Concrete poem

Concrete, pattern, or shape poetry is an arrangement of linguistic elements in which the typographical effect is more important in conveying meaning than verbal significance. It is sometimes referred to as visual poetry, a term that has now developed a distinct meaning of its own. As such, concrete poetry relates more to the visual than to the verbal arts and 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 poems in which the words are arranged in such a way as to depict their subject.

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, wings and a hatchet, as well as Theocritus’ pan-pipes.

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 in the German town of Hesse. The text is carved in the form of a spiral on the front of one of the church pews and is one of several decorative designs there created in 1510 by master carpenter .

Early religious examples of shaped poems in English include "Easter Wings" and "The Altar" in George Herbert’s The Temple (1633) and Robert Herrick’s "This cross tree here" (in the shape of a cross) from his Noble Numbers (1647). An alternative religious precursor is Micrography, a technique for creating visual images by Hebrew-speaking artists who create pictures using tiny arrangements of Biblical texts organized usually on paper in images which illustrate the text used. As noted in the entry, micrography allows the creation of images of natural objects by observant 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.

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Wikipedia