Man has an urgent need to convey ideas to other people and receive them, that is, is in urgent need to communicate. To meet this need using basically the language that used for oral or graphic. Incidentally, in oral communication using a range of gestures and intonations extralinguistic sounds.
saying that the common man "ideas" we interpret that this word encompasses all of his "psychic content." A psychic content is complex because it contains ingredients are conceptual, axiological, sensory, volitional, and so on. For example, suppose I say to someone who makes soup, "a hair!". If we analyze the psychic content I am communicating, we see that it consists of a concept as the first ingredient: the concept of "Hair." But also, I'm communicating a series of elements: disgust Notice, wish not to eat what the other person, anxiety, etc. That is, a number of ingredients affective, volitional, sensory, etc.., Joining the conceptual ingredient and shaping the "psychic content."
poetic language not only communicates the conceptual ingredient of psychic content. If we read in a newspaper: "The offender was executed," we are communicating is not nothing but concepts (concept of "guilty" concept "executed"), without adding anything to what the author deplores, suffers, fear, hate and so on. of these concepts.
In poetic language attempts to communicate contemplation a psychic content "as it is in reality", ie full, individual, gathering all its nuances or ingredients.
Poetry must give the impression (whether misleading) that, through mere words, we communicate the knowledge (or perception) of a psychic content, as it is in real life.
This communication must be accompanied by a detachment of aesthetic pleasure in that match author and reader (or listener). This aesthetic pleasure (or joy aesthetics, according to Sartre) could proceed in the fullness of life we \u200b\u200bexperience the perfect knowledge. Man gets pleasantly everything perfects.
Poetry is not, without more, emotion alone, but perception of emotions, evoking serenity of impressions and sensations. What is communicated is not a real psychic content, but its contemplation. Content only feel real mood. Contemplating a content mood can make us react emotionally, a reaction that the author shares with us (readers). If the poem to communicate the substance of mind and not his contemplation, when the author writes that he is in love, we too will fall in love. No distance in between see and experience, between language and reality.
The communication is not spoken of a psychic content author's real, but imaginary. We must distinguish between the narrator poematic (fictitious character), the author (being of flesh and bone) and the "author" as the reader imagines. Poematic The narrator is a dream of the author and the "author" is a reader's dream. If the narrator is fictional, also fictional (imaginary) will be notified. And Pessoa said:
O poet é um pretender
completely
uncle pretends to pretend that Chega
dor é a dor that deveras present.
This communication must be conducted "with mere words." The colloquial language trying to convey as well, although in a more crude, an ingredient of mental content, in addition to purely conceptual. To that end, uses primarily of gestures and intonation, but also occur in poetry "spoken", not its essential part. The psychic content that appears communicate the poetry must be as complete in their writing, though, to be recited, it can enhance some nuance that was already implicit in the poem. That is, the apparent communication of a psychic content has to be done "with mere words."
could be some clarification on the contents mental or mood that the poet trying to convey. The realities mood is personal, unique. Every man is, in effect, individualized, determined by specific identification temperament, intelligence, emotional skills and sensitivity. A psychic content is a complex conceptual, sensory, affective, volitional, and so on., Which form a spiritual synthesis, a whole. This all just conceptual element may be common to different individuals, the others always change the subject. Therefore, the psychic content (or soul) that communicates can never be the same who owned the copyright, but you must give us the illusion that it has fully communicated the content.
Once exposed the fact of poetic expression, it may be advisable to analyze the procedures that the author uses to try to communicate a synthetic psychic content.
And is that language, understood as a system of signs and the relationships between these signs, that a large majority agrees understand Similarly, this language can not convey a psychic content "as is". A psychic content is individual and reflects only the generic language. If I say "tree", I am expressing only the concept "tree", we all know and share, but I can not convey the psychic content that I have (and only me) of "this particular tree, with all its beauty, grandeur, purity, utility, feeling, etc.., ie the synthetic psychic content at this time I have this tree. On the other hand, if he wished, through the use of language to describe all the ingredients of my psychic content "tree", never able to convey the individual synthesis of the content but a mere analysis of its ingredients, a list of them. The language, in addition to being generic, is analytical. No individual can express, the synthetic. The language, meaning "rule" can not rise to poetry. To convert the language into an instrument poetry must be submitted to a series of changes, substitutions. No replacement, no poetry.
For there is one, to communicate a mood synthetic content, it must act a "substituent", a word or a phrase that is put in place the "replaced" by an element of tongue generic meaning. And for this "substituent" is capable of expressing a synthetic significance, individually, have to suffer the action of a "modifier", whereby the "substituent" no longer has a generic meaning to charge another meaning: that the synthetic author tries communicate. If the "substituent" depart from its context and left to suffer the action of "modifier", and would not have that new synthetic meaning the author intends to give. The "substituent" private "modifier" is what we call "modified." We see that "substituent", "substituted", "modifier" and "modified" are the four pillars on which rests the poetic expression
All this will be more understandable if we use an example.
We will choose the beginning of this poem Cernuda, and in particular, the figure in bold: I
Teenager identical days in clouds,
graceful thing, visible shadows and reflection,
and strangely, if the memory look,
that much, so much hurt on the body today.
seems clear that the poet does not mean that those days (of time) were
the same or very similar to that mass of water vapor suspended in the atmosphere. A space of time can never be identical to a physical thing perceived by our senses. The poet rather meant the vagueness of its existence, its live, think and feel, in those days of adolescence, their turbidity, its subtlety, its lightness and lightness, transience, its tenderness ... But it can not make a list of all of this (and many more!) because it would fail to communicate their synthetic psychic content. What the poet chooses to do so, expressing this content is the word "clouds": "days same as clouds." Let's see where they are here the "substituent", the "substituted", the "modifier" and "modified"
"substituent", "clouds" within the meaning of things ethereal, vague, vague, fleeting, mild, tender, etc. ., etc.
"Replaced" means what the poet means those days of his youth: they were vague, imprecise, opaque, subtle ethereal, fleeting, and so on., etc., all elements belonging to the "language" that do not work generic to communicate the individuality of psychic content as it is.
"Modifier": "days identical." If the meaning of the word cloud was not changed by the action of this modifier, if we found in another context ("the sky is overcast, for example), would no longer have the sense that we assign as the" substituent. "
"Modified": "clouds" in the sense of masses of water vapor.
Indeed, the poem is a set of substituents, and can even be defined as a single substituent total, within which there are many modifiers that are causing so many partial substitutions to the transformation of the whole poem. The words of a poem can be modified by different terms of context and each of these, in turn, be modified by others or by some early, often forming a network of modifiers - substituents. Anything can (where appropriate) be another modifier. And this item modifier, which is almost always contained in its contextual environment, may even, on occasion, be outside the text of the poem and be something that is present in the consciousness of all men, from his experience or imperative of reason, a trend vital, moral, etc.
This terminology (modifier, modified, substituent and replaced) due to the great Carlos Bousono, is more universal than the commonly used for the image, which speaks of "flat evoked" (substituent) and "real plan" (replaced) but says nothing of the modifier (without which the picture would not expressive value) or the modified.
