Question

write an easy on and cons poetry style ​

Answer 1

Answer:

As Penelope Fitzgerald observed, "No two people see the external world in exactly the same way. To every separate person a thing is what he [or she]thinks it is -- in other words, not a thing, but a think."

Think, if you will, of the Japanese word sesshin, which, loosely translated, speaks to the art of touching the mind, spirit, heart and, with a little luck and a lot of skill, the nether reaches of a given reader's soul. Then, think The Tree of Meaning, poet, linguist and typographer Robert Bringhurst's thought-provoking collection of 13 lectures written over the past decade.

In his gentle and unassuming foreword to The Tree of Meaning, the neo-renaissance man now residing on the B.C. Gulf Island of Quadra, contextualizes both the scope and frames of reference for these talks: "For better or worse, this book was written to be spoken, largely in homage to poets and thinkers in cultures where writing didn't or doesn't exist."

Earlier in the same piece, Bringhurst confesses he possesses "no special aptitude for language, only a nagging suspicion there might be something it's trying to say," an astonishing revelation to be sure, given the polymath's body of work (including a dozen-plus volumes of poetry, a trio of respected translations from Haida and Greek to English, as well as several collections of prose exploring subjects as diverse as the elements of typographic prose, prosodies of meaning, literary forms and languages both wild and tamed).

Firmly rooted in the humanist tradition, with branches diverging among theories of art, eco-politics, philosophy, literature, astrophysics and the secularized divine alongside the quotidian sacred, The Tree of Meaning comprises an all-encompassing worldview where form, content, substance and style converge.