Wanderer Above the Sea of Fog
By Caspar David Friedrich (c. 1818)
Every now and then, I like to revisit ekphrasis (using other art forms
as inspiration for poems)—we’ve done it before on the blog, and I thought it
might be a nice time of year to relax and to write an ekphrastic poem.
Derived from the ancient Greeks,
Ekphrastic poetry began when students learned to write poetry by focusing on
the architecture and art in museums or grand public places. The form has
interested poets of the past and has made a comeback in the last decade. Right
now, it seems to be especially popular.
Ekphrasis usually includes, but
is not limited to, the use of enargia. This term comes from classical rhetoric.
It means to make an object appear lively before the reader’s eye. This usually
happens through careful recreation of the visual artifact through verbal means,
such as detailed description, use of sensory information, imagery, etc. In
other words, ekphrasis normally attempts to visually reproduce the art object (i.e.
painting) for the reader so the reader can experience the same effect or
reaction as the poet. This is sometimes called “painterly” poetry.
Importantly, Ekphrastic poetry is more than mere textual description or verbal interpretation of visual art. Making an object (painting or other work of art) lively before the reader’s eye involves, in the best Ekphrastic poems, an emotional and perhaps even spiritual response to the work of art—achieved through written language.
Through the centuries of literary history, such poets as John Keats, in his poem “Ode on a Grecian Urn” (ceramic art rather than painting, “Ode on a Grecian Urn”), have experimented with Ekphrastic poetry. Robert Browning, in his poems “Fra Lippo Lippi” and “Andrea del Sarto,” created dramatic monologues in which painters muse to themselves about their paintings. Other poets who have worked with Ekphrastic poetry include:
Importantly, Ekphrastic poetry is more than mere textual description or verbal interpretation of visual art. Making an object (painting or other work of art) lively before the reader’s eye involves, in the best Ekphrastic poems, an emotional and perhaps even spiritual response to the work of art—achieved through written language.
Through the centuries of literary history, such poets as John Keats, in his poem “Ode on a Grecian Urn” (ceramic art rather than painting, “Ode on a Grecian Urn”), have experimented with Ekphrastic poetry. Robert Browning, in his poems “Fra Lippo Lippi” and “Andrea del Sarto,” created dramatic monologues in which painters muse to themselves about their paintings. Other poets who have worked with Ekphrastic poetry include:
William Carlos
Williams – “Landscape with the Fall of Icarus”
Maria Rainer Rilke –
“Archaic Torso of Apollo”
Percy Bysshe Shelley
– “On the Medusa of Leonardo da Vinci”
Frank O’Hara – “Why I Am Not a Painter”
Guidelines:
1. Use the image above (click on it to see a larger view) or choose a work of art on your own (painting, sculpture, musical composition, photograph, etc.) and write a poem based on it.
2. Be sure to acknowledge the artwork somewhere in your poem (I like to do this at the beginning of the poem, just under the title).
Tips:
1. Don’t just describe the artwork you’ve chosen; let the artwork be your guide and see where it leads you. Relate the artwork to something else (a memory, a person, an experience, a place).
2. Some ways to approach your poem:
- Speak directly to the artwork; that is, address the subject (or subjects) of the art.
- Write from the perspective of the artwork, or adopt the persona of the artwork itself (i.e., write as if you are the Mona Lisa.
- Write in the voice of the artist who created the artwork.
3. Work with strong images and,
if you tell a story, be sure not to overtell it.
4. Think about including some caesuras (pauses) for emphasis, and leave some things unsaid—give your readers space to fill in some blanks.
5. Pose an unanswered question or go for an element of surprise. Let your poem take an interesting or unexpected turn based on something triggered by the artwork.
6. Look at the “movement” of the artwork you’ve chosen and try to represent that movement in your line and stanza breaks. For example, if a painting “moves” across the canvas, find a way to suggest similar movement in the way you indent and create line breaks.
Example:
Here’s an example from my book A
Lightness, A Thirst, or Nothing at All:
Just Perhaps
(After Ophelia by John Everett Millais)
Buoyed
by her dress, she barely breaks the water’s surface—arms outstretched, palms
upturned. Pansies float above her skirt. There are daisies on the glassy
stream, and, there (to the left, above her head), a bird on the pollard from
which she jumped or fell. Broken willow, broken bough.
And just perhaps, as Hamlet’s mother said, she’s still alive and singing—see, her mouth is open, and her eyes; and just perhaps, she doesn’t know how close to death she is—or why this painting makes me think of you. Your death was not offstage the way Ophelia’s was (the ladder placed, the rope around your neck); nor was the way you parted from yourself, the silent swinging—only air beneath your feet.
Copyright © 2016 by Adele
Kenny. All rights reserved.
From A
Lightness, A Thirst, or Nothing at All, Welcome Rain Publishers
