Peter Montgomery wrote:
> What a gas, Rickard! ...
Thank you Peter. But you know I've been thinking that "auditory
inwardness" would have been a better phrase for Eliot to have used
because he did write "below the conscious levels of thought and
feeling" and "auditory imagination" brings to my mind conscious
thinking of possiblities. From the very tiny bit about
"Proprioceptive Writing®" that I read, "auditory imagination"
seems to fit it.
Once again here is the quote from Eliot that Ken Armstrong supplied us:
> What I call the "auditory imagination" is the feeling for syllable
> and rhythm, penetrating far below the conscious levels of thought
> and feeling, invigorating every word; sinking to the most primitive
> and forgotten, returning to the origin and bringing something
> back, seeking the beginning and the end. It works through meanings,
> certainly, or not without meanings in the ordinary sense, and
> fuses the old and obliterated and the trite, the current, and the
> new and surprising, the most ancient and the most civilised
> mentality .
> T. S. Eliot, "Matthew Arnold," The Use of Poetry and the Use of Criticism