Concrete poetry

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"Constantinople", a 'ferro-concrete poem' from Tango with Cows by the Russian Futurist Vasily Kamensky, 1914 Constantinople-kamensky.jpg
"Constantinople", a 'ferro-concrete poem' from Tango with Cows by the Russian Futurist Vasily Kamensky, 1914

Concrete poetry is an arrangement of linguistic elements in which the typographical effect is more important in conveying meaning than verbal significance. [1] It is sometimes referred to as visual poetry, a term that has now developed a distinct meaning of its own. Concrete poetry relates more to the visual than to the verbal arts although there is a considerable overlap in the kind of product to which it refers. Historically, however, concrete poetry has developed from a long tradition of shaped or patterned poems in which the words are arranged in such a way as to depict their subject.

Contents

Development

Though the term 'concrete poetry' is modern, the idea of using letter arrangements to enhance the meaning of a poem is old. Such shaped poetry was popular in Greek Alexandria during the 3rd and 2nd centuries BCE, although only the handful which were collected together in the Greek Anthology now survive. Examples include poems by Simmias of Rhodes in the shape of an egg, [2] wings [3] and a hatchet, [4] as well as Theocritus' pan-pipes. [5]

The post-Classical revival of shaped poetry seems to begin with the Gerechtigkeitsspirale (spiral of justice), a relief carving of a poem at the pilgrimage church of St. Valentin, Kiedrich. The text is carved in the form of a spiral on the front of one of the church pews [6] and created in 1510 by master carpenter Erhart Falckener. But the heyday of the revival of shaped poetry came in the Baroque period when poets, in the words of Jeremy Adler, "did away with the more-or-less arbitrary appearance of the text, turned the incidental fact of writing into an essential facet of composition, and thereby…created a union of poetry with the visual arts". [7] There were already precedents for this in Micrography, a technique for creating visual images used by Hebrew artists, which involves organizing small arrangements of Biblical texts such that they form images which illustrate the subject of the text. Micrography allowed the creation of images of natural objects by Jews without directly breaking the prohibition of creating "graven images" that might be interpreted as idolatry. The technique is now used by both religious and secular artists and is similar to the use of Arabic texts in Islamic calligraphy. [8]

George Herbert's "Easter Wings" (1633), printed sideways on facing pages so that the lines would call to mind angels flying with outstretched wings GeorgeHerbertEasterWingsPatternPoem1633.jpg
George Herbert's "Easter Wings" (1633), printed sideways on facing pages so that the lines would call to mind angels flying with outstretched wings

Early religious examples of shaped poems in English include "Easter Wings" and "The Altar" in George Herbert's The Temple (1633) [9] and Robert Herrick's "This crosstree here", which is set in the shape of a cross, from his Noble Numbers (1647). [10] Secular examples include poems on the subject of drinking in the shape of wine flagons by Rabelais [11] and Charles-François Panard (1750), [12] supplemented by the elaborate goblet of Quirinus Moscherosch (1660), [13] the playful "A Toast" (Zdravljica, 1844) by France Prešeren, with stanzas in the shape of wine-glasses, [14] and "The Mouse's Tale", a shaped poem published in 1865 by Lewis Carroll.

The approach reappeared at the start of the 20th century, initially in the Calligrammes (1918) of Guillaume Apollinaire, with poems in the shape of a necktie, a fountain, and raindrops running down a window, among other examples. In that era also there were typographical experiments by members of avant-garde movements such as Futurism, Dada, and Surrealism in which layout moved from an auxiliary expression of meaning to artistic primacy. Thus the significance of the sound poetry in Marinetti's Zang Tumb Tumb (1912) is expressed through pictorial means. Similarly in Germany, Raoul Hausmann claimed that the typographic style of his "Phonemes" allowed the reader to recognize what sound was intended. [15] In Russia the Futurist poet Vasily Kamensky went so far as to term the typography of his Tango with Cows , published in 1914, "ferro-concrete poems" (zhelezobetonnye poemy), long before the name became current elsewhere.

A further move away from overt meaning occurred where "poems" were simplified to a simple arrangement of the letters of the alphabet. Louis Aragon, for example, exhibited the sequence from A to Z and titled it "Suicide" (1926), while Kurt Schwitters' "ZA (elementary)" has the alphabet in reverse, [16] and the Catalan writer Josep Maria Junoy (1885-1955) placed just the letters Z and A at the top and bottom of the page under the title "Ars Poetica". [17]

Post-war concrete poetry

During the early 1950s two Brazilian artistic groups producing severely abstract and impersonal work were joined by poets linked to the São Paulo magazine Noigandres who began to treat language in an equally abstract way. Their work was termed "concrete poetry" after they exhibited along with the artists in the National Exhibition of Concrete Art (1956/57). The poets included Augusto de Campos, Haroldo de Campos and Décio Pignatari, who were joined in the exhibition by Ferreira Gullar, Ronaldo Azeredo and Wlademir Dias Pino from Rio de Janeiro. In 1958 a Brazilian concrete poetry manifesto was published and an anthology in 1962. [18]

Dom Sylvester Houédard claimed that it was the 1962 publication in The Times Literary Supplement of a letter from the Portuguese E.M. de Melo e Castro that awakened British writers such as himself, Ian Hamilton Finlay and Edwin Morgan to the possibilities of Concrete Poetry. [19] However, there were by this time other European writers producing similar work. In 1954 the Swedish poet and visual artist Öyvind Fahlström had published the manifesto Hätila Ragulpr på Fåtskliaben. [20] [21] Similarly in Germany Eugen Gomringer published his manifesto vom vers zur konstellation (from line to constellation), in which he declared that a poem should be "a reality in itself" rather than a statement about reality, [22] and "as easily understood as signs in airports and traffic signs". [23] The difficulty in defining such a style is admitted by Houédard's statement that "a printed concrete poem is ambiguously both typographic-poetry and poetic-typography". [24]

Ian Hamilton Finlay sculpture in Stuttgart, 1975; the word schiff (ship) is carved in reverse and can only be decoded when it floats reflected on water 0256-Stuttgart Finlay-11-02.jpg
Ian Hamilton Finlay sculpture in Stuttgart, 1975; the word schiff (ship) is carved in reverse and can only be decoded when it floats reflected on water

Another difficulty of definition is caused by the way such works cross artistic boundaries into the areas of music and sculpture, or can alternatively be defined as sound poetry, visual poetry, found poetry and typewriter art. [25] Henri Chopin's work was related to his musical treatment of the word. Kenelm Cox (1927–68) was a kinetic artist "interested in the linear, serial aspects of visual experience but particularly in the process of change," whose revolving machines transcended the static page in being able to express this. [26] Ian Hamilton Finlay's concrete poetry began on the page but then moved increasingly towards three dimensional figuration and afterwards to site-specific art in the creation of his sculpture garden at Little Sparta. The Italian Maurizio Nannucci's Dattilogrammmi experiments (1964/1965) were also transitional, preluding his move into light art. [27]

Bob Cobbing, who was also a sound poet, had been experimenting with typewriter and duplicator since 1942. Of its possibilities in suggesting the physical dimension of the auditory process, he declared that "One can get the measure of a poem with the typewriter's accurate left/right & up & down movements; but superimposition by means of stencil and duplicator enable one to dance to this measure." [28] Houédard's entirely different work was also produced principally on the typewriter but approximates more to painterly and sculptural procedures. [29] So too does that of the American Minimalist artist Carl Andre, beginning from about 1958 and in parallel with his changing artistic procedures. [30] And in Italy Adriano Spatola (1941–88) developed the artistic fragmentation of language using various visual techniques in his Zeroglifico (1965/6). [31]

Edwin Morgan's experiments with concrete poetry covered several other aspects of it, including elements of found poetry 'discovered' by misreading and isolating elements from printed sources. "Most people have probably had the experience of scanning a newspaper page quickly and taking a message from it quite different from the intended one. I began looking deliberately for such hidden messages…preferably with the visual or typographical element part of the point." [32] Another aspect of the search for unintended concordances of meaning emerges in A Humument, the lifework of the visual artist Tom Phillips, who uses painterly and decorative procedures to isolate them on the page.

Despite such blurring of artistic boundaries, concrete poetry can be viewed as taking its place in a predominantly visual tradition stretching over more than two millennia that seeks to draw attention to the word in the space of the page, and to the spaces between words, as an aid to emphasising their significance. [33] In recent years, this approach has led Mario Petrucci to suggest that the "extreme example" of concrete poetry can be seen as nested within the larger concept of Spatial Form. Starting from the observation that poetry can usually be told from prose simply by looking at it, this reading of Spatial Form encompasses the many aspects of subtle visual significance that are held, for instance, by typeface or in the textures of repeated letters, as well as the more overt visual signals generated by the poem's layout. [34] [35]

See also

Bibliography

Related Research Articles

Sound poetry is an artistic form bridging literary and musical composition, in which the phonetic aspects of human speech are foregrounded instead of more conventional semantic and syntactic values; "verse without words". By definition, sound poetry is intended primarily for performance.

Visual poetry is a style of poetry that incorporates graphic and visual design elements to convey its meaning. This style combines visual art and written expression to create new ways of presenting and interpreting poetry.

<span class="mw-page-title-main">Neo-Dada</span> Art movement

Neo-Dada was a movement with audio, visual and literary manifestations that had similarities in method or intent with earlier Dada artwork. It sought to close the gap between art and daily life, and was a combination of playfulness, iconoclasm, and appropriation. In the United States the term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to work created in that and the preceding decade. There was also an international dimension to the movement, particularly in Japan and in Europe, serving as the foundation of Fluxus, Pop Art and Nouveau réalisme.

<i>Zang Tumb Tumb</i> 1914 poem by F. T. Marinetti

Zang Tumb Tumb is a sound poem and concrete poem written by Filippo Tommaso Marinetti, an Italian futurist. It appeared in excerpts in journals between 1912 and 1914, when it was published as an artist's book in Milan. It is an account of the Battle of Adrianople, which he witnessed as a reporter for L'Intransigeant. The poem uses Parole in libertà and other poetic impressions of the events of the battle, including the sounds of gunfire and explosions. The work is now seen as a seminal work of modernist art, and an enormous influence on the emerging culture of European avant-garde print.

"[The] masterpiece of Words-in-freedom and of Marinetti’s literary career was the novel Zang Tumb Tuuum... the story of the siege by the Bulgarians of Turkish Adrianople in the Balkan War, which Marinetti had witnessed as a war reporter. The dynamic rhythms and onomatopoetic possibilities that the new form offered were made even more effective through the revolutionary use of different typefaces, forms and graphic arrangements and sizes that became a distinctive part of Futurism. In Zang Tumb Tuuum; they are used to express an extraordinary range of different moods and speeds, quite apart from the noise and chaos of battle.... Audiences in London, Berlin and Rome alike were bowled over by the tongue-twisting vitality with which Marinetti declaimed Zang Tumb Tuuum. As an extended sound poem it stands as one of the monuments of experimental literature, its telegraphic barrage of nouns, colours, exclamations and directions pouring out in the screeching of trains, the rat-a-tat-tat of gunfire, and the clatter of telegraphic messages." — Caroline Tisdall and Angelo Bozzola

Jeremy Adler is a British scholar and poet, and emeritus professor and senior research fellow at King's College London. As a poet he is known especially for his concrete poetry and artist's books. As an academic he is known for his work on German literature specialising in the Age of Goethe, Romanticism, Expressionism and Modernism with contributions on figures such as Goethe, Hölderlin, and Kafka.

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An altar poem is a pattern poem in which the lines are arranged to look like the form of an altar. The text and shape relate to each other, the latter usually giving added meaning to the poem itself. The tradition of shaped poetry goes back to Greek poets writing in Alexandria before the Common Era but most examples date from later and were written by European Christian poets during the Baroque period.

Andrew Lewison Hoyem is a typographer, letterpress printer, publisher, poet, and preservationist. He is the founder and was the director of Arion Press in San Francisco until his retirement in October 2018. Arion Press "is considered the nation's leading publisher of fine-press books," according to the Minneapolis Star Tribune. Arion Press "carries on a grand legacy of San Francisco printers and bookmakers," according to Michael Kimmelman of The New York Times. Hoyem’s work in preserving the nation’s last typefoundry has been recognized by the National Trust for Historic Preservation.

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Dom Pierre-Sylvester HouédardWED-ar, also known by the initials 'dsh', was a British Benedictine priest, theologian and noted concrete poet.

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References

  1. ↑ "The essence of a poem is inferred through a simple language pattern without necessarily having to 'read' it." John Sharkey, 1971, p.9
  2. ↑ Hoyem, Andrew; Todd, Glenn (1981). "Egg by Simias of Rhodes (plate 1 in the portfolio)". Shaped Poetry. FAMSF Explore the Art. Vol. 124. Translated by W. R. Paton. San Francisco: Arion Press. Retrieved 2017-04-03– via Art.famsf.org.
  3. ↑ Rhodes, Simmias de (1 January 1640). "Français : Calligrame Les Ailes de Simmias de Rhodes, publié dans le livre Ad alas amoris divini a Simmia Rhodio compacta de Fortunio Liceti qui est consacré à ce caligramme" – via Wikimedia Commons.
  4. ↑ Guichard, Luis Arturo (2006). "Simmias' pattern poems". Beyond the Canon (PDF). Hellenistica Groningana 11. p. 103.
  5. ↑ Hoyem, Andrew; Todd, Glenn (1981). "Pan Pipes by Theocritus, plate 1 in the portfolio". Shaped Poetry. Vol. 124. San Francisco: Arion Press. Retrieved 2017-04-03– via Art.famsf.org.
  6. ↑ Higgins, p. 71.
  7. ↑ Adler, Jeremy (1982). "Technopaigneia, carmina figurata and Bilder-Reime: 17th century figured poetry in historical perspective". Comparative Criticism. Vol. 4. CUP. p. 107.
  8. ↑ "Arabic Calligraphy" (JPG). Arabicalligraphy.com. Retrieved 2017-04-03.
  9. ↑ "George Herbert: The Altar (1633)". Ccel.org. Retrieved 2017-04-03.
  10. ↑ "Robert Herrick. Noble Numbers. 268". Luminarium.org. 2001-04-17. Retrieved 2017-04-03.
  11. ↑ Unknown (20 May 2014). "Français : Illustration se trouvant à la fin du Cinquième livre de François Rabelais" – via Wikimedia Commons.
  12. ↑ "Bottle by Charles François Panard, translated by Glenn Todd, plate 10 in the portfolio Shaped Poetry (San Francisco: Arion Press, 1981) - Andrew Hoyem, Glenn Todd, Arion Press | FAMSF Explore the Art". Art.famsf.org. 1993-12-02. Retrieved 2017-04-03.
  13. ↑ Adler, 1982, p. 117.
  14. ↑ "The Manuscript of Zdravica by France Prešeren" – via Wikimedia.
  15. ↑ Scholz, Christian (2001). "Relations between sound poetry and visual poetry". Visible Language . 35 (1): 94.
  16. ↑ Mayer, Peter (1978). Alphabetic and Letter Poems. London. pp. 51–52.{{cite book}}: CS1 maint: location missing publisher (link)
  17. ↑ "Art Poetica" (JPG). 1.bp.blogspot.com. Retrieved 2017-04-03.
  18. ↑ "The Noigandres Poets and Concrete Art". Lehman.cuny.edu. Retrieved 2017-04-03.
  19. ↑ Sharkey, p.9
  20. ↑ A reference to an episode in the Swedish translation of Winnie-the-Pooh
  21. ↑ Bäckström, Per (2019). "'Hätila Ragulpr På Fåtskliaben' och diktarkonferensen i Sigtuna 1953". Edda (in Swedish). Stockholm: Fahlström stannade. 106 (1). doi: 10.18261/issn.1500-1989-2019-01-04 .
  22. ↑ "From Line to Constellation", 1954, trans. by Mike Weaver in Image Magazine, Dec. 1964.
  23. ↑ Sharkey, p.12
  24. ↑ Peter Mayer, "Concrete poems just are", Eye Magazine 20, Spring 1996
  25. ↑ Alan Riddell's 1975 anthology Typewriter Art is available online
  26. ↑ Cobbing, GLOUP & WOUP
  27. ↑ "Maurizio NANNUCCI : more information". Mam-st-etienne.fr. 2012-09-30. Retrieved 2017-04-03.
  28. ↑ Finch, pp.45-6
  29. ↑ f. "The Shape of Poetry /2 : Dom Sylvester Houédard's 'Typestracts' – SOCKS". Socks-studio.com. Archived from the original on 2017-06-30. Retrieved 2017-04-03.
  30. ↑ "The Shape of Poetry: Carl Andre's Typed Works – SOCKS". Socks-studio.com. Archived from the original on 2017-03-20. Retrieved 2017-04-03.
  31. ↑ "Adriano Spatola e la poesia concreta: Zeroglifico (Sampietro, Bologna 1966)" (PDF). Archiviomauriziospatola.com. Retrieved 2017-04-03.
  32. ↑ The section Newspoems 1965-71 in Themes on a Variation, Manchester 1988, pp.63-112
  33. ↑ "Reading space in visual poetry", Writing Technologies, Vol.4 2012, pp.75-106
  34. ↑ "Spatial Form" . Retrieved 2021-04-30.
  35. ↑ Writing In Education, National Association of Writers in Education, issue 40 (2006), pp.37-40.

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