That language, used to create musical effects in poetry, is not arbitrary; does, in fact, depend on meaningful or artful arrangement to establish and consolidate its effects; chafes against the confines of Deconstructionist discourse. The Deconstructionist commonplace, derived from Saussure- that linguistic signifiers are arbitrary (and this dictum is usually presented as iron-clad)- does not deal adequately with either the musical potentialities of language, or how they have already manifested significantly in the lyrical poems produced both by French Symbolism and English Romanticism. Deconstructionism is notoriously soft on dealing with poetry in general- key texts like Roland Barthes The Pleasures of the Text lean heavily on fiction, as Barthes deals (for example) with Proust and Robbe-Grillet rather than Baudelaire. Poetry, especially lyrical poetry, is a direct threat to the sanctioned discourses of Deconstructionism- as a tactile, manifest testament to not-arbitrary language (which advertises, in both its intentions and its effects, its own artfulness and non-arbitrary quality), created by individuals, often to make metaphysical inquiries, and to induce sensual, visceral cognitive pleasure and enchantment simultaneously.
Lyrical poetry signifies a set of imperatives or complexes- aesthetic interests which, when fulfilled, can appear serendipitous without stumbling into the disarray of the random; and, the more exquisite the verbal music produced, the less random it seems. The materiality of this kind of text (be it Keats or Baudelaire) has its own meaning and purpose indigenous to it; it is self-sustaining and self-justifying, and manifests its purpose in its own material subsistence. Deconstructionists would, if they could, disavow lyricism; however, to disavow lyricism is to disavow all music; to discard Keats and Baudelaire would be to discard Bach and Beethoven, as well. Music can be justified qua music or qua language. Roland Barthes leaning heavily on fiction is suspect- both because fiction reinforces master narratives (of cohesiveness, of reality) of human life which may be false, and because novelistic language does not have the hinge to being irreplaceable, singular, individual which accomplished lyricism does. Unless Deconstructionism in the twenty-first century can develop a discursive chiasmus with poetry and the lyrical, there will remain suspicions that the motivations of/for Deconstructionist discourse are destructive, rather than creative ones; and that the Deconstructionist elevation of fiction over poetry has in it the contradiction of willful ignorance of musical language (melopoeia) which, in both its motivations and its effects, is not arbitrary. It is another frightening realization of an alignment between Deconstructionism and post-modernity- an alignment based, metaphorically speaking, on killing.