In poetry, language has infinite combinations of meaning and the total of the words that it contains is transformed into a set of those which mathematics defines as uncountable.
To explain myself, I trivialize.
If it speaks of a cloud, the poem contains, for example, the sky, if it speaks of a tree it is also the forest, if it describes a rock it is also the sea, or the valley if it tells the course of a river, or even – without of necessity to linger over the cloying cliché of nature – if he says about a window he names a whole building, or takes us to a neighborhood or a city just revealing a square, a street, or introduces us to a room through a single object, and so Street…
As a straight line has infinite (s) points, poetry reveals its more than countable nature.
In a poem through the word all that I can or cannot imagine coexists, going from the wide field to the detail or vice versa zooming backwards, from the quanta to the universe.
In short, with a disproportion of much greater than the iceberg, the lyrical space is made up of words emerged and a gigantic mass of unspoken things (or written, according to taste).
The Chilean psychoanalyst, Ignacio Matte Blanco, starting in his reflection from Freud’s thought, defined this logic of unconditional extension as symmetrical , contrasting it with the asymmetrical logic of reason, which on the contrary needs to distinguish, catalog and avoid contradiction, to be therefore somehow countable.
Symmetric logic, on the other hand, prevails over the other as you approach the unconscious, extending the concepts to infinity, in the confusion of the elements that mix as when you dream, and extend to make an individual a whole category or the reality of an object. Love is the main example of this logic, whereby the lover exists in function of the other lover and at the same time identifies in the partner the whole category of men or women (depending on his orientation), or even the humanity.
For the Chilean psychoanalyst, who died in Rome in 1995, the unconscious “treats an individual thing (person, object, concept) as if it were a member or an element of a whole or class that contains other members” and “treats this class as subclass of a more general class and this more general class as a subclass or subset of an even more general class and so on “.
The poetic space is equally a place that enhances the imagination and extends the word to infinity, with further uncountable planes, such as the multiple possibilities of action, the elusive level of meaning and the non-quantifiable realm of feelings (how not to mention in this regard the lesson of the objective correlative of Thomas Eliot and Eugenio Montale, even if in the two poets there was the ambition to define exactly the emotion evoked by one or more objects?).
The poet Maria Borio, born in Perugia in 1985, in her collection “Transparency” (Interlinea edizioni, 2018), writes: “Nothing regenerates, but it is prolonged, infinite / in the line that cleans objects and does things / [… ] Life is everywhere, in a curved line / everyone lives like thinking “. As for a porosity that makes the infinite cross between inside and outside, poetry is life itself and is made of tension towards the absolute. The sky also expands as an atmosphere and as a voice, until it becomes a dialogue: “Between the sky and the water this building / shines in an unlimited light: / you can open it, open yourself / to a language of harsh tones”.