poetics, extends feelings into emotions in order to invest his poetic objects with what he calls "the emotion-literal" (1970, 28). The externalization of emotion is a restoration to © Vol. 18, Nos. 1-2 (2010) ISSN 1069-0697, 83-98. 84 Peter Williams poetry of "its relation to the physiological condition" (58), one of the virtues Creeley saw in Olson's Projective Verse. The poem, according to Creeley, is not then a "signboard, pointing to a content ultimately to be regarded" (207), but is form as extension of content, a "stasis" for thought, inhabited by an "intelligence" expressing care for "the senses and the intensity of the emotion" (55). Feelings for modernist poets remain in the unarticulated background that Cook calls the "preconscious," that unspoken but reverberating substratum of consciousness from which poetic forms emerge. Feelings would then constitute part of what Creeley terms poetry's "physiological condition" and are therefore less demonstrable but, like moods, more constant and universal than emotions. For most theorists, however, feelings are nearly universally distrusted as either a form of knowledge or the basis for an aesthetic judgment. Hegel characterizes feeling as an empty form of subjective affection that extends beyond even vagueness into "the indefinite dull
symploke – University of Nebraska Press
Published: May 18, 2011
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