Children of the Creator's Words: The Great Mystery
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| Formato: | Recurso digital |
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2026
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| _version_ | 1866901722235928576 |
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| author | Akinlembola, Adeniran |
| author_facet | Akinlembola, Adeniran |
| contents | <p>This philosophical poem presents the thesis that Words — understood not as human linguistic constructs but as the generative ontological force of the Creator — are the foundational substrate of all consciousness, creativity, and existence. Drawing on a five-angle consciousness framework (Physiologic, Emotive, Heterospective, Intraspective, and their integration), the poem argues that all human creative capacity is derivative of a prior, infinite creative intelligence. Humanity's error lies in the confusion between discovery and origination: we name, we articulate, we systematise — but we do not create from nothing. This position is historically and philosophically attested from multiple independent traditions. In Greek philosophy, Heraclitus first identified the Logos as the rational principle ordering the cosmos — not merely language, but the structural fabric of existence itself. The Stoics developed this into a universal law governing all reality. Later, Philo of Alexandria merged this Greek conception with Hebrew theology, framing the Logos as the ultimate divine reason that gave form and shape to reality. The poem's concept of the Word — capitalised, prior to and generative of all human expression — places it within this two-and-a-half-millennia-old tradition, arrived at independently through the author's own philosophical observation and theistic framework. This convergence extends further. Isaac Newton, in his correspondence with theologian Richard Bentley (1692–93) and in the General Scholium of his Principia Mathematica (1713 edition), explicitly rejected the notion that gravity was an innate property of matter, attributing the ordering of the universe to an intelligent, sovereign Being. The poem's provocation — "I bet Newton would refute such shallow claims" — is not rhetorical speculation; it is historical record. The poem does not advocate for a particular religious tradition. It identifies a universal condition: that every human community, regardless of tongue, culture, or cosmology, participates in the same Word — the creative engine that precedes and exceeds all human expression. The author writes as witness and articulator, not as originator. The revelation is not his; the responsibility of its reception belongs to the reader</p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_20026574 |
| institution | Zenodo |
| language | |
| publishDate | 2026 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | Children of the Creator's Words: The Great Mystery Akinlembola, Adeniran Philosophy of Language Religion Philosophy Poetry Theatre Arts Mind/Brain/Consciousness Evolution of Consciousness Arts and Sciences Communication Literature and New Media Isaac Newton Nigerian Literature African Poetry Argumentation Theory and Critical Thinking Critical Pedagogy Logos African Philosophy Humanities Culture Diviniity <p>This philosophical poem presents the thesis that Words — understood not as human linguistic constructs but as the generative ontological force of the Creator — are the foundational substrate of all consciousness, creativity, and existence. Drawing on a five-angle consciousness framework (Physiologic, Emotive, Heterospective, Intraspective, and their integration), the poem argues that all human creative capacity is derivative of a prior, infinite creative intelligence. Humanity's error lies in the confusion between discovery and origination: we name, we articulate, we systematise — but we do not create from nothing. This position is historically and philosophically attested from multiple independent traditions. In Greek philosophy, Heraclitus first identified the Logos as the rational principle ordering the cosmos — not merely language, but the structural fabric of existence itself. The Stoics developed this into a universal law governing all reality. Later, Philo of Alexandria merged this Greek conception with Hebrew theology, framing the Logos as the ultimate divine reason that gave form and shape to reality. The poem's concept of the Word — capitalised, prior to and generative of all human expression — places it within this two-and-a-half-millennia-old tradition, arrived at independently through the author's own philosophical observation and theistic framework. This convergence extends further. Isaac Newton, in his correspondence with theologian Richard Bentley (1692–93) and in the General Scholium of his Principia Mathematica (1713 edition), explicitly rejected the notion that gravity was an innate property of matter, attributing the ordering of the universe to an intelligent, sovereign Being. The poem's provocation — "I bet Newton would refute such shallow claims" — is not rhetorical speculation; it is historical record. The poem does not advocate for a particular religious tradition. It identifies a universal condition: that every human community, regardless of tongue, culture, or cosmology, participates in the same Word — the creative engine that precedes and exceeds all human expression. The author writes as witness and articulator, not as originator. The revelation is not his; the responsibility of its reception belongs to the reader</p> |
| title | Children of the Creator's Words: The Great Mystery |
| topic | Philosophy of Language Religion Philosophy Poetry Theatre Arts Mind/Brain/Consciousness Evolution of Consciousness Arts and Sciences Communication Literature and New Media Isaac Newton Nigerian Literature African Poetry Argumentation Theory and Critical Thinking Critical Pedagogy Logos African Philosophy Humanities Culture Diviniity |
| url | https://doi.org/10.5281/zenodo.20026574 |