1) The use of the Capital Letter in Contemporary Poetry for each line, seems to be an old, emphatic and fundamentally insignificant practice, which takes away something rather than adding, even from a purely grammatical point of view. It is not through this, for example, that one can effectively accentuate a distinction between a literary text in verse and one in prose. However, the Empathic openness to the style of others, leaves margin of choice to poets by accepting every technical, stylistic and content typology.
2) The only distrust that Empathic poetry highlights (and believes to be necessary in the new Millennium) is towards a writing that is too little cultured and in return unacceptable to be classified as “poetry”, which is always an elevation of language and concepts to a universal level.
3) The Empathetic philosophy welcomes the good that every philosophy and literary movement of the past has proposed and seems to be able to still be part of an innovative contemporary discourse for poetry, Art as a whole and the collective mentality.
4) No philosophy can be considered definitive and the repository of absolute truths. Every philosophical “school” has tried and tries to dialogue and grasp presumed truths through the language that it had or has at its disposal and through the maximum possible immersion in reflection.
5) Empathic Poetry has no specific techniques to suggest, but looks with admiration at anyone who knows how to “make poetry” using any technique of the present or the past, evaluating the results of the proposed text as a whole. New proposals are welcome, however, even from a technical point of view.
