Spiritual poetry and its language

The religious literature, like mysticism, is spiritual, but spiritual is not necessarily religious or mystical. Spiritual writings stand in opposition to materialistic, subjective, and ego-driven literature. The former express phenomena that appear inexplicable when we try to fit them into known natural laws. The poet intuits and language manifests itself from deep consciousness like crystal clear water flowing from a spring. Nevertheless, Bruno Rosario Chandelier (2008) As a great scholar of mystical, religious and spiritual literature, he reminds us that there is also revelation:

“The creative aspect of the revelation, which comes from the spiritual wisdom of cosmic memory or Divinity, has a mysterious dimension. Intuitions usually come from the perception of reality, when we tune into the substance of things and experiences, but the revelations are not intuited, but simply received” (p.13).

The truth is that when we talk about spirituality it is not about separating the body from the spirit, nor the material from the immaterial. The body is moved by the spirit and needs it to manifest itself.

talk about spirituality It’s not talking about dualities but to recognize the indissoluble relationship between all things or entities in the universe. It is to recognize that each phenomenon of existence manifests the truth and that it is beyond the material or the spiritual; beyond the relative and the absolute. The material and spiritual points of view are not separate: they are the ends of the same rod; the sides of the same coin; the joy and sadness of the same being; the poles of the same planet. Unity in the face of the reality that is presented to us. We humans make the separation, believing that in this way we better understand our situation in the world. It is a way of conceptualizing the facts to which we have become accustomed.

Can read: Ramón Francisco, mentor of the class of writers of 1960

In our country there are many writers who have stood out for devoting themselves fully or partially to poetry of a spiritual nature, such as Salome Ureña, Jeannette Miller, Manuel del Cabral, Aida Cartagena Portalatín, Héctor Inchaustegui, León David, Rhina Espaillat, Ángela Hernández, Manuel Rueda, Fausto Leonardo Henríquez, Manuel Valerio, Freddy Bretón, Tulio Cordero, Jit Manuel Castillo, José Enrique García, Odalis Pérez, Carmen Pérez Valerio, Juan Matos, Chiqui Vicioso, Leopoldo Minaya, Tatem Brache, César Augusto Zapata, César Sánchez Beras, Rosa Silverio , Eduardo Gautreaux, Manuel Castillo, Tomás Castro Burdiez, Ramón de la Rosa y Carpio, Carmen Comprés, Teresa Ortiz, Ángel Rivera Juliao, Sally Rodríguez, Johanna Goede, Valentín Amaro, Guillermo Pérez, Eduardo Tavares Justo, among others just as important.

These poets who become one with the observed thing understand the meaning of what we call spiritual poetry. They are capable not only of communicating with all the entities of existence but also of understanding that the thing and its own being are one, that there is nothing that exists in isolation, but that everything is interdependent. From there arises the essence of true poetry. When we refer to metaphysics as everything that is beyond physics, we do so because until now science has placed limits or barriers between these two worlds. This is so because he has not yet found a logical, credible, testable and repeatable explanation in the world of his laboratories. From our side, we assume that the answer lies in the world of quantum physics. She will provide the answer very shortly. Centuries ago, poets overcame that limitation by ignoring conceptualizations.

The spiritual order poetryHe makes a unique use of language. Poets can externalize the ineffable reality that is manifested to them only through words in this field and the symbolism that accompanies them. Poetry, of which we speak, activates with cognitive and sensory-perceptive elements the complex material reality that arises at every moment of the multiple human experiences.

Fausto Leonardo Henriquez (2018) Dominican poet laureate based in Spain in Pasión del alma enamorada sings to us:

“I jumped the fence and went/With you to the grove. You spoke to me/In a strange language, in a language/Of fronds full of joy. /He lay on the other bank, casually reading/The clean word of the stream. My pitcher / she was filled to the top. I tried the sweet fruits, /As a wild blackbird, and I came out with my lips/Set on fire/Long was the conversation/Until I woke up with new clothes/And new waters” (p. 22).

A principle closely linked to spirituality flows through the veins of the Dominican people. And it is necessary to emphasize the fact that in the 21st century the spiritual vision is kept more alive every day as a lifeline for those who drown; as an escape from oppression; as an encounter with divinity for the believer; as a desperate search for those who are on the brink of the abyss… All of this is manifested despite technological advances, trips to other parts of the universe, cloning, pandemics and world crises. Spirituality is the carpet on which humanity stands; to rip it out suddenly is to expose it to a severe existential downfall. Spiritual poetry is the identity between language, phenomenon and spirituality created by the great poets; provocative of harmony and awakenings.

Leon David (2006) With his elevated verses, he is a worthy example of the writers who keep spiritual poetry alive along the path of the aforementioned triad:
“What does this feeling have that misleads me/With a strange ghostly vision?/Why does the ear lie, the eye deceives/And I still persist in believing them?/It is a shadow that you see that leads you astray/With fatal perfidy and clumsy cruelty / Of the primordial flower in whose entrails/The horizon germinates and the day dreams./ Beyond this skin and this pupil/Where the world seems to be running out/ Something great and deep awaits you:/ The mysterious star that twinkles, /The inscrutable water that bubbles/And the elusive truth that covers the world” (p.21).


Spiritual poetry and its language