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In Goya’s Greatest Scenes We Seem to See . . .BY LAWRENCE...
In Goya’s Greatest Scenes We Seem to See . . .
BY LAWRENCE FERLINGHETTI
In Goya’s greatest scenes we seem to see
the people of the world
exactly at the moment when
they first attained the title of
‘suffering humanity’
They writhe upon the page
in a veritable rage
______ of adversity
Heaped up
groaning with babies and bayonets
under cement skies
in an abstract landscape of blasted trees
bent statues bats wings and beaks
slippery gibbets
cadavers and carnivorous cocks
and all the final hollering monsters
of the
‘imagination of disaster’
they are so bloody real
it is as if they really still existed
FERLINGHETTI, Lawrence. In Goya’s Greatest Scenes we seem To See. In: HOOVER, Paul (Ed.). Postmodern American Poetry. A Norton Anthology. New York/London: W. W.Norton & Company, 1994. p. 43-44
The excerpt above is part of a poem by American painter and poet Lawrence Ferlinghetti. In this poem, Ferlinghetti establishes intercourse with plastic arts, namely, paintings in which Goya depicts war. This entanglement pops up not only in the poem’s theme but also in its form, which translates to the violence and chaos experienced in war.
Mark the alternative that better defines that kind of relationship between literature and other arts.
A
Ferlinghetti's poem is a clear example of the contemporary tendency to overflow into other arts. Different media and resources dialogue with contemporary literature and produce experiments in form, language and media, all while composing different layers of meaning. The allusion to Goya's painting, for example, incorporates a strong political reference, and builds meaning upon the reader's cultural background.
B
What Ferlinghetti did in his poetry, is what we call adaptation. This means that Goya's painting was transferred to a different media (the written language) and to a different culture and context, since Ferlinghetti’s preoccupations were with industrialization and capitalism, while Goya was preoccupied with war.
C
Considering that plastic art is the exclusive terrain where visual compositions take place, the allusion to paintings in poetry is a way to exemplify themes. The purpose of visual arts in literature is not to establish dialogue and is limited to an anecdotal function.
D
Ferlinghetti is inspired by Goya’s biography to convey his admiration of the painter's technique and use of color. This can be seen through the poem's form, which tries to mimic the abstractness of Goya’s painting.
E
Ferlinghetti produces an early form of digital poetry, in which the reader influences the experience of the poem and its meaning by directly interacting with it.