And yet the perfect poem can only materialize on condition that this world, acted upon by all five levers [senses] simultaneously, is seen, under a definite aspect, on the supernatural plane, which is, in fact, the plane of the poem . . . But the lover is in such splendid danger just because he must depend on the coordination of his senses, for he knows that they must meet in that unique and risky center in which, renouncing all extension, they come together and have no permanence . . . If the world's whole field of experience, including those spheres which are beyond our knowledge, be represented in a complete circle, it will be immediately evident that when the black sectors, denoting that which we are incapable of experiencing, are measured against the lesser, light sections, correspond to that which is illuminated by the senses, the former are very much greater.

Now the position of the lover is this: that he feels himself unexpectedly placed in the center of the circle, that is to say, at the point where the known and the incomprehensible, coming forcibly together at one single point, become complete and simply a possession, losing thereby, it is true, all individual character . . . As the lover's danger consists in the nonspatial character of his standpoint, so the poet's lies in his awareness of the abysses which divide the one order of sense experience from the other: in truth they are sufficiently wide and engulfing to sweep away from before us the greater part of the world–who knows how many worlds?

-- Rainer Maria Rilke "Primal Sound"
Tr. G. Craig Houston