CREATIVE INTUITION: A READING OF JACQUES MARITAIN'S AESTHETIC by IVO LAMBIN R.A., Sinion Fraser University, 1973 A THXSIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIRFNENTS FOR THE DECREE OF MASTER OF ARTS in the Department of ENGLISH 6 ) IVO LAMBIN, 1976 SIMON FRASER UNIVERSITY March 1976 A l l rights reserved. This thesis may not be reproduced in whole or i n part, by photocopy or other means, without permission of the author. Name : Ivo bmbin Degree: Master of Arts Title of Thesis : Creative Intuition: A Reading of Jacques Maritein '8 Aesthetic Examining Committee : Cha irmn : MlchaeP Steig - - Frederick Candelaria Senior Supervisor - - Evan Alderson -. Bruce C.@&ford hternal haminer Assistant Professor . Department of Modern Languages Simon Fraser University, Burnaby, B .C % d3.X Date approved : PARTIAL COPYRICHT LICENSE I hereby grant t o Simon Fraser Univereity the right to lend my thesfe or dissertation (the title of which is ~hownb elow) to usera of the Simon Fraser University Library, and to make partial or single copies only for-such users or in response to a request from the library of any other university, or other educational institution, on its 'own behalf or for one of its usere. I further agree that permiesion for multiple copying of this thesis for scholarly purposee may be granted by me or the Dean of Graduate Studies, It is understood that copying or publication of this thesis for finandial gain shall not be allowed without my written permission, Title of Thesis/~issertationt - Author : (signature ) (name ) April 8, 1976 (date) ABSTRACT The objective is to explore the possibilities of an approach to literature derived from Jacques Maritainls philo- sophy of a r t as found in his Creative Intuition & Art Poetry. A brief introduction proposes a particular reading of Creative Intuition which brings into relief the relation- ship between poet and reader. To Ibritain this relationship is a communication of intuition from creative to receptive. To make clear what he means by this contention, the emphasis throughout the exploration is upon the nature and implication - - of the arc, poet poem reader. The exploration is situated within the spectrum of - - present day criticism. The key relationship, poet poem reader, potentially present in the reading of any literary work is f i r s t considered in its naive expression. This naive expression is explored and its significance to criticism explicated. Subsequently, Maritain's major concepts become known and reach understanding through an exploration which grad- ually spirals towards the meeting of poet and reader in the poem. What emerges is a clarification of the concepts of art, poetry, beauty, creative intuition. poetic intuition, poetic knowledge, poetic experience, poetic sense, and the nature of poet and critic. iii With regard t o the two major concepts, A r t , a s the creative work-making activity of the mind and Poetry, as the unique relationship between the inner being of things and the inner being of the human Self, are explained from various perspectives. The meaning of Self, which involves the dis- tinction between person and individual is made clear. The relationship of Self t o reality and its impact f o r creative intuition is elucidated. An approach to the literary work is shown t o proceed from a conscious awareness of both the creative process and the receptive process through an understanding of Poetry. It is made clear that criticism's task is disclosure. The exploration draws in various aspects related t o other approaches. Significant connections between Keatsl Negative Capability and Maritain1s poetic knowledge are brought out. In a second part, a commentary on disclosure reveals aspects relating t o an approach to literature. Examples from modern poetry are looked a t , especially from T. S. Eliot, Marianne Moore, and Robert Lowell, A fundamental conclusion drawn from this exploration is that the literary work and criticism are both truly auto- nomous and personal, Maritaints contentions and their im- plications reveal a viable approach t o literature because they are commensurate with the nature of a literary work as - understood i n the philosophical tradition of Aristotle Thomas Aquinas. If P4aritain1s approach is an accurate v response in accord with the very reality of the literary work, then such an approach integrates the truths of other approaches into a higher synthesis. In this is the secret of its potential success. ---TO A t4OHLL LADY vii ART : . "The creative work-making activity of the human mindfl(3/3 ) POETRY: . . . "a process that intercommunication between the inner being of things and t.h e. inner being of the human Self .(3/3L POETIC SaNSE: "is to the poem what the soul is t o man and gives t o the poem its inner consis- tency, its necessary configuration, and first of a l l its very being and ex- istencelf(258/191). --- 1 Jacques )laritain "Poetic sense: cannot be separated from the verbal form it animates from withinow --- 2 Raissa Maritain BEAUTY: "a butterfly resting on a rose. tt --- naive perception 3 To my friend and brother, Donald, for in- spiring and encouraging me to set my goal;, to Professors Bruce Gifford, Lvan Alderson, and Jerry Zaslove for their midance and critical spirit i n the pursuit of my goal; and especially t o Professor Fred Candelaria --whose special g i f t for making students disciples, not of himself, bat of Poetry- i n the attainment of my goal, my deepest gratitude. TABLE OF CONTLNTS Page x i 1 PART ONE CRITICAL EXPLORATION . I. CRITICISMAS"TALKU 23 a 6 Reflections on Talk Significance of Talk Thornism, fibritain and Criticism . 11. PERIPH&HAL EXPLORATION 0 0 Descriptive Clarifications The Intellect and A r t A r t and Beauty A r t , Beauty, and Creative Intuition A r t and Criticism Effects of Poetry on A r t Poetry and Poetic Sense Authentic Versus Automatic Unconscious Poetic Intuition Poetic Knowledge Poetic Intuition as Both Cognitive and Creative 111. INNi3R EXPLORATION The Poet and Reality Poetic Experience and Inspiration Poetic Sense and Imitation Poetic Sense and the Poem The Poetics of Naritain and Keats . . . . . * . . . . . . . IV. CENTRAL EXPLOHATI ON 103 The Dvnarnic of Poetic Experience: Poetry and vmSiCtt Creative Intuition and Receptive Intuition Receptive Intuition as Encounter The h i t i c