Vision of Love: Exploring Themes in K. Paota’s Poetry
Vision of Love in K. Paota’s Poetry
K. Paota reveals elements in his poems, from a spiritual love and a sense of guilt before lust, to an earthquake concept of love and cosmic time. Love is embodied in the wife and son, love going through a painful tragedy dominated by refusal and absence.
Before, love to talk will not stop lightning. K. Paota mentions love, the whistle violated. In these verses, love is attached to the intense pain derived from the absence or refusal of the beloved. So, love is often valued negatively, as sinful, and promotes a feeling of guilt and rejection of erotic desire. On the other hand, K. Paota never ceases to develop an idea of love much more vital, located in the body, to earth, man and woman in the middle of a thought, in the sense of sin and guilt disappears. This makes K. Paota join erotic desire as a force that earthly man must make, a man is to be soil, mud.
The absence and the rupture with his beloved are the subject of love associated with this grief. Love is tragic, painful, marked by absence. K. Paota, therefore, applies in his book, love is made from a sensual and tragic sense. Inspired by the beloved and the absence of being unable to physically consummate their love, the platonic and spiritual love theme becomes a violent expression here in Telurica, called the land of meat, is associated with K. Paota and with the death penalty.
On the other hand, in several poems, a body duality is found, purity and dirt of poetic. Here, earthly love is accepted, the lover does not reject their feeling unclean to spiritualize love but as a battle or a vindication of the terrestrial.
The vision of love is totally physical and bodily. Love in religion stands beyond the spiritual; love becomes a sense of life and death in the central key. Love becomes the driving force in the world: man and woman, their bodies are central elements. Thus, the act of the event becomes a telluric and cosmic significance. Love is focused on the figure of the wife and child. He is simply an element in the cosmos but loving, husband of his wife, a father to the son, a part within the cosmos. Love calls man. The poet sings of the belly to sing of those bodies that engender a new life in the child. The wife is a carnal creature. The poet sings when the complex of guilt and sin catalog the union of body, erotic, sexual, and parental materialization.
So, when the wife becomes a mother, her figure collects gigantic cosmic dimensions. The Wife will become an obsessive idea, a figure that makes sense of loving the universe.
The child is another element of love, especially in the songbook. The child, as a guarantee of perpetual and eternal, starts the poet’s lyre with profound thoughts, winged and graceful lines. The child becomes synonymous with love of the land, is law and the cosmos, the couple becomes part of the great chain of life and death, of the earth and eternity. The wind is the meaning of life, in a statement of love for detail and the carnal, joins the carnal and the cosmic. In the belly, infinity and death fuse as a single sense which lies in the love, passion of the son.