The silent speaker: A Nietzschean reading of Rūmī’s aesthetics of lyric poetry
Lyric poetry, often regarded as the epitome of subjectivity in the realm of artistic expression, emerges from the depths of the poet’s personal emotions. Hence, in the aesthetic landscape of the nineteenth-century Germany, it was excluded from the inventory of genuine art forms, all of which were de...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Carfax
2023
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| In: |
Asian philosophy
Year: 2023, Volume: 33, Issue: 3, Pages: 263-280 |
| Further subjects: | B
Music
B objective-subjective art B the lyric B Aesthetics B the Ur-Eine |
| Online Access: |
Volltext (lizenzpflichtig) |
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| 520 | |a Lyric poetry, often regarded as the epitome of subjectivity in the realm of artistic expression, emerges from the depths of the poet’s personal emotions. Hence, in the aesthetic landscape of the nineteenth-century Germany, it was excluded from the inventory of genuine art forms, all of which were deemed to be objective and disinterested. Associating lyric poetry with music in its origin and essence, Nietzsche extends his Schopenhauerian metaphysics of music to the lyric, making it a highly objective art reverberating from the abyss of existence, the Ur-Eine, expressing its intrinsic self-contradictory and agonizing nature. A similar understanding of the creative process of poetic composition in the lyric, which this article aims to elucidate, can also be found in some of Rūmī’s ghazals and observations. These include a metaphysics of the unseen, a reunion through ecstasy and rapture, and a reflection and mirroring, initially through music and then through the lyric. | ||
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