إلهام الشاعر .. كتاب الإبداع وتربية

Poet's inspiration

What do poets say about moments of inspiration and their ways of working? Stephen Spener wrote in 1946: Inspiration is the beginning of the poem, and it is also its ultimate goal. It is the first idea that falls into the poet's soul, and it is the last idea that he achieves molded into words. Between this beginning and that end there is the hard race, and there is sweat and toil. And he tells us the story of a sentence that once sparkled in himself, and it could be in the future the nucleus of a future poem, and the sentence is: “The language of flesh and roses.” And he adds: My own experience of inspiration is certainly the finest line, sentence, or word, and sometimes something still vague, a cloud over an idea that I feel must be condensed and turned into a rain of words:

The most famous account of writing about race and toil is found in Coleridge's introduction to Kublai Khan. He says:

In the summer of 1797 the writer, who had been ill, withdrew to a secluded country house between Porlock and Linton, and as a result of a slight indisposition he prescribed to the writer a palliative (which Coleridge calls elsewhere, and two opium grains), upon which he slept in his chair while he read the sentence. The following, or words composed of the same article: «Here, the khan had previously ordered the construction of a palace with a royal garden around it. Thus ten miles of fertile land was surrounded by a wall.” The writer fell into a deep sleep that lasted three hours, a sleep that included at least his external senses, and he was confident that during that time he composed no less than two hundred to three hundred lines of poetry, if we can call what happened composition, given that the images were erected. in front of him as things with the production of appropriate expressions, without feeling or feeling effort. When he woke up, he seemed to remember everything clearly. And when he took his pen and paper, he immediately and enthusiastically wrote the lines, which are still preserved here. Meanwhile, unfortunately, someone called him to work and kept him busy for more than an hour. And when he returned to his room, he found to his amazement and pain that although he still vaguely remembered the whole of the vision, with the exception of eight or ten lines, everything had vanished (Coleridge 1954): and (J. Cocteau) confirms the nature of the artist's unconscious work and the enormous controlling power that You use it to ask for self-expression:

These unknown forces work deep within us, with the help of the elements of everyday life, and when they weigh on us and force us to overcome the copper in which we indulge ourselves as if we are sick, we try to prolong the dream and fear to reconnect with reality. We believe that this work is brought to us from afar, from beyond the horizon and that it is presented to us by the gods. . (Cocteau in 1952): Perhaps the most famous of the modern poets who felt the primitive power of his inspiration, that power that falls at will and that cannot be controlled, is the German poet (Rainer Maria Rilke) that he began the poems that were later known as “ Dino legies laments, with a line that came to him on the loose of a storm, while he was walking outside his house in the winter of 1912. He struggled for years to express these elegies, writing one time and swearing at another time, trying to create through them a vision of the world, not as people see it, but as it is in the same angel. But the work did not end until 1922, and at that time he announced the end of his work and his victory in a book he sent to Princess (Mary von Thurn), the owner of the castle (Duino), in which lamentations find their origin. He said:

At last, Princess, at last the blessed, blessed day has come, when I can announce to you that I am finished, as I see it, with the visuals: What a ten day!

From the last, my hand still trembles, the eleventh of the month, and at six o'clock in the evening the last elegy is over. The first, which began a long time ago in Duino, has arisen from a terrible vision, and I burst forth with thanksgiving to the angels who agreed to it.

And within a few days there was a storm without a name, there was a hurricane in my soul (similar to a storm of Duino). Everything was divided in me, I didn't think of eating, God only knows who fed me.

But now I can say that poems exist, exist. Amen . And so I lived to finish it, finish it all, and that's what I needed. I need him alone.” (Railke 1939) Introduction to Eichmann.

We see here the emotional charge, passion and obsession at the moment of creativity, but there are secondary conditions that can be necessary for creativity. Pure inspiration can be present anywhere, but there must be conditions that lead to focus in order to expand the vision and in order to make it tangible and turn it into a poetic or prose work. For example, Rilke needed the quiet and isolation of the countryside, while others needed other conditions. Schiller needed the help of the smell of rotten apples hidden in his office and large amounts of coffee. As for (Balzac), he needed coffee and wet towels around his head to write in the middle of the night and the rest. As for Dr. (Johnson), he did not improve his work except in the presence of a cat that purrs, and an amount of orange peel near him, and a large amount of tea that he drinks. Thus, we see that the demands of the book are numerous and strange to the Levant.