Semantic Finegrainedness and Poetic Value

| 39 Pe e Lama que Seman ic Fineg ainedness and Poe ic Value Abs ac 1 This pape was o iginally published in John Gibson (ed.). The Philosophy o Poe y. Ox o d: Ox o d Uni e si y P ess, 2015. 18–36. I is ep oduced wi h pe mission o Ox o d Uni e si y P ess. 2 This choice o example is ai ly a bi a y bu i seems sui ably ypical o a ce ain s yle o mode n poe y, i well illus a es he kind o di icul y ha in e es s me, and i was selec ed as among he ›bes B i ish poe y‹ o 2011. This pape – i s published wi h Ox o d Uni- e si y P ess in 2015 – 1 a gues ha poe y is cons i u ed by a p ac ice, which is g ounded in con en ion-go e ned expec a ions among poe s and eade s. To w i e a poem is o engage he p ac ice and in i e (one hopes also ewa d) ce ain kinds o in e es s and esponses among eade s; o ead a poem ›poe ically‹, seeking i s poe ic alue, is o deploy he ele an in e es s and esponses he eby making app op ia e de- mands and one hopes achie ing he alued ex- pe ience on o e . I is pa o he poe y game ha in poe y we a end o he ineg ainedness o language, i s ex u es and in icacies, i s opaci y, in con eying hough p ocesses, and we ind alue in he expe ience ha a o ds, in p ecedence o e he mo e humd um no ms o communica ion, such as anspa ency, he im- pa ing o in o ma ion, and he assump ion o pa aph asabili y. 1. I is cha ac e is ic o a ce ain kind o poem – no ably he sho ly ic – o comp ess language in such a way ha esis s ini ial easy comp ehension. Examples abound. Conside he wo opening s anzas o a ecen poem, Wa es, by Giles Goodland (Lumsden 2011, 36): 2 The sea is a misunde s anding we ha e o go h ough in o de o make sense, like he wo d o a loss o a wo d. I lea es a sense o ha ing le , Th ough which silence leaks. Kiel-UP • h ps://doi.o g/10.38072/2751-9821/p12 40 | POEMA 2.2024 Wha wa es a e eopening nigh ly is he senseless appa a us o an eye. I you li e in a house made o hough you nod in he silence he sea makes. This comp ession o meaning is undoub edly a ma k o , bu is no peculia o, mode n o mode nis poe y. I can also be ound in o he pe iods including he nine een h cen u y. This is he beginning o Alge non Cha les Swinbu ne’s poem He ha (Quille -Couch 1931, 974): I am ha which began; Ou o me he yea s oll;  Ou o me God and man; I am equal and whole; God changes, and man, and he o m o hem bodily; I am he soul. On he ace o i w i ing o his kind is puzzling. The wo ds hemsel es a e no echnical o obscu e, he subjec ma e no especially econdi e, a leas in he o me poem, ye he meaning is di icul o g asp, he syn ax i egula , he e is no ob ious poin ( o in o m, o ad ance knowledge), and s anda d discu si e no ms o cla i y a e bypassed. Ne e heless, such w i ing is immedia ely ecognizable as poe y and o en admi ed, no in spi e o , bu because o he seman ic complexi y i exhibi s. My p incipal ques ion is his: why should w i ing o his kind ha is dense, complex and esis an o eady unde s anding ha e alue, speci ically poe ic alue, when in o he con ex s i migh be censu ed o i s wan on lack o cla i y? Why does poe y license, e en encou age, such comp ession o meaning? The e a e o cou se ce ain s ock answe s o hese ques ions and i migh be hough hey a e su icien : o example, ha he complexi y o poe ic language simply e lec s he complexi y o he hough s and emo ions being exp essed; o ha he complexi y es s on he ac ha poems cha ac e is ically use me apho and igu a i e speech; o simply ha poe s like o play wi h language, push i o i s limi s, explo e i s possibili ies, ha ’s wha poe s do. The e’s u h in all o hese answe s, wi hou doub , bu none o hem qui e ex- plains why such uses o language should be highly alued. Pe haps poe s do push language o i s limi s – and use me apho mo e han usual – bu wha is he alue in ha ? Why should eade s ge pleasu e om ha ing o s uggle o unde s and poe y? And is i eally he case ha complex language in poe y is always he exp ession o complex hough s? Giles Goodland, quo ed abo e, w i es his abou his poem Wa es: S aying a a beach chale wi h he kids, I was playing wi h he idea ha he humou s in he eyeball ha e a simila composi ion o seawa e , and I ead somewhe e ha his is a elic om ou e y dis an e olu iona y pas . We Lama que: Seman ic Fineg ainedness and Poe ic Value | 41 all ca y a li le bi o ocean wi h us, and use i o look wi h. This combined wi h being on a beach wi h my child en and hinking abou he a ious meanings o wa es. Sound also is e y impo an in he poem and I allowed mysel o ge ca ied away wi h some sligh ly ou ageous sound-alike wo ds and ph ases [...] Some hing abou he sea always seems o loosen me up in my use o wo ds [...] So I le he wo ds play a ound, as he child en we e doing, in my no ebook. Language is like he sea, as a whole i is o mless, bu i can o m localised shapes called sen ences o e en poems. The poem ends wi h he child en, and ha eeling o ha ing he g ound pulled unde you when a wa e olls back in o he su . Si ing on he beach wa ching hem, I go he idea o he poem: we a e like wa es, we ca y sea wi h us, gene a ion a e gene a ion. (Lumsden 2011, 126–127) The hough i sel – abou eyes and sea wa e – is in iguing bu ha dly complex and he ci cums ance o child en playing on a beach seems no o demand seman ic con o ion. The s ock answe s, hen, seem only o ein o ce he u gency o he o iginal ques ion. Fo Wa es is a pleasing poem, un o ead and epea , no o e ly p o ound, no pe haps one o he g ea wo ks, bu ypical in i s complex wo d-play. He e a e he las ew lines: Poe-lipped polyps lens and ense o sense he same body inside his one. Thei homeland is b ine, he gull-lulling g eys o i s wa es. Lip- ead he sea olling in pain. See such child en i sucks like a swee . The pebbles a e an ic unde hem. We hea and enjoy wha he poe calls he »sligh ly ou ageous sound-alike wo ds and ph ases«. Bu mo e needs o be said o explain poe ic alue han appeal o wo d play alone. 2. To ge mo e deeply in o he discussion i will help o e lec on ou supposed commonpla- ces abou poe y. These p o ide a clea e ocus, a leas a a philosophical le el, in o he na u e o poe ic meaning and i s alue. 1. The Expe ien ial hesis. The co e alue o a poem lies in he expe ience(s) he poem a o ds when ead as a poem. 2. The He esy o Pa aph ase hesis. The p ecise meaning o a poem is unpa aph asable. 42 | POEMA 2.2024 3. The Fo m-Con en Uni y hesis. The o m o a poem is indi isible om i s con en . 4. The Seman ic Densi y hesis. Poe ic language a o ds a peculia kind o ›seman ic densi y‹. Each o hese heses is closely connec ed o he o he s; in a sense hey a e mu ually sup- po i e. Fu he mo e, as o en epea ed commonplaces, hey seem o possess mo e han a g ain o u h. Bu o cou se hey need a g ea deal o unpacking. All a e puzzling om he poin o iew o s anda d heo ies o meaning. Wha should be so peculia abou poe ic language ha , unlike nea ly any o he usage, i should be esis an o pa aph ase? Pa o he answe no doub lies in he Expe ien ial hesis bu ha i sel is p oblema ic because i is no ob ious why any piece o discou se should be alued p ima ily o he ›expe ience‹ i a o ds a he han, say, he p oposi ion(s) i exp esses o he in o ma ion i con eys. And wha kind o expe ience is a issue? The supposed indi isibili y o o m and con en will only make sense when he ideas o › o m‹ and ›con en ‹ a e ampli ied bu i would be a ma ked peculia i y o poe ic usage – again se ing poe ic language apa om o he usages – i i should be he case ha in poe y how some hing is said should be so in eg ally ela- ed o wha is said ha he e should be only one possible way in which a ce ain con en could be exp essed. I he Seman ic Densi y hesis is igh – ha poe ic language somehow gene a es a dep h o meaning no ound in o he linguis ic modes – hen his oo needs explana ion. A e all, mos o he ›de ices‹ cha ac e is ic o poe y a e amilia elsewhe e: me apho , simile, image y, alli e a ion, onoma opoeia, hyme, epe i ion, e c. We need o ill ou he heses and explo e how hey a e ela ed. The Expe ien ial hesis, ha he alue o a poem lies in he expe ience(s) he poem a o ds, is de ended by A. C. B adley in his 1901 inaugu al lec u e Poe y o Poe y’s Sake. B adley a gued ha »an ac u- al poem is he succession o expe iences – sounds, images, hough s, emo ions – h ough which we pass when we a e eading as poe ically as we can« (B adley 1926, 4). Taken li e - ally, ha is a s ong claim as i appea s o iden i y a poem wi h a succession o expe iences; i i is a genuine iden i y claim, an on ological claim, i seems on he ace o i implausible. 3 Howe e , B adley quali ies his ema k by saying he is no »aiming he e a accu acy« o o - e ing a »de ini ion o poe y« and he Expe ien ial hesis as I p esen i is no a hesis in on- ology, a he a hesis abou alue. This oo is he co e o B adley’s iew, o he expe ience o eading poe y, he s a es, »is an end in i sel , is wo h ha ing on i s own accoun , has an in insic alue … poe ic alue is his in insic wo h alone« (B adley 1926, 4). So he alue o a poem, i s poe ic alue, is o B adley he in insic alue o he expe ience he poem a o ds. A simila iew is expounded by Malcolm Budd: »wha ma e s in poe y is he imagina i e expe ience you unde go in eading he poem, no me ely he hough s exp essed by he wo ds o he poem« (Budd 1995, 83). 3 Howe e , he idea ha he iden i y o a wo k is essen ially bound up wi h esponses o he wo k has been de ended by o he s. De ek A idge, o example, iden i ies a li e a y wo k wi h an e en o eading (c . A idge 2004, 59). Lama que: Seman ic Fineg ainedness and Poe ic Value | 43 Wha mo e can be said abou his expe ience? Can any hing subs an ial be said abou i , in abs ac ion om pa icula cases? The i s poin o make is ha he expe ience o each poem is unique o he poem: no wo poems a o d quali a i ely he same expe ience, a leas a he le el o speci ici y which he ele an expe ience demands. No doub he e a e sha ed gene ic expe iences associa ed wi h poems on b oadly simila hemes o in simila poe ic s yles. Bu ha is no he le el o gene ali y a which poe ic alue lies. Second, he expe ience in ques ion is he expe ience o eade s, no he expe ience o poe s hemsel es. Poe ic alue does no eside in he quali y o any psychologically eal s a e o mind mani es ed in a poe as ei he he cause o subjec o a poem. Whe e a poem exp esses an emo ion i is he exp essed emo ion i sel – exp essed in jus his o m – ha is he subjec o an a en i e eade ’s expe ience and hus he sou ce o he poem’s alue. Thi d, he expe ience is no ma i e: no any expe ience ha a poem elici s in a eade can be conside ed an app op ia e measu e o he poem’s alue. Fo Budd he ele an expe ience in ol es »in e ac ing wi h [ he wo k] in wha e e way i demands i i is o be unde s ood« and mus be »imbued wi h an awa eness o (all) he aes he ically ele an p ope ies o he wo k« (Budd 1995, 4). No doub , qui e legi ima ely so, he e will also be mo e pu ely subjec i e expe iences ( esponses) leading o subjec i e judgmen s o alue. Howe e a ional o dispassiona e we a e in ou judgemen s i would be absu d o expec ha we all enjoy he same poems. Bu a judgmen o he poem i sel should, as a as possible, be g ounded in he expe iences ha he wo k elici s on i s own e ms, oo ed in i s own objec i e p ope ies. Fou h, he expe ience is mul i- ace ed; i is no jus , i a all, a sensa ion o eeling o pleasu e, no is i o be classed as a sui gene is ›aes he ic expe ience‹. Wha we shall see la e is ha i is an expe ience o a subjec h ough a mode o p esen a ion. I in ol es, as B adley ema ked, such elemen s as »sounds, images, hough s, emo ions« and i is a em- po al p ocess, no a s a e. I is a p ocess o hough , cons ained by he linguis ic medium ha gi es i bo h i s cha ac e and i s iden i y. We shall come back o he Expe ien ial hesis when we ha e explo ed he h ee o he heses. I is signi ican ha in highligh ing expe ience in ela ion o he alue o poe y he hesis places poe y na u ally in he con ex o o he a s. Tha expe ience should be p omi- nen in accoun s o music, pain ing, ilm, sculp u e o dance is no especially ema kable. Bu poe y is a language based a and language is indissolubly associa ed wi h meaning, so an impo an shi has occu ed when a hesis on he alue o poe y makes no explici e e ence o meaning and indeed highligh s expe ience o e meaning. Ou o he heses, on pa aph ase, o m and con en , and seman ic densi y, do seem mo e di ec ly connec ed o meaning bu i will be a heme o he a gumen o ollow ha an o e emphasis on meaning can be misleading in cap u ing wha is o alue abou poe y. The He esy o Pa aph ase hesis, ha he p ecise meaning o a poem is no pa aph as- able (i.e. exp essible in o he e ms), is a commonplace abou poe y, in he sense ha lip-se ice is paid o i in gene al e lec ions on he subjec , bu is ne e heless con o e sial 44 | POEMA 2.2024 unde close examina ion. The e a e hose who simply deny ha esis ance o pa aph ase is an in eg al o e en in e es ing ea u e o poe y. Pe e Ki y, o example, has a gued ha o he mos pa pa aph asing poe y does no p esen an insupe able p oblem once we a e clea on a »c i e ion o success« (Ki y 1997, 104). We mus no , he insis s, se such a c i e- ion un easonably high, so high in ac ha i couldn’ possibly be ul illed. Signi ican ly, he sugges s ha one such c i e ion is oo high and un ul illable, namely ha pa aph ase cap u e he expe ience ha he poem a o ds. No one who se s ou o say in p ose he con en o wha a poem says in poe ic o m in ends as he goal o he ask o p o ide an al e na i e way o expe iencing he poem. And o aul he in e p e e o ailing o do wha is no he poin o in e p e a ion in he i s place is plain nonsense. (Ki y 1997, 105) Th ee b ie p elimina y commen s on his. 4 The i s is ha Ki y is eadily conceding ha he e is indeed a ele an expe ience uniquely associa ed wi h he poem ye , on his iew, i is no o be iden i ied wi h he poem’s con en , no in any essen ial way connec ed o in e p e a ion. The second is ha Ki y is associa ing pa aph ase wi h in e p e a ion, as i he goal o in e p e a ion is o pa aph ase a poem’s meaning. Tha assump ion needs o be challenged o i is a om clea ha a good in e p e a ion o a poem seeks simply o say in o he wo ds wha he poem i sel says. Poe ic in e p e a ion, I sugges , is be e concei ed as a way o encou aging, enhancing o de eloping p ecisely he expe ience a poem a o ds, as desc ibed in ou discussion o he Expe ien ial hesis. The hi d poin is ha Ki y, in se ing apa pa aph asable con en , on he one hand, and expe ience, on he o he , is all- ing in o jus ha dualism ha Clean h B ooks, who coined he exp ession He esy o Pa a- ph ase, wa ned agains : a dualism be ween some kind o ›s a emen ‹ ha he poem makes and he eloquence, o beau y, o cla i y wi h which i does so (c . B ooks 1968, 160). In ac B ooks is qui e happy o concede jus he kinds o loose pa aph ase ha Ki y de ends: » he poin is [...] no ha we canno desc ibe adequa ely enough o many pu poses wha he poem in gene al is ›abou ‹ and wha he gene al e ec o he poem is«. Indeed he allows ha »[w]e can e y p ope ly use pa aph ases as poin e s and as sho -hand e e ences« as long as »we know wha we a e doing and ha we see plainly ha he pa aph ase is no he eal co e o meaning which cons i u es he essence o he poem« (B ooks 1968, 160). Tha so-called »essence«, o B ooks, esides only in he o al »s uc u e« o he poem and canno i sel be cap u ed in o he o mula ions. Philosophe s o language a e igh ly wa y o claims o unpa aph asabili y. The hough ha he e could be only one way in which some hing could be said goes agains basic p inciples o seman ics, including wha E nie Lepo e (a e Donald Da idson) has called 4 Fo u he discussion, see Lama que 2009. Lama que: Seman ic Fineg ainedness and Poe ic Value | 45 »seman ic innocence«, he idea, a i s simples , ha »wha an (unambiguous) wo d means i means e e ywhe e i occu s« (Lepo e 2009, 181). The He esy o Pa aph ase iola es seman ic innocence o he ex en i holds, as Lepo e pu s i , ha »wha he wo ds o a poem mean is con ingen upon whe e in a poem hey occu « (Lepo e 2009, 182). Lepo e, howe e , ingeniously o e s a de ence o he He esy o Pa aph ase while e aining seman ic innocence. To do so he in oduces he idea o hype in ensionali y, which claims he e a e »linguis ic en i onmen s in which eplacing an exp ession wi h i s synonym changes mean- ing«. The p ime example in na u al language is quo a ion. Lepo e illus a es his as ollows: »bachelo « is he i s wo d in »bachelo s a e unma ied men« »unma ied man« is he i s wo d in »bachelo s a e unma ied men« The o me is ue, he la e alse, ye »bachelo « and »unma ied man« a e synonymous. He goes on: Likewise, y eplacing »sheen« wi h »lus e « in Cole idge’s poem The Rime o he Ancien Ma ine (1797): And h ough he d i s he snowy cli s Did send a dismal sheen; No shapes o men no beas s we ken The ice was all be ween. The change su icien ly al e s he hy hm and hyme o b eak he bind be ween he lines, and he eby al e s he poem i sel . Since synonym sub- s i u ion in a poem can change me e o hyme, e c., and he eby change he opic, poems oo c ea e hype in ensional con ex s. The igh conclusion is no ha exp essions ca y unique meanings inside and ou side o poems. (Lepo e 2009, 195) Behind he idea ha poems c ea e hype in ensionali y, indeed a pa ial explana ion o ha idea, is a u he claim ha »poe y, like quo a ion, doesn’ suppo subs i u ion o synonyms because i ha bou s de ices o being li e ally (pa ly) abou hei own a icu- la ions« (Lepo e 2009, 195). Because a poem is »pa ly cons i u ed by i s own a icula ion [...] i is no e-a iculable in ano he medium« (Lepo e 2009, 193). Lepo e’s sugges ion is ingenious and, i co ec , has he me i o aking some o he mys e y ou o he seman ics o poe y. Howe e , wha he accoun does no do is answe ou ini ial ques ion abou he alue o he comp ession o meaning in some ly ic poe y. Why should i be o alue o a o d an in insically aluable expe ience ha a poem should be somehow abou i s own a icula ion? I his is jus ano he way o saying ha pleasu e can be had in a ending o 46 | POEMA 2.2024 he modes in which hough in poe y is p esen ed hen so be i , o ha is su ely igh , bu he e seem o be addi ional ac o s a wo k because he e is no pa icula pleasu e o be had in he hype in ensionali y o quo a ion. And is i ue ha poems a e e en pa ially abou hei a icula ion? Tha seems doub ul in i sel , qui e apa om he wo y ha i doesn’ explain hei alue. Wha a poem is abou , I will sugges , is i s ineg ained con en iden i ied by, ce ainly, bu no equi alen o, i s pa icula mode o a icula ion. O he philosophe s ha e appealed o me apho o explain unpa aph asabili y in poe y. Two lines o hough a e e iden he e. The i s says ha i is in he na u e o li e o po- e ic me apho s o be inexhaus ible in hei conno a ions so no p ecise li e al equi alen is possible. The second, ollowing Da idson, denies he e is any such hing as me apho ical meaning so he e is no hing, as i we e, o pa aph ase. Wha a me apho means is simply wha he wo ds mean in hei li e al applica ion and he es is me ely e ec . Nei he iew is especially illumina ing abou he supposed unpa aph asabili y o poe y. Pe haps he di ec ion o explana ion is he w ong way ound. Migh i no be ha an adequa e heo y o me apho could bene i om an accoun o he alue o poe y a he han he alue o poe y being explained h ough a heo y o me apho ? The idea ha me apho is inexhaus - ible migh be ue in some cases bu he na u e o , and cons ain s on, ha inexhaus ibili y, i ele an he e, will only be de e mined in he ligh o some wide concep ion o poe y and i s aims. As o he Da idsonian accoun o me apho , i migh seem in p inciple p om- ising in he con ex o poe y i only o i s ocus away om meaning and i s admission o non-p oposi ional elemen s in esponses o me apho . Howe e , he e is an un uliness in elying exclusi ely on uncons ained e ec s which is no ue o he kind o no ma i e expe iences demanded by poe y. So wha emains o he He esy o Pa aph ase hesis? A one le el he esis ance o poe y o pa aph ase ollows simply om he hough ha i ma e s in poe y, mo e so han in o he o ms o language use, exac ly how some hing is exp essed. The o m o exp ession is no dis inc om wha is exp essed, a poin we shall e u n o. The idea ha he e migh be some o he way o saying p ecisely wha he poem says con adic s he e y na u e o poe y which is o d aw a en ion o, gi e salience o, i s modes o exp ession. Tha is he u h behind he hype in ensionali y iew. The Fo m-Con en Uni y hesis, ha he o m o a poem is indi isible om i s con en , expands on, bu is no iden ical o, he He esy o Pa aph ase hesis. The la e migh be ue bu no he o me . Resis ance o pa aph ase, in a milde e sion, migh be judged jus a con ingen ac abou he complexi y o poe ic language; he less complex a poem he mo e open i is o pa aph ase. Bu i o m-con en uni y is ue hen unpa aph asabili y is no con ingen bu necessa y o i pa aph ase cap u es con en , and con en is indi isible om o m, hen o m oo mus be e ained. Tha is hype in ensionali y again. A. C. B adley a ely men ions pa aph ase bu a gues explici ly o o m-con en uni y: » his iden i y o con en and o m [...] is no acciden ; i is o he essence o poe y in so a as i is poe y« (B adley 1926, 15). Lama que: Seman ic Fineg ainedness and Poe ic Value | 47 Clea ly o assess he Fo m-Con en Uni y hesis he ideas o › o m‹ and ›con en ‹ mus hemsel es be cla i ied. Tha in i sel is no s aigh o wa d gi en he mul iple ways he e ms a e used. Howe e , i is ai ly clea wha kinds o ea u es coun as o mal in poe y: hyme, me e, hy hm, alli e a ion, epe i ion, e c. The ›e c‹ migh be di icul o cash in bu some p elimina y poin s abou indi isibili y can s ill be main ained. One is ha o m-con- en uni y in poe y is holis ic: he con en o he whole is indi isible om he o m o he whole. Bu (holis ic) o m-con en uni y does no imply ha o any indi idual o mal ea u e i is legi ima e o ask wha ea u e o con en i is equi alen o, e en i a ough and eady accoun migh be a ailable o he con ibu ion made o he whole by each o he pa s. Also i would be w ong o hink o › o m‹ in he ele an sense jus as he sum o indi idual o mal ea u es. Fo m-con en uni y is s onge han ha in insis ing ha he o al su ace con igu a ion o a poem is indi isible om i s o al con en . This is mo e like wha B ooks means by »s uc u e«. To al con en , wha e e ha migh mean, is in a sense supe enien on he s uc u al base. The idea o ›con en ‹ is equally p oblema ic. In he ligh o he Expe ien ial hesis i should no au oma ically be iden i ied wi h meaning. Pe haps be e is o hink o i in e ms o ›abou ness‹, while ecognizing ha abou ness is in e es - ela i e. 5 Speci ica ions o wha a poem is ›abou ‹ come in deg ees o ineg ainedness acco ding o he in e es s se ed in making he speci ica ion. In some con ex s i migh be enough o say o Giles Goodland’s poem ha i is abou wa es o he ocean o a day ou a he sea o a hypo hesis abou eyes and seawa e . Bu hese desc ip ions do no do jus ice o ineg ained con en . Ul ima ely he mos ineg ained speci ica ion o he con en – he › o al‹ con en – is ha which inco - po a es he p ecise o m in which he con en is p esen ed: in o he wo ds he poem i sel . This le el o ineg ainedness is an icipa ed in hype in ensionali y and in he He esy o Pa a- ph ase. The in e es se ed a his le el is an in e es in he poem, as B adley would say, › o i s own sake‹. I is a his le el, bu only he e, ha con en becomes indi isible om o m. Fo m-Con en Uni y now akes on a di e en complexion. I need no be hough a me ely con ingen ac abou (some) poems ha hei con en is indi isible om hei o m. Fo m-con en iden i y is no some hing ha one disco e s in a poem bu a he some hing one demands o a poem when b inging o i a ce ain kind o in e es : an in e es in he poem o i s own sake. This is no o deny o he kinds o in e es in a poem which migh ocus on mo e abs ac ed ea u es o con en o indeed o m. One migh , o example, be in e es ed in commonali ies ac oss poems, pe haps me ical o hema ic simila i ies. 5 This idea is also de eloped in Lama que (2009). 54 | POEMA 2.2024 sough a e unde ele an modes o a en ion when he poe y game is engaged. The de- ini i e expe iences a e no sensa ions o e en emo ions – he e is no de e mina e phenom- enology o poe ic expe ience ac oss all gen es ( he e y idea is absu d) – bu a e p ocesses o hough p ecisely shaped by he o m-con en uni ies ha a e hei ocus o a en ion. O cou se he e migh be accompanying emo ions o sensa ions in pa icula cases bu hese a e con ingen and con ex -dependen . So, e u ning o ou ini ial ques ion, why do we al- ue he complexi y – and di icul y – o (some) poe y when we spu n i elsewhe e? The an- swe a i s simples is: because i is pa o he poe y game ha in poe y we a end o he ineg ainedness o language, i s ex u es and in icacies, i s opaci y, in con eying hough p ocesses, and we ind alue in he expe ience ha a o ds, in p ecedence o e he mo e humd um no ms o communica ion, such as anspa ency, he impa ing o in o ma ion, and he assump ion o pa aph asabili y. 11 11 I am g a e ul o audiences a Bi kbeck College and he Uni e si ies o S i ling, Essex, and Yo k o cons uc i e and help ul eedback on his pape . Re e ences A idge, De ek. The Singula i y o Li e a u e. London: Rou ledge, 2004. Bea dsley, Mon oe C. Aes he ics: P oblems in he Philos- ophy o C i icism. 2 nd ed. Indianapolis: Hacke , 1981. B adley, A.C. »Poe y o Poe y’s Sake«. Ox o d Lec u es on Poe y. London: Macmillan, 1926. 3–34. B ooks, Clean h. »The He esy o Pa aph ase (1947)«. The Well W ough U n: S udies in he S uc u e o Po- e y. London: Me huen, 1968. 157–176. Budd, Malcolm. Values o A : Pic u es, Poe y and Mu- sic. London: Penguin, 1995. Collingwood, R.G. The P inciples o A . Ox o d: Cla en- don P ess, 1947. Hollande , John. The Nigh Mi o : Poems. New Yo k: A heneum, 1971. Ki y, Pe e . »On he Uni y o Fo m and Con en «. Philos- ophies o A s: An Essay in Di e ences. Camb idge: Camb idge Uni e si y P ess, 1997. 84–119. Ki y, Pe e . »Pa aph asing Poe y ( o P o i and Plea- su e)«. Jou nal o Aes he ics and A C i icism 69.4 (2011): 367–377. K ei man, No man. Dancing in he Da k. New and Se- lec ed Poems. Edinbu gh: Clydesdale P ess, 2010. Lama que, Pe e . »The Elusi eness o Poe ic Meaning«. Ra io 22.4 (2009): 398–420. Lama que, Pe e . »Wi gens ein, Li e a u e, and he Idea o a P ac ice«. B i ish Jou nal o Aes he ics 50 (2010): 375–388. Lepo e, E nes . »The He esy o Pa aph ase. When he medium eally is he message«. Midwes S udies in Philosophy 33.1 (2009): 177–197. Lumsden, Roddy (ed.). The Bes B i ish Poe y 2011. London: Sal Publishing, 2011. P ess, John. The Cheque ’d Shade: Re lec ions on Ob- scu i y in Poe y. London: Ox o d Uni e si y P ess, 1963. Quille -Couch, A hu (ed.). The Ox o d Book o English Ve se 1250–1900. Ox o d: Cla endon P ess, 1931. Wo dswo h, William. »P e ace o Ly ical Ballads [1800]«. Roman icism: An An hology. Ed. Duncan Wu. 3 d edi ion. Ox o d: Blackwell Publishing, 2006. 495–506. Lama que: Seman ic Fineg ainedness and Poe ic Value | 55 Au ho Pe e Lama que Uni e si y o Yo k (UK), Depa men o Philosophy, p. .lama que@yo k.ac.uk Open Access This pape is published unde he C ea i e Commons A ibu ion–Sha eAlike 4.0 In e na ional license ( CC BY- SA 4.0 ). Please no e ha indi idual, app op ia ely ma ked pa s o he pape may be excluded om he license men ioned o may be subjec o o he copy igh condi ions. 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