Furtherm
ore
, 
while the algebraic logic is lin
ear, geomet
ric logic is
non-linear. Since the latter has different levels of meaning, it is more prof
ound. Algebraic logic propositions are either-or in nature, but propositions
in geometric logic are both/ands Hence the latter tend to be ambiguous,
non-verbal or symbolic. Thus contrary symbols in dream can co-exist in the
both/and propositions of geometric logic.
The distinction between algebraic logic and geometric logic is
similar to
he distinction between and "semantic" and "po
tic" meaning.
Poetic meanings are metaphorical and orient the individual toward objects in the external world establishing a motivational, attitudinal, and emotional context. The individual is invited to participate maximally in the situation,and hence is oriented for action. Semantic meaning, on theother hand, is merely the neutral naming of the object. It is perception without affective overtones.6
In the semantic meaning, both object and subject are separated from each other. The division between subject and object arose especially during the Enlightenment period of Western history.
Poetic meaning therefore is multi-level. Words do not have one meaning but are multi-faceted like the truth which can never be fully exhausted. Its spirit of the truth is contrary to semantic meaning which tries to narrow down the truth and its meaning.
One cannot judge volleyball from the rules of basketball, or checkers from the viewpoint of chess; rather each game must be judged from its own rules. Likewise to judge geometric logic from the viewpoint of algebraic logic would miss the point. Unfortunately, this has been done, for example, in a study judging Filipino logic from Aristotelian deductive logic.7
THE USE OF THE POETIC
The use of versed debate is pan-Philippine, from the tribal to the lowland Filipinos. Why do they use the poetic instead of plain language on certain occasions?
Let us first look at the tribal Filipinos because they represent the pre-colonial people. From Northern Luzon are the Ilongots and from the south in Mindanao are the Subanens of Zamboanga.
The Ilongots
The Ilongots of Northern Luzon have been known to be headhunters.8 They use poetic oratory to manage conflict which negotiates anger. These poetic encounters facilitate deals and mediate two contending parties. The context of these debates is a meal with plenty of food and drink. The purpose of these poetic encounters is to negotiate and to cultivate a relationship with an opposing party. The issue may be compensation for past killings or the asking for the hand of women in marriage. In these encounters the orators confront each other with the use of indirect (poetic) language. A direct or blunt language may hurt feelings and thereby result in disruptive outburts. These debates need good orators who "have both `knowledge' and `passion' in their speech; they wear ornaments and taunt their opposites with witty words, and in so doing, prove themselves established men of `anger.'"9 Their public oratorical debates (purung) use "a style of speech, and correspondingly, of social interaction, that Ilongots recognize as different form that encountered in ordinary working life."10 In these debates, "there is a concern for hearts that hide their deepest thoughts, a use of language that is intentionally indirect, a drama of revelation and deception.11
Before they go to debates, the orators learn from the differences which their people feel, like past grievances against other groups or past hurts like killings which will demand compensations.
In their metaphorical language a short supply `honey' or `wine' are conventional ways of talking about a wife. `Tasted objects' refer to weapons, `young pups' are prospective husbands, `absence' means death, `handling of death' is burial.12 For example, Amung kamin limdeseka alaken, (literally, `We are like frogs who jumped') actually means `We jumped into this and feel vulnerable.'13
The negotiation may drag for hours. The purpose of delaying is to permit each party to know better each other, to gain trust while enjoying the food and drink. Good orators know how to retrain their anger and tortured thoughts and use indirect speech to "'hide' their deeper meanings."14
Trained in elaborate and metaphorical turns of phrase, all orators are `slow' and cautious in their use of speech; they allow time for words to `reach' their points and avoid direct statement. In purung as in daily talk, the overt mention of offense may be disruptive. And although the orator hopes his phrases will excite an opposite's response, he knows that insults suffered may give rise either to violence or to new and difficult demands. Speech alone seems to provide a neutral ground in terms of which one can negotiate relations.15
In short the use of poetic language is primarily for diplomacy. This tactful language is more effective plain language in attaining desired goals.
The Subanens
The Subanens, a tribal group in Mindanao also have poetic encounters.16 Again the context is a drinking party.17 The poetic encounter takes place in the last stage of the drinking party. Its first stage is the tasting part which assigns the role, distances and authority rules to the participants. The second stage is the competitive drinking where the participants take turns in drinking and talking as well as in exchanging information. The third and final stage is the game drinking where, after euphoria has been established, issues are decided on the basis of poetic skills.
Songs and verses are composed on the spot to carry on discussions in an operetta-like setting. Even unsettled litigation may be continued in this matter, the basis for decision being shifted from cogent argument to verbal artistry. . . . Participants who have displayed marked hostility toward each other during the course of drinking talk may be singled out for special ritual treatment designed to restore good feelings.18
Other Tribal Filipinos
As early as 1668, the Jesuit historian and ethnographer, Ignatio Francisco Alzina, noted that the early Visayans of Leyte and Samar had different types of poetry. One was the ambahan which consists of two lines of blank verse, each verse containing seven syllables.19
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