Everything Flows in the Arts of Description: with examples from Lao Tzu and Yeats

Poets struggle with the paradox of the present. Poetic language, as opposed to more simply univocal discourse, creates impressions of presence; poetry has an inclination to witness while it is describing. The status of a poem is always suspect with regards to what a given community of readers considers to be ‘the truth.’

Poetry is messy. To see why we can use Wittgenstein’s distinction between language that describes and language that develops means of description, the distinction between rules of description and descriptive propositions; and we should take note of his observation that the functions may ‘shade off’ in multiple directions — the language can change function in the text. You can’t tell one from the other by merely looking at them in isolation. What language does in context is what counts.

This dynamic helps ‘explain’ language that challenges belief, or paradoxes intended to create aporia. ‘Tao defined is not the constant Tao. / No name names its eternal name.’ Perhaps this works like a koan. The propositional form of the first sentence emphasizes the vanity of trying to name the ‘constant’ Tao. The second sentence adds insult to injury by applying the proposition to the situation created by attempts to name its eternal’ name (perhaps we can call it by temporary names. So the first sentence ‘describes’ Tao and the second develops means of description: we can go on by exploring the problem of naming and constancy.

My larger point is that even this rudimentary description produces in the reader s feel for the thing at hand, even though it is not a thing at hand. As we read the Tao Te Ching the Tao ‘thickens’ and expresses its unreal reality. Everything depends on Tao.

To take a more ‘poetic’ example. Yeats’s ‘Who Goes with Fergus’ opens with a question. ‘Who will go drive with Fergus now,/And pierce the deep wood’s woven shade…’ The distribution is clear: the first half-line suggests the proposition (the who who would entertain the myth of Fergus) and the rest describes the means of description. The poem tries to describe driving with Fergus by describing what it would be like (see below). The verb ‘drive’ introduces the resistance to accepting the proposition (the equivocity of the semantics is inescapable) Throughout the poem description and the means of description are subtly interwoven. The witness to the ‘eternal present’ of the myth draws on both functions.

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Lyric and Agapeics, and a poem by Yeats

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Does such a trivial moment — don’t say it didn’t happen —- deserve even a metrical exercise?
This jaundiced question, so full of resentments and aesthetic prejudice you might think nihilism and bad taste are connected.
The question observes the contingencies of the between—-the asymmetric relativities of actual experience. It is not answered. But it reasserts, in the careful build of meter and rhyme, the enduring and often depressing limits of communication between others. But through lyric’s equivocity— which is not mere relativism —- the ‘intimate universal’ of a porosity between the divine nothing and created creatureliness is itself acknowledged.

To wit: lyric witnesses the between as it has conceptually evolved in Modernity as a response to Nihilism and reductivism. . For the between— and lyric—equivocity means not meaninglessness but saturated understanding beyond system. ’Myth’ in Vico’s sense.

The lyric embodies moments of ontological worth and in that sense, outside further definitions of discipline (Zen, apophatic Christian prayer, and so on), claims its central place in culture.