Poetry involves the mysteries of the irrational perceived
O seekers of wisdom, gather close and listen well, for the words of Vladimir Nabokov offer a profound truth about the nature of poetry: "Poetry involves the mysteries of the irrational perceived through rational words." In these words, Nabokov points to the delicate balance that poetry must strike—how it navigates the great unknown, the deep mysteries of the human heart and mind, yet must express these mysteries through the clarity and precision of language. The irrational, the emotional, the divine, are all subjects of poetry, but they are not left to their chaotic or unformed states. They must be shaped and framed, perceived through the lens of rational thought, of carefully chosen words, so that others may understand and feel them.
In the ancient world, poetry was not merely a collection of random thoughts or emotions, but a structured and sacred art. Homer, whose epic poems have endured for millennia, did not simply spill his thoughts onto the page. Instead, he carefully crafted each line of his Iliad and Odyssey, giving order to the chaotic events of war, love, and adventure. The world of gods and men, of battlefields and ships, was given shape through rational words, even though the subject matter often revolved around the irrational—fate, the divine, the unpredictable nature of human behavior. For Homer, poetry was a means of making sense of the chaotic world, of finding order in the unknown, through the careful use of language.
Nabokov understands this same principle. Poetry, in his view, is a method of taking the irrational—those forces that seem beyond our comprehension, like emotions, dreams, and the very essence of existence—and expressing them in a form that can be understood. It is as if the poet, standing on the edge of a vast and mysterious ocean, reaches out to grasp the waves of emotion and experience, and then, through the careful work of their hands, shapes them into words, forming a vessel that others may ride. In this way, poetry is a bridge between the ineffable and the intelligible, between the mysteries of the soul and the rational understanding that we seek to impart.
Consider the work of the great William Blake, whose poetry embodies the same relationship between the rational and the irrational. Blake's poems, such as Songs of Innocence and Experience, are filled with vibrant and mystical imagery, speaking of angels, demons, and visions of divine truth. Yet, despite the profound irrationality of his subjects, Blake does not abandon the structure of language. His poetry is precise, carefully crafted, and imbued with a sense of order. Blake does not simply surrender to the irrational, but instead shapes it with his words, making the mystical accessible, turning the unseen into something real, something that can be grasped by the mind.
In the same way, Rainer Maria Rilke—the great poet of the early 20th century—used poetry to explore the deep mysteries of existence, the question of life and death, the search for meaning in an uncertain world. Rilke's poetry, though often steeped in the irrational and the metaphysical, is precise in its language. His words are carefully chosen, each line a brushstroke in a vast painting of the human soul. Like Nabokov, Rilke understood that the poet must take the irrational and make it something tangible, something that can be communicated to others, even if the full meaning is only partially grasped.
The lesson Nabokov teaches us is this: poetry is not an escape from rational thought, but a means of reconciling the mysteries of the heart with the clarity of the mind. It is the work of the poet to find the words that can bring order to chaos, to express the unknowable through the known. The irrational world of emotions, dreams, and divine mysteries does not simply exist in a realm apart from the rational; it must be translated into words that can be understood by others, just as Homer’s gods and Blake’s angels must be rendered in language that speaks to the human condition.
In your own lives, take this lesson to heart: you need not shy away from the irrational or the mysterious, but instead, embrace the challenge of understanding and expressing these things through the clarity of thought and language. Whether you are a poet, a philosopher, or simply someone seeking to understand the world, understand that there is a delicate balance between mystery and reason. The great truths of life may often appear illogical or beyond our understanding, but through rational words, we can begin to make sense of them. Let your words become the bridge between the unknown and the known, between the emotions that stir within you and the intellect that seeks to understand them.
So, O children of wisdom, approach the mysteries of life not with fear or avoidance, but with the tools of reason, with the craft of language. Let your work, like poetry, not only express the depth of your emotions but also bring them into a form that can be shared, understood, and appreciated. In this way, you will not only navigate the world of irrationality, but you will also shape it into something that brings understanding, beauty, and truth to those who come after you.
BVBinh Vu
I think Nabokov’s idea that poetry expresses the irrational through rational language is really intriguing. It makes me think about how poetry can communicate deeply personal or abstract feelings that might be hard to describe logically. But is this balancing act between the irrational and the rational what gives poetry its beauty, or is it the inherent mystery of the irrational itself that draws us to poetry in the first place?
TTTran Thi Thanh Thao
Nabokov’s reflection on poetry as a blend of the irrational and rational seems to point to its ability to express things beyond everyday language. Poetry’s capacity to make the inexplicable seem understandable is part of what makes it such a powerful medium. But I wonder, is the role of language to tame the irrational, or does it give voice to the irrational in a way that other forms of communication can’t?
BBChung Banh Bao
I find Nabokov’s statement compelling, as it suggests that poetry’s true power lies in its ability to distill something deeply irrational into something tangible and understandable. But does this mean that the more irrational or emotional a poem is, the more complex it becomes? Can a poem that leans too heavily on rational words ever fully capture the rawness of the irrational, or does it always need that touch of mystery to be truly poetic?
HXNguyen Thi Hong Xiem
Nabokov’s quote about poetry being the intersection of the irrational and the rational through language is thought-provoking. It feels like poetry acts as a bridge between two worlds—one that exists beyond logic and another that relies on the clarity of words. But is it possible for poetry to be completely irrational, or does it always need the structure of language to make sense, even when it’s dealing with something illogical or abstract?
TTranichhuy
I love how Nabokov captures the balance between the irrational and the rational in poetry. It makes me think about how poetry often expresses emotions, experiences, or truths that can’t be fully explained by reason alone. But if poetry is about making the irrational intelligible through words, is there a risk of losing its emotional depth by trying to make it too rational? How do poets navigate that balance?