Ancient Poets Research Articles

Listening for Reconciliation: Gendered Truths about Death and Mädchen from Dorfman and Polanski to Kathia Rock

Listening for Reconciliation: Gendered Truths about Death and Mädchen from Dorfman and Polanski to Kathia Rock Susan Ingram Memento mori gained popularity in high and late Medieval Europe as populations were ravaged by plagues and pestilence of all kinds. Communicating the Latin admonishment to “remember that you must die,” allegorical motifs such as skulls and skeletons, and genres such as the Danse Macabre, emerged to convince Christians that because of the necessity of death, they should prepare themselves to meet their Maker. Both early literary and pictorial examples emphasized that death felled even the most privileged: in Heinrich von Melk’s Von des Todes gehügende (Memento mori, written around 1150), for example, the lesson of the vanitas of riches is visited upon a king’s son (Haubrichs 65), while in the famous Danse Macabre mural cycle painted “in 1424–25 on the walls of one of the charnel houses in the parish cemetery of Les Saints Innocents in Paris, which appears to have been the origin of all later artistic examples of a medieval motif that has proved to be as inspirational as no other from this period” (Freytag xxi), the king is depicted dually “as both a victim of death amidst the ranks of the living and as a worm-eaten corpse” (Oosterwijk 131). There is no question that death served as an inspiration to authors and playwrights in the Middle Ages and the Renaissance (Oosterwijk and Knöll 4). The question was rather how it should be portrayed. In “Dance of Death” plays, death appeared “not as the destroyer, but as the messenger of God summoning men [sic] to the world beyond the grave, a conception familiar both to the Holy Bible and to the ancient poets” (Herbermann and Williamson). Given this implicit gendering, it is perhaps not surprising that in the German-speaking realm, the motif that took off tempered the fear of death with eroticism. Sixteenth-century male artists such as Hans Baldung, Hans Burgkmaier, Niklaus Manuel Deutsch, Hans Schwarz, and Barthel Beham seem to have found solace in depicting an erotically charged relationship between two figures, one a skeletal male [End Page 288] and the other a voluptuous young female, whose naked body glistened as white as the paints allowed. These depictions passed into literature with Matthias Claudius’s poem “Der Tod und das Mädchen,” in which a frightened maiden asks Death to pass her by, to which Death tries to console her: Das Mädchen: Vorüber! Ach vorüber!/Geh wilder Knochenmann!/Ich bin noch jung, geh Lieber!/Und rühre mich nicht an. Der Tod: Gib deine Hand, du schön und zart Gebild!/Bin Freund, und komme nicht, zu strafen:/Sei gutes Muts! Ich bin nicht wild,/Sollst sanft in meinen Armen schlafen. (Claudius)1 Claudius’s poem resonated with Franz Schubert, who first set it to music as a lied in 1817 and then returned to it as his health was deteriorating seven years later, four years before his premature death at age 31.2 Schubert’s String Quartet #14 in D minor has come to be associated with the “Death and the Maiden” motif thanks in no small part to Ariel Dorfman’s 1990 play and Roman Polanski’s 1994 adaptation of it. In the afterword to the English translation of the play, Dorfman describes it as “a dramatic situation” about “[a] man whose car breaks down on the motorway” and “is given a lift home by a friendly stranger,” whose voice the man’s wife thinks is that of the torturer who some years before raped her, repeatedly, to the strains of Schubert’s “Death and the Maiden,” and so she “decides to put him on trial” (Dorfman, Death and the Maiden 57; emphasis mine). My focus in this contribution is a pivotal shift that the “Death and the Maiden” motif underwent with the waning of modernity at the turn of this past millennium, and how a subtle but decolonizing shift in representations of the relationship of death and young women can be illuminated through an analysis that puts Dorfman’s play and Polanski’s adaptation in dialogue with “Terre de nos aïeux,” a...

Madurai Maruthan Ilanaganar and the Nadukal Culture of the Sangam Age

Ancient poets sang in many songs about the mediators taken for warriors in Sangam literature. Madurai Maruthan Ilanaganar, a contemporary of the Pandya king Nanmaran Valuthi, mentions his rare ideas about planting in six songs. This article explores the structure, developmental status of the mediators, the engraving, the imprinting of the human figure, the character of the engraver and the disintegration of the figure, the heroic deed of the opposing hero, and the implantation of messages about his heroism with the implant culture.

Re-gendering Smart Classicism: Franklin P. Adams, Dorothy Parker, and the Middlebrow Classical Verse Revival

This essay analyses a strain of modern classicism other than the high modernist classicism of Hulme, Pound, and Eliot. Its practitioners were middlebrow writers associated with the newspaper columns and ‘smart magazines’ thriving in New York City during the 1910s and 1920s. Led by the columnist, popular poet, and Algonquin Round Table fixture, Franklin P. Adams, ‘smart classicism’ took its inspiration from ancient Rome's elegists, satirists, and epigrammatists. Adams's smart classicist poems complicate current accounts of early twentieth-century American poetry, of modern(ist) classicism, and of the literary legacy of the smart writers and the Round Table. Dorothy Parker's poetic rejoinders to smart classicism re-gender the masculinist speakers and attitudes of Adams's light verse – and the verse of the ancient poets he emulates and translates. This contextualisation clarifies neglected aspects of Parker's poetic achievements: her erudition, critiques of literary gender politics ancient and modern, and role in articulating a female counterpart to the smart magazines’ suffering Little Man figure.

The Aesthetics of Biblical Acrostics

One of the most formally fixed types among biblical poems is the acrostic. Among the acrostics of the Hebrew Bible, the predominant form has the headword of each line or couplet follow sequentially in alphabetical order. However, there are a couple of striking examples in which the acrostic form is expanded, namely Lamentations 3 and Psalm 119. These expansions reveal different stances of individual poems with respect to the larger tradition. This essay explores the aesthetics of the acrostic as a poetic form and argues that cases in which the form is expanded offer insight into poetic experiment, whereby the tension between convention and innovation is on display. These examples suggest that forms themselves serve as sites of aesthetic exploration for ancient poets, exemplifying the intellectual potential of art, not merely as windows into “life setting” or statements of rhetorical content but also as dynamic, ultimately philosophical endeavors.

A Fighter for the Union of the Principalities: Anastasie Panu

"Between 20 October 1858 and 5 January 1859 (according to the old calendar), Anastasie Panu was a member of the Three-Kaymakam rule, installed in Moldova under a provision of the Paris Convention on the definitive organization of the Romanian Principalities. He was, in that capacity and for that 77-day period, the most important Unionist politician, with a decisive role in the ""course"" of the Moldavian events that preceded the election of Alexandru I. Cuza as ruler. It is to him that we owe, to an overwhelming extent, the restoration of the freedom of the press (by reinstating Grigorie Al. Ghica's law of May 1856), the full affirmation of the country's autonomy through an effective exercise, ensuring a (relative) majority of the National Party in the Elective Assembly of Moldavia, the introduction of the letterhead of the United Principalities on all official documents; finally, through the so-called ""Panu Plan"", ""paving"" the road to the throne of Moldavia for Colonel Alexandru I. Cuza. Therefore, this Unionist leader should be given not only our modest presentation, but a monument more enduring than bronze - if we may paraphrase the ancient poet: and not (almost) the oblivion bequeathed by an unjust posterity."

The Critical Approach in Al-Muazana “In the Modern Equalization of Criticism” (A Criticism of Criticism)

The research was directed to the modern critical books that received the book “Al-Muazana bayna Abu Tammam and Al-Buhturi” by Abu Al-Qasim Al-Hassan bin Bishr for Al-Amidi (370 Ah) to answer the main question: what are the main features of criticism in Al-Muazana book in contemporary criticism books? The study aims to reveal the views on the critical approach of Al-Amidi, and then trying to reconcile the opinions of contemporary critics that discussed the method of Al-Amidi in his book, one of them was the first book in which applied criticism appeared. One of contemporary critics’ opinion was that it was characterized by investigating the opinions of the old critics about the Poetry of the Poets, a book in which objectivity was achieved in equalizing and neutrality. Contemporary critics almost agreed that Al-Amidi was characterized by planning his approach in the introduction to his book and its application. The most important results: Al-Amidi explained the poetic thefts attributed to Al-Buhturi and Abu Tammam simultaneously. He explained the many poetries that Abu Tammam took from others with his many archives. Contemporary critics pointed out that Al-Amidi was not interested in the linguistic errors of poets, and he argued that there were many mistakes of ancient poets. Contemporary critics differed about Al-Amidi’s intolerance of the poet Al-Buhturi and all his arguments.

Empedocles’ Big Break

This paper endeavours to demonstrate that certain strands of ancient and modern cosmological thought are not as dissimilar as one might initially believe. In doing so, it will examine two accounts of the fundamental nature and origin of the universe – one put forward in the 5th century BCE by the Pre-Socratic Empedocles, and one favoured by a faction of 21st Century CE physical cosmologists. After said parallels are highlighted, there will be some speculation on how Empedocles may have arrived at such conclusions two and a half millennia ago, followed by a defence of him being classified only as an ancient poet.

SEMANTIC SATIATION FOR POETIC EFFECT

AbstractThis article argues that the defamiliarization caused by extensive repetition, termed ‘semantic satiation’ in psychology, was used by ancient poets for specific effects. Five categories of repetition are identified. First, words undergo auditory deformation through syllable and sound repetition, as commonly in ancient etymologies. Second, a tradition of emphatic proper-name repetition is identified, in which the final instance of the name is given special emphasis; this tradition spans Greek and Latin poetry, and ultimately goes back to the Nireus entry in the Catalogue of Ships. Third, repetition is used for wordplay, where the final instance of the repeated term not only is emphasized but also incurs some change to its meaning or shape. Fourth, the incantatory repetition of divine names in hymns and cultic invocations amplifies a sense of divine presence behind and beyond the repetend. Fifth, repetition of half and full lines by different speakers in Old Comedy serves to undercut and parody the original sense of the repeated words. Extensive repetition in ancient literature was never merely ornamental but was used for a range of specific auditory and semantic effects with distinct and identifiable structures.

Le riflessioni di Albertino Mussato sulla poesia nelle Epistole scientifico-erudite

Among the twenty metric Epistles ascribable to Albertino Mussato, a line of scientific texts can be recognised, arising from the occasion of curious natural events that had caught the erudite interest of the Paduan poet or some of his contemporary interlocutors. These five epistles, although drawing inspiration from unusual physical-natural or astronomical phenomena and starting from an occasional pretext, very often open to topics other than the main one: these simple curiosities, as a matter of fact, are the starting point for digressions around the themes that were most traditionally dear to humanistic disputes on poetry, triggering metaliterary considerations by the poet, who exposes and defends his own conception of poetic art on the basis of the model of the ancient poets, of whom he aims to retrace the footsteps with humanistic fidelity. Thus, it may happen to find arguments traditionally developed in the epistles in defence of the veracity of poetry even among the unsuspected zoological ruminations to which the epistle on the birth of a lioness, intended for the Venetian grammar master Giovanni Cassio, is dedicated, or to find programmatic declarations of poetics within an epistle on astronomical questions solicited by a curious Dominican friar from the convent of Sant’Agostino in Padua.

EXPERIMENTIAL APPROACHES TO THE STEPS OF THEOFHILOS AND HOMER

This study traces the works of the great folk painter Theophilos Hadjimichael of Lesvos, guided by the lights of history, literature, tradition, art and culture, especially in those paintings which place their source of inspiration in the epic poetry of Homer.
 A story teller grandfather, a “magician”, who "knew how to use words to narrate and plain boards of wood to produce icons of saints", becomes the origin where literature’s experimental approach takes flesh and blood in order to create masterpieces. These works of art had themes taken from grandfather’s stories which allowed the child's mind to imagine heroes, fights and controversies. All these were later imprinted on the canvas of the popular painter. The association of Theophilos with the great epic poet Homer, outlines a tour in places, spaces, verses and paintings starting with the child's experiences, hearings and readings.
 The main purpose of the suggested tour being to prove the power of the pragmatic experience and to show an imaginary and scientific connection and correlation in the work of the two creators. The themes in several Theophilos' paintings and the verses and intertextual events of the ancient poet seem to be relevant. The testimonies of the personal behavior and social appearance of the unconventional painter reinforce this hypothesis.
 Keywords: Experimential Approaches, Poet Homer, Painter Theophilos.

Lucan - “Antique Machiavelli”? The ancient poet’s views on the “ideal” politician and its qualities in the context of the ancient Roman political tradition

Lucan - “Antique Machiavelli”? The ancient poet’s views on the “ideal” politician and its qualities in the context of the ancient Roman political tradition

Herakles als ‘stichter’ van de Olympische Spelen bij Pindarus

Abstract The origin of the Olympics is a topic much researched by historians and archaeologists, who are eager to reconstruct ‘wie es eigentlich gewesen’. An ancient poet like Pindar had a very different take on this issue: he constructs a past that is attractive to the victors in the games, and does so by modelling the mythic past closely after the historic present. This phenomenon of invented tradition is illustrated in detail for the two odes in which Heracles is portrayed as inventor of the Olympic Games.

The Reception of Sappho in the Italian Renaissance: Biographical Tradition and Early Editions of the Sapphic Works

In this article the survival of the sapphic fragments of the ancient times in Renaissance period is examined. More specifically the reappearance of the sapphic verses is presented concerning the first publications (editio princeps) and the most widespread texts of ancient authors during West Renaissance. These texts were the primary sources, on which the later publications of the sapphic work were based, while they also had a great influence on the reception of the ancient poet by the Renaissance writers.

المُعَادِلُ المَوضوعِیُّ فِی شِعرِ الدکتور/ زهران جبر دِراسَةً نَقْدِیَّةً تَحْلِیلِیَّةً

المعادل الموضوعي في شعر الدکتور/ زهران جبر، دراسة نقدية تحليلية محمد أحمد عبد الرحمن سليمان. قسم اللغة العربية وآدابها، کلية الدراسات الإسلامية والعربية للبنين، جامعة: الأزهر، مصر. البريد الإلکتروني: MohamedSuleiman521.el@azhar.edu.eg ملخص البحث: يتناول هذا البحث قضية مهمة من قضايا النقد الأدبي الحديث، وهي المعادل الموضوعي، والتي طرحها الناقد الإنجليزي (توماس إليوت) في بعض کتاباته، وقد تطرق الباحث في هذا البحث إلى دراسة المعادل الموضوعي نظريا: من خلال بيان مفهومه في النقد الأدبي الحديث، ومن خلال وجوده في النقد الأدبي القديم من عدمه، ثم تطبيقيا على شعر الدکتور/ زهران جبر، والذي تکثفت تجاربه الشعرية بالإمتاع الجمالي، والإبداع الفني، والعمق في التصوير، والبراعة في التعبير؛ فکان هذا الشعر مسرحا للمعادلات الموضوعية التي صور الشاعر فيها خوالجه العقلية، وتجاربه الشعورية؛ هروبا من التعبير عن عاطفته بصورة تقريرية، ، وقد کان الهدف من هذه الدراسة هو إبراز المعادل الموضوعي في شعر الدکتور/ زهران، وکيف وظفه الشاعر بطريقة فنية موحية، نأى بها عن المباشرة والتصريح، إلى الإيماء والتليمح، وقد سار الباحث في دراسته على المنهج الاستنباطي، الذي يقوم على استنباط المعادل الموضوعي من التجارب الإبداعية، معتمدا کذلک على المنهج الفني في تحليل النصوص وتأويلها، وبيان غموضها ومضامينها. وقد کان من نتائج البحث أن المعادل الموضوعي کان موجودا في تجارب الشعراء القدامى منذ العصر الجاهلي، وأن الشاعر الذي يتکئ على هذا الأسلوب يعتمد اعتمادا أساسي على الرمزية والإيحاء، والتمويه والإخفاء، ومن نتائج البحث أيضا أن الدکتور/ زهران قد تأثر في کثير من تجاربه بالشعراء الصوفية، الذين اعتمدوا في بيان مشاعرهم على الإشارات الرمزية، والتلميحات الغزلية والخمرية، لا سيما في التجارب التي جعل من الرموز الدينية معادلا لتجاربه، وتعبيرا عن أحاسيسه وعواطفه، کما أن من النتئج أيضا أن البيئة بما فيها من مرئيات ومحسوسات کانت مصدرإلهام للشاعر، فعبر من خلالها عن همومه الذاتية، وأشجانه القلبية، وصور من خلالها هموم المجتمع وقضاياه السلبية والإيجابية، في شکل شعري جذاب، وصورة فنية خلابة، کما تجدر الإشارة إلى أن هذا الشعر في حاجة ماسة إلى کثرة الدراسات الأسلوبية، التي تتناول أغراضه، وتتعمق في مضامينه، وتسبر أغوراه؛ بحثا عن دلالاته العميقة، ومعانيه السحيقة. The Objective Correlative in the Poetry of Doctor Zahran Gabr A Critical and analytical Study By: Mohammed Ahmed Abdel-Rahman Soliman Department of Arabic Language and Literature Faculty of Islamic and Arabic Studies for Men in Cairo Azhar University E-mail: MohamedSuleiman521.el@azhar.edu.eg Abstract This research demonstrates an important issue in the field of modern literary criticism, namely the objective correlative coined by T. S. Eliot in some of his writings. The researcher is determined to study the objective correlative theoretically through tracing the concept in the modern literary criticism as well as the ancient criticism. Next, the researcher applies the concept to the poetry of Doctor Zahran Gabr in which the poet has shaped his accumulated experience in a figurative and delightful way characterized by artistic creation, depth of imagery and subtle expression. Hence, such poetry has become a stage for a multitude of objective correlatives where the poet gives voice to his conscious sentiments and his emotional experiences which enabled him to avoid expressing his passions reportedly. Since the main purpose of this research is to display the objective correlative in the poetry of Doctor Zahran Gabr, it is also keen on showing how the poet employed it in an inspirational way that is far away from direct or explicit expression but rather implicit and signalized. The researcher applies the deductive approach based on tracing and deducting the objective correlative all through the creative experiences relying on the artistic approach in analyzing and interpreting the selected texts as well as highlighting the obscurity and content of such texts. The research has concluded that the objective correlative was evident in the experiences of the ancient poets of the era before Islam. In addition, the poet who relied on such style was basically relying on symbolism, inspiration and disguise. Moreover, Doctor Zahran was influenced, in many of his experiences, by the poets of Sufism who used symbolism in shaping their feelings, romantic or bacchanalian allusions especially in the experiences where the religious symbols become objective correlatives of their emotions and feelings. Another finding of the research is that the environment with all its visual and sensible imagery constituted a source of inspiration for the poet. This source of inspiration enabled the poet to express his anxiety and his fears. The poet has also introduced the worries and concerns of his society, whether they were positive or negative, in an attractive poetic form. Accordingly, this poetry is due to be studied stylistically so as to identify its objectives and profound content in order to clarify the underlying meaning

The textological analysis of the “Menakib-i Ibrahim Gulshani”(on the basis of scientific-critical text)

The literary and linguistic activity of Muhyi Gulshani, one of the ancient poets and linguists were analyzed. His work called "Menakib-i Ibrahim Gulshani" is one of the examples of ancient art giving some information about the development of literature science in the Middle Ages and compare it with the current state of science as a whole can give us a basis to determine the development of science in the ancient times and its modern level. Without knowing the past it is not easy to step up to future. The basic aim of this study is: 1) to carry out a textological analysis of the work, 2) to make a tour to the creative activity of Ibrahim Gulshani, 3) to study his life through "Menakib", 4) to introduce him to the people of the Azerbaijani where he was brought up, 5) to analyze his artistic examples in the literary-stylistic direction, derived from his poetic ability, 6) to promote the poet’s literary heritage, and figurative-emotional creative talent in the context of entire East. One of the most highly cultered and most intelligent people of his time Ibrahim Berdei was known in the literary history of Turkey under his makhlas of Gulshani. Great murshid or spiritual guide Gulshani`s teachings and doctrinal foundations of the Gulshaniyya, socio-political events circulated in Egypt were narrated in “Menakib”. This study investigated İbrahim Gulshani`s poetic style along with an observation of his taking advantage of his predecessors, his truthfulness to the traditions of devoting poems to his penpals, and citing the creative activities of prominent poets, to discover his true coordination with elements of folk literature. Based on scientific-paleographic description and graphic peculiarities of the manuscript, this study are also aimed at doing textological analysis of the critical text of the literary monument, its literary linguistic structure, and individual professional style, its literary creative method, its use of traditions and innovative tendencies.

Wisdom Begins with Awe

Abstract In the present essay, wisdom is conceived as the basic knowledge that underpins all forms of humanising knowledge and the striving for justice. The idea of wisdom as indispensable to all human endeavours is one that can be found in the works of Plato and Cicero. In ancient writings, we also see that wisdom is traditionally opposed to hubris. Hence, following Gabriel Marcel, the quest for wisdom can be regarded as an antidote to practical anthropomorphism. Consequently, I argue that the quest for wisdom depends on an anti-hubris attitude, namely, piety or reverence. The fear of the gods, which is recommended by ancient poets and philosophers, is here considered as encouraging that piety and hence the love of wisdom. I distinguish between piety and traditionalism and show that the latter is hostile to awe and wisdom. I also briefly address the tension between traditions and philosophy and suggest that the dilemma can be resolved by critical alertness and by putting the insights of religious traditions on par with the wisdom of literature and poetry. The quest for wisdom, I argue, is fostered and hindered by particular cultural contexts. Ours today is more hostile to such quest.

How to corner a poem (and watch it thrive): A timely confession

The medieval tradition of Hebrew liturgical poetry (called Piyyut, after the Greek Poesis) treated ritual time with reverence, allotting poems their specific slots in liturgical events. Later in history, those same poems crossed boundaries of time and custom. Instead of remaining fastened to their original timing, some of the poems changed their temporal setting several times, acquiring a new liturgical and temporal context. In this essay, I confess my love to both gestures: to the attachment of a poem to its time, and to its recurrent uprooting and recontextualization. To love poems this way means one must adhere to the most traditional philological procedure of reconstructing an original context for a poem, just so one could bear witness to the loss of these origins, and to the unique, perhaps utopian possibility that such loss reveals. One corners these poems, simply to watch them thrive elsewhere. Through personal scenes from my upbringing and through brief readings in the words of ancient sages, medieval poets, and continental philosophers, I wish to think through this passion for the time and counter-time of poetry.

De titulis olbiae ponticae et viciniis II 4. Again About the Berezan Hymn to the Island and Achilles

The paper analyzes again the unique Greek inscription – the votive poem honouring Achillesgod and his island founded in 1987 on the Berezan. The purpose of the study is to analyze the reading options of the famous Berezan hymn to the island and Achilles and establish which of them most closely matches the idea of the ancient poet and the current state of the work he created. Scientific novelty. For the first time, a comprehensive study of all the versions of the Berezan votive reconstruction proposed in world science is undertaken. The research methodology is based on the principle of scientific objectivity and the generally accepted methods, and the technique of historical and epigraphic discipline. Conclusions. The criteria for the restoration of this epigraphic document have been determined. The boundaries of the permissible in its reconstruction have been established. The meaning, structure and condition of the inscription correspond to the version published by the author in 1990 the most closely:[Κυκλο]τερὲς κτεάτισμα θεῶν| [Ἀχιλῆο]ς ὄχημα, νῆσσε περικλυ|[τή. ἥ], κύμασι γηθομένη, σὸν πέ|[ρι εἴ]ληχεν Θέτιδος γόνος αἷμα|[ἔνερ]θε Αἰακίδης Ἀχιλλεὺς ἀθα|[νατοῖ]σιν ἵσος. Ἀλλ’ Ἀχιλλεῦ δέ|[ξ’ εὔθυ]σίην καὶ εἵλλαος ἴσθι ἡμετέ|ρ[αν ὁσιὴ]ν μοῦσαν ἀπὸ γραφίδος.“Oh, carved around the gods’ property, Achilles’ chariot, glorious, wave-rejoiced island. You, who before all received your blood as an inheritance, the child of Thetis, equal to the immortals below (= in hell) Achilles Eakid. You, O Achilles, receive a good sacrifice and, merciful, acknowledge (= accept) our (outgoing) pious muse”.

Kadukkai Seed as Beyond the Values of Mother

A Study of Select Poetry of Chithargal: The objective of this research is to bring out the comparision between the medicinal values as inherent in the kadukkai seed which is portrayed by chittargal in their version as they are beyond the values of mother and how did chittargal portray “kaayakalpam” herbals. kadukkai seed is one of the herbal belonging to the category of kaayakalpam. Above all it is further glorified as “kadu and amudham” by the ancient poets in Tamil literature.

My Poetic Inquiry

Poetic Inquiry incorporates original poetry in academic writing, which ancient poets and scholars had been doing for thousands of years. However, it is not merely a repetition of the old tradition, but uses creative poetry in academic research in a systematic and diverse way. Poetic Inquiry is an umbrella concept to describe the various possibilities for using poetry in research. But, Poetic Inquiry is not any piece of writing with poetry in it. Poetic Inquiry harmonizes scientific research and the philosophical knowledge creation. Poetic Inquiry highlights the importance of individual expression, and generally involves poetic truth-seeking and poetical examination of inner and outer experience.