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Socrates banished poetry from the ideal republic, adopting the philosophical position that poetic language operates outside the conventions of public discourse and is private in expression. But what does the banished language of poetry say about its relation to public space? Is it possible to draw a line severing the language of beauty from the language of truth? Derrida asks whether the line ought rather to pass between Western metaphysics, with its logic of polar opposites, and another way that does not organize everything in oppositional terms. The verbal economy organized around the poem as inscription, for instance, fits awkwardly with a division between a public discourse under the aegis of truth and a private one regulated by aesthetic pleasure. "Poetry's Appeal" takes the reemergence of a viable poetry in the politicized culture of revolutionary and post-revolutionary France as a signal that poetry's sentence of exile from the public arena is unresolved. It finds that poetry addresses history and the political through a disjunction between its illusory status as a song of private, lyrical intent and its actual state as a material inscription, inevitably public in character.
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