Turn Into Self

I’d rather not follow the classic form of emblem poetry, no offense to God’s hand. Although it can be interesting to think of, it has been done many times before- as evidenced in the text- and honestly, the only poem that stood out to me was the Frost poem. So what does this say about pondering design? I think it says that I got a little bored (in agreement to what Aaron admitted in class) and that other readers may get bored as well.

While gazing at paintings and metal or wood sculptures in class today, I found myself turning the poems from objects in the gallery to myself or relations I have with others. This, I thought, was kind of interesting. When a single sculpture came into focus, I looked at myself. When a sculpture or painting reminded me of someone, I turned the poem off the art and onto a critique or moment of a relationship.

I think an even better direction for me to take would be, what does it mean that I am viewing artwork? In essence, isn’t the artwork viewing all sorts of people as they pass or interact with it? I think responses to those questions would be rather interesting and Philosophical. I like to make myself think, which would help me broaden my undertandings of things.

3 Responses to “Turn Into Self”

  1. I really enjoy the idea of looking at artwork/an object/whatever and asking yourself “What does it mean that I am viewing the artwork?” and how your view on it is a lot different than other people who interact with the object. That’s a really good idea for the emblem structure and seems a lot more interesting for a poet and a reader of poetry.

  2. I am not interested in a religion-based turn, either, but I do think that “God’s Hand” is very similar to philosophical turns. Effectively, the emblem structure takes a description and sees how it applies to life, right? Traditionally, the religion-esque turn was one to how the description applies to God’s Grace. Does that make sense? The emblem structure is taking a description and saying, hey, this is about more than just the minnow/spider/etc. I intend to go into better detail in my own post–

  3. I feel like I agree with you to a point. I think that the ‘gods hand’ can be interesting if it makes me feel something in the beginning of the poem. I also think I like how interesting it is that, after I interpret it, I can see how the speaker of the poem has interpreted it. I do agree that if there is no emotion felt in the descriptive part of the emblem poem then the poem may become very stale at parts; especially if the description drags on. I’ve been wondering about this and trying to figure if this type of poetry is more meaningful to the reader or to the author/speaker of the poem. The poem may be extremely exciting to the author/speaker because they are investigating themselves and the world, finding meaning and truths out and expressing ideas, but if there is nothing that the reader connects with or agrees with in the poem then the meaning becomes ‘lost in translation’. Sort of like the diagram where there is a middle area between an author and a reader where the communication takes place and emotions should be felt and conveyed, but if that is not there then what is the meaning of the poem or piece of work?

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