode, There harbours, whether we be young or old.

Our destiny, our nature, and our home Is with infinitude, and only there.

The fragment falls into two parts due to the temporal disruption indicated by 'now'. Poetic imagination reveals itself in reconciliation of opposite qualities: general: imagination - Power - glory - invisible world - infinitude;

concrete: flashes - abode - home.

The use of vision is accentuated by enjambed breaks: 'here that Power/ ...came/ Athwart me'; the manifestation of sensual experience: 'the light of sense'.

Fusion is marked by the enjambed break: 'Our destiny, our nature, and our home/Is with infinitude', and results in specific identification - 'one over-arching conception of imagination.

The epistemic status of disruption: bodily mechanisms ('I was lost as in a cloud'; when the light of sense/Goes out in flashes') bring about the focal awareness of the comprehensive object - the invisible world.

Let us consider WHETHER IT EXISTS by John Ashbery All through the fifties and sixties the land tilted Toward the bowl of life. Now life

Has moved in that direction. We taste the conviction Minus the rind, the pulp and the seeds. It Goes down smoothly.

At a later date I added color

And the field became a shed in ways I no longer remember. Familiarly, but without tenderness, the sunset pours its Dance music on the (again) slanting barrens.

The problems we were speaking of move up toward them.

The poem's intention is in its title: Whether It Exists. The voice of the poet sounds as if from afar, a distant past. It is broken with intensity of doubt. The feeling of uncertainty embodies the mind and determines the disruption.

The poem is made of two stanzas. Although they seem self-contained units, on inspection it appears that their semantic poles mirror each other: All through the fifties and sixties - at a later date; land - the field; tilted - slanting; the bowel - a shed; the rind, the pulp, and the seeds - barrens; Goes down smooth - moving up toward them.

In more abstract terms the string can be presented in the following way: time > place > downward movement > shape (container) > meagre > downturn.

Semantic fusion of elements overcomes the division of the poem into stanzas and testifies to the social disruption.

Let us turn to PIANO by D. H. Lawrence.

Softly, in the dusk, a woman is singing to me;

Taking me back down the vista of years, till I see A child sitting under the piano, in the boom of the tingling strings

And pressing the small, poised feet of s mother who smiles as she songs.

In spite of myself, the insidious mastery of song

Betrays me back, till the heart of me weeps to belong

To the old Sunday evening at home, with winter outside

And hymns in the cosy parlour, the tinkling piano our guide.

So now it is vain for the singer to burst into clamour With the great black piano appassionato. The glamour Of childish days is upon me, my manhood is cast Down in the flood of remembrance, I weep like a child for the past.

The purpose of the poem is spiritual cause, namely the childhood memory of music at home. The subjective space of the poem is organized by the temporal disruption which takes the form of 'absence - presence'. It should be admitted that in the first two stanzas the presence is hidden by the signifiers Taking me back down the vista of years; Betray me back.

In the third stanza the presence takes the lead by the signifier now, keeping absence in the shadow, as it were: it is vain for the singer.... The intensity of disruption is achieved by the rhyme clamour/glamour. The balance of the opposite qualities of the members of the rhyme signifies the reconciliation of the freeplay 'absence - presence'.

Epistemic status of disruption: the poet brings about the focal awareness of the comprehensive object - the no longer visible world.

Let us consider the poem THE FENCE by Andrew Motion

I found my way home but it was not until summer ended that my mother brought herself to ask me to make good the fence that marks our boundary.

I went out there with a box of nails and a hammer and when a flock of crows in the trees surrounding made some comment, I remembered how the birds living by Shamash Gate spoke in perfect harmony with mortar shells falling. Then I began knocking nails into the wood and everything near took fright - although not my mother, who continued watching from her chair on the porch. I have said nothing yet of what it is like to reach the exact point where one place becomes another, with no way forward or back, and there is nothing else left to do except fall down.

The text under analysis is "Italian" sonnet, the perception is aesthetic. The aesthetic demands deep subjectivity: disruption coincides with Golden Section and is marked with idiosyncratic dash to attract the attention to the state of affect rendered by the lexeme fright - the epistemic status of disruption is affectivity.

The poem encompasses the subsidiary awareness: I went out there with a box of nails and a hammer, Then I began knocking/ nails into the wood. In fact, the subsidiary awareness is disrupted by the focal awareness: I remembered how the birds/living by Shamash Gate spoke in perfect harmony /with mortar shells falling.

It is also interesting to notice "the epistemological implication of Heidegger's notion of being-in-the-world" in I have said nothing yet/ of what it is like to reach the exact point where one/ place becomes another, with no way forward or back.

Let us turn to the poem WHAT WE SEE IS WHAT WE THINK by Wallace Stevens.

At twelve, the disintegration of afternoon Began, the return to phantomerei, if not To phantoms. Till then, it had been the other way:

One imagined the violet trees but the trees stood green, At twelve, as green as ever they would be.

The sky was blue beyond the vaultiest phrase.

Twelve meant as much as: the end of normal time, Straight up, an elan without harrowing, The imprescriptible zenith, free of harangue,

Twelve and the first gray second after, a kind Of violet gray, a green violet, a thread To weave a shadow's leg or sleave, a scrawl

On the pedestal, an ambitious page dog-eared At the upper right, a piramid with one side Like a spectral cut in its perception, a tilt

And its tawny caricature and tawny life, Another thought, the paramount ado . . . Since what we think is never what we see.

The poem consists of six triplets. Semantically the triplets are organized in two groups by dynamic symmetry. The purpose of the first two triplets is formulated in the first line of the poem - the disintegration of afternoon. The purpose of the other four triplets is Twelve meant as much as: the end of normal time.

The focal awareness of the end of normal time is the imprescriptible zenith free of harangue, i. e. speechless. To understand the focal awareness of zenith as the comprehensive object, let us turn to J. Arthos: "... life is constantly forming a covet that it builds around itself. There is a word of Heidegger's that his unhappy translators struggle with and often weaken "Das Leben ist diesing." One must think of the shipsail and know the sea in order to understand this word correctly. ... It means misty, foggy, nebulous. ... At one moment life in its fully awake state is bright and open to all, and then in a split second everything is covered over and concealed" [Arthos 2011: 174-175].

The subsidiary awareness of the body is presented by lexical collocations: grey second, violet gray, a green violet. These collocations, together with the perception of page dog-eared as a piramid, or the colour tawny caricature and tawny life, classify the confused state of consciousness.

Two affirmative sentences that frame the body of the poem serve to conceptualize time in terms of a body awareness ("What we see is what we think"), and a focal awareness ("What we think is never what we see").

Thus, epistemic status of disruption is the aesthetic presentation of the whole in terms of tacit knowing.

Riddle, J. states: "For Stevens, the imagination is the single power that can effect the vital unity, in life and in poetry: it alone can provide the aesthetic economy of experience so urgent for the modern romantic sensibility" [Riddle 1962:482].

Discussing the final line of the poem under analysis, David Walker says: "The final line is thus not a simple reversal of a title; with the experience of the poem behind us, we understand that the exuberant life of the mind could never be contained by any fixed visual scene, that any set of images can be disintegrated and reassembled into countless other forms by the paramount faculty of imagination. The poem is an exercise in the kind of imaginative vision. Stevens thought necessary for an adequate comprehension of the world" [Walker 2014:30].

Let us now turn to SUNDAY MORNING by Louis Macneice. Down the road someone is practicing scales,

The notes like little fishes vanish with a wink of tails, Man's heart expands to tinker with his car For this is Sunday morning. Fate's great bazaar, Regard these means as ends, concentrate on this Now, And you may grow to music or drive beyond Hindhead anyhow, Take corners on two wheels until you go so fast That you can clutch a fringe or two of the windy past, That you can abstract this day and make it to the week of time

A small eternity, a sonnet self-contained in rhyme,

But listen, up the road, something gulps, the church spire Opens its eight bells out, skulls' mouths which will not tire To tell how there is no music or movement which secures Escape from the weekly time. Which deadens and endures.

In this poem the range of temporal disruption is determined by two poles - Sunday Morning / weekday time. The factor that influences the experience of disruption is didactic mode of discourse which is presented laconically by way of poetic identification of fate: Fate's great bazaar which is supported by a number of imperatives: Regard these means as ends, concentrate on this Now; Take corners on two wheels....

The intensity of disruption is supported by the graphic lay out of the poem. The flow of discourse is interrupted by the line with the message that creativity is praiseworthy. It follows then that "a small eternity" may be regarded as the epistemic status of temporal disruption.

Let us consider The Wanderer by W. H. Auden

Doom is dark and deeper than any sea-dingle.

Upon what man it fall

In spring, day-wishing flowers appearing, Avalanche sliding, white snow from rock-face, That he should leave his house,

No cloud-soft hand can hold him, restraint by women;

But ever that man goes

Through place-keepers, through forest-trees,

A stranger to strangers over undried sea, Houses for fishes, suffocating water, Or lonely on fell as chat, By pot-holed becks

A bird stone-haunting, an unquiet bird.

There head falls forward, fatigued at evening,

And dreams of home,

Waving from window, spread of welcome, Kissing of wife under single sheet;

But waking sees

Bird-flocked nameless to him, through doorway voices Of knew men making another love.

Save him from hostile capture,

From sudden tiger's leap at corner;

Protect his house,

His anxious house where days are counted

From thunderbolt protect,

From gradual ruin spreading like a stain;

Converting number from vague to certain,

Bring joy, bring day of his returning,

Lucky with day approaching, with leaning dawn.

The first line brings out the tone of the poem: Doom is dark and deeper than any sea-dingle. Alliteration in 'd' intensifies the negative connotation of the lexeme Doom. The gloomy atmosphere is achieved by shaping Doom with words of sense perception which are in opposition to the spirit of awakening nature. As the result, we can observe that disruption pertains to both - the physical (day-wishing flowers appearing), and the social (he should leave his house; But ever that man goes) realities.

The second stanza describes the surrounding context in terms of the freeplay of 'absence and presence'. Absence is represented by dreams of home, while presence is signified by Bird-flocks nameless to him.

The third stanza is entirely taken by the wife's prayer for her husband: Save him ...; Protect his house ...; Bring joy, bring day of his returning..., which testifies for beneficial aspect of destruction.

Thus the poem demonstrates situational disruption on two planes - man's focal awareness and his wife's subsidiary awareness.

Epistemic status of situational disruption is the wife's prayer.



Conclusion

In this article I have addressed the notion of disription. Disruption is naturally integrated into poetic discourse. Besides, disruption plays a leading role in the current social transformation.

The results obtained here indicate that disruption help reveal finer aspects of the organization of poetic discourse. It became obvious in the process of interpretation of the poems in terms of the determinants of the conceptual space of disruption.



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