I did not have a very literary background. I came to poetry from
I did not have a very literary background. I came to poetry from the sciences and mathematics, and also through an interest in Japanese and Chinese poetry in translation.
"I did not have a very literary background. I came to poetry from the sciences and mathematics, and also through an interest in Japanese and Chinese poetry in translation." These words from Robert Morgan reveal a profound truth about the nature of creativity and inspiration. Poetry, in its purest form, is not bound by the walls of tradition or the confines of any single discipline. In this statement, Morgan shows us that the path to poetry is not always paved with the expected footsteps of those who were raised in literary circles. Rather, it can emerge from unexpected places—the sciences, mathematics, and even the ancient rhythms of Japanese and Chinese poetry. This journey underscores the idea that art does not demand a specific lineage or background; it is a universal force that can be accessed by anyone willing to open themselves to its power.
In the ancient world, poetry was often not the domain of the intellectual elite alone, but was woven into the fabric of all aspects of life. The great Greek philosophers, such as Pythagoras and Plato, believed that the universe itself was governed by mathematical principles, and they saw poetry as a reflection of these eternal truths. The Pythagoreans believed in the deep connection between numbers and beauty, seeing the mathematical and the poetic as intertwined, each revealing hidden patterns in the fabric of existence. Thus, poetry was not just for the poets but for anyone who could perceive the harmony in the world, whether through science, mathematics, or art. Poetry was seen as a language that spoke to the universe—one that could be understood by those who sought to discover its patterns.
Morgan's journey into poetry, from the world of mathematics and science, is not so different from this ancient view. Just as Pythagoras and others saw the beauty of the cosmos through the lens of numbers, so too did Morgan discover poetry through a different lens, one shaped by his study of the sciences. In the structured world of mathematics, where precision and order reign, Morgan found a rhythm—a pattern that spoke to him, a language that could be translated into verse. In the same way that mathematicians seek to understand the world through abstract symbols, poets seek to express the inexpressible, using language to uncover the deeper truths of the universe. For Morgan, poetry was a natural extension of his understanding of the world—not an opposing force, but a complementary one.
Furthermore, Morgan’s interest in Japanese and Chinese poetry—especially in translation—reveals a deep respect for the ancient, time-honored traditions that connect the human experience across cultures. The poetry of Japan and China is often marked by its simplicity, its focus on nature, and its ability to evoke deep emotion with few words. Think of the haiku, that deceptively simple form that captures the essence of a moment, a season, or a feeling with a precision that transcends language. For a poet like Morgan, this kind of poetry offered a window into the power of conciseness and clarity, where meaning is distilled into its purest form. The beauty of this poetry lies not in the complicated or overwritten, but in the natural flow and simplicity of language that can convey profound truth with just a few words.
In a way, Morgan’s eclectic influences—science, mathematics, and Eastern poetry—reflect the universal nature of creativity. Poetry is not an isolated form, but a bridge between different realms of knowledge, each shedding light on the other. Just as the great scientists and philosophers of the past saw the world through the lens of their specialized disciplines, they also recognized that there is a unifying force behind all of existence—whether it is the patterns of numbers or the poetic beauty of nature. Poetry is that force, capable of bringing together seemingly disparate elements of the world into a cohesive whole. Whether you are a scientist, an artist, or a thinker of any kind, the poetic spirit can illuminate truths that transcend boundaries and lead us to a deeper understanding of the world around us.
The lesson here is clear: poetry is not confined to one realm of experience. It does not belong to one particular group, nor does it require a prescribed background to be understood or created. Whether you are immersed in the world of science, mathematics, history, or philosophy, poetry has the power to bridge these worlds and open the soul to deeper insights. The great artists of history have often come from diverse backgrounds, bringing their unique experiences and perspectives into their creative work. In the same way, we too are called to find the poetry in our own lives, to express the truths of the world around us in our own unique voices.
For those of us seeking to create, the path is simple: embrace the breadth of your experiences and use them as tools for artistic expression. Dive deep into the worlds that intrigue you—whether they are scientific, mathematical, or cultural—and see how they inform your creative practice. Let your curiosity and your passion lead you to unexpected places. Like Morgan, you might find that the journey into poetry is not a detour but a natural progression, an extension of your own search for meaning in the world. Poetry is a universal language that, like the great rivers of history, can carry us all toward a deeper understanding of the universe and our place within it.
DNtu tu dang nghi
I find this perspective refreshing because it emphasizes that poetry is not solely the domain of those with a classical literary upbringing. I wonder how Morgan’s path influenced his understanding of structure and form, perhaps integrating the logic of mathematics with the aesthetics of East Asian poetry. Does this interdisciplinary approach allow him to experiment with patterns and conciseness in ways that might not occur to a traditionally trained poet?
NTnguyen Thao
This statement raises questions about the role of formal education in shaping poets. Does Morgan’s experience suggest that a non-literary background can be an advantage, providing alternative ways of thinking and observing the world? I’m curious how his exposure to multiple disciplines and cultures informs his imagery, thematic depth, and rhythm. Could this eclectic foundation contribute to a distinctive poetic voice that differs from traditionally trained writers?
DTThao Dinh Thi
I’m intrigued by the interplay between logical disciplines and creative ones. Does Morgan’s scientific and mathematical background offer him unique tools for constructing poems, like pattern recognition, symmetry, or precision in language? I also wonder if approaching poetry from outside the literary mainstream allows for a fresh, less constrained voice, one that challenges conventional expectations and enriches the broader American poetic landscape.
GNtran pham gia nghia
This makes me reflect on how cross-cultural influences shape artistic expression. I wonder whether Morgan’s interest in translated Japanese and Chinese poetry affected his thematic choices or stylistic approaches. Could exposure to non-Western poetic traditions encourage innovation in form and perspective? It also raises a question: does reading poetry through translation limit or expand a poet’s understanding of linguistic nuance and cultural resonance?
NBNguyen Bi
I find this perspective inspiring for aspiring poets who feel they lack a traditional literary foundation. Does Morgan’s path suggest that poetry is accessible to those outside classical literary training, and that diverse experiences can provide unique artistic perspectives? I’m curious how his scientific mindset interacts with his literary pursuits, possibly shaping analytical observation, attention to detail, or the structural elegance of his poetry.