An important factor with the generation of a specific poetic style is the constituent factors present externally and internally – in you, and your composition.
My fanned influences spawn a great deal of authorships and literary movements, with special weight on Neorealism and Romanticism, but also Idealistic Philosophy and a bit of elder Argumentative Philosophy. To understand the branches that these influences establish on yourself is to understand the nature of your creative output, as we are not only heavily influenced by these injections, but they also constitute somatic markers independent from our sensibilities, in turn forming an artistic ethical compass that we often neglect to unravel. In the face of these elations, and attempting to create a general awareness of my major influences, I’ve analysed extensively what constitutes the major spine of my poetic compositions and divided it into three diverse channelling pillars:
I’ve always been greatly infused by Nature to write a multitude of enchanting imagetics. The belief that Nature governs the world, it’s laws, creating in turn an understandable and structured reality that allows contemplation without the interference of the Absolute. This volatile and permuting beauty creates infinite fodder for Art, it does so by being constantly beautiful with inconstant forms. Nature is perhaps the most globally beautiful display among individuals, as one may not agree with the beauty of deep blue eyes, but hardly will one disagree with the beauty of sightless verdant hills or the violently placid nature of an ocean. Life and all it’s ever-changing forms, emotions and the way they weave themselves into the natural landscapes – those concepts are fruit trees endlessly shedding lyricisms. (examples: Yangtze, Painting, When Takashi Kissed Messiaen)
A sense of sensibility emanating from a singular unity of all things, represented by uniform and indestructible forces tethering everything very subtly. The Monad was initially theorised by Pythagoras and then salvaged by Leibniz as an ideological perspective worth expanding. To allow this inner communion to take place is in itself a poetic combustion. It is, however, no more than a candid belief, not a material reality, like methodological naturism. My page about the Monad Series offers a better explanation about it’s intricacies.
The importation of concepts from Classical Antiquity as poetic subjects. Heroes, chaos, order, the general idiosyncrasies of human perception and emotion presented in a very primal manner. Classical Antiquity was more material in it’s artistic developments, almost more realistic, in an unashamed way. Feeling, of whatever nature, was seen generally as a grander display of elemental inadequacy. Authors of Epics and the grand Alexandria’s archived melic poets (ex. Anacreon, Sappho) were faithful only to their human natures and falsities, outcasting any sense of grandeur emanating from artistic pretentiousness.
That grounding import allows for more honest and sincere artistic spines.
USE AND NOTION THEREOF
Again, why is any of this important? Well, they are vehicles. You want to transmit a message, you analyse which medium is best and then you learn the ways of such medium. For me, it is important to be aware of which elements constitute my poetry, because I must understand it fully before anyone else can. Because if the Art of my poetry evades me, I won’t be able to convey it fully – or even partially – to any reader that offers their time to read my work. Like a garden of roses, it is necessary that we understand the process of how they grow, how they prosper, how they bloom, in order to stimulate their natural beauty and adorn our beautiful pathways, so that they (much like poems), can also inspire a yearning wanderer.
Hence why I believe it’s a very valuable tip to explore these concepts, to create a levelled relationship with your work, and perhaps who knows, learn something about yourself in the way?