A Provisional Anticipation Of Where This Critique Is Heading

	Once this theoretical apparatus is sufficiently articulated then the time is ready to apply the fruits of this research in two closely interrelated directions, namely, with respect to the actual dynamics of the creative process, and, the actual dynamics of the re-creative process in so far as the poetic text can be subjected to an appreciation of its poetical value, i.e., its hermeneutic value or `sense,' aesthetic quality, etc. This critical appreciation takes place through a close reading of that text, a reading which like all readings is realized through a re-simulation of that text. The critical nature of this reading being promoted through the proper adoption and adaptation of transcendental procedures. However, more correctly, as noted previously in the sub-footnote to footnote no. 3, such methods are more correctly `no-methods' or `non-methods because of the impossibility of our being able to directly manipulate the transcendental orientation - only the sense, or the apparent presence, of the transcendental itself can do this for us. Fortunately the re-simulation of that text, through the simulated re-construction of its more prominent provocative forces, is to some extent able to do this for us. Thereafter we can only prepare the ground, so to speak, for the spontaneity of the transcendental itself to authentically engage us in and through the nature of that textual relationship in which we currently find ourselves relationally involved.
	To assist in this indirectly promoted closer reading of the text I have sketched out an artificial schema in twelve sections to help facilitate this task. The transcendental-hermeneutic-phenomenologist using their past experience and intuition in finding out how they should best go about adopting and adapting these guidelines in the pursuit of this critical examination in the most insightful, fruitful, efficient, or effective, manner possible. A close reading, i.e., a closer reading, is always open to us as a possibility by virtue of the fact that no text is ever a pure text per se through the conventional meta-textual presentation of that text. Therefore, the interpretation of a text is always open to a closer scrutiny, even if for the current moment this remains more a theoretical possibility, because the sense of that text is generated through an appreciation of this textual-metatextual interrelationship and this relationship can always be subjected to a more intense degree of reflection. A process of reflection that must to some extent, central to the active center of those reflections, be transcendental in orientation. This overall orientation towards a transcendental characterization (in the manner in which those processes are conducted) declaring in equal measure the relatively critical, or uncritical, nature of those investigations. An effective adequacy in interpretation being reached when our hermeneutic investigations cease to release further hermeneutic value in some measure greater than the additional inputs invested in that process, and, the net release of value greatly exceeds the value of that entire set of invested inputs, and, our appreciation of its sense is sufficient to let us perform the apparent tasks set meta-textually by that text (i.e., the rhetorical gestures set meta-textually by that overall `text' are found to be sufficiently fleshed out with metaphorical substance, and vice versa, to allow us to perform and realize the apparent intentions traced out in that text).
	In a close reading we attend to the provocative forces apparent within that text. We look for the juxtaposition and parallelization of provocative forces and the repetition in these same types of phenomenal patterns. In this re-simulation of text provoked by these textual devices in our transcendental appreciation we seek to also investigate the relative successfulness of such mechanisms. As the text needs the ongoing imposition of the suspension (as our entrance to and exit from our transcendental reading of that text), an ongoing introduction of provocation and the ongoing need for the resolution of this sense of cognitive dissonance it follows that once resolution is in place that text theoretically should also terminate. However, it can be shown empirically that a `text' is not necessarily disrupted and fragmented through the use of a series of successfully conducted processes of resolution. Rather, through processes of delay, minor resolution and overlapping of sets of resolutional processes this natural cessation of the text is postponed. Instead of a series of discontinuities matching the resolution of provocative-forces the text becomes progressively enriched, re-invaginated, a potential work of art, and instance of a life-form with a life of its own able to critically inform us as to whether that text is well-formed or ill-formed, and at the same time able to generally quantify the apparent level of intrinsic merit generated in a suspended reading of that text. 
	All in all, showing in what way the poetic text can be accommodated and seen to generally differ from other forms of literary text and thence all other forms of textual re-presentation. The mapping of provocative-forces in a text helping us to understand that a text is the unique instantiation of a particular life-form (and not a mere family resemblance), namely, in this instance, the `poetic,' and, therein, through its creative simulation and re-creative re-simulation helps us to develop an appreciation of its poetic merit regardless of whether that text is formally constructed or non-formally constructed!
	That through ongoing successfulness in the resolution of provocative compression that text then takes on a richness of texture, a greater degree of integrity and a thoroughness in harmonization. That, although textuality can never be fully appreciated, a well-formed text can be appreciated adequately through appropriate forms of transcendental reflection, whereas, an ill-formed text merely informs us that its formation was essentially defective. But a recognition of our ability to adequately appreciate the value of a poem is already common knowledge among those critics who, in tune with the phenomenological nature of their subject matter; in an authentic engagement with a text or set of texts; with the necessary degree of intuitive style and substance, are truly able to set out and put into practice what they preach, and, equally preach what can be put into practice!

Edited: 19.10.99 
Editorial Comments: This text is not completed and will most likely not be completed. The reader can refer to later papers on similar themes to see where it was heading, although, in my opinion, it can stand alone as its remains, N.