We are now in front of many facts about the beautiful artistic writing:
First: In the last twenty years, the writing beautifulness and artistry in our awareness have been transmitted from the aesthetic view into the expressive view. Now the creative people concern with feeling expression more than the aesthetic applications.
Second: We can differentiate three eras of stylistic approaches about the beautifulness and artistry in the writing, the pre-modernism which concerns with power of the meaning connection, the modernism which concerns with aesthetic of the writing and the post modernism, the present era, which concerns with powerful feeling expression.
Third: In our globalisation and post-globalisation era, there is a powerful feeling and practice of free writing which doesn’t or shouldn’t observe the rules, the laws or the traditions in the beautiful writing, the literature, even the genre.
Fourth: Now, we are in front of new literary writing which doesn’t fit or doesn’t want to follow any genre classification, it is a non-genric or trans-generic writing.
Five: In this very free seeking era, why we need to study the stylistic elements of the present artistic writing and its law?
I will answer the last question first and the other points I will deal with through the chapters of the book. In fact the human is a very selective creature and always seeking the better, and appreciate the best and imitate it, this is a point. In other aspect the deep humanistic instinctual recognition or experience, despite its truthfulness, it is vague and can’t exit from the primary view for the world things while the soul is a very complex and a highly knowing creature and can’t satisfied by the primary instinctual experience, so it needs the intellectual experience and analysis to reach its goals in everything, not just in aesthetic and beauty. In the process of the analysis, the intellectual recognition and the systematic differentiation of our experiences about the beautiful writing, we don’t add or invent something, not present in the text or in the writing or we put some elements which they are strange to the instinctual experience, but in fact, the intellectual analysis of the beautiful writing is a thorough analysis of the instinctual experience. Yes, our intellectual experience is always an analysis of our instinctual experience. So this book is a collection of intellectual analysis of the instinctual experiences in different aspects of the beautiful writing. So, I won’t find a new thing, but I will try to show what is present. I believe absolutely that the mind can’t find anything but just a tool to explain what the instinct knows and experiences. The mind knows nothing new but shows us what we know.
I made the chapters short, clear and concentrated on one idea to follow the souls of the present reader who doesn’t like the long and the complex writing. We are now in the era of the “general reader", and we should leave the remnant of modernism; I mean the era of the “selected reader”. The seeking of the selected reader is killing to the literature and its aesthetic and social goals. Even the critic, the theoretic or the analytic essays should be clear, beautiful and widely interested.
I will follow these rules, and I will try to deals with very clear and true instinctual elements in the experience of the artistic, so this book is for all of us, the reader, the writer, the non-reader and the non-writer instinctual appreciators of the beautiful writing . When we talk about our writing, we talk about our speech, but the writing is the formal and the external presence of the speaking and it is widely used as a connective and a literary tool.
Our world in its essence is a transfiguration of souls and all of us appreciating it. We can see the immense impact of the soul acts on our daily life, and our existence is simply an incessant attempt to find our souls.
Seeking the souls is an innate desire, and as we can’t live without food, we can’t live without that desire. One of the souls’ pages in our life is writing which, by its admirable styles, enlivens the lands of hope and illuminates the areas of darkness. Beautiful writing can change our awareness about ourselves and the world, in addition to its innovative features which make us fly with cheerfulness and jaunt with delight.
These conscious and subconscious effects of writing occur as a result of the strong relationship between the language and our souls, of the powerful effect of writing on our minds’ embodying and the final appearance of our existence. Language is the central tool in the organization of thought, and any conception about anything should occur through the meanings and through the language. If we want to change any situation we can do that by the universal changes in our words about it, and sometimes this is the only way to create the change.
From this view, the writing is a transfiguration and our souls uses the writing to transfigure. The ideas, as any creature, always try to transfigure in full and powerful existence. So, one idea may wear many dresses to show itself and the writer should listen to its voice and give attention to her wishes.
To accomplish all these targets, the writing should have an efficient existence with the occurrence which gives full and powerful transfiguration of ideas. This efficient transfiguring property of writing can appear with multi-expressive structures, where the sentences bring the same deep idea and central message but they appear in different images and statements. This system we call "The Mosaic". In the mosaic transfiguring system, the sentences appear as mirrors. The mirrored system of the textual sentences forms an intellectual existence imitates mosaic where the sentences behave as small pieces with harmonious presence.
Although every word and every text has mutuality circles but there are specific words in the writing of every author has a big transfiguration from the interchange view. He uses them widely and deeply with vast symbolic actions. In these deep interchange areas, the writer is not the author mind but it is the author souls. We should emphasize that the soul have a wider experience more than the mind, and the mind and its knowledge is a part of the souls.
The most important feature in the mutual meanings are out of time and place, so they can take any shape smoothly and this is reflect the timeless nature of soul in comparison with timed mind.
Poetry is a dream
When I write poetry, I don’t call the poem, but the poem calls me. The poem takes a long history in me and in my deep awareness. It is a discovery of my deep true feeling. When I saw the poem, I saw a bulk of feelings and representation of my people in front of my eyes, so my poetry searches the emotional aspect of the words and not just conception and conduction. At the writing, I were in a situation between consciousness and unconsciousness, it is semi-dreamy state, where the ideas colored with feeling. Poetry is a type of dream.
Conception of speech has noticeable velocity
Conception of speech has noticeable velocity and despite the higher speed of the intellectual understanding, we notice the time which we need to catch meanings of a text. Beside the dimension of the conception, there is an emotional dimension which has specific velocity also. If the velocity of conception speeds that of feelings, the text will be ordinary semantic, but if the contrary happens; I mean if the velocity of feeling in the text speeds the velocity of understanding, the text will be an abstract writing.
Poetry is a Mirror
Poetry is a mirror and the text is the vehicle so the poetic text in its essential existence is a big mirror. When we use prose to bring poetry, in fact we make another mirror and when we narrate our lyricism, this is an additional mirror. So narrative prose poetry is a very complex system of mirrors and in every poetic moment, there is a mirror. "Colored Mosaic" is a narrative lyric writing with superficial narrative structure and a deep lyricism.
Everything tries to present in a full transfiguration state. Poetry as anything also tries to present in a full transfiguration. Freedom is essential for poetry and its full revelation so poetry in prose is a mirror of poetry glory. The letter also tries to present in a full transfiguration by pressing on the author to express it every moment of writing. Sometimes the letter takes several shapes to reach that goal. In mosaic system the letter appears in several clothes; it repeat itself in different text. The texts in the mosaic writing are the shapes, the clothes and the visages of the writer’s letters. So the mosaic system is a system of mirrors which is more complex than what is occurring in poetry. "Colored Mosaic" in short is the mirrorlike writing where everything is a mirror to everything.
From stylistic view, in the mosaic writing, there is a primary title under which the poems sit, and secondary titles; the poems’ titles. While the secondary title is basically thematic and reflects the poem’s theme, the primary title describes the poems, the writing, or the universal deep idea. The number of poems under the primary title should be more than one to compose the mirrorlike system and can reach a large number, and in "Colored Mosaic", we find three poems under each primary title.
The deep internal area of writing
In our deep internal areas there are areas of interchange where everything means everything and when we talk about something we talk about other thing. At this area and at this level what is happened is the mutuality of feelings, meanings and impression. Writing sometime becomes a big interchange process and when you use some generalized unite, you fetch its semantic aureole with a constant circle of meanings. So that words of general use always has a constant semantic action in addition to the contextual meaning and the complementary part in the sentence which is related to this general word will talk in a way or another on a same deep core. So when we use a generalized word like (I, his, our) we always talking about multiple subjects one of them the textual contextual rational meaning but beside this we also talk about other things which they are deep in our internal.
The language in our internal (the consciousness and the sub-consciousness) has many level, and every word has many semantic radiation and many circle in every level. The text and the words in it are always talk about many things, and summon many meaningful circle not just the contextual meaning or its circle but in every level of meaning and every level of language in the conscious and subconscious area the text and the words fetch multiple circles of meaning and multiple semantic aureoles.
Because of these facts we can make one interrelated text from multiple texts by special lines of meaning or a specific unite of writing. In volume one of "MUTUALITY" we will find the universal text of the generalized words have been used in multiple text, so it is a text formed from quotes from multiple text but you will see the strong correlation between its sentences and its parts.