And as for the close connection between philosophy and poetry, we can refer to a little-known statement by Thomas Aquinas in his Commentary on Aristotle's Metaphysics [I, 3]: the Philosopher is akin to the Poet in this, that both are concerned with the mirandum, the "wondrous," the astonishing, or whatever calls for astonishment or wonder. This statement is not that easy to fathom, since Thomas, like Aristotle, was a very sober thinker, completely opposed to any Romantic confusion of properly distinct realms. But on the basis of their common orientation towards the "wonderful" (the mirandum - something not to be found in the world of work!) - on this basis, then, of this common transcending-power, the philosophical act is related to the "wonderful," is in fact more closely related to it than to the exact, special sciences; to this point we shall return. (Josef Pieper)

And as for the close connection between philosophy and poetry, we can refer to a little-known statement by Thomas Aquinas in his Commentary on Aristotle's Metaphysics [I, 3]: the Philosopher is akin to the Poet in this, that both are concerned with the mirandum, the "wondrous," the astonishing, or whatever calls for astonishment or wonder. This statement is not that easy to fathom, since Thomas, like Aristotle, was a very sober thinker, completely opposed to any Romantic confusion of properly distinct realms. But on the basis of their common orientation towards the "wonderful" (the mirandum - something not to be found in the world of work!) - on this basis, then, of this common transcending-power, the philosophical act is related to the "wonderful," is in fact more closely related to it than to the exact, special sciences; to this point we shall return.

Josef Pieper

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act astonishment basis close commentary common confusion connection easy fact fathom found metaphysics orientation philosopher philosophy poet poetry point refer return romantic something special statement thinker whatever wonder wondrous work world aristotle aquinas thomas sciences

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Critics of visual arts and of music describe in words - that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music - those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. "Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.
Stephen Spender
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Archibald Primrose, 5th Earl of Rosebery
Contrast the world's thirty-years of silence on the tyranny of this regime to the extremely loud and well-organized protests frequently directed at my father's government in the 1970s. The difference could not be more distinct or disturbing. Then, the world seemed quite attuned to and concerned with the issue of human rights in my country. Today, with thirty-years worth of full graveyards and more on death row than ever before in Iran, the global silence on the stunning human rights atrocities committed by this supposedly religious regime has been astonishing and disappointing. It is quite frustrating for me and for many of my compatriots to conclude that the global standard on human rights seems to be capriciously administered and certainly has been discounted for Iranians since the establishment of the world's only modern day theocracy.
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