Wittgenstein's analysis of social practice as rule-
following, and his claim that following a rule is a
convention rather than a logical necessity, has profound implications for poetry — conventions of form (the sonnet, the ode) are not natural or necessary but are shared practices that make certain kinds of meaning possible; Pope's "Essay on
Criticism" is a philosophical treatise on poetic convention — the neo-classical rules of decorum, genre, and
imitation — defended on the grounds that conventions encode the accumulated wisdom of tradition;
A poet choosing to work in traditional forms might reflect philosophically on convention — the decision to accept formal constraints is not mere conservatism but an acknowledgment that conventions provide the shared grammar through which communication becomes possible; The avant-garde's rejection of convention is itself a philosophical claim about the relation between convention and freedom — the argument that inherited forms carry ideological content that constrains what can be said and thought
within them; Language poetry's interrogation of the conventions of transparent communication — the convention that words refer to things, that sentences express thoughts — is a philosophical analysis of the arbitrary character of linguistic convention (following Saussure's insight that
the sign is conventional, not natural); Adrienne Rich's departure from her early formal conventionality into free verse is a philosophical act — the rejection of inherited conventions as inadequate to the truths she needed to tell, an argument that convention can become a form of dishonesty