Beyond Words Alone: Poets as Artists of the Intentional

 

In his wonderful The New Book of Forms, Lewis Turco tells us that poets “focus on mode, on language itself.”  Focusing on language, a poet in Turco’s view is therefore an “artist of language; his or her concentration is upon the language itself.”  Taken this way, “[p]oetry can thus be defined as the art of language.”

Though these definitions of poets and poetry are correct as far as they go, they do not go far enough. Poets are artists of the intentional; they are artists using signs that point to things beyond the signs themselves.  Since words are not the only signs, why should poets limit themselves to words?  Using C.S. Peirce’s terminology, there are in fact three kinds of signs: symbols (arbitrary signifiers such as words), icons (signifiers such as paintings that resemble what they signify), and indexes (signifiers like photographs or weathervanes that participate in what they signify).  In the realm of symbols, why should poets limit themselves to words?  In the broader realm of signs, why should poets ignore icons and indexes?  They should not of course, and William Blake gives us excellent proof.   

Rhetoric to Lettie (A Book of Original Verse)

                                        Lettie 6/12/2001 to 6/2/2013

                                        © Harold Anthony Lloyd 2016

            

Preface for Lettie

A household lacking animals

            Is like a Cyclops who

Half-brained has lost an ear, a hand,

            A leg, a nostril, too.

The Complete Palladas from the Palatine Anthology

 Translated By Harold Anthony Lloyd  © 2016

Translator’s Notes:

I have compiled a complete verse collection of Palladas in English for several reasons.  First, of course, the merits of the best lines speak for themselves and much of this is lost in prose translation.  Second, almost all that is known of Palladas comes from his verse.  Much like the historical search for the identities of Shakespeare’s young man and dark lady in his sonnets, Palladas’s epigrams provide most of the fodder for speculation about the poet himself.  This of course cannot be done as fully in the absence of every available epigram and therefore requires inclusion of his lesser lines.  Third, this sort of inquiry applies to characters in the epigrams themselves such as Hypatia and the wife of Palladas.  Fourth, the epigrams show the fascinating state of the world as the Greek gods gave way to the god of Christianity.  Finally, the epigrams show the fate of a grammarian who would have lived solely by his art but had to abandon that art in the face of starvation.  This perhaps gives some comfort to other poets who have chosen a trade as well as a poet’s life.

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