By David Garrett Izzo
This quantity discusses the relationships among the philosophy of Mysticism, which lines its lineage again into prehistory, with that of the area of extra conventional philosophy and literature. the writer argues for the centrality of mysticism's position within the philosophical and creative improvement of western tradition.
The connections among those worlds are underscored because the writer examines the works of Heraclitus, Schopenhauer, Nietzsche, Iris Murdoch, Yeats, AE (George Russell), T.S. Eliot, Joyce, Woolf, Auden, Huxley, Lessing, Gabriel Garcia Marquez, and Tony Kushner, between others.
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Additional resources for The Influence of Mysticism on 20th Century British and American Literature
The nature of the final order is the outcome of a dialectical struggle between those feelings and the verbal system. 38 The Influence of Mysticism on 20th Century Literature Consequently, this reconciliation between the feelings and the verbal system is the art of finding a balance between recalled emotions and the choice of language to evoke these memories for a reader. A poem is not about what we know, but how we feel about what we know. The key to this balancing act of emotive evocation is to strive for telling the news with a pleasing aesthetic framework.
H. Auden: Mysticism as a Literary Theory 33 Number four concerns the public’s perception of how art gets to be that way. The artist or poet knows too well that the old adage of ten-percent inspiration, ninety-percent perspiration, is true. Poetry and magic are equally a question of illusion and, even more so, of fantasy as escapism. Says Auden, “The identification of fantasy is always an attempt to avoid one’s own suffering: the identification of art is the sharing in the suffering of another” (“The Guilty Vicarage,” 158).
All literary artists try to intimate the inexpressible ineffable of the God-Awe correlatives through deft presentation of the expressible. Somewhere between the writer and his audience there is the bridge of unconscious meaning: The ambition of the literary artist is to speak about the ineffable, to communicate in words what words were never intended to convey. Every literary artist must therefore invent or borrow some kind of uncommon language capable of expressing, at least partially, those experiences which the vocabulary and syntax of ordinary speech so manifestly fail to convey.