Cataclysmic soul: 'Taste,' 'superstition,' and 'fear'

Poetry speaks to different levels of human awareness. These levels are collectively known as topographical concepts. They consist of the conscious, the preconscious and the unconscious. They are established in Freud's psychoanalytical theory as the Ego, the Superego and the Id---representing the reality, the rational and the pleasure principles. Complementary notions may be found, as well, in the theories of Jung and Erickson. These levels of awareness in poetry can also be considered in relation to the concept of "taste," "superstition," and "fear." They play the same roles as the psychoanalytical principles. Poetry possesses the ability to inspire, entertain and educate. It is the most attentive, precise and penetrating experience for both the producer and the participant. It is brought to everyday realization through songs and sanctions---emotional and spiritual expressions evident in religious and ritualistic activities. Most poets reach deeply by using psychological motifs, to bring readers/listeners to transforming experiences, which stretch beyond the bounds of method and empirical perception. In African aesthetics particularly, poets celebrate spirituality from the perspective of visionaries and priests; they use the primordial function of imaginative word play to depict society. Even though psychology comes closest to defining what poetry does, psychology still falls short in explaining the spiritual and ever-evolving experiences that cannot be tested. Poetry comes from the essence of creation and the ritual, linguistic, and curative connection to nature. Psychology and poetry have therefore complemented one another over the years with very good results.