Poetic masterpieces are present when Poets synthesize aspects of the Cosmos into higher orders that form the concept of Wholism (all God’s creatures and creations are related) and paves the way to having aesthetic pleasure. In the process, Poets uncover artistic unities rather than make new ones. World recognized poets then agree that nothing needs to be added, subtracted, or re-worded for improvement. Good Poems simply put into words the awareness of people’s Sublime feelings but are unable to verbalize clearly. As a result, our world and our capacity for higher levels of experiences are enlarged. For students or simple appreciators the poem reaches its full truth, thought, feelings, emotions, common sense, or expression potential when they are uplifted beyond that of which the human mind is capable of grasping. Essential components for designing a masterpiece include poetic imagery of exquisite form and surprising beauty; the richness and multitude of its metaphors; its exaltation of thought and feelings, its insights into the deepest recesses of the poem’s theme, its truth of life; its ability to shape farvision thoughts; and its functioning paradigm resting at a Sublime level.
The method for its creation is the steps of Poetic Rational Thinking. Step I is the nature of the Poem—to promote awareness or understanding about and/or to generate pure feelings concerning the power of the Substance (the Spirit of God or the essential meaning of the matter); to express deep feelings with the primacy of beauty; to convey noble thoughts in perfect language; to fashion “art for art’s sake”; to open the mystery dimension for greater inspection; and to generating ideas allowing one to rise above the problems and boundaries of ordinary life—ideas which open up productive imagination and the intellect for purposes of enjoyment, creations, and inventions. Step II—the gathering of pertinent information that will depict the issue at hand with a fresh perspective. Step III is assessing the gathered information and prioritizing that which is significant. Step IV is poetic analysis—the taking apart of the big picture so as to see how well each piece does what it is supposed to do as it is and what is its potential for use on another plane of existence. The objective is to open possible routes into the unknown or to assist in further explorations of the unfamiliar.
Its tool is discernment—the ability to see the subtle, the hidden, and the invisible spiritual connections. Step V is the manipulation into a proper fit of analyzed information related to the Substance or essence—rather than the form—at a foundational or fundamental level. Step VI is to deal with obstructions, absences, limitations, or weaknesses by creative maneuvering and by synthesizing into unity those unlike elements within ones mind pertaining to potentiality, budding ideas, unorganized similar ideas, immature groupings, and diffuse emotional tones. Then inspiration leads to discovering new and expressive metaphors, symbols, sounds; to reviving an archaic word; to borrowing words from other languages; or to forcing old words into novel grammatical structures. From noting interconnections, a unified aesthetic abstract pattern or design gives aesthetic insight for actual or potential concepts that may or may not have practical application. Step VII is the poetic synthesizing of original ideas into a higher level having beginning paths into different planes of existence. Poetic Speculation—the pondering of each element on its every side; on every angle of every side; and on both sides of every angle—leads to insights. Significance is determined by ones “Pure” or Spiritual Feelings (“it just feels right”); by uncovering unities; and by making new unities. Step VIII is the poetic experience of reaching the intention set out in Step I. The highest is the metaphysical—the realization that you and the synthesized elements are one in Spiritual Energy.
Step IX is the beautiful expression presented to the world.