Abstract

Even when we confine ourselves to poetry, we have to agree with Ortega y Gasset's observation that "the instrument of metaphoric expression can be used for many diverse purposes." It can be used to embellish or ennoble things or persons—Campion's poem offers a good example. Such embellishment need not involve semantic innovation. Metaphors can also function as weapons turned against reality. There are metaphors that negate the referential function of language so successfully that talk about truth or, for that matter, about lattices or lenses seems inappropriate. Yet as poetry pushes towards this extreme, it may acquire a revelatory power all its own: from the ruins of literal sense emerges not a new semantic congruence but a silence that is heard as the language of transcendence. This is not to deny that metaphors can effect semantic change or help to establish a new world. As David Tracy's contribution to this symposium shows, Scripture furnished the most obvious example. Heidegger's claim that poetry establishes the world can indeed be shown to rest on this paradigm. It is a claim that tends to ascribe something of the prophetic power of Scripture to all great poetry. But, although we may long to rediscover the prophet in the poet, to what extent does the scriptural paradigm help to illuminate poetry in general and, more especially, the poetry of this godless age? Most modern poetry has an aesthetic character that is incompatible with a religious world view. Theories of poetic metaphor cannot afford to neglect the history of poetry, just as general theories of metaphor cannot afford to neglect the many uses of metaphor