phanopoeia n.

*bhā-, Proto-Indo-European root meaning "to shine."

It forms all or part of: aphotic; bandolier; banner; banneret; beacon; beckon; buoy; diaphanous; emphasis; epiphany; fantasia; fantasy; hierophant; pant (v.); -phane; phanero-; phantasm; phantasmagoria; phantom; phase; phene; phenetic; pheno-; phenology; phenomenon; phenyl; photic; photo-; photocopy; photogenic; photograph; photon; photosynthesis; phosphorus; phaeton; sycophant; theophany; tiffany; tryptophan.

It is the hypothetical source of/evidence for its existence is provided by: Sanskrit bhati "shines, glitters;" Greek phainein "bring to light, make appear," phantazein "make visible, display;" Old Irish ban "white, light, ray of light."

"one endowed with the gift and power of imaginative invention and creation, attended by corresponding eloquence of expression, commonly but not necessarily in a metrical form" [Century Dictionary, 1895], early 14c., "a poet, an author of metrical compositions; one skilled in the art of making poetry; a singer" (c. 1200 as a surname), from Old French poete (12c., Modern French poète) and directly from Latin poeta "a poet," from Greek poētēs "maker, author, poet," variant of poiētēs, from poein, poiein "to make, create, compose," from PIE *kwoiwo- "making," from root *kwei- "to pile up, build, make" (source also of Sanskrit cinoti "heaping up, piling up," Old Church Slavonic činu "act, deed, order").

Replaced Old English scop (which survives in scoff). Used in 14c., as in classical languages, for all sorts of writers or composers of works of literature. Poète maudit, "a poet insufficiently appreciated by his contemporaries," literally "cursed poet," is attested by 1930, from French (1884, Verlaine). For poet laureate see laureate.

"Communication" will not explain poetry. I will not say that there is not always some varying degree of communication in poetry, or that poetry could exist without any communication taking place. There is room for very great individual variation in the motives of equally good individual poets; and we have the assurance of Coleridge, with the approval of Mr. Housman, that "poetry gives most pleasure when only generally and not perfectly understood." [T.S. Eliot, "The Use of Poetry and the Use of Criticism"]