Poetic Faith: Culture + Subcreation w/r/t Religion

“In this idea originated the plan of the "Lyrical Ballads"; in which it was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth, on the other hand, was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us; an inexhaustible treasure, but for which, in consequence of the film of familiarity and selfish solicitude we have eyes, yet see not, ears that hear not, and hearts that neither feel nor understand.” (Samuel T. Coleridge, Biographia Literaria)

The Song helps us relearn what nearly every civilization before ours already knew: Sex is allegory, and as allegory it is metaphysics and theology and cosmology. For Christians, sexual difference and union is a type of Christ and the church: How could an erotic poem (and in the Bible!) be anything but allegory? From the Song we relearn that poetic metaphor does not add meaning to what is itself mere chemistry and physics. Nor is erotic poetry a euphemistic cover for Victorian embarrassment. Poetry elucidates the human truth of human sexuality, and it seems uniquely capable of doing so. Only as allegory does the Song have anything to teach us about sex. - Peter Leithart, The Poetry of Sex | First Things