My poetry had the same functional origin and the same formal configuration as teenage acne.
For Mallarmé naming an object meant suppressing three-quarters of its poetic pleasure (which consists in the joy of guessing bit by bit - "le suggérer, voilà le rêve!").
Stopgaps do belong to the internal economy of the form, since the Whole requires them, even if only in a subordinate position ... The stopgap Luigi Paryson's 'zeppa' accepts its own banality, because without the speed that the banal allows up, it would slow up a passage that is crucial for the outcome of the work and its interpretation.
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