17 pages • 34 minutes read
Czesław MiłoszArs Poetica?
Fiction | Poem | Adult | Published in 1968A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Symbols & Motifs
Daimonion
The poem makes heavy use of daimonions/demons, where they function as a symbol of artistic inspiration. They tie “Ars Poetica’s” reflections on poetry to the roots of Western tradition in Ancient Greece and Rome, enhancing the presence of time and memory in the text. “Ars Poetica?” explores the idea of genius or inspiration in the Hellenistic era. During this time, genius was not thought of as belonging to the individual but as an outside force, a daimonion, or daemon, or supernatural entity. Much like the Roman idea of genius, the Greek idea of daemons painted them as pseudo-divine entities which watched over and gave inspiration to their assigned individuals. Like the Christian understanding of a guardian angel (or a tempting demon), ancient Greek daemons either helped or hindered the person to which they were tied. In the “Ars Poetica?” there is a division between the “good spirits” or “evil ones” (Line 36), which can manifest in poetry.
The poem refers to daimonions metaphorically, such as when asking “what reasonable man would like to be a city of demons” (Line 13). The poem presents them in an argument about art, not metaphysics. By using the Hellenistic daimonion as a symbol of inspiration, the poem accomplishes three major effects. First, it reveals the mystical root of the contemporary concept of “genius.” Second, the term highlights the poem’s view of the poet as receptive rather than generative—a tool of poetry rather than the craftsman. Finally, the occult connotations of the word “demon” conjure mystery and danger.
The One and the Many
The problem of how a singular entity relates to a multiplicity has long been the subject of great texts going back to Plato. Ars Poetica?” takes a stance on how singularity or multiplicity relates to poetry. Unlike the romantic ideal of a lone, singular poet, or the modern fixation on the towering singular genius, Miłosz’s poem argues for poetry built on multiplicity.
According to the poem, in order for a single poet to write, he must open himself up to a whole “city” (Line 13) of “invisible guests [who] come in and out at will” (Line 32). Poetry is always polyphonic, with more than one voice. According to Miłosz’s poem, it always speaks with many voices. In fact, the poem claims that poetry’s objective is to remind everyone that identity itself is not singular. Poetry exists to foster and remind us of the multiplicity inherent in human nature.
Agency
In using daimonions to argue for the receptive nature of poetry, “Ars Poetica?” raises questions about the agency of the person creating the poem. The spirits of inspiration are thieves that act on the poet and alter his fate. Furthermore, the poet is not able to choose what voices speak through him. The best the poet can do is receive a benign rather than nasty spirit.
The picture “Ars Poetica?” presents is of a poet buffeted by outside forces, one who can only hope that these forces will be positive. Ultimately, Miłosz seems to suggest a model of partnership between poet and inspiration than one of total control: The poet “rarely and reluctantly” (Line 34) opens up to the poetic muse.
