In this book, Sarah Rolfe Prodan examines the spiritual poetry of Michelangelo in light of three contexts: the Catholic Reformation movement, Renaissance Augustinianism, and the tradition of Italian religious devotion. Prodan combines a literary, historical, and biographical approach to analyze the mystical constructs and conceits in Michelangelo's poems, thereby deepening our understanding of the artist's spiritual life in the context of Catholic Reform in the mid-sixteenth century. Prodan also demonstrates how Michelangelo's poetry is part of an (...) Augustinian tradition that emphasizes mystical and moral evolution of the self. Examining such elements of early modern devotion as prayer, lauda singing, and the contemplation of religious images, Prodan provides a unique perspective on the subtleties of Michelangelo's approach to life and to art. Throughout, Prodan argues that Michelangelo's art can be more deeply understood when considered together with his poetry, which points to a spirituality that deeply informed all of his production. (shrink)

The problem of the article is based on a long tradition of studying the category ‘antinomy‘ in the history of philosophy from antiquity until the early twentieth century. Antinomical thinking has particular importance for the spiritual life in the 20th century. The author draws attention to the fact that, for example, in the poetry of Thomas Stern Eliot antinomies and paradoxes are of philosophical and religious nature especially in then dealing with questions of reaching the Truth by rational (...) way exclusively. The basic material for studies are the works of modern Russian poets Olesya Nikolaeva, Sergei Kruglov, Timur Kibirov, Olga Sedakova and Helen Schwartz. It is shown how moral and philosophical themes and descriptions of the spiritual lives of the characters associated with the interpretation of ideas of compositions in the form of antinomies. The idea of the influence of the antinomies of thinking on aesthetics and system of images of Russian poets verses is justified. Article reveals the originality of each of the poets whose poems are analyzed in the work. The author concludes that modern poetry gives traditional antinomies personal psychological nature, but at the same time, problems and poetics of paradox are in tune with thinking of twentieth century as a whole - with its disastrous spirit, full of doubt and contradiction. (shrink)

This paper discusses poetry as a site of what Pierre Hadot calls “spiritual exercises,” with particular reference to China's greatest poet, Du Fu (712–70 C.E.). While Hadot's work has bridged gaps between (i) philosophy and religion and (ii) theory and practice, this paper suggests that spiritual exercises can also blur the modern separation between form and content. It argues for the possibility of poetry as philosophy; that is, philosophy in a less-recognized form. If poetry can (...) be spiritual exercise and if spiritual exercise with its goal of self-transformation is the core of philosophy, then we may be able to treat poetry as one form of philosophy. The paper also demonstrates the relevance of Hadot's work for ancient Chinese and comparative philosophy more broadly. (shrink)

“La Poésie Comme Exercice Spirituel” first appeared in a 1942 issue of Revue Fontaine edited by Jacques and Raissa Maritain and was subsequently republished in Wah’s 1948 text Poésie, Pensée, Perception, published by Calmann-Lévy. The following is a translation of the Fontaine version. I have noted all of the variations from the latter version in the notes. As I emphasize in my commentary, the piece is a notable display of Wahl’s eclectic range of influences. Most importantly, it shows the extent (...) to which his interest in radical empiricism and process metaphysics informs his creative approach to the intersection of poetics and metaphysics. These interests are not explicitly named in the essay, and yet their influence is pervasive. The essay also includes several moments of substantial resonance with the work of Gilles Deleuze, as noted in the commentary. (shrink)

The article is devoted to the new poetry that entered the Russian musical culture with the Khrushchev "thaw". A special perspective of the study is the "female" chamber vocal cycle of the 1960s and 1970s. The wave of interest of Russian composers in chamber and vocal music that arose during this period is associated with a hitherto unprecedented wealth of poetic themes and images, the emergence of modern literature. Spiritual horizons expanded rapidly, original texts entailed fresh genre and (...) technological solutions. The new poetic "information", as well as scientific information, liberated the creative forces of musicians, demanded a new language, style, form. Poetry turned out to be one of the most important incentives for the renewal of compositional concepts. The main conclusion of the study is the idea that the development of vocal music, the figurative and thematic expansion of "female" chamber vocal cycles is primarily associated with the modern poetic tradition, with the expansion of the spiritual horizons of Soviet cultural life in the second half of the last century. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful, more fully revealing the most important vectors of the development of the musical and poetic tradition. It is quite obvious that the modern literary preferences of composers became the basis for a radical renewal of the chamber-vocal genre in the 1960s and 1970s. (shrink)

By examining how the best art and poetry address our need for spiritual orientation, this book makes a valuable contribution to the philosophies of art, literature, and religion, and brings deserved attention to the significance of the ...

Abstract:Over more than thirty years the Bolognese botanist, natural historian, and physician Ulisse Aldrovandi compiled his Pandechion epistemonicon—a manuscript encyclopedia composed of pasted note slips drawn from books he was reading. This article examines the 580 slips that comprise Aldrovandi’s Pandechion entry on old age. The entry allows us to examine how an early modern physician and his intellectual community approached old age as an epistemological problem with medical, poetic, and spiritual dimensions. Aldrovandi’s engagement with old age in the (...) Pandechion presents a fluid set of disciplinary boundaries for how we understand old age in the past and present. (shrink)

One of America's most celebrated poets, Emily Dickinson was virtually unpublished in her lifetime. When a slim volume of her poems emerged on the American scene in 1890, her work created shockwaves that have not subsided yet. Famously precise and sparse, Emily Dickinson's poetry is often described as philosophical, both because her poetry grapples with philosophical topics like death, spirituality, and the darkening operations of the mind, and because she approaches those topics in a characteristically philosophical manner: analyzing (...) and extrapolating from close observation, exploring alternatives, and connecting thoughts into cumulative demonstrations. But unlike Lucretius or Pope, she cannot be accused of producing versified treatises. Many of her poems are unsettling in their lack of conclusion; their disparate insights often stand in conflict; and her logic turns crucially on imagery, juxtaposition, assonance, slant rhyme, and punctuation. The six chapters of this volume collectively argue that Dickinson is an epistemically ambitious poet, who explores fundamental questions by advancing arguments that are designed to convince. Dickinson exemplifies abstract ideas in tangible form and habituates readers into productive trains of thought--she doesn't just make philosophical claims, but demonstrates how poetry can make a distinct contribution to philosophy. All essays in this volume, drawn from both philosophers and literary theorists, serve as a counterpoint to recent critical work, which has emphasized Dickinson's anguished uncertainty, her nonconventional style, and the unsettled status of her manuscripts. On the view that emerges here, knowing is like cleaning, mending, and lacemakingL a form of hard, ongoing work, but one for which poetry is a powerful, perhaps indispensable, tool. (shrink)

This book on the topic of ethics and poetry consists of contributions from different continents on the subject of applied ethics related to poetry. It should gather a favourable reception from philosophers, ethicists, theologians and anthropologists from Africa, Asia, Europe and Latin America and allows for a comparison of the healing power of words from various religious, spiritual and philosophical traditions. The first part of this book presents original poems that express ethical emotions and aphorism related to (...) a philosophical questioning of the grounding of our values for life. The poems are written by twelve authors coming from four continents, for whom poetic emotions are sources of artistic inspiration and that can be used for conflict resolution. In the second part, which features short essays, nine authors tackle how poems, symbolic representations, metaphorical narratives and lies impact the space of possibilities, in which we are moved to action, knowledge formation, and how we imagine the world together. (shrink)

The study discusses the relationship between Buddhism and poetry in early medieval Japan drawing on the cycle of poems “One Hundred Verses about the Seasons” (Shikidai hyakushu) dedicated to the shrine in Ise and written by the Tendai monk Jien (1155–1225). The paper deals with discursive strategies and ritual practices based on the exam­ples of the cycle “One Hundred Verses about the Seasons” by Jien, by which Buddhism in early medieval Japan consecrated a new ritual use of one of (...) the genres of court litera­ture, waka poetry. The paper briefly describes the process of incorporating the forms of Japanese waka poetry into Buddhist rites, traces the appearance of “songs of joy from following the teachings of (Buddha)” (ho:raku) in ritual practice, explains the meaning of the word ho:raku, describes a stage in the development of poetic theory formulated within the framework of Japanese esoteric Buddhism, characterizes the essence and meaning of “songs of joy” in the Buddhist tradition. The authors point to the contribution of Jien to the development of poetic theory and the relevance of new forms of waka, “songs of joy” created on the basis of this theory. The textual analysis of the cycle “One Hundred Verses about the Seasons”, its structure and content allows identifying the fea­tures of the genre of spiritual poetry ho:raku. The results also display how secular themes (nature, love lyrics) are reinterpreted to convey the experience of learning the teachings of Buddha, show the functioning of waka poetry as a means of preaching Buddhist teach­ings, as a way to comprehend the truth and achieve enlightenment. (shrink)

Hartmut Vollmer and Barbara Wright argue that women Expressionist poets have been largely neglected and forgotten. The article seeks to make a modest contribution towards remedying this scholarly lacuna by examining Hedwig Caspari’s poetry, while focusing on the relationship between Poet and God as reflected in her poetry. Caspari was a German-Jewish poet who lived and worked in Berlin. During her lifetime, she published two books—a play entitled Salomos Abfall and a volume of poetry entitled Elohim. Like (...) her play, most of her poetry deals with biblical themes. Caspari’s multifaceted relationship with God informs her poetry from the earliest to the latest poems. This article wishes to expose Caspari’s unique fe/male voice, showing her stance as a “prophet,” “lover,” and “Psalmist”, and attempts to explain why as a modernist poet she decided to write spiritual poetry. (shrink)

A poet, his mission, his making and evolution and various definitions of purposes of composition of poetry will be delineated. -/- The spiritual, philosophical and social conditions and their influence in the making and evolution of poet and writer and their craft will be dealt with. -/- The duty of poets, critics and readers in the celebration of composition of poetry and literature as part of culture and civilization will be presented. The committed and free-lance poets will (...) be compared and contrasted. -/- The poet and his relation to composition of poetry in view of the poet's social, emotional and intellectual makeup will be elaborated. -/- Also the writers and poets all over the world are suffering from unwritten censorship implemented by governments, terrorists, zealots of - religion, region, caste, community, gender- like historical and natural divisions. The Travails of literary creation and creators will be discussed. A critical observation on this will be presented together with experiences of the author - physicist - as a poet. -/- . (shrink)

In chapter 5 of his Autobiography, John Stuart Mill recounts a crisis in his mental history. The details of Mill’s depression and eventual rehabilitation due to the salutary powers of lyric poetry are well known. But most scholars who have investigated the status of poetry in Mill’s philosophy have overlooked the fact that the story the Autobiography tells about poetry’s contribution to Mill’s spiritual convalescence and moral education raises several interesting interpretive issues and leaves many notable (...) questions unanswered. I begin with an overview of Mill’s psychological case history as presented in the Autobiography. After that I turn my attention to some exegetical difficulties surrounding Mill’s adulation .. (shrink)

Research in the world of Eminescu’s manuscripts has brought again to discussion the bond between culture and creation and, within this, the relation that we are especially interested in, that between Philosophy and Poetry. It is a known fact that the poet studied philosophical works intensely, not solely out of the obligation to prepare for a university career , but mostly because he had the passion for philosophical problems, as it can be concluded from the analysis of his entire (...) poetic work, as well as the exploration of the “hidden world” in his notes books. He knew, most of all, the German Philosophy, as he transposed into Romanian pages from Kant ; but he discovered thinking affinities with the “pessimist philosopher” Arthur Schopenhauer, whom he assumed as a sort of spiritual mentor, relating thus with young Nietzsche, who had declared in his first book, “The Birth of Tragedy from the Spirit of Music”, his veneration towards the same master . Eminescu, however, did not part from Schopenhauer, but took him also as a guide to discovering the old oriental Philosophy, especially the Indian one, that had also inspired the author of “The World as Will and Representation”. Therefore, Eminescu accumulated a rich philosophical culture; but did he also produce Philosophy? (shrink)

This paper examines ways leading Song-dynasty Chan teachers, especially Cishou Huaishen 慈受懷深 (1077–1132), a prominent poet-monk (shiseng 詩僧) and temple abbot from the Yunmen lineage, transform the intricate rhetorical techniques of Chinese poetry in order to explicate the relationship between an experience of spiritual realization beyond language and logic and the ethical decision-making of everyday life that is inspired by transcendent principles. Huaishen’s poetry expresses didactic Buddhist doctrines showing how an awareness of nonduality and the surpassing of (...) all conceptual boundaries and categories can and must be applied to negotiating moral choices in concrete everyday situations that are either conducive or detrimental to the attainment of enlightenment. My main argument is that Song Chan discourse does not lead to antinomianism or an indifference to the conflicts of the mundane world but, instead, features an ethical approach for determining an aspirant’s degree of illumination. This function is central to the school’s overall teaching mission of assisting those seeking to overcome their egocentric delusions by realizing the benefits of Chan insight. (shrink)

The three books we are to consider, although each has its own integrity and individual theme, are bound together by their common concern for poetry and religion, theology and philosophy. Martz and Ross are interested chiefly in the relations between poetry and theology, while the essays edited by Hopper concentrate more upon the aims and beliefs of the artist in his cultural setting and especially upon those features of the contemporary world which raise problems of a religious character. (...) No series of essays, of course, can ever have the unity of a book by a single author, but there is a dominant theme in Spiritual Problems and it may be described as the relation between religion and the creative work of the contemporary artist. Behind virtually every essay is a concern for how religion should be related to culture and for the manner in which the novelist, dramatist and poet should treat those problems of modern life which can best be characterized as religious. (shrink)

The article analyzes the features of poetic reflection in the work of A. Krymsky in the relation "man-nature". Coverage of this problem in the conditions of postmodern philosophical discourse requires appropriate embeddedness in the national and cultural experience. Moreover, the poetry of A. Krymsky manifests the deep experiences of the Ukrainian man's ties with the natural world, which includes the actualization of the inner nature of man. The author seeks to "write out" the laws of the "moral constitution" according (...) to which a person is worthy of his purpose of being in nature "has the right" to love according to the vocation of his convictions, his needs and inclinations. On the one hand, the author seems to call us to abide by these "laws", but, on the other hand, his thoughts divert from such categoricalness into the space of "identity" and confessional repentance. As follows from the above, the dignity of a person consists in the awakening and strengthening of an independent, responsible, formed on the path of enriching the inner life of a spiritual personality and the search for a free egress. And in this, in fact, the highest value of the relevance of postmodern self-communication in the interpretation of the poetic work of A. Krymsky is developed. (shrink)

This paper explores the spirituality of, and experienced at, Greenham Common Peace Camp, Berkshire, Southern England. Although mentioned in much of the discourse on the nuclear protest site Greenham, spirituality is, at best, marginalized in favour of socio-politics. However, there is evidence to suggest that spirituality played a significant role for many of the Greenham women, informing their protests through poetry, song and prose, as well as visually— with eco-feminist thealogy a potent theme. Through examining existing discourse and by (...) interviewing protesters, this paper concludes that spirituality at Greenham Common Peace Camp requires further attention, and should no longer be seen as a subsidiary aspect of the camp. (shrink)

Retrieving our spiritual heritage: a challenge of our time -- Spiritual foundation of human rights -- Response to the president of Ireland -- World peace and interreligious understanding -- Education as transformation: a Baha'i model of education for unity -- Globalization and the Baha'i community in the Muslim world -- Unity of vision and ethic: values and the workplace -- Environmental ethics: a Baha'i perspective -- 'Abdu'l-Baha and the spiritual foundation of the American dream -- United Nations (...) and world order -- Ethics of globalization: a Baha'i perspective -- Opening of the academic mind: the challenges facing a culture in crisis -- Heritage: poetry and archeology as the common language of the past, the present, and the future -- Address given before the House of Lords. (shrink)

Poetry comes as close as language can to capturing that out-of-body lightness of swishing through the trees, of jumping off a cornice, of floating through the bottomless powder. This book is about joy and loss. It is about danger and consciousness. It is provocative, full of wit and insight, and helps us meet the challenges of self-discovery. Peak experiences give us a glimpse of a world beyond what our senses report. It is a world we can feel but not (...) articulate; know but not describe. In the poet's words, the sight is within us-speak and it is gone. The bliss of memory persuades us it is real. (shrink)

With the goal of better understanding how science, religion, and poetic art came together in the work of Christopher Southgate, the authors first explore his spiritual poetry. They come away with a better understanding of the author’s commitment to a broad naturalism that contributes, along with his own faith experience, to his prose works in the emerging field of ecotheology. The authors conclude that Southgate’s work is part of the worldwide emergence of a theological rationale that supports environmentalism, (...) the protection of species, and the conservation of biodiversity. The authors find Southgate’s poetry warm, appealing, accessible, and re-readable to good effect, but with a thread of danger and warning throughout. Both features are quite appropriate for the environmental movement in the twenty-first century. (shrink)

Sufism : various dimensions -- Spiritual traditions in India -- Rabindranath Tagore and spiritualism -- Music, poetry, and spiritual traditions -- Educational perspectives -- Epitomes of Indian culture.

I. Language is a witness of change in the field of the knowledge. In its system of signs, also the “traces” that show “the movement of the signs” are conserved, meaning those dynamic signs that indicate problems and solutions of problems, and sometimes even the invention of new problems, which modify the paradigms of knowledge. In the case of the creativity problem, if we take language as the witness, we see the following: 1. In the first half of the 20 (...) th century, the term used to denote the innovatory phenomena is that of creation. This notion refers, most often, to the artistic works, but is step by step extended also to denote the great scientific discoveries or technical inventions and, more seldom, other types of activities which bear the mark of novelty or originality, generally with an “out of the ordinary character” . The word has an obvious value content and exactly by its evaluative significance, it is disseminated in the current cultural vocabulary. It can have more general meanings, due to the fact that it keeps, in its semantic memory, the archaic layers of the myths of creation, but also because it can be resignified metaphysically, as a cosmogony principle or one of the evolution of life . But its established place in the philosophical discourse is found mostly in the area of the philosophy of culture or in that of the philosophy of value and especially in the philosophy of art. From here, it is overtaken by the art sciences, as the psychology of art, the history of art or the sociology of art. The term creation means both the works, the products of the creation process, and the processes through which these works are accomplished. In the analysis of the creation process, the significance of the term become more psychological, and the rationalization to which it is subjected to seems to furthen it both from its religious origin as well as from the Romantic mythology of the genius. However, if we regard more attentively, we see that terms as “inspiration”, “incubation” or “invention”, from the so called explanations of the creation process, preserve the magic obscurity of the enigma. Generally, the idea of creation, even totally transferred to the human sphere, secularized, rationalized and psychologized, still keeps something from the history of a notion charged with “mystery”, “heroic admiration” and a sort of “sacred terror”, which can be understood by considering the religious origin of the idea of creation; because about creation, in the human sphere, it has been commenced to be talked at first by analogy to the divine creation, in the discourse about art of the Renaissance, and the semantic evolution of the notion has not, for a long time, furthen itself from it spiritual root. Creation – even when it denotes the human products- still remains a metaphor- which transports to something difficult to comprehend, rather than facilitates the understanding of what it denotes. 2. After the middle of the 20 th century, a new term, creativity, makes its way in the discourse, replacing the word creation. It comes from the vocabulary of the humanistic sciences, firstly from psychology and afterward by the other sciences which adopted it. It becomes, in a short period, a frequent term of the cultural world and of public communication. The discourse in which this neologism appears has completely changed suppositions: a). Firstly, it is a discourse of scientific nature ; b). Secondly, its notions are descriptive: creativity denotes the capacity to produce innovative works in any domain and is seen as a generally human dimension ; the creative products are described following criteria such as novelty, originality, relevance, adequacy or utility, attributes that are intelligible but also rationally computable. c). Thirdly, the suppositions of the discourse on creativity contains the idea that the creative phenomena can be understood rationally, described, analyzed, explained and measured, and their knowledge can be applied in the so called techniques to stimulate creativity or transferred in the methods of learning and education. The notion of creativity indicates thus a discourse articulated on a type of representations which we could call positive, to mark this way the change in knowledge on which they are based. 3. In the last decades of the 20 th century, in the vocabulary of the sciences on creativity appears a new notion: creatology . According to the significance that results from the terms which compose this linguistic invention, creatology can denote, in a general sense, the study or the theory of creation or creativity, accomplished in a discipline or other from the sciences which assumed it as a research problem. Still, the discussions on creatology have requested more - the constituting of an autonomous discipline of creativity. These three notions – creation, creativity and creatology - have an obvious “family resemblance”, although, as we have seen, the semantic differences are significant. Through these notions we can reconstruct not only the history of a problem which appeared as important to the knowledge of the 20 th century, but perhaps even the history of some ideas which have accompanied the understanding of the cultural history or, wider, the history of the mentalities of the 20 th century. It is exactly why the emergence of creatology can be researched from the perspective of cultural analysis. (shrink)

What did it mean to keep a secret in early medieval England? It was a period during which the experience of secrecy was intensely bound to the belief that God knew all human secrets, yet the secrets of God remained unknowable to human beings. In Bonds of Secrecy, Benjamin A. Saltzman argues that this double-edged conception of secrecy and divinity profoundly affected the way believers acted and thought as subjects under the law, as the devout within monasteries, and as readers (...) before books. One crucial way it did so was by forming an ethical relationship between the self and the world that was fundamentally different from its modern reflex. Whereas today the bearers of secrets might be judged for the consequences of their reticence or disclosure, Saltzman observes, in the early Middle Ages a person attempting to conceal a secret was judged for believing he or she could conceal it from God. In other words, to attempt to hide from God was to become ensnared in a serious sin, but to hide from the world while deliberately and humbly submitting to God's constant observation was often a hallmark of spiritual virtue. Looking to law codes and religious architecture, hagiographies and riddles, Bonds of Secrecy shows how legal and monastic institutions harnessed the pervasive and complex belief in God's omniscience to produce an intense culture of scrutiny and a radical ethics of secrecy founded on the individual's belief that nothing could be hidden from God. According to Saltzman, this ethics of secrecy not only informed early medieval notions of mental activity and ideas about the mind but also profoundly shaped the practices of literary interpretation in ways that can inform our own contemporary approaches to reading texts from the past. (shrink)

This article responds to philosophers and literary critics who espouse concepts about an endemic postsecularity in western nations that encroach across the globe. Postsecularity accounts for the resurgence of a religious consciousness in the face of challenges to secularity in the forms of accommodating minority religions; the yearning for spiritual expression as an antidote to capitalist materialism; and posthuman concerns about the engineering of biological human identities, artificial intelligence, and anthropogenic climate crises. Poetry, with its non-verbal cues, can (...) both animate and also reach beyond the purely rational discourses of philosophy. Accordingly, poems by T.S. Eliot, Stevie Smith, and Carol Ann Duffy span a century of thought and literary evocations of the interstices and crossovers of theocentric belief and unbelief. They illuminate the postsecular elements of partial faith, spiritual plurality, and resacralization. These elements disrupt binary polarizations of atheism and faith. (shrink)

This article responds to philosophers and literary critics who espouse concepts about an endemic postsecularity in western nations that encroach across the globe. Postsecularity accounts for the resurgence of a religious consciousness in the face of challenges to secularity in the forms of accommodating minority religions; the yearning for spiritual expression as an antidote to capitalist materialism; and posthuman concerns about the engineering of biological human identities, artificial intelligence, and anthropogenic climate crises. Poetry, with its non-verbal cues, can (...) both animate and also reach beyond the purely rational discourses of philosophy. Accordingly, poems by T.S. Eliot, Stevie Smith, and Carol Ann Duffy span a century of thought and literary evocations of the interstices and crossovers of theocentric belief and unbelief. They illuminate the postsecular elements of partial faith, spiritual plurality, and resacralization. These elements disrupt binary polarizations of atheism and faith. (shrink)

This study analyses the influence and infection of traditional Chinese culture, starting from the cultural influence of ancient Chinese poetry and literature, and explores the impact and healing effect of traditional Chinese poetry and literature on college students’ psychological anxiety. Combining with traditional Chinese culture, it proposes intervention and treatment strategies for college students’ psychological anxiety. Through volunteer recruitment, 100 college students were recruited for comparative experiments, and the subjects were divided into an experimental group and a control (...) group. The experimental group participants regularly participate in Chinese ancient poetry and literature appreciation courses during the experimental period, and form an ancient poetry and literature learning group for discussion and learning. Research has found that psychological anxiety is a common psychological problem among contemporary college students, with most of them experiencing varying degrees of psychological anxiety. After the experiment, the number of patients with severe anxiety disorder decreased by 64.21%, while the number of patients with moderate anxiety disorder decreased by 57.36%. Under the artistic influence of traditional Chinese culture, the anxiety state of students with mental anxiety has been significantly improved, and the overall satisfaction score of students with treatment intervention plans is relatively high. Contribution: This study uses the profound historical heritage of Chinese ancient poetry and literature to help contemporary college students adjust their psychological state and reach the psychological adjustment under the infection of Chinese tradition culture. During the learning and appreciation of Chinese ancient poetry, literature and culture, students can comprehend the literature advancement in Chinese society, also influenced by the excellent traditional Chinese culture, for enhancing the humanistic quality and mental health level. The results of this study can be utilised by scholars in the field of the psychology of religion and public theology. (shrink)

A massively prolific man of letters in fin de siècle America, William Dean Howells experienced spiritual conflict and doubt throughout his long life. Opening with the bleakness of A Modern Instance, this essay examines some of the important points in Howells’s religious evolution. Influenced by Tolstoy and certain Protestant progressives, Howells felt that religion “should be motivated by the spirit of love, not adherence to some creed.” This emphasis on “the interrelatedness of our lives” appears in The Minister’s Charge (...) and A Hazard of New Fortunes, but Howells’s spiritual crisis grew acute with the death of his daughter Winifred. The poetry collection Stops of Various Quills reflects this grief, but his spirituality remained complex, as evidenced in “a Circle of Water” and The Leatherwood God. (shrink)

Although he won the 1960 Nobel Prize and maintained a measure of global acclaim past this award, the poetry of Saint-John Perse has fallen into general obscurity and critical disregard outside the poet's linguistic patrimony, where he belongs primarily to a national, scholastic poetic tradition.1 Perse's appurtenance to a French national canon—and his near anonymity outside of it—both raise a variety of questions specific to Perse, though I hope that they may also have some more generic theoretical value. This (...) essay may thus be read as a case study in what is being called world literature. I map the vicissitudes…. (shrink)

The article has examined the influence of cordocentrism and natural philosophy of Hryhorii Skovoroda on the formation of worldviews and aesthetic program of “silent poets.” The motive and figurative constants of “silent poets,” the specifics of the creation of their poetic universe through the conceptual system of cordocentric and natural philosophical codes are clarified. It is proved, that in the poetry of Iryna Zhylenko, Svitlana Yovenko, Anatolii Kychynskyi, Volodymyr Pidpalyi, Liudmyla Skyrda, Leonid Talalai, Pavlo Movchan, Dmytro Cherednychenko the image (...) of the heart became a symbol, which emphasized the spirituality of human, formed by the humanistic attitude to the world. The dominant place in the poetic creativity of “silent poetry” was occupied by the sensual imperative: love, love for relatives, and the native land. Emphasis is placed on the fact that the natural world endowed the lyrical hero of “silent poets” with mental harmony and freedom of choice, conditioned by moral foundations and beliefs, independent of the political situation of the second half of the 20th century. (shrink)

At the center of_ In Dark Again in Wonder_ are readings of René Char and George Oppen. Both of these poets achieved recognition at a young age, Char among the French surrealists in the 1930s, Oppen among the American objectivists in the same decade. Both were independent individuals who, having found their way to communities of inventive writers, stepped back and shaped their own idiosyncratic paths. Both responded decisively to the social upheavals of the 1930s and ‘40s. Oppen committed himself (...) to radical politics in the ‘30s, a decision that, as it turned out, led to his not writing poetry for nearly twenty-five years. Char fought in the Resistance in the '40s. Both, in their mature work, developed a kind of poetry that is at once a love poetry, a meditative poetry, and a poetry of encounter. The concluding chapter of the book places the questions raised by Char’s and Oppen’s work in a larger context, tracing the cultural history that shapes our modern experience of inhabiting a tension between an historical and a metaphysical horizon of experience, or, as this appears in a different but related light, a tension between a sociological and an existential understanding of our lives. Char and Oppen are both poets concerned with the old philosophical questions that are still with us—the nature of spiritual freedom, the gathering of the self in relation to death, the meditation on the whole, the turn to Nature as the open space of the whole under the conditions of modernity, the clarification of the ground of vision in eros and love, and the search for the good life—while at the same time they fully engage the social predicaments and promises of their world. "A brilliant, philosophical, and aesthetic approach to twentieth-century poetry that casts important light on the great poetic works of René Char and George Oppen. Revealing the ongoing role of wonder in the post-Romantic tradition, it points to two remarkable poets whose work embodies imagination in the knowledge of inevitable loss, renewal in the awareness of despair. This is a book worth reading for its insight into two poets and the larger literary and philosophical currents in which they lived and worked." _—Sandra L. Bermann, Princeton University_ "This is a brilliant, erudite, beautifully written, and compelling book, one that makes an important contribution to our understanding not only of the two poets on whom it focuses but of the period they inhabit and that we, as their inheritors, continue to inhabit. Robert Baker wears his considerable learning lightly, but he has deep knowledge both of the history of European and American poetry and of the history of philosophy. He has thought deeply and passionately about poetry, philosophy, history, and the ways in which they intertwine." —_Henry Weinfield, University of Notre Dame_ "Robert Baker has written a fine and unusual book: a study of two remarkable poets, one French and the other American, and a concluding reflection of considerable literary and intellectual reach on the gap between history and metaphysics in which both poets found themselves and in which we still subsist. Bake'rs style is synthetic, magisterial, drawing on a capacious knowledge of literature and the history of ideas." —_Kevin Hart, University of Virginia_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Significance of Music for the Moral and Spiritual Cultivation of VirtueDavid CarrIs There any Virtue in Music?Given its time-honored place, along with other arts, in many if not most past and present school curricula it would seem that at least some forms of music have been widely credited with educational value. Beyond the general association of music with high culture and, notwithstanding the evident discipline involved in (...) learning to play musical instruments, however, it is less clear what sort of value this might be. Despite the considerable ethical complexity of much art and the vexed nature of any relationship between the moral and the aesthetic, one may clearly regard very many works of literature, much representational painting, and even some dances as having some moral educational significance. That said, it may be less clear how other arts or art genres—such as music or abstract painting—could be said to have much significant moral import or content (as well as being unreasonably procrustean to insist that they should). Indeed, recalling the well-known point of Richard Peters about the inherently normative character of the concept of education—that it would be hard to regard a man as educated [End Page 103] who had not in some sense been made 'better'1 —one way of posing the present question might be to ask whether, regardless of its potential for pleasure, there is much if any real virtue in music?Plato and Scruton on Music and MoralsThere is, to be sure, a long tradition of reflection on the moral implications of music, and questions about the effects of music on moral development and character are of course raised in several Platonic dialogues. Thus, in one part of the Republic, Plato explores in some detail what he takes to be the effects on character of the various Greek musical modes, arguing for the moral superiority of those that foster courage and self-discipline over those that promote sensuality and self-abandon.2 Such claims also seem mostly consistent with a general Platonic aesthetics that precludes any role for the arts beyond service to a strict morality of individual self-control and social order. There are also, however, other sections of the Republic in which Plato envisages another softer role for music (broadly construed to include also literature and poetry) as a counterbalance to an excess of physical education, which can produce "savagery and hardness."3 Still, to whatever extent Plato might here be trying to have his case and eat it, his explicit claim that only the Dorian and Phrygian modes are suitable for moral consumption are probably more consistent with the broad drift of Platonic aesthetics. Generally, Plato's view appears to be that music—in the narrower rather than broader (Greek) sense—is a kind of ordered affect-charged auditory experience, that some forms of musical order are more conducive to the harmony or balance of the soul than others, and that a healthy human soul or character should in some way reflect the harmony of appropriate or approved forms of music.Although the logical and/or psychological status of such bygone claims is far from easy to evaluate, something of the spirit of Platonic thought on music and virtue seems discernible in more recent writings on the philosophy of music. Thus, Roger Scruton's case for the musical and moral superiority of serious classical works over much latter day popular music would appear to rest mainly on considerations relating to the greater structural order, organization, and complexity of the former over the latter.4 Like Plato, Scruton would seem to regard musical form, order, and organization as directly linked to emotional discipline, so that whereas the classics may be expected to cultivate ordered passion and sensibility, the unmelodic, discordant, and rhythmically unsubtle sounds of much modern popular music can only be expected to engender crude, disorganized, and uncontrolled feelings. Scruton makes much of the decline of dance under the influence of such contemporary musical anarchy, as precisely exhibited in the abandonment of conventions governing the control, for individually and [End Page 104] socially significant purposes, of physical gesture and bodily movement. Hence, although Scruton... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Significance of Music for the Moral and Spiritual Cultivation of VirtueDavid CarrIs There any Virtue in Music?Given its time-honored place, along with other arts, in many if not most past and present school curricula it would seem that at least some forms of music have been widely credited with educational value. Beyond the general association of music with high culture and, notwithstanding the evident discipline involved in (...) learning to play musical instruments, however, it is less clear what sort of value this might be. Despite the considerable ethical complexity of much art and the vexed nature of any relationship between the moral and the aesthetic, one may clearly regard very many works of literature, much representational painting, and even some dances as having some moral educational significance. That said, it may be less clear how other arts or art genres—such as music or abstract painting—could be said to have much significant moral import or content (as well as being unreasonably procrustean to insist that they should). Indeed, recalling the well-known point of Richard Peters about the inherently normative character of the concept of education—that it would be hard to regard a man as educated [End Page 103] who had not in some sense been made 'better'1 —one way of posing the present question might be to ask whether, regardless of its potential for pleasure, there is much if any real virtue in music?Plato and Scruton on Music and MoralsThere is, to be sure, a long tradition of reflection on the moral implications of music, and questions about the effects of music on moral development and character are of course raised in several Platonic dialogues. Thus, in one part of the Republic, Plato explores in some detail what he takes to be the effects on character of the various Greek musical modes, arguing for the moral superiority of those that foster courage and self-discipline over those that promote sensuality and self-abandon.2 Such claims also seem mostly consistent with a general Platonic aesthetics that precludes any role for the arts beyond service to a strict morality of individual self-control and social order. There are also, however, other sections of the Republic in which Plato envisages another softer role for music (broadly construed to include also literature and poetry) as a counterbalance to an excess of physical education, which can produce "savagery and hardness."3 Still, to whatever extent Plato might here be trying to have his case and eat it, his explicit claim that only the Dorian and Phrygian modes are suitable for moral consumption are probably more consistent with the broad drift of Platonic aesthetics. Generally, Plato's view appears to be that music—in the narrower rather than broader (Greek) sense—is a kind of ordered affect-charged auditory experience, that some forms of musical order are more conducive to the harmony or balance of the soul than others, and that a healthy human soul or character should in some way reflect the harmony of appropriate or approved forms of music.Although the logical and/or psychological status of such bygone claims is far from easy to evaluate, something of the spirit of Platonic thought on music and virtue seems discernible in more recent writings on the philosophy of music. Thus, Roger Scruton's case for the musical and moral superiority of serious classical works over much latter day popular music would appear to rest mainly on considerations relating to the greater structural order, organization, and complexity of the former over the latter.4 Like Plato, Scruton would seem to regard musical form, order, and organization as directly linked to emotional discipline, so that whereas the classics may be expected to cultivate ordered passion and sensibility, the unmelodic, discordant, and rhythmically unsubtle sounds of much modern popular music can only be expected to engender crude, disorganized, and uncontrolled feelings. Scruton makes much of the decline of dance under the influence of such contemporary musical anarchy, as precisely exhibited in the abandonment of conventions governing the control, for individually and [End Page 104] socially significant purposes, of physical gesture and bodily movement. Hence, although Scruton... (shrink)

: In the poetry of Daud Kamal, water figures as an image of mercy, as in the Quran, and as a mirror that reflects divine hidden presence. The rock pool evokes the memory of Gandhara and other foundational civilizations born in love and creative ferment. Conversely, the images of drought, heat, and dust symbolize a parched spiritual order. The river, a recurring archetypal image in Kamal’s poetry, represents the fluid self that is subsumed into collective identity to (...) become a poetic distillate of history. Key words: Daud Kamal, water imagery, drought imagery, Pakistani poetry in English, Gandhara civilization, Islamic poetry. Resumen: En la poesía de Daud Kamal, el agua figura como una imagen de misericordia, como en el Corán, y como un espejo que refleja la presencia divina oculta. El estanque evoca la memoria de Gandhara y otras civilizaciones fundamentales nacidas en el amor y el fermento creativo. Por el contrario, las imágenes de sequía, calor y polvo simbolizan un orden espiritual reseco. El río, una imagen arquetípica recurrente en la poesía de Kamal, representa el yo fluido que se subsume en la identidad colectiva para convertirse en un destilado poético de la historia. Palabras clave: Daud Kamal, imágenes de agua, imágenes de sequía, poesía paquistaní en inglés, civilización de Gandhara, poesía islámica. (shrink)

Jain ādhyātmik (spiritual, mystical) poets from the 17th to 19th centuries (e.g., Banārasīdās, Ānandghan, Cidānanda) elaborated a category of ineffability to discuss the pure experience of the soul or self (ātma-anubhava). These early-modern Jain poets mobilized a very specific understanding of the ineffable, one that resists language and logocentrism as sources of delusion and conflict. The focus on the ineffable in this poetry is always attended by a set of terms that qualify the ādhyātmik view. These are a (...) privileging of the neutral (samatā), experience (anubhava), and on the other hand, a demotion of opinion, partisanship, doctrinarism, and bigotry (matawālā, mata-arthi, mata-jaṅgī). This paper will show that a shared constellation of terms, intertextuality, and a rejection of partisanship and logocentrism bound a group of Jain poets from the 17th to 19th centuries to a particular endorsement and understanding of ineffability; one which was authorized and emboldened by an engagement with Jain philosophical plurality and non-absolutism. The poetry exhibits a frequent co-occurrence of ādhyātmik anubhava with the Jain the epistemological system known as saptabhaṅgī (Jain seven-valued predications), of which avaktavya (sometimes translated as ineffable or non-assertable) is a prominent aspect. The association philosophically grounds ādhyātmik positions and reinforces their assertion that some aspects of reality, namely ātma-anubhava, are ineffable and beyond the realm of phenomenal predication. (shrink)

In contrast to the discussion of theater in the tradition of Western philosophy from Plato and Aristotle through Rousseau and Diderot to Artaud and Brecht, who either devalued or valorized theatricality, Hegel adopts an intermediate point of view between these two extremes. He neither devalues nor valorizes theatricality, but rather maintains that it constitutes an essential dimension of poetic drama through which it presents its ideal and fictive reality to sense perception. While in pre-modernity dramatic poetry was able to (...) represent and reconcile the conflicts between ethical substantiality and individual subjectivity, it is a completely different matter in moder-nity. In the course of the progressing ethical de-substantialization of individual subjectivity, modern drama tends towards pure theatricality and loses its ability to reconcile ethical conflicts spiritually. (shrink)

Jan-Heiner Tück presents a work that explores the sacramental theology, lived spirituality, and Eucharistic poetry of the Church’s doctor communis, St. Thomas Aquinas. Although Aquinas’ Eucharistic poetry has long occupied an important place in the Church’s liturgical prayer and her repertoire of sacred music, the depth of these poems remains hidden until one grasps the rich sacramental theology underlying it. Consequently, Tück first offers a detailed but approachable primer of Aquinas’ theology of the sacraments, before diving deeply into (...) the Angelic Doctor’s theology and poetry of the Eucharist. The Scriptural accounts stand at the heart of the systematic framework developed by Aquinas, and thus significant attention is devoted to showing the harmony between the accounts of Christ’s passion and the detailed exposition of the Summa theologiae. Moreover, the Eucharistic controversies of the ninth and eleventh centuries provide the contrapuntal context in which Aquinas did his thinking, praying, and writing. Not surprisingly, therefore, the response he crafts to these controversies draws upon both speculative powers and contemplative prayer, brought together in the unity of Aquinas’ theology and spirituality. The net result is a twofold treasure for the Church: a careful systematic presentation of Eucharistic theology and the lived devotional expression of the same in the carefully constructed—and now much beloved—stanzas of Pange lingua gloriosi, Lauda Sion, Adoro te devote, etc. By revealing the lively interplay of the saint’s powerful speculative intellect and a heart steeped in love for the Eucharistic Lord, Tück offers a sophisticated exposition of Aquinas’ Eucharistic poetry and the roots it sinks into a wider theological framework. Finally, the contemporary significance and power of Aquinas’ work is drawn out, not only in the rarefied realm of intellectual inquiry but also in the everyday expanse of ordinary life. (shrink)

This research thesis explores the concept of attention as outlined and practised in the life of Simone Weil (1909-1943), a French woman variously described as a philosopher, mystic and activist yet someone who eludes categorisation or systematisation. It outlines the background to her life in a France between two world wars, and seeks to situate her within the context of the Christianity she claimed as her cultural backdrop. It explores the concept of attention as both a spiritual exercise and (...) a practice in the life of Weil, something that then evolved into a core principle of her thinking. The central question here is the age-old one, harking back to ancient philosophy, concerning the living of a good life, particularly within the context of a lifelong acquaintanceship with Weil‘s work. As this study examines Weil‘s ideas on reading, it also interrogates how she is read, particularly by poets today, with a view to assessing her influence. Weil was a writer who loved poetry and wrote some herself. Poetry and the recitation of prayers played an important role in her mystical experiences. The role of affliction in her mysticism and in her life is important and it will be seen how her stance in the face of affliction is something that marks her thinking. The concept of attention today incorporates issues around the commodification of the attention span, as well as its deficits. This study examines some of these issues and draws forth from the life and work of Simone Weil a more expanded, practical, and reflective understanding of the idea of attention. (shrink)

One of the most rooted topics in Arabic poetry is the dirge. It shows that during the Jāhiliyya period, people lamented the dead at the graves and remembered their beautiful qualities. A similar situation continued in terms of content in the dirges that were said in the following periods. However, with the change of social, political and cultural conditions in time, there have been partial changes in the writing styles and purposes of the dirges. For example, the effects of (...) political and sectarian factors were felt more in the process that started with the Umayyad period and continued in the following centuries. On the other hand, it has been observed that poets wrote dirges not only for the people they love but also for themselves, the animals they owned and the cities they lived in. In Arabic literature, dirges written for cities became famous and widespread, especially during the Andalusian period. However, considering that the poets of the Jahiliyya period lament the lands abandoned by the beloved, especially in the first part of the ode, it can be said that the tradition of writing elegies for cities dates back to much earlier times. On the other hand, the destruction of cities during the Abbasid period due to many wars, especially the Mongol invasion, caused many poets to recite dirges for these destroyed cities. One of the cities damaged during this period is Baghdad, one of the most important cities of Islamic culture and civilization. As it is known, Baghdad was occupied by the Mongols in 1258. As a result of this occupation, also known as the Baghdad disaster, many of the material and spiritual wealth of the city were destroyed. For this reason, the event had great repercussions in Arabic poetry, and many poets who could not remain unresponsive to what happened elegized for Baghdad. One of these poets is Shamsaddīn al-Kūfī (d. 675/1256), whose al-Kasīda al-Nūniya is the subject of our study. Shamsaddīn al-Kūfī, who was born in 623/1226 in Kufa, is one of the leading literary scholars and poets of his period. Due to the fact that the Baghdad disaster affected his poems to a great extent, he was given the title of Poet of Baghdad Disaster. When his poems are examined in general, it can be said that the dirges he sang for family members, friends, children of his friends and the city of Baghdad, which was destroyed by the Mongolian invasion, are at the forefront. The poet, who uses verbal arts such as tibāq and rad al ajuz alā al sadr intensively, places more importance on the meaning dimension of the issue in his dirges and uses arts related to meaning skillfully. al-Kasīda al-Nūniya, written by Shamsaddīn al-Kūfī in the Kamil bahr for Baghdad, is composed of 27 couplets. The theme of complaint about separation is addressed in the introduction part of the kasīda. Then, the main subject of the kasīda was put forward with the themes of the effects of the Mongolian occupation in Baghdad, the poet's feelings about this occupation, and the longing for the beautiful days in Baghdad. In the conclusion part, by returning to the theme of complaint about separation, a different internal structure from the contents of traditional Arabic poetry is displayed. This organization, while in keeping with the spirit of the type of city dirge that reflects the disaster experienced in a city, also provides fluency. While words that are easy to pronounce and suitable for morphology rules are preferred in general, attention has been paid to the rules of eloquence. On the other hand, the poet mostly preferred informative sentences in which he conveyed the Baghdad disaster to the reader with all its truth. However, in the sections where he felt the need to express his emotional intensity in a more striking way, he enriched his expression with sentence types such as wonder, interrogation, oath and interjection. Shamsaddīn al-Kūfī frequently used jinās in his poems. In addition, the art of tibāk, which is one of the arts related to meaning, is one of the badī (creative) arts in its couplets. As a result, it was seen that the Mongol invasion had a considerable effect on Arab poetry within the framework of this city dirge, which Shamsaddīn al-Kūfī had recited, and that historical facts were transferred to the next periods with a poignant style in these poems. (shrink)

Mystic -- Grundriss -- Breath -- The poem as a visual opening -- Silences of depth -- Multiple meanings of the heart -- Ariel -- The sacramental value of colors -- The turning -- Performing the feminine -- Bodies in poetry, bodies in the world -- White as lighting and depth -- In her own voice -- Striking a balance -- The moon and the yew tree -- A heavy light-ing -- Opening onto the feminine body -- Other ways (...) of listening and seeing the poem -- In the name of the mother -- Inside the suicidal body -- Facing the other -- Engendering sexes -- The arrival of the bee box -- Arriving -- Tensions and resistance -- The blond colonnades -- Swarms: plath's stereotypes -- Plath and racial imagery -- Plath's racism, beyond the bee box -- Letting be(e) -- Appropriation and releasement -- The box is only temporary -- Epilogue: Performing the spiritual for Plath, Heidegger, and Merleau-Ponty. (shrink)

This paper studies the English poems of Richard Crashaw from a historicist and formalist perspective. It specifically considers Crashaw’s poetry in its religious but also intellectual and early scien­tific context to investigate the frequently overlooked influence of science on his poetry. Metaphors drawn from alchemy and particularly from the trans­formation of matter to achieve its purification and spiritualisation enrich the poet’s expression of mystical devotion to underline that access to the spiritual as well as mystical union with (...) Christ are deeply rooted in the devotee’s body. Representations of the earth as a chemical laboratory focus on materiality and corporality to emphasise the constant movement animating matter. A form of spiritual alchemy underscores Crashaw’s Christocentrism and references to the metamorphoses of matter consistently aim to express mystical union. A meta-poetic analysis eventually highlights a significant analogy between reading and alchemical processes in order to demonstrate the anagogical aim of Crashaw’s verse and the way his poems work on his reader’s heart to lift his soul. References to liquefaction, distillation or sublimation echo the published works of mystics but alchemical conceits based on symbolically evocative topoï and polysemic vocabulary reinforce the importance of the corporal in the expe­rience of mystical union. (shrink)

This paper analyzes the early poetry of Nikolai Klyuev—its social and political motives are studied in the context of the poet’s biography and in terms of the essay Modern Slavery, written by Hugues-Félicité Robert de Lamennais, the French Catholic philosopher and forerunner of social Christianity. This paper identifies two stages in Klyuev’s assimilation of the philosophy of social Christianity. Klyuev’s poetry initially reproduced the main message of Lamennais’s essay—the rejection of “slavery” as a “heritage” by recognizing the human (...) dignity of “today’s slave” and rebelling against the existing socio-historical tradition. In the second stage, the most important categories of Lamennais’s works—brotherhood, cooperation and sacrifice—find their full meaning in Klyuev’s poems. Work “for brethren’s sake” becomes a form of co-operation with God, while experiencing severities and hardships on the revolutionary path is a form of spiritual co-crucifixion with Christ. (shrink)

Through the influence of the religious mystical thought, which interprets the human as a traveler and the world as a destination to settle in and migrate from, numerous connotations as to the road, the passenger as well as the journey have been created in Turkish Ṣūfī poetry. The caravan, which takes place in poetry as an element of simile (tashbīḥ) and generally within the framework of metaphor (majāz) is one of these associations. In Ṣūfī texts, the caravan symbolizes (...) the spiritual journey of the sālik, who wants to reach the rank (maqām) of the Perfect Human Being in the footsteps of the leading figures of the religion and Ṣūfīsm (Taṣawwuf). The caravan has passed, which is understood as a symbol peculiar to the lore language, looks like a formula of a series of advice that reminds and warns people of the responsibilities they are obliged to fulfill even though life is short and the world is temporary. Being delayed of the unwary traveler when the caravan has passed was used in the sense that the sālik could not make use of his life, time, and opportunities; and the situation of the person who was left behind and separated from the caravan was generally met with the analogy of a lame donkey. In this study, which is about the caravan as a mystical metaphor (majāz), the survey model, one of the qualitative research methods, was used. The research aims to determine the use of the caravan metaphor (majāz) in the examples of Ṣūfī poetry and meanings it has gained in Ṣūfī terminology. For this purpose, the major works written between the 12th and 19th centuries in Turkish Ṣūfī poetry have been investigated, and the data obtained have been evaluated in the light of the works and views of the leading figures who have been influential on Turkish Ṣūfī culture and literature. The study, which is thought to contribute to the understanding of the metaphors (majāzs) that Turkish Ṣūfī poetry is based on is important since it reveals that the usages the caravan has passed is one of the common symbols of Ṣūfīsm (Taṣawwuf). As a result of the research, it was found out that the metaphor (majāz) of the caravan has existed in poetry uninterruptedly since the 12th century when Turkish Ṣūfī literature began to take shape. Although time, place, and persons change, the meanings attributed to the metaphor (majāz) of the caravan are almost the same. Especially in the poems containing advice, the metaphor (majāz) of the caravan was frequently used to guide people and human life was associated with the caravan. In this respect, it can be said that the metaphor (majāz) of the caravan has a traditional usage in Turkish Ṣūfī poetry. On the other hand, the usage of the caravan metaphor (majāz) in Turkish Ṣūfī poetry and the usage in Iranian literature show similarity. As a matter of fact, starting with Aḥmed Yesevī (d. 562/1166), many Ṣūfī poets depicted the same journey in a similar way, and Saʿdī-i Shīrāzī (d. 691/1292) dealt with the same theme in a way that coincided with the narrative and vocabulary of Turkish poets. The fact that the caravan is determined with similar uses in the poems of different societies as a Ṣūfī symbol shows that the metaphor (majāz) of the caravan has a common usage regarding Ṣūfīsm (Taṣawwuf) in the wide cultural geography of Islam. The metaphor (majāz) of the caravan has a special usage in Turkish Ṣūfī poetry in the form of the caravan has passed. Expressions in the style of the caravan has passed which succinctly fit a long adventure into two words, are symbols peculiar to the lore language, and serve as psychological advice in Turkish Ṣūfī poetry. On the one hand, this symbol deals with the caravan journey in the dimension of truth, on the other hand, it gives metaphorical meanings to the word, referring to the spiritual journey of sālik. In this sense, the caravan has passed is a powerful metaphor (majāz) that warns people to make the best use of the rest of their life, or rather the moment they are in, and it looks like a formula of a series of advice that warns them. The advice in question is closely related to the words die before you die and time is a sharp sword, often used by the leading figures of religion and mysticism. Therefore, the caravan has passed is a kind of contemplation and presents a vivid picture of the journey that takes its source from the social life so that the traveler does not forget that he is on the way by reminding him of death. The advice style is generally dominant in the poems in which the metaphor (majāz) of the caravan is used, especially in the poems describing the caravan’s passing and the heedless traveler staying on the road. However, it is obvious that the subject is presented in a lyrical and impressive style, especially in poets such as Aḥmed Yesevī, Yūnus Emre (d. 720/1320 [?]) and Niyāzī-i Mıṣrī (d. 1105/1694). (shrink)