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Updated: July 3, 2025
For it must never be forgotten that poetry begins in excitement, in some body-and-mind experience; that it is capable, through its rhythmic utterance of words which suggest this experience, of transmitting emotion to the hearer; and that the nature of language allows the emotion to be embodied in more or less permanent form.
While language is unquestionably a social device for the exchange of ideas and feelings, it is also true that poetic diction is a revelation of individual experience, of body-and-mind contacts with reality. Every poet is still an Adam in the Garden, inventing new names as fast as the new wonderful Beasts -so terrible, so delightful! come marching by. Words as Current Coin
Are you instantly on horseback? If you are, the poet has put you there by conveying from his mind to yours, through the use of verbal imagery and rhythm, his "sense" of riding, which has now become your sense of riding. If the reader can meet this test of realizing simple images through his own body-and-mind reaction to their stimulus, the door of poetry is open to him.
The human unit, according to this opinion, is body-and-mind, and the human activities are psycho-physical and not purely psychical as they are according to Plato.
Now suppose that our half-dozen young men are sitting in the dark, talking evoking body-and-mind memories by means of words alone. No two can possibly have the same memories, the same series of mental pictures. Not even the most vivid and picturesque word chosen by the best talker of the company has the same meaning for them all.
High-pitched vowels and low-pitched vowels, liquid consonants and harsh consonants, are unquestionably associated with muscular memories, that is to say, with individual body-and-mind experiences. Lines like Tennyson's famous "The moan of doves in immemorial elms And murmuring of innumerable bees"
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