The text is carved in the form of a spiral on the front of one of the church pews and created in 1510 by master carpenter Erhart Falckener. 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. Examples include poems by Simmias of Rhodes in the shape of an egg, wings and a hatchet, as well as Theocritus’ pan-pipes. 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. Though the term ‘concrete poetry’ is modern, the idea of using letter arrangements to enhance the meaning of a poem is old. 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. 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. It is sometimes referred to as visual poetry, a term that has now developed a distinct meaning of its own. "Constantinople", a 'ferro-concrete poem' from Tango with Cows by the Russian Futurist Vasily Kamensky, 1914Ĭoncrete poetry is an arrangement of linguistic elements in which the typographical effect is more important in conveying meaning than verbal significance.
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