I love discovering new interesting voices. This week, I am introducing Aprilia Zank to the plum tree. Aprilia is a wonderful poet in her own right who also speaks with an authoritative voice on the nature and structure of poetry. The photos (except the one of T.S. Eliot) are Aprilia’s own~ sent in to illustrate the reflective/translational character of her piece. Thank you Aprilia for your great contribution to the plum tree.
By Aprilia Zank
That poetry cannot have a universally valid definition is commonplace; to try and move one step nearer to it, worthwhile. My yearlong academic research (PhD included) having focussed on aspects of poetry reception and limits of translatability, it is no wonder that, before long, I came to look upon poetry as a form of double translation. In a poem, what starts as a primary amalgam of feelings, sensations and urges, is being grasped, structured, organised and, ultimately, ‘translated’ into words and images – an end product from the poet’s perspective. For readers, though, this end product is a beginning, a platform for interpretation. They must undergo the opposite process: from the printed words to the mental images, to the depths of whatever urged the poet to write that special poem in that special way. To what extent the readers can be successful in their endeavour to ‘translate’ (interpret) it widely depends on the degree to which the primary amalgam, the raw material at the origin of the poetic work, has been structured and organised by its author into the end product. The more transparent the structuring of the raw material is, the less demanding the reader’s task will be, due to the fact that the author’s intention is easier to grasp. Where the author is very parsimonious when putting flesh to the bones of his work, the challenge for readers is a huge one. But it is precisely the potential of every piece of literature to be read in more than one way that makes this work vital and durable. This richness of potential interpretations is both synchronic and diachronic. Since its existence, literature of any kind – poetry included – has been interpreted according to the spirit, the mentality and the sensitivity of each age. As an individual receptor of a poetic message, the reader undertakes the creative work of ‘translating’ the author’s poetic images and metaphors into his own semantic, aesthetic, spiritual and affective categories. Ideally, the input and the output should be the same, in reality, there may be as many interpretations as readers; the statement holds true that beauty lies in the eyes of the beholder, understanding in the mind of the reader. And often enough, even though we have the feeling of not quite grasping it, we still enjoy a poem for its originality, its musicality, or, simply, its ineffable quality.
For me, poetry is involvement, in aesthetic terms, with life in all shades, from the beauteous to the sordid, from the exuberant to the unspeakable. The “I” of my poems is not necessarily autobiographical, but rather an incentive for the reader towards introspection of his/her own self. I’m an ardent lover of T. S. Eliot’s poetry and a ‘fierce’ supporter of his claim that poetry is not “a turning loose of emotion”; that is why I greatly appreciate poems in which I can sense the huge work behind the lines. As a reader and editor, this is one of my main criteria for poetry selection – as a poet, the first requirement on myself.
Well considered. There are so many layers to the act of poetry, which is one of its gifts to us, and it is a place where writer and reader meet with open minds and heart. One thing that I have learned from “blogging” my poems (where there is instant feedback) – as opposed to traditional publishing – is that once set free in the world, they no longer belong to the writer. As you say, Aprilia, the reader does undertake “the creative work of ‘translating’ the author’s poetic images and metaphors into his own semantic, aesthetic, spiritual and affective categories.” The reader then become the owner of a poem that is somewhat different from the one that leapt from the writer’s spirit.
Enjoyed much – and the artwork is stunning – Thank you, Niahm and Aprilia.
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Thank you Jamie. Love your comment. Thank you for dropping by.
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Thank you so much, Jamie, for your kind comments!
And, yes, I fully agree with you that ‘once set free in the world, they (the poems) no longer belong to the writer’.
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Think of a Venn diagram. The poem is the shaded bit in the middle, where the two circles ( poet and reader) overlap. I would suggest that a good poem very nearly has a life of its own- I don’t like to see the hard work- that should be covered up- even the poet should be able to slip out of the door once the poem is completed.
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Great comment, Jack Spratt!
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Great comparison, Jack!
When I say ‘the hard work’, I actually mean the process of refining the poetical ‘raw’ material, the endeavour to turn the trivial daily language into an intricate literary pattern.
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I enjoyed reading Aprilia Zank’s comments as I know so little about the nature and structure of poetry. And, I enjoyed Jack’s comment. I just know what touches my soul.
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Yes! We don’t analyse poetry Patricia. We just know if it makes us feel something.
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Thank you, Patricia!
This is so true, we can theorise everything, but what really matters is what touches one’s soul.
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Poetry is an art
Poetry is an emotion
Poetry is semantics
Poetry is aesthetics
Poetry is not prose
Poetry is music to the ears
Poetry is connotations
And lastly Poetry is photography of images…!!
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Lovely Pendyala.
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Well said, Dr .Pendyala, poetry has so many facets and, often enough, it is an echo of music, painting, or other forms of art.
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Thank you dear Niamh…
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very intriguing reading aprilia’s perspective – to me, poetry, far too frequently, is overly analyzed – overly scrutinized – baring the bones and leaving the nourishing meat cast aside – the meat of emotion – of passion – feeling –
i particularly like the idea of the venn diagram in terms of poetry and its relationship with its reader[s] –
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True, indeed, Jenean, but one just can’t help it, the inquisitive mind is keen to understand and to define…
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Thank you for sharing your doctoral insights, Aprilia! 🙂 Great to have you sharing with us here. I always enjoy meeting people from all around our little blue globe. I’m so happy you speak English. Your words convey your intent, and I believe I understand what you are saying.
“Say what you mean, and mean what you say.” I’m not a mean person, but sometimes, I do wish to make my points clear and understandable. When writing about spiritual symbols or vague ideas, I like to sound as mysterious as the subject matter. I’m guessing the latter would be more open to interpretation. Specifically, I might leave a clue or two to help the reader catch my drift, especially when writing poetry, where too much elaboration can enable the readers mind to drift. Are you still with me? 😉
Good to see you again! Peace and luvz, Keith
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This is for you dear Uncle Tree
She has the class
she has the radiance
she has the tenderness
she has the confidence
she has the charm
she can excite anyone
she smells of trust & love
she can drive you insane
She is the inspiration to wake up
she can make you dizzy
she can make you happiest
she can make you smile laugh & cry
she is the most beautiful
Her name is Poetry…
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so lovely when people post their poetry here…and such sweet words. You are always welcome Pendyala.
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Thank you Dr. Niamh Clune and thank you dear Aprilia Zank…
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What beautiful paintings. 🙂
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So glad you like the images, Erik! They do look like paintings, don’t they? They are actually the brilliant photographic work of Aprilia. Photography and art are one!
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Brilliant ! Such a talented person. Congrats Aprilia and Niamh on a great piece and the artwork is truely amazing.
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