Page i

Frontis: This poem, one of the earliest in circular form, was probably composed by Pierre Abélard (1079 1142). The earlier of two surviving manuscripts, this one dates from the thirteenth century and seems to have been made at the scriptorium of the Cistercian Monastery at Quincy (Côte-d'Or). See page 28. Archives of the Département d'Hérault, Montpellier, France, "10 F 103." Printed by permission.

title | : | Pattern Poetry : Guide to an Unknown Literature
author | : | Higgins, Dick.
publisher | : | State University of New York Press
isbn10 | asin | : | 0887064132
print isbn13 | : | 9780887064135
ebook isbn13 | : | 9780585065120
language | : | English
subject |  | Visual poetry--History and criticism.
publication date | : | 1987
lcc | : | PN1455.H54 1987eb
ddc | : | 809.1
subject | : | Visual poetry--History and criticism.

Page ii

Page iii

PATTERN POETRY

Guide to an Unknown Literature

DICK HIGGINS

With appendices by Dr. Herbert Francke (Bavarian Academy
of Sciences) on Chinese Pattern Poetry and a comparative
study by Dr. Kalanath Jha (Bhagalpur University) on the
Citrakavyas of Sanskrit and the Prakrits

"El mundo es un labirinto poetico..."
P Juan Eusebio Nieremberg (1633)

STATE UNIVERSITY OF NEW YORK PRESS

Page iv

For Judith Hoffberg, who said
"now is the time"

Book design by Bruce R. McPherson.

Published by
State University of New York Press, Albany
© 1987 State University of New York
All rights reserved
Printed in the United States of America

No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews.

For information, address State University of New York Press, State University Plaza, Albany, N.Y., 12246

Library of Congress Cataloging in Publication Data

Higgins, Dick, 1938-
Pattern poetry.
Bibliography: p. 234
Includes index.
1. Visual poetry-History and criticism. I. Title.

PN1455.H54 1987 809.1 87-10199

ISBN 0-88706-413-2

ISBN 0-88706-414-0 (pbk.)

10 9 8 7 6 5 4 3 2 1

Page v

CONTENTS

FOREWORD AND ACKNOWLEDGEMENTS

vii

CHAPTER ONE

A Short History of Pattern Poetry

3

CHAPTER TWO

Pattern Poems by Language and Literature

19

Greek

19

Latin

25

Hebrew

54

Hungarian

58

Italian

63

French

65

German

71

Scandinavian

88

Dutch and Flemish

94

British and English-language Literatures

95

Hispanic

112

Slavic: Polish

130

Slavic (continued)

146

Other European Languages and Literatures

150

CHAPTER THREE

Analogues of Pattern Poetry from Outside the European Languages and Literatures

152

The Far East

153

The Citrakavyas and Other Analogues in India

157

Islamic Literatures

165

Languages and Literatures in which no Pattern Poems have been Reported or Published

168

CHAPTER FOUR

Analogues of Pattern Poems

171

Acrostics, Telestics, and Mesostics

171

Lapidary Inscriptions

173

Leonine Verse

174

Magical Inscriptions and Formulae

175

Mathematical Arrays and Poems

177

Musical Analogues of Pattern Poetry

179

Proteus Poems

183

Rebuses and Other Puzzle Poems

184

Shaped Prose

187

Sound Poetry

191

CHAPTER FIVE

The Life and Death of Forms

197

Labyrinths

197

Manuscripts

202

Hypotheses Towards a Theory

206

APPENDIX I

Chinese Patterned Texts

211

By Dr. Herbert Franke

APPENDIX II

Sanskrit Citrakavyas and the Western Pattern Poems

221

By Dr. Kalanath Jha

APPENDIX III

A Glossary of Terms

230

BIBLIOGRAPHY

234

Articles

234

Books

239

Dissertations

256

Supplemetary Bibliography

257

INDEX

266

Page vi

Page vii

FOREWORD AND ACKNOWLEDGEMENTS

THE PROJECT OF DOCUMENTING all pattern poems, which began in 1967, can never be finished. Or, at least, it cannot be finished now or by one person. When I began my work I was a visual poet and publisher, involved in introducing concrete poetry in the United States, which I did by bringing out Emmett Williams's An anthology of concrete poetry (1968), of which I was also the book designer. The time was right for such a publication, and concrete poetry became extremely well known as a phenomenon, to the point where, in many or even most libraries, the subject listing under which one finds visual poetry books is "concrete poetry," even though that term should really be reserved for works from the 1950s and 1960s which use the alphabet. However, I noticed that, while most of the concrete poets were well aware of visual poetry by the dadaists, futurists, and others from the early years of the century, very few of them were aware of any earlier visual poetry. I knew George Herbert's "Easter wings" and a few German pieces, as well as the Hellenistic Greek ones. I became curious as to how many other pieces I could collect. And so the project began of collecting as many pieces as possible. I imagined that there were perhaps a hundred such pieces, and if I had known that my collection and documentation would take twenty years and would involve something like two thousand pieces from most written literatures of this world, I think I would not have attempted to complete the project.

In subsequent years the various popular anthologies of visual poetry appeared which included earlier piecesBowler (1970), Massin (1970), Dencker (1972), Klonsky (1975) and Peignot (1978)with varying degrees of scholarship and quality. These works made it all the clearer that there was great confusion surrounding the earlier works, with regard to bibliography and terminology as well as other aspects. So I did my best to persevere in this Quixotic quest of mine, perhaps against my better judgement and certainly against the advice of publishers and sources of funding, who said the project was too obscure or that the work simply could not be done. The present work is the end result, presenting a picture of an unknown body of literature that is fascinating for the paradigms which it sets up for the literary and cultural historian, the theoretician, the comparative literature specialist, and the graphic arts student. On top of this, some of the visual poems which I found (not all) are incredibly beautiful and their intrinsic value alone, I hope, justifies my efforts.

In my work I have used a historical criterion more than any other; "pattern poetry," in this work, is visual poetry from before 1900, in which the text and visual form interact or, at least, in which the text fills in the visual form as opposed to having been superimposed over an earlier text. The year 1900 seemed a logical one in which to end, since by that time pattern poetry had slipped into great obscurity and the new wave of visual poetry was just beginning. Obviously, some few subsequent pieces resemble earlier pattern poetry more than they do the visual poems of our time, notably some fine works in the slavic literatures; but such pieces I have excluded on chronological grounds, for better or for worse.

Clearly, the publication of this work will ring a bell with some readers, and they will say, "WaitI know a piece which is not in the book." That is how it should be. Although I have written upwards of twelve thousand letters, in my attempt to locate and to document all pattern poems, and to acquire photocopies and microfilms for my files, my aim is not to shut the subject off but to open it up, so that we can proceed to genre criticism and go beyond

Page viii

mechanical documentation. This needs more material, more voices than my own. Perhaps some of the pieces yet to be discovered will change our picture of the pattern poetry of a particular literature, possibly of pattern poetry as a whole. One can only welcome this.

The methodology of collecting such materials is rather simple. First, one lists all published pieces, documenting and verifying the given sources, and follows up all bibliographic references in them. Next, one contacts the author, since in many cases an author's work, as I have said mine surely will, brings about the discovery of further works that came too late for inclusion. One makes a list of such "sure things" to research, and notes the nature of the work that is cited. When this is done, one undertakes blind searching as well, hunting in likely placesworks which sound, from their listing in card catalogs and bibliographies, as if they might be similar to works which one has found to contain pattern poems. Time after time I would go to the New York Public Library with my list of works to check and verify, but always I would save a few hours at the end of the day for running blind searches. Once every few times, after scanning a dozen or so forgotten volumes, I would find a piece that no one had reported.

"Never trust the experts," was my rule, since, while they might well be experts in the known literatures, there are no experts in pattern poetry. Time and time again some expert would tell me that no pattern poetry existed here or there, or that there was only one piece in a given literature. Sometimes the expert would even offer a theory as to why this was so. But if my efforts have demonstrated anything, it is that the impulse to combine the visual and the literary experience in a poetic work is incredibly widespread, almost universal, and many of the literatures which do not appear in my work, in spite of my efforts, surely contain pieces waiting to be found. Therefore, it makes sense to ask whoever seems likely to be able to help. For example, when I asked Dr. Angel Kalenberg of the Museo Nacional de Artes Plasticas in Montevideo, Uruguay, about Uruguayan pattern poetry, he not only told me about the pieces there but also kindly put me into contact with Dr. José Mindlin, a private collector in São Paulo, Brazil, who, as it turned out, owned a manuscript which includes two pattern poems (described in our Brazilian section of Chapter Two). Had I trusted the opinion of the experts on Brazilian colonial literature, these poems would not have been found, and the search would have stopped on the ground that pattern poems could not exist because printing was forbidden in Brazil during the colonial period. And so the search goes on, slowly and haphazardly, as the pieces of the overall puzzle appear and the picture of pattern poetry becomes more clear.

As for my method of reporting pieces, it became clear that I should use modern place names wherever possible. This is important because it unifies these place names, which is very significant for those whose interest is in works published in a specific locality, for graphic arts historians, and so forth. No doubt I shall be criticized for doing this, but, after all, there are other bibliographic works which mention almost all the works we have included, and it is very easy to determine that "Leyden" is listed in some works as "Lugdunum Bataviorum," for instance.

I would like to acknowledge the help of the following individuals, without whose assistance this work would not have been possible:

Eva Adler of London, England; Dr. Bengt af Klintberg of the University of Stockholm; Mr. Ahmed al-Ansari of Kuwait; Mr. Eric Andersen of Kobenhaven, Denmark; Mr. Pierre-André Arcand of Québec City; Dr. Leila Avrin of the University of Michigan and of Hebrew University in Jerusalem; Mr. Mats B of Stockholm; Mr. Jars Balan of Edmonton, Alberta; Ms. Amanda Berenguer of Montevideo' Dr. Mirjam Bohatcová of Praha, Czechoslavakia; Jean Bowen, Chief of the Music Division of the New York Public Library; Dr. Luciana Caruso of Firenze, Italy; Mr. Kuang-Fu Chu of the Oriental Division of the New York Public Library; Mr. Geoffrey Cook of San Francisco, California; Mr. Konrad Czynsky of New York City; Dr. Klaus-Peter Dencker of Grosshansdorf in the Federal Republic of Germany; Mr. Mario Diacono of Rome, Italy; Ms. Jody Doman of New York City; Mr. Nicholas Doman of New York City; Dr. Miguel D'Ors of the University of Granada in Spain; Dr. Charles Doria of Rutgers University, New Brunswick, New Jersey; Dr. Ulrich Ernst of the Bergische Universität Gesamthochschule in Wuppertal, Federal Republic of Germany; Mr. Robert W. Evans of the library at the State University of

Page ix

New York at Purchase; Dr. Herbert Franke of the Bavarian Academy of Sciences; Mr. Tran Quang Hai of Limeil-Brevannes, France; Dr. Richard Har rier of the Department of English at New York University; Dr. George Hart of the Department of Southeast Asian Studies at Berkeley, California, Mr. Richard Hayman of New York City; Mr. Jon Hen dricks of New York City; Dr. Daniela Hodrová of Praha, Czechoslovakia; Dr. R. J. Jack of the Univer sity of Glasgow; Dr. Gerald Janecek of the University of Kentucky, Lexington, Kentucky; Dr. Kalanath Jha of Bhagalpur University, India; Mr. R. K. Joshi of the Industrial Design Centre, Indian Institute of Technology, Bombay; Dr. Angel Kalenberg of the Museo Nacional de Artes Plasticas in Montevideo, Uruguay; Mrs. Patricia Kauk of the Grace Schmidt Room of Local History, Kitchener Public Library, Kitchener, Ontario Mr. Karl Kempton of Kaldron magazine, Halcyon, California; Dr. Istvan Kilián of Budapest, Hungary; Mr. Anton Korteweg of the Nederlands Letterkundig Museum in 'Sgravenhage, Netherlands; Dr. John R. Krueger of the University of Indiana; Dr. Siegfried Lienhard of the University of Stockholm; Dr. Anthony Low of New York University; [Mr. Robert] Massin of Editions Gallimard, Paris, France; Dr. José E. Mindlin of São Paulo, Brazil; Mr. Mihai Nadin of the Rhode Island School of Art and Design; Mrs. Isabel Narvaez of the Hispanic Society of America in New York; Mr. Peter Odarchenko of Takoma Park, Maryland; Ms. Felicity O'Mahony of Trinity College Library, Dublin, Eire; Mr. William O'Sullivan of Dublin, Eire; Dr. Donald Otsuka, Curator of Asian Art, Denver Art Museum, Denver, Colorado; Dr. Karl F. Otto, III, of the University of Pennsylvania, Philadelphia; Sir Denys Page, Professor Emeritus of Oxford University, England; Dr. J. Max Patrick, Professor Emeritus of the University of Wisconsin at Milwaukee; Ms. Birgit Pelzer of Brussels, Belgium; Mr. Dan Pagis of Hebrew University, Jerusalem; Dr. Denis Poni of Ljubljana, Jugoslavia; Dr. Giovanni Pozzi of the University of Freiburg; Mr. James Reaney of the University of Western Ontario, London, Ontario; Mr. Jerome Rothenberg of Encinitas, California; Mr. Gerhard Riihm of Köln, Federal Republic of Germany; Mr. Eino Ruutsalo of Helsinki, Finland; Dr. Lawrence V. Ryan of Stanford University, California; Dr. Annemarie Schimmel, Professor of Indo-Muslim Culture, Harvard University; Dr. Stephen Scobie of the Department of Literature, University of Victoria, British Columbia; Dr. David W. Seaman of the Department of French, Davis and Elkins College, Elkins, West Virginia; Dr. Harold Segel of the Institute on East Central Europe of Columbia University, New York; Mr. Ngoe Soe, currently of Rutgers University, New Brunswick, New Jersey; Dr. Erik Sonderholm of the University of Copenhagen, Kobenhaven, Denmark; Mr. Meic Stephens of the Welsh Arts Council, Cardiff, Wales; Dr. Alasdair Stewart of the Department of German of the University of Aberdeen, Scotland; Mr. Yasunao Tone of New York City; Mr. Tóth Gabor of Budapest, Hungary; Mr. Edgr Valcárcel of Lima, Peru; M. André Vernet, Honorary Professor of the Ecole de chartes, Paris; Dr. Kurt Weidemann of Stuttgart, Federal Republic of Germany; Mr. Walter Muir Whitehall of the Colonial Society of Massachusetts in Boston, Massachusetts; Mr. Emmett Williams of Berlin, Federal Republic of Germany; Dr. John A. Williams of the University of Pittsburgh, Pittsburgh, Pennsylvania; and Dr. Armando Zarate of the Department of Romance Languages, University of Vermont, Burlington.

I would also like to thank my five most frequent correspondents, advisors, and other eyes, who have put up with my constant questions and have so generously offered their materials and time in looking over my manuscript: Dr. Jeremy Adler of the Department of German, London University, London, England; Dr. Erik Dal, University of Copenhagen, Kobenhaven, Denmark; Dr. Ana Hatherly of the Universities of Lisbon and California (Berkeley); Mr. Peter Mayer of London, England; and Mr. Piotr Rypson of Warszawa, Poland. I would like to thank my wife, Alison Knowles of New York City, for her frequent support of the project, and for putting up with my ill temper when the project became stalled from time to time. And also I would like to express my appreciation to Dr. Michel Benamou (deceased) of the Center for Twentieth Century Studies of the University of Wisconsin at Milwaukee whose support when I was a fellow there in 1977 allowed me the time to organize the start of the heaviest work on this research, and to former Dean Edward Colker of the School of Visual Arts, State University of New York at Purchase, who housed my research in his department, opened many a door for me, and saved many a day with his good counsel.

Dick Higgins
State University of New York
Purchase, New York

Page 2

Fig. 1.1. 
The "Phaistos Disk." See pages 4 and 19.

Page 3

CHAPTER ONE
A SHORT HISTORY OF PATTERN POETRY

ONCE UPON A TIME there was a form that wasn't a form; perhaps it was a tribe. The story of pattern poety is, in fact, not the story of a single development or of one simple form, but the story of an ongoing human wish to combine the visual and literary impulses, to tie together the experience of these two areas into an aesthetic whole. Pattern poetry did not originate in any one simple situation or even century, as, for example, the opera did in the late sixteenth century in Florence and elsewhere in Italy. it is, rather, a maze within a maze covered over with obscurity, an attempt which recurs century after century to make the synthesis, in almost every Western literature and many Eastern ones. To those who attempt this synthesis, something of the picture of the whole seems crucially important. A visual poem has always suggested its own traditions, but to make a tradition the artist cannot feel that he or she is operating without any precedent-there must always be a trajectory through time, even when the entire story is not known. So it is that in the 1950s and 1960s the concrete poets were intensely conscious of their antecedents in dada and futurism, and, for all their apparent anti-intellectualism, the dadaists and futurists felt themselves in an iconoclastic tradition which included visual poetry somewhere in the background. For example, Waldemar Deonna, who wrote one of the early studies of pattern poetry in 1926, also published a good number of works in futurist publications. And each wave of pattern poets drew on at least some knowledge of earlier pattern poetry. Even those works which appear to come at the very beginnings of pattern poetry cannot be stated definitely as being beginnings; we can only say that no earlier ones have survived.

Pattern poetry is extremely hard to define, since it is no one thing. But it is, at least, both visual and literary artvisual poetry. The visual poetry of the twentieth century is rather well known, and its subclassesconcrete poetry, poesia visiva, parole in libertà, etc. are fairly clearly defined. For the moment it will suffice to define pattern poetry in very general terms as visual poetry from before the twentieth century but in any Western literature. That there is visual poetry in non-Western literatures is not surprising, since, as I have mentioned, it seems to be so universal a tendency to attempt the synthesis of visual and literary experience. Some discussion of the citra-Kavyas of India and Burma and of the huiwen of China appears in Chapter Three, which is devoted to the visual poetries elsewhere than in European literatures; in addition, we have attached as an appendix an article by Dr. Herbert Franke, currently President of the Bavarian Academy of Sciences, dealing with the Chinese materials, which are not at all well known in the West.

Pattern poetry is itself a fairly modern concept; the origin of the term is unknown, but it appeared some time in the nineteenth century, along with the synonymous term, ''shaped poetry." How the earlier pattern poets felt about their work, how they saw it as fitting into the whole of literature or art, is largely unknown, though we shall deal with this too in due course. But it seems unlikely that the renaissance or baroque poets would have been happy with simply isolating what we call pattern poems from their cognates in sound poetry and analogous forms. The forms associated with pattern poetryleonine verse, proteus poems, and various kinds of inchoate sound poetry, for instanceare not always visual. But in many cases, the poets who did them composed pattern poetry as well. They seem to have had some sense of these being alternate forms of poetry, intended to enrich the fabric of poetry as a whole (and perhaps of visual art). In addition, the distinction

Page 4

between poetry and prose is not always a binding one. Thus, there is a tradition of shaped prose as well as of shaped poetry. And there are even graphic musical notations-one would be tempted to call them pattern notations-which are part of the picture of the analogues of pattern poetry. These are discussed in Chapter Four.

Too, the terminology associated with pattern poetry is hard to make consistent; it is unfamiliar enough that virtually every critic who has attempted to describe pattern poetry and its subforms means something different from every other critic using the same terms. A glossary is therefore given with the appendices, to which we refer the reader who wants to clarify the special terminology used in the text. But we should repeat once more that there is, in fact, no consensus on what the terms mean. I have tried to use a common sense approach in this regard, inventing no terms of my own but repeating a sort of statistical averaging of what others seems to mean by this or that term.

The theoretical implications of pattern poetry and the questions which it raises, the problems of what our ignorance and understanding of the subject meanthese things cannot really be dealt with until enough material has been gone over to make our theorizing appropriate. The questions cannot be posed in vacuo without seeming more abstruse than they are or quite irrelevant; or, equally bad, "for specialists only," which is damning in a subject in which there are almost no actual specialists and in which the work should be of interest to anyone who wishes to understand whatever it is about our visual and literary experience which pattern poetry can explain. Thus, the aesthetics and theory of pattern poetry have had to be reserved for Chapter Five, at the end of the book.

And if this book makes anything clear, it is that pattern poetry is far, far more widespread than most people realize. One hears it said that there are, perhaps, one hundred pattern poems. But everyone who knows any of them seems to know a different hundred from everyone else. The French scholar knows the French materials, the German scholar the German ones, and, while most scholars know at least the most famous group of pieces, those that have come down to us from Hellenistic times, in the medieval collections known as the "Greek Anthology" or the "Planudian Manuscript," most scholars do not know many pieces apart from their various individual disciplines. And almost nobody seems to know very many of the pieces in the largest group of all, that in Neo-Latin poetry. In fact, we have collected some fourteen hundred or so pieces in the various Western literatures. These are organized and mentioned, at least in skeletal form, in Chapter Two, which is organized roughly chronologically and then alphabetically within each unit; we would hope that this makes the chapter easier to refer to than does the overall chronological picture that is presented in this chapter. Desirable though it might be to prepare and anthology of all known pattern poems, it would be economically unfeasible; thus, we must leave these listings raw, as it were, giving only a small number of illustrations that show the various genres and subgenres. the bibliography is therefore very important, and Chapter Two gives all the modern appearances of each poem that we could find, in the hopes that the reader will have access to at least some of the works given in the master bibliography at the end of this book and in which the actual poems appear. Chapter Two is, then, the key chapter of this bookit is the evidence on the basis of which the historical picture which we will now begin can be stated, and to which the theoretical discussions in Chapter Five refer.

The story of pattern poetry is, as I have said, a complex and ambiguous one, complicated by its overall obscurity. The story has been told mostly without regard to the field as a whole, by specialists of one kind or another, in spite of the fact that the larger public, when confronted by some actual pieces, tends to find them interesting or at least exciting.

The earliest known pieces that are possibly pattern poems are the two texts on the faces of the "Phaistos Disk," a modest-sized grey disk from roughly 1700 B.C. (see Fig. 1.1)which is in the Heraklion Museum on Crete, detailed in section I of Chapter Two, where bibliography is given. These are certainly spiral-shaped and they are certainly texts, but are they poetry? Since they are written in Minoan A, which has not been deciphered, this question cannot be answered with any degree of certainty. However, one can say that it is unlikely that they are prose in any mundane sense, business letters for instance, since it is most improbable that straight prose would be arrayed in a spirial form. Furthermore, the distinction between prose and poetry is

Page 5

not always applicable to very early writings. For example, the Hebrew Bible is often poetic prose to the extent of seeming like what we today call prose poems. So it seems to be with many such early texts. Another thing which should be noted about the Phaistos Disk is, however, that its origin is uncertain. Nothing is known from Crete which resembles it, thus raising the possibility that it was brought, at some unknown point, to Crete from wherever it was made. Therefore, it is best thought of as some sort of enigmatic forerunner of a more substantial group of pieces.

These are the six Hellenistic Greek pattern, evidently composed between 325 B.C. and A.D. 200, and shaped as two altars, an egg (see Fig. 2.1), a pair of wings (see Fig 1.2), an axe, and a syrinx (see Fig. 2.2). Very little is known about the poets, though none is anonymous; only Theocritus is at all well-known, and the dates of the others remain somewhat controversial. The bibliography on the pieces is massive and is digested in Chapter Two; furthermore, the pieces have never been truly unknown to those who would seek them out. One does not feel, when one reads them, as if they were innovative or avant-garde in their time. Rather, they seem like surviving texts from a lost tradition of some kind. This does not seem unlikely, since they all come down to us from the "Greek anthology," which was compiled some time in the early Middle Ages by unknown editors as poems which were acceptable to the church, probably to be used as reading materials for those few who studied Greek at that time. Except for the piece by Theocritus, the poems are all religious, perhaps intended to serve some mystical or magical function. It has been speculated that these five were originally texts intended to be inscribed on sacred objects.

The fact that we have no entire pattern poem from Classical Latin literature does not mean that none existed, merely that none has survived. In fact, Laevius (first century A.D.) is known to have written a phoenix-shaped piece which only survives in a fragment quoted in a later work, described in section II of our Chapter Two. In addition, there are several pieces in Greek, but from Rome, carved in marble between 50 B.C. and A.D. 50, known as "tabulae iliacae" because their faces depict scenes from Homer's Iliad. Nothing is known about the sculptor but his name, Theodoros, which appears on one of the pieces. They are described in detail in the

Fig. 1.2. 
Simmias of Rhodes, "The wings"(ca. 325 BC). 
See below and page 21. HellenisticGreek. 
Reprinted from Dick Higgins, George Herbert's
pattern poems: in their tradition, fig. 7. 
Copyright© 1977 Richard C. Higgins. 
Reprinted by permission.

Fig. 1.3. 
Optatian, "Carmen XIX," the trireme, folio 7 of the 
Paris manuscript. See pages 6 and 27. Reprinted from 
Julius von Schlosser, "Ein Fulder Miniturhandschrift 
der K. K. Hofbibliothek" (1892) 3. Courtesy of the 
General Research Division of the New York 
Public Library, Astor, Lenox and Tilden 
Foundations (3-MAA ).

Page 6

section on labyrinths in Chapter Five. The texts, which appear on the backs, are permutational, evidently intended to serve some magical function. They closely resemble caballistic texts that date from a much later period.

But there are twenty-five pattern poems by Optatian (fl. A.D. 325), rectangles for the most part, sometimes called "carmina quadrata," with secondary texts within the body of the main one, cancelled out from the background (so that they are also "carmina cancellata"); because these texts include other texts, the interior texts are also called "intexti" or "intexts," and they are also "mesostics'' in that some inner array of letters forms such an intext (see Fig. 1.3). As for Optatian, he probably came from Africa, and his poems are panegyrics, praises of Constantine the Great. They must have pleased the Emperor because he appointed Optatian to be his court poet around A.D. 325.

We now come to one of the typical aspects of pattern poetry, which is its characteristic function of serving very specific social purposes as occasional verse. Occasional verse has a bad reputation, since most of us assume that poetry is intended only to serve eternity. But the very fact that a pattern poem is visual, that it evokes shapes which are suitable as commemorative objects, means that it was recognized as adding to its subject in some way a visual dimension which is perhaps comparable to the function of allusion that is so much at the heart of our traditional verse. It somehow reduces the sense of datedness and triviality which occasional verse is apt to evoke. We will see this again most notably when we get to baroque pattern poetry. Nobody would argue that Optatian was one of the great Latin poets; he simply isn't. His language is rather flat and extravagant, his imagery opaque. But that he is remembered at all is probably due to his visually striking works. In their original form, according to the scholia in the Kluge and Polara editions, the pieces were executed in precious metal letters on dark blue or purple backgrounds. But unfortunately they have not survived in that form, so that the extent of their visual appeal in their original form cannot be measured. Rather, they survive in several manuscripts of a much later date, partially detailed in section II of Chapter Two, the rest given in Polara (1971) and Optatian (1973). And even here, our usual experience of the pieces is similarly inadequate, because usually we see the poems in typeset

Fig. 1.4. 
The earliest known cross-shaped poem. 
See pages 7 and 21. From Viktor 
Gardthausen, Griekische Paläographie 
(1913) 2, 61. Courtesy of the General 
Research Division, New York Public 
Library, Astor, Lenox and Tilden 
foundations (RCC).

Page 7

versions which are less visually striking than they would be in manuscript. Thus, the extent of their visual effectiveness is difficult to measure, and it is unfair to judge them by their literary quality alone. One of the pieces, "Carmen XIX," (see Fig. 1.3)is a carmen cancellatum of a trireme with sailes; what can it have looked like in the original? "Carmen XX" is an organ, with its right hand side forming a sort of syrinx effect. "Carmen XXVI" is an altar. Do these last two indicate that there was any degree of consciousness on the poet's part that the Hellenistic Greeks had found the syrinx and altar suitable shapes for their own pattern poems? We can only speculate, but it could form the evidence of a tradition.

The cross in Gardthausen (1913, 2: 60-1) (see Fig. 1.4),probably from the fifth century, is the earliest known cruciform poem; it is described in our Greek section. There are also a goodly number of anonymous Greek and Latin minor pieces from the early Christian period. But the next major pattern poet is Venantius Fortunatus (ca. 540-600), one of the principle writers of the Merovingian Frankish kingdom. He composed three surviving rectangular carmina cancellata, and one cruciform poem (see Fig. 2.12) in which the text seems to be only a formality needed to flesh in the whole as a symbolic or ceremonially evocative entity; that the piece has come down to us as one of the most consistently popular of pattern poems, surviving into the nineteenth century in German where it was worn as a good luck talisman and called the "Thomaskreuz." Since Venantius is also the author of other, more traditional hymns and poems which show an excellent poetic sense, it is not reasonable to suppose that he did not know what he was doing when he departed from normative poetry into pattern poetry; and since the poetry of his time is virtually all extremely conservative, one suspects he knew many pattern poems which have not survived. Venantius is also the first pattern poet whose works do not display any reference to the Hellenistic Greek pieces. Of course, he may well have known some of them; but his shapes do not duplicate theirs, though they do seem somewhat similar to Optatian's. In Venantius, we really enter mediaeval literature.

Passing over such minor works as a carmen cancellatum by Winifried (St. Boniface, 680-755) and a modest cruciform poem by the Lombard poet and historian Paul the Deacon (ca. 720-97), the next important group of pattern poems comes from the Carolingian period, by Alcuin (775-804), Charlemagne's tutor, by Josephus Scottus (ninth century); and others. The first highlight of this body of materials is the De laudibus sanctae crucis of Hrabanus Maurus (784-856), abbot of Fulda and a formidable poet, who wrote the Roman Catholic hymn for Pentecost, "Veni creator spiritus," whose ecstatic flavor Gustav Mahler catches perfectly in his setting of it in the first movement of his Symphony No. 8. For those familiar with this setting, the quality of Hrabanus's thirty carmina cancellata in the De laudibus will come as no surprise. They are joyful meditations covering the principal points of the Christian faith as Hrabanus saw them. The intexts are rather simple, almost in the nature of inscriptions and formulae; the poetry is in the field texts from which the intexts emerge, and in the relationship between the two (see Fig. 1.5). In addition, the original work survives in at least three exquisite manuscript versions, both equally valuable, detailed in part two of our Latin section. Unfortunately, many people know these pieces only from typeset versions in which the visual dimension is greatly reduced; thus, we should be extremely sceptical of criticism of the pieces which does not reflect some knowledge specifically of one or the other manuscript version, two of which have been published, the one in facsimile and the other in black and white.

Following Hrabanus's time, carmina cancellata slowly wane, with only a very few pieces being known from the tenth century, though these include the exquisite pieces by a monk from Riojas province in Spain, Vigila de Albeda ( = Vigilán), who made five magnificent carmina cancellata that are almost unknown; fortunately, they have been reprinted recently, and bibliography is given in Chaper Two, section ii.

The eleventh century is close to being a void, with only one Latin piece by Pierre Abèlard (see Frontis), plus a Greek one for the Emperess Eudocia Macrenbolitissa. However, the gap begins to be filled in the twelfth century with the first known Hebrew pattern poems, the tree by Abraham ben Ezra (d. 1167) and the pieces by the two Abuláfias, Abraham ben Samuel Abuláfia (1240-ca. 1291) (see Fig. 2.29)and Tadros Abuláfia (d. after 1298), the latter of whom composed another tree, while the

Page 8

Fig. 1.5. 
"Poem XXX" from Hrabanus Maurus, De laudibus sanctae crucis (ca. 845), from  the 
Osterreichische Nationalbibliothek (Wien), "Cod. Vinobadensis 652." Reprinted by permission. 
See pages 7, above, and 35, below.

Page 9

former wrote a series of circular pieces which are caballistic permutations of a simple text. With the appearance of the trees we have the first natural form that we know definitely to have been introduced since the Greeks. One might speculate that this is due to the influence of Hebrew micrographic texts, a genre of work which was new at that time, described in our section on shaped prose in Chapter Four. These are pieces in which a text is chosen, usually from the law or some other part of the Jewish Bible, and is then shaped into a brilliant visual display, with phoenixes, dragons, knights and other beingsor sometimes simply ingenious geometrical formations. These works cannot be considered pattern poems, since either the poet was not responsible for the visual element or the artist was not responsible for the poem. But the works are splendid in their own right. The tradition appears to have originated in the levant in the ninth century and to have spread westward through Italy, finally dying out in the sixteenth century in Spain and Portugal. Also in the thirteenth century we find a copy of Hrabanus Maurus's "De laudibus . . ." was made by the Nürnberg scribe Berthold, indicating that the knowledge of earlier visual poetry remained alive. This is important if one wishes to argue for the continuity of pattern poetry.

Now we come to Nicolò de' Rossi (ca. 1290-ca. 1348), who wrote what may be the earliest pattern poems in any modern language, his "Canzone 247" and "248" (see Fig 2.38).While it would be foolish to assert that the two pieces are definitely influenced by Sanskrit , still the special characteristics of the pieces are significant enough and similar enough to these that they are at the very least a remarkable instance of parallel development. In Western pattern poetry, the poem normally stands alone; in the citra-kavyas, the piece is usually given twice, once visually and once in a linear transcriptionas are de' Rossi's. The shapes of the poems suggest a necklace and a fourteen-spoke wheel, both unknown in pattern poetry but both common in citra-kavyas. De' Rossi says in his scholia that the pieces represent a star and an arch, but they do not look like either. While direct cultural influence on Italy from India was minimal at this time, we might speculate that the poet saw some manuscript which worked its way to Italy, recognized the pieces as interesting, even if he could not read what they said, tried his hand at similar pieces, and then, concerned that they not be acknowledged as pagan, might have called them whatever images seemed most acceptable. Poets have been doing such things since time immemorial. And, even if the pieces are not influenced by the citra-kavyas, they are at least very strikingly parallel.

Later in the fourteenth century we find the florid and startling poetic experiments of Iacobus Nicholae de Dacia (Jakob Nielsen, fl. 1363-79) a Dane who, around 1363, produced the "Liber de distinccione metrorum," described in our Neo-Latin section of Chapter Two. This work, which exists in two manuscripts, "Ms. Cotton Claudius A XIV" at the British Library and "Ms Latin 10323" at the Bibliothèque Nationale in Paris, and which was published in 1967 in an edition by Aage Kabell (see bibliography), includes a triangle, a series of concentric squares, a geometrical construction on squares (see Fig. 2.25), a complex star, and a wheel with concentric circlesall new shapes to pattern-poetry. The work also includes some startling experiments in alliteration which approach being sound poetry. The whole work revels in novel forms. The fourteenth century was a time of great change in the arts, with the musica antiqua being gradually replaced by the musica nova and with the earliest graphic musical notations also dating from this time (see Figs. 4.8 through 4.10), with medieval painting being replaced by renaissance painting, and it is not surprising that Iacobus should participate in this change. Also during the fourteenth century, one finds some magnificent shaped prose, such as the anonymous "Clm 7960" manuscript in the Bayerische Staatsbibliothek in München, which include six similar urns or jars (see Figs. 4.19 and 4.20) and one archway, meditations on the John ii, 6 in the New testament. Other striking examples of early shaped prose, some Byzantine examples and the Liber figurali of Joachim de Fiore (1132-1202) are described in our section on shaped prose in Chapter Four.

The fifteenth century was perhaps less inclined towards formal innovation than the fourteenth, and, correspondingly, there are almost no known pattern poems, only the "Litera Pythagora" by Janus Pannonius (1432-72), a Y-shaped poem, described in our Hungarian section of Chapter Two, and perhaps Eneo Silvio Piccolomini's labryinth (if it is authentic), but rather little else in actual poetry. However, a good deal of shaped prose was produced

Page 10

during this time, such as, at the end of the century, the Hypnerotomachia Poliphilis of Francesco Colonna (d. 1527), which was first published by the great printer Aldus Manutius in 1497 at Venezia, detailed in the shaped prose section of Chapter Four.

However, shortly after the beginning of the sixteenth century we find the start of the largest body of pattern poetry of all, which continues through the baroque and into the eighteenth century. That such a convergence of the visual and literary as pattern poetry should occur here is not surprising, since, as Robert J. Clement makes clear throughout the first chapter of his book The peregrine muse (1969, 13-42), literary and fine art theory were extremely close at that time, to the point that painting was sometimes thought of as "silent poetry," and poetry as "blind painting." What else are we to make of such a passage as the following by Giordano Bruno (1548-1600), in his De imaginum, signorum et idearum compositione (1598, bk. 1, pt. 2, chap. 20; in Bruno, 1889, vol. 2, pt. 3, 198):

Alibi dixi de cognatione quadam mira, quae est inter veros poetas, qui ad eandem speciem referuntur atque musici, veros pictores et veros philosophos; quandoquidem vera philosophia musica seu poesis et pictura est, vera pictura et est musica et philosophia, vera poesis seu musica est divina sophia quaedam et pictura. (Elsewhere I spoke of a marvelous kinship that exists among true poets, who are to be referred along with musicians to the same species, that exists as well between true painters and philosophers since true philosophy is music as well as poetry and painting, true painting is also music and philosophy, true poetry and music are a kind of divine wisdom and paint painting). (Translated by Charles Doria)

Most of the early pieces among the renaissance pattern poems are in Latin, detailed in the Neo-Latin section of Chapter Two, such as the wings, birds in flight, "Song for Priapus," and undulating acrostic which may be either hills or wings, by Laurentius Curtius (= Lancino Curzio, d. 1511) in his Epigrammaton libri decem (1521). A wing-shaped poem (it looks more like an axe, but see Fig. 1.6) from France in Latin, is found in the Epithalamion liber . . . (1531) of Salmonius Macrinus [Jean Salmon Maigret, 1490-1572], while a third one was

Fig. 1.6. 
A wing-shaped poem from the 
Epithalamion liber . . . (1531) by 
Salmonius Macrinus (Jean Salmon 
Maigret, 1490-1572). See left and 
page 49.

 Fig. 1. 7. 
These are the shapes which George 
Puttenham (d. 1590) considered 
suitable for pattern poetry, from his 
The arte of english poesis (1587). 
See page 11 below, and chapter 
two, section x-z. From George 
Puttenham, The arte of english 
poesie, ed. Gladys Doidge Wilcock 
and Alice Walker (1587; 1936; 
Folcroft, PA: The Folcroft Press, 
1969) 92-3. Reprinted by permission.

Page 11

composed in French by Melin de Sainct Gelays (1481-1558) to celebrate the recovery of the queen mother from an illness (see Fig 2.42). There are, in fact, quite a few French pattern poems of the sixteenth century by François Rabelais (1494?-1553, see Fig. 2.41), Jean Antoine de Baïf (1532-89), and Simon Bouquet (n.d., but sixteenth century), among others. One set of pyramids that is of strikingly high quality is the set of four inverted pyramids by Jean de Boyssières (1555-ca. 1583) in Les troisièmes oeuvres de Boyssières (1579, see Fig. 2.40); these are not occasional verse but very intense and inspired poetry, in which the emotional curve of the poem follows the shape of the lines in a deep way.

British pattern poetry begins in the last quarter of the century with eight Latin piecesan altar, a sword, an egg, a pear, a syrinx, a set of wings, an inverted pyramid, and an axein the Poematum liber . . . (1573) of Richard Willis (ca. 1545-1600) described in our Neo-Latin section, a pillar-shaped love poem (see Figs. 2.83 and 2.84) in English by Thomas Watson (155? 92) in the 'Ekatompathia (1582), and an acrotelestic monument by King James VI of Scotland (I of England, 1566-1625) in his youthful work The essayes of a prentise, in the divine art of poesie . . . (1585). It has been claimed that a poem by Stephen Hawes (d. 1523) in The convercyon of swerers (1509) is a pattern poem, but for reasons we discuss in our English section we cannot accept this. What is most striking about the English materials is their formal conservatism. Probably 85% of the pieces are in shapes known from the Hellenistic Greek pieces, supplemented by a few additional ones, such as columns and some geometrical forms, prescribed in one of the earliest works on poetics which describes pattern poetry, The arte of english poesie by George or Richard Puttenham (see our English section in Chapter Two). Puttenham suggests fifteen shapes as suitable for pattern poems and gives several examples using these (see Figs. 1. 7, 2.80 and 2.81). Interestingly, he does not list the cross among his prescribed shapes, although the cross continued popular among both protestants and Roman Catholics into the eighteenth century. The English materials are also, typically, contained in books, as are the French; very few broadsides and pamphlets are known to include pattern poems, unlike the situation in German, Neo-Latin, and Central European pattern poetry. Also, the percentage of occasional verse is lower than with these other literatures.

At some time in the sixteenth century the labryinth became a popular form. The question of the origin of literary labyrinths will probably never be resolved satisfactorily, just as a precise definition or classification of them seems unlikely. We discuss these pieces in Chapter Five. Labyrinths are, by their nature, somewhat mysteriousthey are poems to be solved; one looks at what typically is an arbitrary and unconventional array of letters, and discovers its process, after which the piece is simple or even simplistic at times. Labyrinths may have evolved out of caballistic textsChristian caballism evolved out of Jewish caballism in the fifteenth and early sixteenth centuries, and became quite widespread later in the centuryor the growing popularity of caballism may simply have preconditioned readers to appreciate labyrinthine texts. The most ambitious work on the subject in general, Hermann Kern's massive Labyrinthe (1983), does not even attempt to speculate on the origins of the literary labyrinth; it may equally well have evolved out of sources other than caballism, perhaps from texts like those in the tabulae iliacae (see Chapter Five) or out of the carmina cancellata (Hrabanus's De laudibus sanctae crucis was published early in the sixteenth century). They are especially popular in Neo-Latin, Portuguese, and Polish literatures, but at least a few labyrinths are known from almost every European literature in which pattern poems are found, though they are rather rare in the Scandinavian literatures and in English.

In German there is a spiral piece carved around 1510 by Erhard Falkener (n.d.) in a choir stall in the St. Valentine's Church in Kiedrich in the Rheingau (see Fig 2.48), but this is an isolated occurrence. The large body of German pattern poetry begins with the lozenge-shaped poem in the Teutsche Grammatik (1573) of Laurentius Albertus (Lorenz Albert, n.d.), is joined by four more pieces during the century, described in our German section, and then the flood begins with something like two hundred pieces dating from the seventeenth century alone, if one includes the pieces in German from Scandinavian, Polish, and Czech literatures. This is not astonishing, since nearly half of all known pattern poems date from the seventeenth century. The German pieces cover the full range of pattern poetry

Page 12

from the devotional cross of Catherina Regina von Greiffenberg (1633-94, see Fig. 2.51), to the pastorales of Johann Helwig (1609-74, see Fig. 2.52), Georg Philipp Harsdörffer (1607-58), Johann Klaj ("Klajus," 1616-56; see Fig. 2.54) and their circle, to the many chalices("Pokals") and hearts composed for weddings and crosses for funerals, some of which are, from a literary point of view, about on the level of greeting card poetry, but some of which are fine and sensitive verse; even those which are inferior poetry are often of linguistic or social interest, as documents of the language and formal sensibility of their times or as indicators of the poetic taste of the middle class, since, especially in Germany, the taste for pattern poetry was not confined to the literati or upper classes but was a bourgeois phenomenon as well.

In the Slavic literatures, Polish and Czech literature have the most pattern poems. Most of the Polish materials are in Latin, most of the Czech ones in German or Latin, reflecting the preferred languages of the elites in those countries. But there are also pattern poems in Russian and Ukrainian; in the latter, notably a small number of extremely fine pieces by a mystical poet, Ivan Velickovskij (1687-1726) who demonstrates his awareness of earlier pattern poetry traditions by including, on the cover of one of his manuscripts, the "Enigma of Sator" (see Fig. 2-5),an anonymous Latin word square probably dating from the second century A.D. (see our Classical Latin sections in Chapter Two), which was often treated as a pattern poem rather than as a charm (as which it may have been intended).

The Jesuit order had a long-standing tradition of supporting pattern poems; there are collections of them published or collected by Jesuit academies in Neo-Latin, such as the Carmina libri quatuor discessuro Lemensium comite . . . (1616) edited by Pedro Fernandez in our Neo-Latin section, the Polish Latin pieces for Henryk Firley "Leopardus" (1624, see Fig. 2.10),and the Neo-Latin and Neo-Greek pieces in Sylvae . . . (1592) from France. The tradition continued into the late eighteenth century with the "Necrologbücher" from Hungarian literature (see Fig. 2.31).These were books in which the deaths of students in the Jesuit schools were recorded, and pattern poems were occasionally written into these in their memory, presumably by their fellow students.

In Italy, most of the pattern poetry was written

Fig. 1.8. 
A permutational, circular labyrinth by Juan 
Caramuel de Lobkowitz (1606-82), pl. XVI of his 
so-called Metametrica (1663). See page 13 below, 
and Chapter Two, Neo-Latin section.

in Latinfor example, the most famous Italian piece of the sixteenth century, the pear-shaped poem of 1549 (see Fig. 1.9) of Giovanni Pierio Valeriano Bolzano (1477-1558), known as "Pierius" (which resembles "pirus," the Latin word for "pear-tree"so that the body of pieces in Italian itself is rather scant. Most important, however, are two actual groups of pattern poets. One was in the north, in the Veneto in the 1620s, and it included Bonifacio Baldissare (ca. 1570-1625), Fortunio Liceti (1577-1654), and their mycaenas, Domenico Molino. Baldissare's pieces based on the Molino coat of arms are of very high quality (see Figs. 2.14

Page 13

through 2.17),and, while Liceti wrote rather few pattern poems himself and these of indifferent quality, he wrote a number of extraordinarily detailed books on most of the Greek and Latin pattern poems, comparing surviving versions and, in general, offering a startling hermeneutic analysis of the pieces.

The second group developed at Rome in the middle of the century, and it included Francesco Passerini (1619-95) and Juan Caramuel de Lobkowitz (1602-82), a Cistercian monk, born of a Spanish father and a Bohemian mother, who lived most of his life travelling for his order and inspecting buildings. Most of his published works deal with ecclesiastical architecture, but the two Primus calamus books are linguistic or aesthetic studies. The second of the two is less interesting from our point of view, dealing as it does with a proposed synthetic and universal language. But the first, known as the "Metametrica," which is short for its title, ... Primus calamus ob oculos ponens metametricam, quae variis currentium, recurrentium, abscendentium, descendentium nec non circumvolantium versuum ductibus, aut aeri incisos aut buxo insculptos aut plumbo infusos multiformes labyrinthos exornat (1663), contains more than twenty rectangular or circular poems which Caramuel sees as labyrinths (see Figs 1.8 and 2.20), as well as descriptions and speculations on all the sorts of unusual forms of verse he can find out aboutleonine verse, anagrams, echo poems, and so forth. He even proposes some poetries which did not then exist-spherical and cubical verse (see Fig. 2.19), for instance. This work is the high point of the various poetics which discuss pattern poetry, such as those by Julius Caesar Scaliger (1561), Etienne Tabourot (1588), and George Puttenham (1587, this last already discussed), or the many German poetics which prescribe shapes and sometimes give examples, listed in the German section of Chapter Two.

Such groups were not unknown elsewhere in Europe either; we have mentioned the group in the mid-seventeenth-century Germany Harsdörffer, Helwig (see Fig. 2.52), Klaj[us] et al. Another such group developed in Danzig, modern Gdansk, and elsewhere in Prussia, and their works are discussed after our main Polish section in Chapter Two.

Pattern poetry receded in popularity in the face of neoclassic taste. It was associated with baroque (or earlier) poetry, and, as the heroic couplets and alexandrines become predominant in poetry, the pattern poems become fewer. One might speculate that the neoclassic arts were suitable for the grand mercantilism and colonialism of the time, while pattern poetry was specifically unsuited for an art that was based upon power. But that is not for us to say. Suffice to say that it was never the predominant mode and that there were violent attacks upon it in each age in which it occurred; furthermore, since the history of any poetry is always to some extent the history of responses to it, the antagonism which it aroused continued great during the colonial era, so that it fell into disrepute in one literature after another, eventually, by the nineteenth century, surviving only in comic, folk, or popular verse.

Already in the sixteenth century Michel de Montaigne (1533-92) attacked pattern poems in his "Des vaines subtilités" (Of vain subtleties, 1967, 136):

II est de ces subtilités frivoles et vaines, par le moyen desquelles les hommes cherchent quelquefois de la recommandation; comme les poètes qui font des ouvrages entiers de vers commençant par une même lettre; nous voyons des oeufs, des boules, des ailes, des haches façconnées anciennement par les Grecs avec la mesure de leurs vers, en les allongeant ou raccourcissant, en manière qu'ils viennent à représenter telle ou telle figure. Telle était la science de celui qui s'amusa à conter en combien de sortes se pouvaient ranger les lettres de l'alphabet, et y en trouva ce nombre incroyable qui se voit dans Plutarque . . . (There are some subtleties which are frivolous and vain, by means of which poets who compose whole works in which every verse begins with the same letter; we see eggs, balls, wings, hatchets, shaped by the Greeks of old time with the measure of their verses, by lengthening or shortening some lines, in such a manner that they come to represent this or that figure. Such was the knowledge of that man who amused himself by counting in how many ways he could arrange the letters of the alphabet, and so one finds that incredible number which one sees in Plutarch . . . .)

And, roughly at the same time, one finds in the Letter book of Gabriel Harvey in England (1550?-1630) (in Smith 1904, 1, 126) real invective against them:

Page 14

. . . Folishe idle, phantasticall poet (and deviser) madd gugawes and crockchettes . . . of late foolishely reuiued by sum, otherwise not vnlearnid, as Pierius, Scaliger, Crispin and the rest of that crue. Nothinge so absurde and fruteles but being once taken upp shall have sume imitatoures.

One thing that is interesting in Harvey's remarks is to see just who he chooses to attackJulius Caesar Scaliger, already mentioned as a great humanist, Pierius (already mentioned), and Crispin, who was one of the great French humanist scholars. Notice that Harvey does not attack the Greeks, and notice also his patronizing remark, "otherwise not unlearnid," and the assumption that these men formed a "crue" (crew), which is absolutely untrueall they had in common was their reverence for culture. This says more about Harvey than about those he attacks.

Also in the sixteenth century, Ben Jonson (1573-1637) dismissed pattern poetry as "a pair of scissors and a comb in verse" (Walsh 1925, 271).

In the seventeenth century Samuel Butler (1612-80) attacks the pattern poet Edward Benlowes (1603-76) in his "Character of a small poet" (in Butler 1970, 89-90), the royalist essayist Thomas Hobbes (1588-1672) attacks pattern poetry as such but especially George Herbert in A discourse upon Gondibert . . . (1650, 126), and we even have the spectacle of John Dryden (1631-1700) attacking pattern poetry in general in "Mac Flecnoe" (lines 202-8).

It is interesting that there are no eloquent defenders of pattern poetry as such. The subject is generally covered in the various works on poetics, especially in Germany and Poland, as one of the standard forms of poetry which every would-be poet ought to be able to master, but with little or no attention being given to the theoretical intricacies and potentials of pattern poetry as a visual or conceptual hybrid.

In the eighteenth century, Joseph Addison (1672-1719) provides a similar attack in Spectator 58, which Richard Owen Cambridge (1717-1802) carries on in passing and in a light-hearted way in The scribleriad (book 2, lines 152-83, in Cambridge 1803, 183-4) later in the century. English pattern poetry, unsurprisingly, wanes in the late seventeenth century, and there is none known at all from the eighteenth.

Even in Germany, where pattern poetry was far more common than it ever was in Britain, by the early eighteenth century we find the rhetorician Johann Bernhard Frisch (1666-1743), in his Schlspiel, objecting to the "verworfnen Unsauberkeit der falschen Dicht- und Reim-kunst." However, Frisch attacked pattern poetry in part by doing it, and the resulting pieces, described in our German section of Chapter Two, are the only pieces by him that are remembered todayespecially the one that is shaped like the Bear of Berlin (see Fig. 2.60), which can still be bought in souvenir stalls in that city. Evidently the learned Dr. Frisch's attack backfired.

In the nineteenth century, Jean-Jacques Barthelmy (1716-95), in his Travels of Anarchasis the younger in Greece (1825 6, 182), carried on the attack, calling the poems in the Greek Anthology

Fig. 1.9. 
The pear-shaped poem of 
Giovanni Pierio Valeriano Bolzano 
(1477 1558), known as "Pierius" 
("the poet")  but  which  suggests 
the  word  "pirus" ("pear-tree")
thus the shape of the poem. This 
is the piece against which Gabriel 
Harvey (1550? 1630) ranted and
 raved. Note, however, that the 
poet's title means "Egg in 
dactyls.'' See pages 12 and 52.

Page 15

"puerile and laborious." In The Improvisatore (1835), his first novel, Hans Christian Anderson (1805-75) criticizes his hero's teacher, a Christian arab named Habbas Dahdah, for his taste for pattern poems, saying Dahdah could not accept truly emotional poetry. Hippolyte Taine, perhaps more thoughtful than some others, says, in the discussion of medieval literature in his History of english literature (1872, 1, 54), precisely what offended him in pattern poetry:

A few, like Aldhelm, wrote square acrostics, in which the first line, repeated at the end, was found also to the left and right of the piece. Thus made up of the first and last letters of each verse, it forms a border to the whole piece, and the morsel of verse is like a morsel of tapestry. Strange literary tricks, which changed the poet into an artisan! They bear witness to the contrareity which then impeded culture and nature, and spoiled at once the Latin form and the Saxon genius.

However, the most impassioned negative response to a pattern poem, quoted to me in a letter of 24 July 1984, from Dr. Kilián Istvan of the Hungarian Academy of Sciences, was a letter by the famous poet Petöfi Sándor (1823-49) to the editor of the newspaper Hazank who on 27 March 1847 had printed a rather innocuous cross-shaped poem by Bulyovszky Gyula (n.d. but nineteenth century):

Amennyire telik, örizkedjél olyan égbekiáltó silány portékákat közleni, mint a minap Bulyovszky és Halha vagy ki a fene versei voltak. Amint elolvastam hát fosást kaptam, okádtam, a hasamba kólika jött, aszkórságba estem és három izben ütött meg a guta. Ha kedves elötted az életem, válogasd meg jobban a verseket. Inkább semmit, mint rossz verset. Isten veled; csókol igaz barátod Petöfi Sándor. (If possible, for goodness sakes don't bring out such heaven-shriekingly bad stuff as the poems of Bolyovszky and Halha or whoever the author of the poems was. When I read it I had diarrhea, vomited, and became consumptive. If my life is dear to you, please choose your poems better. Rather none than such wretched poems. Goodbye; your true friend Petöfi Sándor kisses you.)

By no means is this list an exhaustive one, but it will suffice. Interestingly, Kalanath Jha, the main authority on the citra-kavyas of Sanskrit and the other languages of India, has written complaining that the response to visual poetry in India has tended to be similar to these attacks in the West.

As we have already noted, the works on poetics which describe or advocate pattern poetry, from Scaliger to Caramuel, do not match the passion and intensity of the attacks on it. They usually simply state what pattern poetry is, give some brief history of it, and then recommend some shapes as being suitable to it. Sometimes the history is erroneous, such as Puttenham's claim that "pattern poetry comes from the east, from Tartary"in fact, by "Tartary" he seems to mean Central Asia, from which no pattern poetry is known, although there do exist a few Persian pieces, such as the star in Fig. 3.19. Of course, by "Tartary'' Puttenham might have meant China and could have been referring to the hui-wen; this is discussed in the English section of Chapter Two.

The criticism of pattern poetry only begins with Boissonade's writings in nineteenth-century France, described in our French section. It continues very scanta piece here, a piece there, a little historical narrative in this or that journal, usually intended for bibliophiles or graphic arts specialists more than for literary scholarsuntil the 1970s, following the appearance of concrete poetry during the preceding two decades. At this point several collections appear, Massin (1970), Peignot (1978), Dencker (1972), and Bowler (1970), by no means scholarly works but at least responsible ones. This made substantial numbers of the works available together for the first time, sometimes only intended as a background for twentieth-century visual poetry, but at least clearly presented and sometimes well-documented. This, in turn, leads to the appearance of two substantial works on the subject, Giovanni Pozzi's La parola dipinta (1981), already mentioned, and Ana Hatherly's A experiência do prodigio, which deals with Portuguese materials, especially labyrinths, and which helps demystify the relationship of pattern poetry and cabbalism. Apart from an excellent dissertation by David W. Seaman, published as a book, Concrete poetry in France (1981), the rest of the materials on concrete poetry are articles, usually only on very specific aspects of pattern poetry. Only very recently has genre criticism begun to appear, such as the articles by Ulrich Ernst, especially his "Europäische

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Figurengedichte in Pyramidenform aus dem 16. und 17. Jahrhundert" (1982), which traces the relationship of text and pyramid shape, and the associations and traditions of the latter. Apart from these few works, almost all the rest of the critical materials in our large bibliography are either extremely specific, scattered, or ephemeral, displaying an insufficient knowledge of the body of pattern poetry as a whole to enable the critic to place the works he or she is discussing into perspective. This in turn leads to amusing opinions, such as one critic's discussion of George Herbert's magnificent pattern poem, "Easter Wings" (see Fig. 2.77),which concludes that it shows a "dangerous preoccupation" with the visual element; or even such a strange omission as the fine critic Helen Vendler's discussion of the same poem, in Vendler (1975), 145-6), who prints and analyzes it without even noting its visual aspect, let alone its tradition (the parallel with the Hellenist Greek wings of Simias, etc.) In fact, even in such works as Gustav René Hocke's Manierismus in der Literatur: Sprach-Alchimie und esoterische Kombinationskunst (1959), a study of literary mannerism, where one might have expected to find a discussion of pattern poetry, even if a negative one, the subject is unmentioned. Incidentally, ''mannerism" in art history and in the continental European critical tradition is not the perjorative term that it is in the colloquial English-speaking world, so that is not the point so much as that the existence of a substantial body of visual and visual-related literature and cognate arts was as forgotten to large, mainstream, public. The critical literature from Boissonade to the late 1960s is for the most part quite obscure, as even a cursory glance at those titles from that period which are listed in our bibliography will show. Only when the collections already mentionedof Dencker, Peignot, etc.appeared, placing pattern and concrete poetry into a continuum (which is not quite proper), did the world open up for the criticism of pattern poetry as such.

However, it remains that pattern poetry disappeared in the face of the change to neoclassic taste and harsh criticism, though not everywhere at the same time. In France it disappeared from serious literature fairly early in the seventeenth century but was used in comic verse in the eighteenth and nineteenth century, in the work of Charles-François Panard (1689-1765, see Fig. 2.44), Pierre-Adolphe Capelle (1772-1824?), and a small handful of others.

In Spain and Portugal, it continued through the eighteenth century; and in Spanish Latin America, into the nineteenth century, especially in the works of the Uruguayan poet Francisco Acuña de Figueroa (1791-1862), who wrote twenty-seven pattern poems, including twenty-two glass-shaped pieces; almost all his pieces were occasional verse, written for the autograph or poetry albums of his friends (or, once in a while, for more serious situations, as in the poem in Fig. 2.88). Also in the nineteenth century, the Spaniard José González Estrada (ca. 1830-83) and his circle attempted to create a whole world of poetry that was based upon the acrostic family, which, for them, included pattern poetry. To this end they maintained a fascinating literary journal, El piston, sometimes charming or naive, which lasted for twenty-four issues in 1864 (for an example of which see Figs. 2.92 through 2.95). The end of this period is described in Bohn (1986, 85-6).

In Germany, the late eighteenth century is when pattern poetry disappeared, except for a very few pieces by Joseph Gutsmüthl (see Fig. 2.62) and some comic verse.

In Wales, the only known pattern poems are from the nineteenth century (see Fig 2.87).They are serious verse, not comic; however, they seem a little anachronistic.

In England, pattern poetry disappears in the eighteenth century, though it is used in the nineteenth century for comic verse, as in the familiar "Tale of the mouse" in Alice's adventures in Wonderland by Lewis Carroll (1832-98). In American literature, there is only one baroque piece, by Edward Taylor (1642-1729, see Fig. 2.90), but a form of pattern poem called "lovers' knots" was popular until the mid-nineteenth century (see Figs. 2.76 and 2.8); thereafter pattern poetry was used only for comic verse, as in England.

In the Scandinavian literatures, it disappears altogether; only two Swedish pieces are known from the nineteenth century, and none from elsewhere in Scandinavia.

In Serbo-Croatian and Russian literature, where the baroque style lasted longer than in most other places, there are a few eighteenth-century pattern poems (see Fig. 2.12),but these too vanish late in the century. There are some early twentieth-

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century pieces in the old tradition, however. One piece is known in Slovenian.

There are only two pattern poems known from Canada: a rather serious piece in French from the end of the nineteenth century, by Albert Ferland (1872-1943) of Montréal (see Fig. 2.47),and the Bean gravestone in English from the mid-century (see Fig. 2.87).

We could go on describing other late materials, but the pattern is well established from what we have said, and we would merely duplicate ourselves; the ground is covered in detail in the various literatures in Chapter Two. Both pattern poetry and the knowledge of its traditions gradually disappeared in the eighteenth and nineteenth centuriesthat is the fact.

The stage was then set for others to act upon the natural human impulse to combine one's visual and literary experiences, and this began to happen with the 1897 publication of Mallarmé's "Coup de des," followed soon after by the publication of the various futurist parole in libertà, the works of Marinetti and Cangiullo, the dadaists, and so on. Most of these new works were made without any deep knowledge of the earlier works of pattern poetry or with any knowledge of the pattern poetry traditions of the specific literatures. The new poets found new forms and styles independently of these, starting, as it were, from a blank page, rather than working with given materials or evoking old traditions.

So now, with this overview in mind, we are ready to turn to the larger picture of pattern poetry in the various languages of Europe and elsewhere. Theoretical questions will be discussed in Chapter Five, when we have sufficient materials to deal with them.

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Fig. 2.1. 
Simmias of Rhodes, "The egg" (ca. 325 BC). See page 20, below, 
Reprinted from Edmonds, Greek Anthology (1919) 5, 496.

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CHAPTER TWO
PATTERN POEMS BY LANGUAGE AND LITERATURE

Greek

§ To A.D. 600

NO PIECE EXISTS FROM BEFORE the Hellenistic period which can definitely be called a pattern poem. There is, however, an intriguing grey clay disk with a spiral text imprinted into it, probably with a carved stamp, known as the "Phaistos disk," in the Heraklion Museum on Crete, tentatively dated 1700 B.C., and it might, if it were poetry, be classed in our genre (see Fig. 1.1).However, it is written in Minoan A, which has not been deciphered as yet. It is well described and reproduced in Gelb (1952; 1963, 155-7) and in Diringer (1968, 2: 59 figs. 3a and b, transcribed on p. 60); Diringer notes (1: 44) that it may not be Cretan at all but might have been brought to Crete from North Africa. One side is printed in Peignot (1978, 5) as a pattern poem. The best discussion of the piece, suggesting that at least a portion of it is a star chart, a sort of farmer's almanach, is in a book which is not scholarly but does an excellent job of summing up what is known about the piece, Thorndike (1977, 90-1).

However, there are six surviving pattern poems from the Hellenistic period which can be authenticated. At no time in Western literary history have they been entirely forgotten, and they have been the most important paradigms for subsequent pattern poets. We shall describe them in a moment, but first a few words should be said about the matrix in which they exist, which is somewhat more puzzling than the pattern poems themselves. This matrix is the inscriptions, prayers, and occult texts of the period, up to the Byzantine. These occult texts are often described as if they were themselves poems of some kind; perhaps some are, but their objective is magical not poetic power, and this means that they seem somehow different, even when taken aesthetically, from pattern poems. In any case, their dating is quite problematic, since occult texts often pretend to far greater antiquity than that to which they are legitimately entitled. Neither is there much scholarly material concerning these texts apart from Preisendanz (1928-31) and Dornseiff (1922). However, the Greek technopeignias, a term that includes both pattern poems and other forms of poems that are technical displays of virtuosity but are not visual, but which is the word by which Greek pattern poems are most frequently described, may indeed be magical; the two altar-shaped poems, to which we shall come momentarily, are both religious (one suggests a shamanistic sexual transformation of some kind), and the axe may be a magical piece on some level as well. This occult matrix is best described in Günther Wojaczek's Daphnis (1969, 151 5) and, indeed, Wojacjek's book, with its updates in Wojaczek's "Analecta bucolica" article (1979), are the best modern analyses of all the Greek technopeignias, though there is also a much earlier, often-cited discussion of the poems in Immanuel Bekker's Anecdota graeca (1814-21) in his scholia to Dionysus Thrax. (2, 78).

The visual appearance of certain early poems in surviving papyri makes it tempting to ascribe to them visual properties which cannot be demonstrated as having been intended; as, for example, in the fragments of Archilochus (sixth century B.C.), in Tarditi's Archilochus (1968, 62-3). Having called attention to these things, we can now proceed to the six Greek pattern poems.

As mentioned, they have never been lost to those who were in a position to seek them out, since they were included in the selection of Greek works from antiquity that is known variously as the

Page 20

"Palatine Manuscript" or the "Greek Anthology," Paris: Bibliothèque Nationale "Supp. Gr. 384" and Heidelberg "Gr. 23,'' a group of works selected in the early Christian period as being representative of Greek antiquity. Though this selection was sometimes alteredfor example, by Maximus Planudes (ca. 1255-1305), the supposed editor of the Florentine "Laur. 32.16," (known as the "Planudian manuscript")it is the main source for the surviving Hellenistic pattern poems. The amount of literature on this body of material is formidable, and the textual problems are perhaps best summed up in Wilamowitz-Moellendorff (1906, 243-50). The authorship of the pieces has been questioned time and time again; we simply go along with the traditional ascriptions.

Not only were they the models for many renaissance and baroque pattern poets, but they were also the subject of the first serious modern critiques of pattern poetry, by Jean-François Boissonade, which appeared anonymously in the Journal de l'empire for 18 November 1806 (3-4), reprinted in his Critique littéaire sous le première empire (1863, 1: 367-81), reprinted also in Peignot (1824, 144-50) and Lalanne (1857, 1-3).

Besantinus or Vestinus (second century A.D.) is usually cited as the author of the "Altar of the muses," although it has also been attributed to Dosiadis of Crete (for which see Wojaczek 1969, 57, 112-26, 150). A charming altar-shaped riddle poem that is also an acrostic, it is less magical-seeming than "Jason's altar" which probably is by Dosiadis. The text is richer and more opulent than the other altar, more lyrical in tone. The piece appears in Aczél (1984) in Hungarian only, in its proper Greek in Dencker (1972, 23), Edmonds (1919, 510-1) with English translation, Guégon "Les verses figurés" (1932, 3), Higgins (1977, fig. 10), Holden (1974, 202) in an excellent English translation, and is the subject of Fortunio Liceti's Encyclopedia ad aram mysticam nonarii terrigenae (1630). It also appears in Rypson's "Poezja wizualna" (1981, 39), Seaman (1981, 49), and Simonini (1978, 43) with Italian translation.

Callimachus of Alexandria (ca. 250 B.C.) is said to have written a technopeignion in the form of pipes, but it has evidently not survived.

To Dosiadis of Crete (fl. ca. 100 B.C.) is attributed the authorship of "Jason's altar," which is, from a purely literary standpoint, the more striking of the two altars from Greece. The text is a riddle poem. The best summary of its problems, textual and otherwise, is in Wojaczek (1969, 57, 105-12, 149). It is also printed in Edmonds (1919, 506-7) with English translation, Crespin (1569; 1600, 224-5), Diehl (1951, 33), D'Ors (1977, 55), Edmonds (1919, 506-7) with English translation, Ernst "Figurengedichte" (1984, typeset on p. 312 and from manuscript [Paris: Bibliothèque Nationale, "cod. gr. suppl. 384," 672, pl. ii]), Gomez's article (1981, 63), Guégon "Les verses figurés" (1932, 3), Higgins (1977, fig. 9), in excellent English translation in Holden (1974, 101), Massin (1970, 159), Simonini (1978, 46) with Italian translation, and in Zarate's article (1979, 361). It is also the subject of Fortunio Liceti's Ad aram lemniam Dosiadae . . . encyclopedia (1635).

Simmias of Rhodos (fl. 325 B.C. per Ptolemy Soter) is usually given as the author of three technopeigniaan axe, and egg, and wings (and possibly of a small egg as well).

The axe, like the egg, reads in chiastic fashion, that is, first line, last line, next-to-first line, next-to-last line, and so forth. The text tells of a heroic deed of Epeius of Phocis in honor of the man-goddess Athena. The piece is printed and discussed by Wojaczek (1969, 58, 83-91, 146) with copious notes and commentary, and in Accame (1977, 12), Carbonero y Sol y Merás (1890, 236) with Spanish translation, Crespin (1600, 272-3) with Latin translation, Dencker (1972, 20), Diehl (1951, 31) Edmonds (1919, 487-9) with English translation, in Guégon's article (1932, 3), Hatherly (1983, 95), Higgins (1977, fig. 6), in English in Holden (1974, 198), Peignot (1978, 8), Seaman (1981, 47), Simonini (1978, 32) with Italian translation, and in Zarate's article (1979, 359). It is also the subject of Fortunio Liceti's Ad epei securim encyclopaedia . . . (1637).

The egg (see Fig. 2.1) also reads in chiastic fashion. The text is lyrical, celebrating nature. It is presented and discussed and commented on in Wojaczek (1969, 57, 74-83, 145), and is printed in Alsted(ius] (1630, 4, "sec. iii, lib. x, cap. ix," "De technopaegnia Graecae poetae," 542), in Crespin (1600, 246-7, 258) with latin translation, in Cobbing and Mayer (1978, pl. 2), Dencker (1972, 18-9), Edmonds (1919, 494-9) with English translation, Guégon's article (1932, 2), in good English translation in Holden (1974, 200), Dal "Figurdigte" (1966, 7), Peignot (1978, 8), Rypson's "Poezja wizualna"

Page 21

(1981, 39), Gran's dissertation (1981, fig. 34), Scaliger (1561, 69), Seaman's article (1972, 21), Simonini (1978) with Italian translation, and in Zarate's article (1979, 357).

A smaller egg poem, sometimes attributed to Simmias, is discussed in our Neo-Greek section, below (see Fig. 2.4).

Simmias's wings, like George Herbert's English ones, soar with rich and opulent language on the two outside lines, and are compressed and tight at the center (see Fig. 1.2). The main manuscript is, like most of these pieces, in Bibliothèque Nationale (Paris) "Codex graecus suppl. 384," f. 671. The piece is presented and discussed with commentary in Wojaczek (1969, 67 74), in Hungarian only in Aczél (1984), in proper Greek in Crespin (1600, 264-5) with Latin translation, Dencker (1972, 17), Diehl (1951, 32), D'Ors (1977, 53, Edmonds (1919, 491-3) with English text, Guégon's article (1932, 2), Higgins (1977, fig. 7), in fine English translation in Holden(1974, 199), Peignot (1978, 8), Rypson "Poesia visual" (1980, 55), Rypson's "Poezia wizualna" (1981, 39), Simonini (1978, 30) with Italian text also, and in Zarate's article (1979, 360). They are the subject of Liceti's Ad alas amoris . . . (1640). Further discussion of Simias's pieces, as well as of Theocritus's syrinx, below, is in Wojaczek's "Analecta bucolica'' (1979) which brings Wojaczek (1969) up to date.

Simmias's wings also appear in a Florentine manuscript of the 14th Century, "Laurenziana Cod. Plut. XXXII, 52", written over a winged archer at folio 119v reproduced as fig. 26 fcg. p. 57 in Weitzmann's "Die klassische Erbe in der Kunst Konstantinopels" (1954), discussed on p. 54 where Weitzmann argues on the basis of internal evidence that it owes its existence to the influence of Holobdos's Byzantine edition of the Greek carmina figurata, described in the next section.

Theocritus (ca. 300 B.C.) is usually given as the author of the "syrinx" or "panpipes" (see Fig. 2.2) in spite of the usual questions of authorship, best summed up in the presentation and discussion in Wojaczek (1969, 58, 91 105, and 147-8). The text is replete with epithets at the beginning, and dies away, following the shortening of the lines, into a relaxed enjoyment of the music of a girl playing an instrument, the muse Calliope. The piece is printed in Accame (1977, 13), Carbonero y Sol y Merás (1890, 238) with Spanish translation, in Crespin (1600, 213-5) with Latin translation, Dencker (1972, 21), D'Ors (1977, 54), Edmonds (1919, 500-3) with English rendering, Guégon's article (1932, 5), in good English translation in Holden (1974, 197), in Massin (1970, 159), Simonini (1978) with Italian text, in Todd's portfolio (1981) with English translation, and in Zarate's article (1979, 354). Liceti's Ad syringam a Theocrito compactam . . . (1655) deals with and translates various versions of the text into Latin.

The significance of the Liceti books, mentioned above and detailed in our Neo-Latin section, is that they present a good cross section of what was known of each text, as well as providing an excellent set of hermeneutic models for the various pieces. The Crespin and other early appearances are simply mentioned as well-known works of their times, for those who wish to know what was thought of these pieces during the time of pattern poetry's great flourishing in the renaissance and baroque.

Also in Greek are four texts by Theodoros, who lived at Rome between 50 b.c. and A.D. 50; the pieces are carved into the backs of some relief sculptures that are known as "tabulae iliacae." These relate to labyrinths and are discussed in our section on these in Chapter Five.

§ To 1453

Between A.D. 200 and ca. 625 A.D. no pattern poem is even rumored to exist in Greek; they may have been written, but if they have survived, they are not mentioned in any of the works which are in our bibliography. There are, of course, many visual texts in Greek from this period, most of them magical pieces described in the two volumes of Karl Preisendanz's Payprae graecae magicae (1928, 1931), or in Franz Dornseifs Das Alphabet in Mystik und Magie (1922). This kind of material is discussed in relation to pattern poetry in Charles Doria's "Visual poems from Greek magical papyri" (1977).

The Christian equivalent of such pieces is published in Viktor Gardthausen's Griekische Paleographie (1913, 2: 60-61) which describes and prints a number of small shaped texts which are basically lapidary inscriptions (see Chapter Four), but also includes a handsome cross-shaped poem on page 61 (see Fig. 1.4)which was evidently in a Roman catacomb. Its exact date is uncertain, but it is obviously from the time before Christianity was

Page 22

Figs. 2.2a and 2.2b. 
Theocritus's "Syrinx," (ca. 300 B.C.). See page 21, above. The renaissance knew these pieces 
from versions such as these, shaped as an actual syrinx (Fig. 2.2a) and as an aulos (Fig. 2.2b). 
These are from an untitled Theocritus, printed at Rome in 1516, in the collection of the Chapin 
Library, Williams College, Williamstown, Mass. Printed by permission.

accepted. Some other Christian near-pattern poems appear in the Paleographica Graeca . . . (1708, 377) of Bernard de Montfauçon (1655-1741), and appear to be the earliest printed of this kind of piece. But their date suggests that it is unlikely there was much connection between these early Christian pieces and the many crosses of renaissance and baroque poetry.

A hymn from ca. 625 by Acarthistos is said to exist and to be a pattern poem, but we have not succeeded in discovering its form or location.

Byzantine literature is not notably visual; formally conservative, it is not the sort of milieu where one might expect to find much pattern poetry. Nonetheless, some pieces do exist. The earlier Greek texts continued to be known, as in the west. The rhetorician Manuel Holobdos (fl. 1267-81), known as "Holobdos Maximos," described and reissued them; Holobdos's work is itself described in C. Wendel's "Die Technopäignien-Ausgabe des Rhetors Holobdos" (1907) and "Die Technopäignien-

Page 23

Scholien des Rhetors Holobdos" (1911), but Wendel does not mention that Holobdos knew any pattern poems that are not reported elsewhere. He prints plates from the "Codex, Laur, Ashburnh. 1174" of the Simias egg (see Fig. 2.3),Dosiadis altar and Theocritus syrinx. The altar and syrinx are also printed in Omont (1929) plate cxxx with commentary on page 60.

The "Cod. Leninopol. gr. 216" (862-3) in the M. E. Saltyakov Shchedrin State Public Library in Leningrad includes a carmen quadratum at 346v with a xi-rho intextus; it resembles Optatian's "Carmen XIV" (ca. 325 A.D.). The piece appears in Folieri's article (1974, 6) saying it appears on folio 246v of the manuscript (it doesn't); a typeset version appears on page 7 of her article. She attributes the work to Thomas of Damascus (ninth century), a monk and artist. The manuscript is described in Granstrom (1959, 234-5) as being primarily concerned with Attic comedy.

A second anonymous carmen quadratum is dedicated to the Empress Eudocia Macrenbolitissa (ca. 1021-96), wife of Emperor Romanus IV and it appears in Gardthausen (1913, 2: 66). It centers on the epsilon with which her name begins, and the text reads right from that, backwards to the left from that, and up and down, forming a diamond shape of aligned letters. This form has no particular name, but it is known from later periods, for example in Russian and Ukrainian pattern poetry.

Two more Byzantine pieces are said to appear in Kvetnicky (1985, 232-3), but we do not have access to the work.

A cruciform text by Emperor Manuel I Comnenus (1143-80) appears in Montfauçon (1708, 309), but it is only marginally a poem, being basically a shaped inscription.

Two pieces are described by Herbert Hunger and others as pattern poems (in Hunger 1978, 2: 104-6) by Giorgios Pachymeres (1242-ca. 1310) which are not among his pieces in Migne (1865) vols. 143-4 or in the various recent editions of Pachymeres, but are in manuscript in Macarius Chrysophalus's "Excerpta ex diversis autoribus" in Venice, "God. Marc. Gr. Zanetti 452 ( = 796)" at the Biblioteca Marciana, folios 233r-v. We have examined these pages, cited in Hunger, and do not find them to be pattern poetry, though pages 141v to 162v are visually striking. But the manuscript does include some anonymous pieces, with discussion: an anvil on pages 6-9, a banner on 31-2, a girdle on 63-8, a cross on 98-101, a small cask on 113-20, an abstract design on 210-3 and a work horse on 226-9, per Mioni (1985, 2: 226-30). Pachymeres' acrostics are listed, along with those by others, in Chapter Four.

Other than this, no Byzantine pattern poems are known to exist. There are also some few works in shaped prose, such as an ivory cruciform text on a bookcover from the reign of Nikophoros (802-11) described in Barthel (1972, 278-9 and plate 86a), a shaped prose Acts of the apostles (Tenth Century)of which Massin (1970) prints representative pages and which bears some resemblance to the Hebrew micrographic texts of a slightly later date and to the sixteenth-century pieces by Jacques Cellier in the bibliothèque Nationale in Paris, described in our French and shaped-prose sectionsand a Fourteenth-Century Homilies of St. Gregory from which a page of cruciform text is printed in Chatzidakes and Graber (1965, 93) and described in Barthel (1972, 278-9, printed on plate 86b).

§ To 1900

Even before the fall of Constantinople in 1453, the rape of the libraries there in 1204 during the aborted Fourth Crusade may well have destroyed many unique manuscripts, not just pattern poems. But after 1453, pattern poems all but disappear from Greek literature. There is, however, a beautiful acrotelestic (see Fig. 4.2) by the priest Zacharias Skordylios, who lived in Venice between 1562 and 1588, according to Photeinos (1845), who prints the piece on his page 314, and where it is said to appear in the 1588 edition of Skordylios's "On degrees of kinship or match-making" (we do not know the Greek title) on page 306. The intext reads "Respect [the virgin] Mary."

The only other one known is a syrinx in Wheatly (1862, 5), in which the spelling of Napoleon Buonaparte's name in Greek letters is typeset flush right, with each successive line formed by removing the first letter of the preceding line. This is said to be translatable as "Napoleon, a destructive lion, goes around destroying cities."

There is also said to be a trove of religious poetry manuscripts at Mount Athos which could include pattern poems, but these pieces have not yet been published or systematically described.

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There are, however, pattern poems from western Europe in Neo-Greek, pieces written in a would-be classical style.

On page 69 of the 1561 edition of the Poetices of Julius Caesar Scaliger (1484-1558), there appear a large swan's egg and a small nightingale's egg (see Fig. 2.4),evidently written in imitation (in the renaissance sense) of the egg of Simmias (see Fig. 2.1).Scaliger does not claim to be the author of either piece, but he may well be. Both pieces appear in Alsted[ius] (1630, 4: 562) and in Dal's "Figurdigte" (1966, 7); Dencker (1972, 40) and Zobel von Zabeltitz's "Über Figurengedichte" (1925, 184) reprint both; D'Ors (1977, 64) prints only the nightingale's egg. A free German translation of the swan's egg appears in Titz (1642).

Fig. 2.3. 
Simmias's egg (ca. 325 BC), see above, 
from the Byzantine edition of Manuel Holobdos 
(fl. 1267-81). See page 22, above. From the "Cod. 
Laur. Ashburnh. 1174" f. 191r. Courtesy Biblioteca 
Medicea Laurenziana (Firenze).

There are some charming pieces of this sort in a book called Sylvae (1592), written by students of the Jesuit academy at Dôle in the Franche-Compte, France. They are reprinted in Massin (1970, 182-3)a pyramid, syrinx, altar, axe, wings, parallelogram, and spectacles. The spectacles are also reprinted in Peignot (1978, 61) and in D'Ors (1977, 73). The book also includes some Neo-Latin poems by the students.

Also, an anonymous altar poem appears in a memorial pamphlet for Sir Philip Sidney (1554-86), Peplus illustrissimi viri D. Philippi Sidnae; . . (1587) at A3r. Like almost all renaissance pattern poems, but unlike their older models, it is not a riddle poem. It may be by John Lloyd (1558-1603), the Oxford scholar who edited the collection.

Ralph Winterton (ca. 1610-80) includes a monument and syrinx in his Poetae minores Graeci (1671), both apparently by himself. They are of no great interest.

There are also several Neo-Greek pieces in Polish literaturesuch as a monument-shaped piece by Adam Draski from 1631 and an anonymous skyphos (vase) of 1607in our Polish section (section XII). Gran's dissertation (1981, 102-4) mentions some Swedish pieces in Greek, but it is not a reliable work and the pieces have not been otherwise reported.

Fig. 2.4. 
Anonymous "nightingale's egg' from Julius 
Caesar Scaliger (1484-1558), Poetices (1561) 69, 
possibly by Scaliger himself. See above.

Page 25

Latin

§ To 500

First, a caveat already noted: The word "technopeignion," which, under various spellings, is commonly a term for pattern poem, was used at least through the seventeenth century to apply to any display of technical virtuosity in a poem, not necessarily to visual pieces. Thus, for example, the "technopeignion" of Ausonius (ca. 310-94), in his Book XII, Poem XXII, is an interesting set of pieces in which the first and last syllables of each line are monosyllables repeated from the end of each line to start the next one; but the set has no particular visual emphasis. Actually, there are rather few surviving pattern poems from classical Latin, only two by identifiable poets, Laevius (first century A.D.) and Optatian (fl. A.D. 325), the former piece incomplete, as well as an apocryphal piece attributed to Vergil (70-19 b.c.). Both are discussed alphabetically below.

Two anonymous labyrinths are known from ca A.D. 324, from Al-Asnan in Algeria (formerly Orléansville); they are printed in Braun (1870, 103), Canel (1867, 2: 113), Caruso (1969, 19-20), Peignot (1978, 14), and Santarcangelli (1967). The first has the word "marinus" at the center, and the second "Sancta." These reverse themselves to the left, up and down from the "m" and the ''s," and are framed by "sacerdos" and "eclesia" forwards and backwards around the edges. They form something akin to labyrinthi cubici. Only the "eclesia" piece is actually reproduced in Kern (1982, 119, figs. 116-7), who, however, gives additional bibliographic references on them; Kern also has a photograph of the piece, rather than presenting it in typeset version; this is helpful in understanding its actual look and function as a mosaic.

Also from the fourth century is a swastika-shaped poem, printed in Carbonero y Sol y Merás (1890, 263), a cross composed of four gammas and symbolizing the Holy Trinity, described as being from the catacombs at Rome.

The best known of all the anonymous pieces in Latin is the "Enigma of Sator," a word square which reads the same horizontally, vertically, and backwards (see Fig. 2.5).Basically a talisman, it has, over the centuries, been printed as a pattern poem so many times that it is now a key piece in the pattern poetry literature. It has been reported across Europe, from Scotland to Poland and the Ukraine, in seventeenth century Italy (Caramuel, Metametrica [1663] sec. 314 p. 12, where it is printed with a selection of word squares from Caramuel's time and just before), and in eighteenth century Germany (Schuster 1740, 768). A great deal of confusion exists concerning its antiquity, a greater age being sometimes attributed to it than can be documented. It appears to date from the second century. By far the best works concerning it are Atkinson's "The origin and date of the Sator word square" (1951), Dinkler's Signum crucis (1967, 160-73), and Heinz Hoffmann's "Satorquadrat," in the Paulys Realencyclopädie (1978, 478-565), which presents a remarkably thorough list of possible readings but little interpretation; the piece itself is also in Borgmann (1965, 207-8), Dal "Figurdigte" (1966, 7), Golowin (1981, 24-5), Gran's dissertation (1981, 10), Hatherly (1983, 97), Hocke (1969, 23-5), Higgins (1977, fig. 19), Lienhard's article (1983, 85), the last page of Minocki's 1756 "poetica" manuscript (see our Polish section, below), Morgan (1872, 46), Peignot (1978, 14), Rypson "Poezja wizualna" (1981, 38), Tuwim (1950, 99-100), and Weis (1981, 57 62). It also appears in such earlier works as the anonymous Das ABC cum notis variorum 1703, 2: 100) and in Velickovskij (1972, fcg. p. 96). A bibliography on it appears in Borgmann (1965, 208-10). A number of similar pieces besides those in Caramuel mentioned above are mentioned in Borgmann (1966, 193 216, 241 3) and in such collections of surviving Latin graffiti as Audolent's Defixionum tabellae . . . (1904); but these are only marginally poetry or even literary in intention, however much others may be inclined to take them as poetry.

The text by Laevius (first century) is incomplete, as noted, but it was evidently phoenix-shaped, since its title is "Pterigion Phoenicis." The fragment is quoted in the Ars grammatica of Flavius Sosipater Charisius, a rhetorician of the late fourth century. The work is discussed in Wilamowitz Moellendorff (1971, 5: 503). There is little chance that a manuscript survives which shows the work in its original form, but the best published text is given in E. Baehrends's posthumous Fragmenta poetarum latinorum (1927; 1963, 60). Raizenstein's "Su Laevius" (1906) also discusses the piece.

Publilius Optatianus Porfyrius should be

Page 26

Fig. 2.5. 
Anonymous, "The enigma of 
Sator" (2nd Century AD?). See 
page 25, above. From Dick 
Higgins, George Herbert's pattern 
poems: in their tradition, fig. 19. 
Copyright © 1977 by Richard C. 
Higgins. Reprinted by permission.

known as "Optatian" in English, following the usual custom of stressing the first part of the Latin last name, and, in fact, he is called just that in the Oxford Classical Dictionary; but, more frequently, he is called "Porfyrius," thus giving rise to confusion with the Neo-Platonist opponent of Saint Augustine (354-430), who is a slightly later figure. Traditionally, Optatian is said to have come from Africa, for which see Otto Seeck's "Das Leben des Dichters Porphyrius" (1906, 268-9), where the possibility is also taken up that "Porphyrius" might actually be the correct family name. If one assumes that the anonymous square pieces from Al-Asnan, mentioned above, represent a popular tradition in Africa, then possibly Optatian's square or rectangular pieces have or had lost antecedents. If not, then those many pieces which are "carmina quadrati,'' rectangular poems, and in which there are intexts of various sorts, are the first mesostics. Optatian wrote most of his panegyrics to Constantine the Great (ca. 280-337, reigned 312-337) and sent them to him. These so pleased the emperor that Optatian was appointed court poet around 325. Reading the poems, therefore, one should keep in mind their functionpraise for public reading or display, not really for private enjoyment like most poemsotherwise one will miss their point, as does Levison (1946, 145), who simply dismisses them as absurd. They were probably realized in a large format in gold or silver on a blue, purple, or black background. The scholia of Polara's edition (1973, vol. 2) document these observations. The principle surviving manuscript of Optatian's poems is the "Ms Bern 212 ii," folios 111-26, in the Stadtsbibliothek at Bern, Switzerland, probably from the ninth century. The other important manuscript is the tenth century "Codex 7806 Bibl. Nat. Paris" described in von Schlosser's article (1892).

For our citations, we use the new edition of Optatian by Polara (1973), which replaces earlier ones by Müller (1877) and Kluge (1926), the latter of whose scholia and two articles, "Über Optatianus Porfyrius" (1924) and "Anmerkungen zu den Gedichtendes Publius Optatianus Porphyrius" (1925) remain of interest. In addition, Levitan's article (1985) is a useful summary of information on Optatian. Of Optatian's surviving thirty-one poems and apocryphal ones, twenty-one are pattern poems.

Poem II (p. 8), "Sancte, tui vatis, Caesar, miserere serenus," is an acromesotelestic with four interior intexti, also in Ernst's "Figurengedichte" (1984), typset on page 317, and in ms. in color from "Bürgerbibliothek Bern, cod. 212," f. 111r on pl. III.

Poem III (p. 12), "Fingere Musarum flagrarem numine vultus," is a rectangular acromesotelestic with intexti on the four sides protruding inwards on a cross; a manuscript version is in Pozzi (1981, fcg. 156), in color, from the same manuscript as the above, f. 111v.

Poem V (p. 18), "Victor sideiris pollens virtutibus ibis," is a rectangle with intexti forming lamdas, xis and sigmasa typical intext reads "cum sic scripta placent, audent sibi devia Musae."

Poem VI (p. 22), "Martia gesta modis audax imitata sonoris," is a rectangle with a sort of web of intexti inside it, reprinted in Doria's "Visual writing forms in antiquity" (1979, 82).

Poem VII (p. 27), "Augustum specimen, mitis clementia," is a rectangle with intexti on four xis and a similar rectangle joining the inside legs of these.

Poem VIII (p. 32), "Accipe picta novis elegis, lux aurea mundi," has intexti on a xi-rho surrounded by other Greek letters, reprinted in Carbonero y Sol y Merás (1890, 242) and in Weis (1951, 109).

Poem IX (p. 37), "Castalides, domino virtutum

Page 27

tradite palmam," is a rectangle with intexti running vertically down its center and on wedges descending through the text (see Fig. 2.6). It is said to represent a palm tree, with all the Christian symbolism which this implies. A manuscript of the piece is reproduced in von Schlosser's "Ein Fulder Miniaturhandschrift der K. K. Hofbibliothek" (1892, 2) and in Liede (1963, 2: 191).

Poem X (p. 41), "Calliope cane plura procax," is a rectangle with intexti on wedges pointed inwards from each side.

Poem XI (p. 46), "Fortia facta ducis toto dominantiaiam nunc orbe canam," is an acromesostic with rough right edge, only marginally a pattern poem. It is printed in Doria's article (1979, 85).

Poem XII (p. 50), "Constantine pater, tu, mundi gloria, consul," is an acromesostic with two interior diamond intexti, reprinted in Doria's article (1979, 85).

Poem XIV (p. 57), "Sancte, decus mundi ac rerum summa salutis," is a rectangle with a large xirho, reprinted in Doria's article (1979, 83).

Poem XVI (p. 63), "Dissona conexis audet componere verbis," is an acromesostic with three interior intexti running vertically down through it.

Poem XVIII (p. 69), "Alme, tuas laurus aetas sustollet in astra," is an acromesotelestic with four xis inside an interior cross of intexti, reprinted in Levitan's article (1979, 67).

Poem XIX (p. 72), "Prodentur minio caelestia signa legenti," (see Fig. 1.3) is a mesostic with intexti that form an incomplete image of a trireme surmounted by a xi-rho as a sail, reproduced from manuscript in von Schlosser's article (1892, 3) and typeset in Bowler (1970, 26), Doria's article (1979, 26), Liede (1963, 2: 193), Lukácsy (1981, 350), and Simonini (1978, 60).

Poem XX (p. 76), "Post Martios labores" and "O si diviso metiri limite Clio," is a compound poem

Fig. 2.6. 
Optatian, "Carmen IX," typeset and from the Paris 
manuscript. See above. Typeset version reproduced 
from Publilii Optatiani Porfyrii Carmina, ed. 
Giovanni Polara (Torino: G. B Paravia, 1937) 1, 37. 
Reprinted by permission G. B. Paravia. Manuscript 
version reproduced from von Schlosser, "Ein 
Fulder Miniaturhandschrift der K. K. Hofbibliothek" 
(1892) 2. Courtesy of the General Research 
Division, New York Public Library, Astor, 
Lenox and Tilden Foundations (3-MAA).

Page 28

made up of two parts separated by an intextus; it is reproduced in color from the Bern Bürgerbibliothek manuscript f. 114v as the frontis to Pozzi (1981), and is typeset in D'Ors (1977, 56), Higgins (1977, fig. 12), Massin (1970, 159), Peignot (1978, 42), Seaman "Development" (1972, 23), Seaman (1981, 52), and Simonini (1981, 50). The form is that of an organ. It resembles a syrinx, however.

Poem XXI (p. 82), "Pauca quidem cecini fors frivola," is an acromesostic with diamond intextus and smaller diamond intexti within these; the piece is reprinted in August II (1624, 1329), a work on codes, presumably because it includes the poet's name.

Poem XXII (p. 86), "Mirum opus est cunctos et tales edere versus," is a complex mesostic with diamond intexti capable of being read in several different ways. It is reprinted in Cobbing and Mayer (1979, pl. 1).

Poem XXIII (p. 90), "Ingemui graviter, Graecum miseratus amicum," is a simple mesostic with two wedge-formed intexti pointing upwards.

Poem XXIV (p. 95), "O qui Tartareas pede fauces proteris almo," is a rectangle with intexti on the great diagonals and a center vertical with a loop at the top, thus forming a xi-rho, reprinted in Doria's article (1979, 84).

Poem XXVI (p. 103), "Vides ut ara stem dicata Pythio," is an altar, perhaps the best known of all Optatian's pattern poems. It is reproduced in Carbonero y Sol y Merás (1890, 241), Dencker (1972, 25), D'Ors (1977, 57), Chaparro Gomez's article (1981, 62, 164), Guégon "Les verses figurs . . ." (1932, 5), Hatherly (1983, 89), Higgins (1977, fig. 11), Massin (1970, 159), Peignot (1978, 43), Seaman (1981, 51), Simonini (1978, 54), Todd's portfolio (1981), and in Tuwim (1950, 240. It is also the subject of a study by Fortunio Liceti, Encyclopaedia ad aram Pythiam Publilii Optatiana Porphyrii. . . (1630), which not only reprints various versions of it but attempts a full hermeneutic analyses of these and gives a series of Neo-Latin imitations of it by members of the Veneto circle of which Liceti was a member.

Poem XXVII (p. 106), is a syrinx, quite pastorale in tone with nothing to do with Constantine. it is reproduced in typeset versions in D'Ors (1977, 58), Guégon "Les verses figurés . . ." (1932, 5), Massin (1970, 159), and Simonini (1978, 56), while in Cook's "Figured poetry" (1979) it appears on plate la in manuscript from the Bern Bürgerbibliothek manuscript already mentioned, folio 119v.

Poems XIII and XXXI are acrostics but are in no way pattern poems, even marginally.

The entire series of Optatian's pattern poems is also in Caruso's Iuvenilia loeti (1969, 1-18) in nineteenth-century typography, in which they also appear in the MGH.

A Latin acromesostic, allegedly composed by Vergil to Cicero, appears on page 2 of El piston 19 (1864). Its documentation is quite incomplete and it must be considered apocryphal.

§ To 1300

Clearly some of the following texts are anonymous, but traditionally they are listed by the name of the monasteries with which the manuscripts are associated; thus, that one will find a piece identified as "St. Gallen Monastery" under "S" instead of "Anonymous monk of the St-Gallen Monastery." Most of the following pieces are "carmina cancellata,'' a form defined in our glossary but most expertly described in Paul Zumthor's misleadingly named article, "Carmina figurata: une mode Carolingienne" (1969, 155-6), misleading because "Carmina figurata" normally includes other forms than just "carmina cancellata," his subject. In his article Zumthor discusses Hrabanus Maurus's "Carmen cancellatum 30, which has, possibly, the poet's self-portrait in it, as the prototype of the form. Most of the Carolingian carmina cancellata are in the Bürgerbibliothek at Bern, "Codex Bern 212," which also contains the pieces by Optatian described in the previous section; a ninthcentury manuscript, it is discussed in Schaller's "Die Karolingische Figurengedichte des Cod. Bern. 212" (1960, 22-48). Especially among Spanish manuscripts, labyrinths mentioning the scribe, poet, or even the owner are relatively common, a fact that is commented upon in Williams (1977, caption to pl. 6).

A wheel-shaped poem that is attributed to Peter [Pierre] Abélard (1079-1142) appears in a manuscript from the scriptorium of the Cistercian monastery at Quincy (Côte-d'Or). It is printed in Dainville (1926, fcg. p. 236). It is in the manuscript division of the departmental archives of Hérault at Montpellier, France, catalogued as "10 F 103" (see Frontis). However, a second version exists at the bibliothèque Municipale in Avignon, Nº 342, f. 1, rº

Page 29

e; it has fourteen verses as opposed to the thirteen of the version at Montpellier. Its authentication appears in the forthcoming Ernst (1988); apart from a circular poem for Odo of Paris (r. 881-91), to which we have not had access, it is the earliest surviving circular poem. It suggests, also, familiarity with the diagrams of Isidore of Seville (ca 560-636) in De Rerum Natura (19609: plates xxiii-4 and xi-3).

Alcuin (775-804), Charlemagne's mentor, is responsible for two carmina cancellata. These may well have been inspired by Optatian's pieces since Alcuin was English and, per Levison (1956, 145), Optatian was known there.

One is the "Magna quidem . . ." with rectangular patterns dividing the whole into sixteen smaller rectangles. The piece is dedicated as "Versus as Carolum Regem," and, like all the Carolingian pieces, is found in Migne (1844-1906) and in the MGH 1 (pt. 1, 227), as well as in Caruso (1969, 42) and Hagen (1977, 220).

The other piece is the "Versus de sancta cruce ad Carolum," also a rectangle divided into four similar rectangles to form a cruciform intextus continued on the diamond intextus formed by diagonals connecting the midpoints of the edges. It is printed in the MGH 1 (pt. 1, 225), as well as in Caruso (1969, 13), Hagen (1877, 219), and Seaman (1981, 56).

An anonymous piece associated with King Silo or Silon of Austurias, who ruled from 774 to 783 and whose capital was Oviedo, has usually been said to be on a gravestone or memorial placque in the cemetary at the San Juan Evangelista Chapel of the San Salvador Cathedral (per Morgan 1872, 42; Carbonero y Sol y Merás 1891, 214-5; Hübner 1871, 1: 46; and Tuwim 1950, 409; all of whom reproduce it, at Oviedo, Spain, not at Orvieto, Italy as Cobbing and Mayer (1977) state, following a chronology by Dom Silvestre Houédard). The mystery lasted quite a long time, since Juan de Mariana (1536-1620), in his Historia de España (book vii, chap. 6; in Mariana 1794 2: 283), reports confusion as to whether the grave of Silo/Silon is at Oviedo itself or Pravia (in Oviedo province), twenty kilometers away. However, Williams (1977), in the caption to plate 6, says the piece was written to commemorate King Silo's building of the Church of Santianes de Pravia at Pravia, and this is verified in a thorough documentation by José Menéndez Pidal in his article "La basilica de Santianes de Pravia (Oviedo)" (1980, 280-1). End of mystery. Hatherly (1983) prints the piece as figure 13 from a manuscript, "Ms. 338," in the Biblioteca Geral da Universidade de Coimbra in Portugal (see Fig. 5.8).

A second anonymous piece is the sarcophagus inscription, probably from the late sixth or early seventh century, described in Egger's "Ein Carmen figuratum aus Salona" (1924, 13).

A third anonymous piece, a late carmen cancellatum, is the "Fragmentum Augienses," probably tenth century (see Fig. 2.7) in the MGH 4 (pt. 2, 1115), as well as in Caruso (1969, 96) and Seaman (1981, 58), an extremely florid and elaborate mesostic.

There also exists a Latin translation of Aratus (third century B.C.) from eleventh-century England, now in the British Library, in which the texts are formed into the shaped of mythological animals and scenes. Because these are shaped prose, not pattern poetry, we will not discuss them in any detail here, but they are reproduced in Massin (1970, 168-9), D'Ors (1977, 59-61), and Peignot (1978, 49).

An anonymous diamond-shaped labyrinth appears in the "Beato de San Severo" (1028 72), now in the Bibliothèque Nationale in Paris, "no. 8878," reproduced in Gómez-Moreno (1934) as plate 7. G6mez-Moreno does not give a folio number, and we suspect the manuscript name is incomplete. He also does not describe the work's colors, and so forth. However, judging from his illustration, it is drawn in a late version of "Visigothic miniscule," and the text is organized into four similar triangles along the lines of the banner by Díaz Rengifo at a later date, described in our Spanish section.

Another anonymous work which should be mentioned at this point, even though it is not pattern poetry, is a star chart in "Codex 106" (tenth century) from Ripoll in Spain, appearing on f. 75v. What is notable about it is that it exactly follows the format of the Italian "Sentenze trovate nelle ruine di Persopoli" (nineteenth century) and the Portuguese labyrinth from the anonymous Aplauzos academicos . . .(1673) (see Figs. 2.36 and 2.101). The piece is reproduced in figure 6 of Beer (1908) and is discussed on page 62 of his article.

A similar chart appears in the eleventh-century "Tergrimi-computatus" manuscript from Piacenza, Italy, now in the Pierpont Morgan Library in New York, "Ms. M. 925," fol. 12r, reproduced in Kern

Page 30

Fig. 2.7. 
Anonymous, "Fragmentum Augienses" (10th Century?). See page 29, 
above. From the MGH, poeti aevii carolini (1884-91) 4 pt. 2, 1115.

(1982, 153). It deals with the progress of the moon through the zodiac.

Bernowin (ninth century) wrote a number of acrostics and mesostics which verge on being pattern poetry, especially numbers 11 to 27, all of which apper in Caruso (1969, 449), and some, numbers 11 to 17, in Accame (1977, 5).

Winifried "St. Boniface" (680-755) is responsible for one carmen cancellatum, the "Versus duddo missi," which includes a cruciform intextus and is reprinted in Caruso (1969, 37), Dencker (1972, 27), and Ernst "Figurengedichte" (1984, typeset on p. 325 and in manuscript as plate iv from the Universitätsbibliothek Würzburg "M. p. th. f. 29," fol. 44r'').

Eugenius Vulgarius (d. ca. 950), a Neapolitan presbyter and sometime teacher at the episcopal school at Napoli, is the author of three pattern poems, analyzed at length in Ernst's article (1984).

"Solo tu nutu natis e diceris unus" is a truly exquisite satirical syrinx, (see Fig 2.8), in Higgins (1977, fig. 15), in the MGH, Poetae Latinae (1899,

Page 31

4: 422), and in Caruso (1969, 94). The dedicatee, Pope Sergius III (r. 904-11) was a most unlikely pontiff, a murderer by accounts, and at least one popular poem of the time was dedicated to his mistress, Theodora, as well, suggesting that his adventures were common knowledge.

Eugenius also composed a pyramidal poem (see Fig. 2.9)in honor of Emperor Leo of Byzantium. It is called "Carmen XVI: Pyramida ad Leon Imperatorem" in the MGH, Poetae Latinae (1899, 4: 422) and in Caruso (1969, 92), where the dedicatee is identified as Leo I, who ruled from 457 to 474 and was known as "Magnus" (the Great) to the orthodox and ''Makelles" (the Butcher) to the Arians. This makes no sense. In the Bamberg Staatsbibliothek (BRD), "Msc. Can. I," in which the manuscript appears on folios 2v and 3v, reproduced in Ernst "Poesie und Geometrie . . ." (1984, pl. 1 and pl. 2), there is no specific dedication of this sort. However, as Ernst points out on page 330-2, the obvious dedicatee would be Leo VI "the wise" (meaning "the learned," who ruled 886 911), whose diplomatic activities in southern Italy reflected the fact that many there were disenchanted with the Holy Roman Emperors and looked to him as their leader. Leo was even a poet of sorts, and presumably had a taste for pattern poetry, since he commissioned an edition of the "Greek Anthology" from his protegé Konstantinos Kephalos. The poem is a fine one, and is in a unique form for its time.

Eugenius's third pattern poem is a carmen cancellatum, dedicatee unknown, "Rector terrarum rerum mentis moderator," a rectangle with two great diagonals divided by crosses into four similar parts, in the MGH (1899, 4: 436) and in Caruso (1969, 93).

His simple mesostic, "Aureus ordo micans celi de numine fulget," in Caruso (1969, 91), is not really a pattern poem.

Felix "vir clarissimus" wrote a mesostic of no visual distinction, in Caruso (1969, 21).

From Fleury Monastery, in the History attributed to St. Abbon or Albon (ca. 947 1004) but probably not by him, at 3: 593, is a carmen cancellatum in praise of the Emperor Otto (912 73); it is printed in the MGH 5 (pt. 2, 471), as well as in Carbonero y Sol y Merás (1890, 247), described in Caruso (1969, 123, and printed on 95); it is also printed in Massin (1970, 275) from the Biblioteca Latina of Fabricius (sixteenth century). It is a rectangle with central cross and four small vertical lines, all with intexti.

Florentius or Florencio was a Spanish monk, of the Monastery of Valeranica, who wrote or copied the "Codex goticus legionensis o [sic] primera de San Isidoro de León" (ca. 960) that is incompletely described in Cam6n Aznar (1964, 283). The work has not been, so far as we can discover, published or printed in facsimile; it is said in Domínguez Bordona "Manuscritos" (1928, 5) to resemble Hrabanus Maurus's "Liber de sanctae crucis" (see below); however, in a letter of 20 September 1985, Dr. John Williams wrote that this manuscript, which is still at San Isidoro, contains no labyrinth, so we do not know what Domínguez Bordona means by his comparison.

But another work by Florentius is the "Moralia in Iob" (945), a text of Pope Gregory I "the Great" (r. 590 604); it is in Madrid in the Biblioteca Nacional, "Codex, 80, and its identification is certain since on folio 3r there is a labyrinth in Visigothic miniscule letters which includes the words "Florentius indignum memorare." the labyrinth matches no known model exactly, but reads down the center, to the right across the top and backwards across the top to the left, with a sort of cell structure that suggests the labyrinthus cubicus. It is discussed in Williams "Valeranca" article (1970), and in Williams (1977) it is reproduced in color as plate 6.

Gosbert or Gozbert, another Carolingian poet (ninth century) wrote a carmen cancellatum, "Te virtute crucis soter ..." formed like the fleury piece above, reprinted in Caruso (1969, 51). It is a rectangle with central cross dividing it into four similar rectangles; in the center of each of these is a short vertical intextus, the lower right of which gives the poet's name.

Hincmar of Rheims (d. 882) wrote a pattern poem in the form of columns, which would be the earliest column poem if it had survived. It is described and quoted in his "Epistle: Ferculum Solomonis" in Migne (1852, 125, 814ff) and referred to in Raby (1957, 1: 45) and in Manitius (1: 353), but it is not in the MGH (1899, 3: 402 20) with the rest of Hincmar's surviving poems.

One of the most spectacular works in Carolingian pattern poetry is the "De laudibus sanctae crucis" of Hrabanus Maurus (784 856), abbot of Fulda, which was composed during the reign of the bigot emperor Ludwig the Pious (r. 816 40) who

Page 32

largely undid the cultural achievements of his father Charlemagne by destroying virtually everything the latter had collected during his reign which was not specifically Christian, such as the archive of classical and Frankish literature, in which one might well imagine there were many pattern poems among the other works, all irretrievably lost. Hrabanus's work exists in two principal manuscripts of equal artistic merit, the "Vatican manuscript" (Codex. Reg. Lat. 124) in the Vatican Library, in which the flowers and abstract forms are superior, reproduced in black and white in Müller (1973) with commentary, and the "Vienna Manuscript" (Cod. Vinobanensis 652) in Vienna, reproduced in colored facsimile in Hrabanus Maurus (1972), in which the figures and coloration are better, described in von Schlosser's "Eine Fulder Miniaturhandschrift der K. K. Hofbibliothek'' (1892). A third manuscript of the work from the Fulda scriptorium is in the Biblioteca Nazionale in Torino, Italy, "Ms. K. II. 20;" it was seriously damaged by a fire in 1904, but it was restored in 1938. The renderings of the faces are especially fine and resemble those on Limoges plates of two hundred years later. In the book accompanying De laudibus . . . (1972, 30) there is a detailed account of surviving manuscripts and their lineages.

Hrabanus did not draw any of these manuscripts himself, but used master scribes from the scriptorium at Fulda to do the work, notably one Hatto, and he himself supervised it. No typeset version can match the emotional power of either major

Fig. 2.8. 
Eugenius Vulgaris (ca. 880-ca. 950), "Solo 
tu nutu natis e cideris unus." See page 31. 
From Dick Higgins, George Herbert 's pattern 
poems: in their tradition (1977), fig. 15. 
Copyright © 1977 by Richard C. Higgins. 
Reprinted by permission.

manuscript, or even of the lovely later manuscript version of the work in the Bayerische Staatsbibliothek at München, "Cod. lat. 18077" (1459). In a letter of 1 October 1985, Ulrich Ernst refers to a version of the work by the "Nürnberg Lektor [teacher, lecturer] Berthold," which he dates from the second half of the thirteenth century. We do not know this version. Plates from the first printed edition (Pfortzheim: Thomas Anselm, 1503), red and black, are reproduced in Massin (1970, 163-7); but all the typeset versions appearing typeset in Caruso (1969, 52-81) as well as in most other modern editions are from Migne (1840), which, from an aesthetic as well as art historical point of view, cannot be recommended as they are very drab and offer iconographic distortions.

The poems, all carmina cancellata, are:

1. a heroic figure of Ludwig the Pious, the dedicatee, in Cook's article (1979, pl. 3a) from the Vatican manuscript, Dal "Figurdigete" (1966, 2), Mütherich (1976, 55, pl. 55), Peignot (1978, 44), and Schenck (1973, 349);

2. a "praefatio" or preface which has special letters arrayed through the text, which half-conceals the poet's name (this is presumably why it is reprinted in Augustus II "Selenus" [1624, 140], a work on codes);

3. an image of Christ on the cross (see Fig. 2.10) appears in Cook's article (1979, pl. 3b) from the Vatican manuscript, in Peignot (1978, 45, in color from the Vatican manuscript in Rathofer (1962), and in Rypson "Poezja wizualna" (1981, 40);

4. a square with an intextus prayer on lines dividing the large square into four parts.

5. a square text on angels, with letters forming the inscription "crux salvus" and the name of some celestial being on each of these letters;

6. a square text with lines forming a central cross with an angel in each of the resulting squares (on the lines is an evocation or prayer);

7. another square text with central cross, each small square thus formed containing another square (this describes the house of God as conceived in Hrabanus's time);

8. another square text, this with four wedges pointing to the center, with a description of heaven, printed in Ernst "Figurengedichte" (1984, typeset on p. 329) and in color from the Vatican manuscript as plate 5;

9. another square text, this one with four

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circles, with a description of the four elements (it is reproduced in Peignot (1978, 44);

10. a square text, this with intexti on a central square and with wedges branching off of these, describing the virtues and properties of the cross;

11. a rectangular text, with a four-petalled flower suggesting a cross, continuing the discussion of the virtues of the cross;

12. a square text with one central array of tiny squares and four others surrounding it, describing the sacraments;

13. a square text with five interior squares, describing the Pentateuch, in color from the Vatican manuscript in Rathofer (1962);

14. a square text with four Greek letters, describing the Fall of Adam and Eve, in color from the Vatican manuscript in Rathofer (1962);

15. a square text with four crosses telling of the conception of Jesus (in Pozzi [1981, 94] this is reproduced from the Vatican manuscript, and it appears typeset in Canel [1867, 1: 198] and in Hatherly [1983, 93]);

16. a near square with Greek letters forming a cross and with infinity symbols at the ends, telling of Christ's passion;

17. a square with a lamb at the center (the "lamb of God" symbolizes Christ's sacrifice) and with four animals symbolizing the four evangelists (reproduced in Accame [1977, 13], Dal "Figurdigte" [1971/3, front cover], Dencker [1972 21] and Peignot [1978, 46]) and, in color from the Vatican manuscript in Rathofer (1962);'

18. a square text with floriate cross dividing it into the seven gifts of the Holy Spirit enumerated to the prophet Isaiah (reproduced in Peignot [1978, 40] and in color from the Vatican manuscript on the front cover of Pozzi [1981], unidentified within the book);

19. a rectangular text with eight hexagons arrayed in a cross telling of the beatitudes;

20. a square text with four wedges pointing inwards, telling about the sacred mysteries;

21. a square text with five Xs arranged in a cross, telling of the significance of the Holy Sacraments;

22. a square text with four lamdas, telling about the mystical significance of the Holy Sacraments;

23. a square text with a complex cross, telling about the mystical significance of the Holy Laws;

24. a rectangular text with an array of Greek letters forming a xi-rho, similar to those the earlier pieces by Optatian, telling how the monogram of Christ, the xi-rho, is to be understood;

25. a square within a square cross, anchored with small pyramids with the attributes of Jesus on them"fortis" (brave), "victor" (conqueror), and so forth;

26. a square with small, paddle-like forms, their heads towards the center so that all the initial letters of the intexti form the word "crux";

27. a square with the letters crossing to form "Alleluia" and at their junctures, a small cross with the intextus "Amen";

28. a rectangle with a cross in the center, divided into small rectangles evoking Jesus and the prophets (e.g., Zacharaiah);

29. another rectangle in a cross, similar to the one above, evoking the words of the apostles; it is a near palirdrome; and-

Fig. 2.9. 
Eugenius Vulgaris (ca. 880-ca. 950), 
"Carmen XVI: Pyramida ad Leon 
Imperatorem," from "Msc. Can. 1," f. 
2v. Courtesy: Staatsbibliothek 
Bamberg (BRD).

Page 34

Fig. 2.10. 
The crucifixion from  Hrabanus Maurus (784 856). De laudibus sanctae crucis (ca. 835). 
See page 32, above. Manuscript version from  the Osterreichische Nationalbibliothek (Wien). 
"Cod. Vinobadensis 652," printed by permission.

Page 35

30. a rectangle with a cross in it, and below this, a monk, perhaps Hrabanus himself. In the Vienna version he is gazing at the cross, perhaps in awe (see Fig. 1.5), while in the Vatican version he is looking at the reader. The Vienna version is printed in color in Pozzi (1981, fcg. p. 40), with the Vatican version in Diehl (1951, 29), Dubois's "Palindromi i carmina figurata" (1977, 27), and Peignot (1978, 46). The piece is well analyzed in Zumthor's "Carmina figurata" (1969, 155-6), as already noted.

Two other carmina figurata by Hrabanus Maurus are known. They are:

1. a rectangular piece with a sort of medallion in it and the inscription "Summes et orrero qui verbo . . .," in Caruso (1969, 82) and Hagen (1877, 222); and

2. a rectangular piece with a small rectangle within it, with the intextus "Mattheus laevi comite tenet ordine marcum. . . ," in the MGH 4 (pt. 2, 5929) and in Caruso (1969, 83).

Several of Hrabanus's pieces are said to be printed in Alsted[ius] (1630, "sec. iv, 'poetica latina,' 4: 549 68), but we have not verified which ones, as volume 4 is missing from all copies of Alstedius in the United States.

St. Isidore of Seville (ca. 560 636), while he wrote no pattern poems, has some interesting diagrams in his De rurum natur and Etymologiarum libri which are sometimes called pattern poetry. See Caruso (1969, 26 36), also Abélard's circle poem, above.

Jacobus Madelenet de Gouda (="G. Magdalio," fl. 1502 21) has a carmen cancellatum in the Erarium aureum poetarum (Published 1.501) which resembles those of Hrabanus, an adoration of the magi on page 73 of a manuscript in the Berlin Staatsbibliothek, reproduced with incomplete identification in Pozzi (1981, 146).

Josephus Scottus (ninth century), a scholar from Ireland at the Carolingian court, has four carmina cancellata:

1. a rectangle with lozenges and crosses, with the inscriptus "Lege Carle feliciter" (read, Charles, felicitiously; the piece is dedicated "Ad Carolum Regem," and it appears in the MGH 1 [pt. 1, 153], as well as in Caruso [1969, 38]);

2. a rectangle with diagonals, also dedicated "ad Carolum Regem," printed in the MGH 1 (pt. 1, 155), and in Caruso (1969, 39), and Hagen (1877, 217);

3. "De nominibus Iesu ad Carolum Regem," a rectangle with two double lines in the center (it is printed in our Appendix II as Fig. II.9 from the MGH 1 [pt. 1, 157] and in Caruso [1969, 450], and Hagen [1877, 218]); and

4. "De sancta cruce," with intexti forming a large cross, two smaller ones, and a suggestion of a shrine over these. It appears in the MGH 1 (pt. 1, 159), and in Caruso (1969, 41), hagen (1877, 219), and Seaman's "Development" (1972, 25).

Milo of St-Amand (ninth century) is the author of two carmina cancellata.

One has a cross dividing a rectangle into four similar rectangles, "Accipe, Karle, precor carmen pietate benigna . . .," in the MGH 1 (pt. 1, 563), and in Cruso (1969, 87).

The other has a cross dividing the rectangle, with two great diagonals, "Salve rector ovana eterno munere fretus . . .," printed in Caruso (1969, 90).

Paul the Deacon [Paulus Diaconus, ca. 720-97], a Lombard monk, historian, and poet, is the author of a cruciform poem that is described in the Zeitschrift für deutsches Altertum [Berlin] 12 (1865, 460) and is reprinted in Dencker (1972, 28).

In the ninth-century "Codex Sangalliensis" (page 187) from the Monastery of St-Gallen are two carmina cancellata:

1. a rectangle with diagonals forming wedges, "Grates actuotum potis est captare serenum," in the MGH 2 (479) and in Caruso (1969, 87); and

2. an unfinished piece, a rectangle with cross forming similar rectangles. Only the outer edges are finished. It appears in the MGH 5 (578) and in Caruso (1969, 88).

Theodulfus (ca. 750-821), a Spanish poet at Charlemagne's court and later Bishop of Orléans, is the author of a carmen cancellatum, "Omnipotens domine et pacis donator in aevum . . .," a rectangle with cross dividing it into four similar rectangles and a diagonal in each of these, so that all diagonals form a large diamond. It is reprinted from the MGH in Caruso (1969, 50).

Venantius Honorius Clementianus Fortunatus (ca. 530 ca. 600), called "Venantius Fortunatus" in most sources, was one of the principle poets and hymn writers of the sixth-century Merovingian Frankish court. Besides appering in the standard edition of Venantius Fortunatus in the MGH (1881; 1961), his pattern poems have been reprinted rather widely. They are:

Page 36

1. a carmen cancellatum dedicated to Prince Sygarius, "Dius apex Adam ut fecit dat somnia. . . .," a rectangle with vertical line up the center and two great diagonals, reprinted in Caruso (1969, 22), Ernst's "Figurengedichte" (1984, 322), Guégon's "Les verses figurées . . ." (1932, 12), Massin (1970, 160), Peignot (1978, 43), and Cook (1981, 46, with English translation on 47);

2. a similar piece with a cross in a rectangle, "De signaculo sanctae crucis" (see Fig 2.11), appears in Caruso (1969, 22), Guégon's "Les verses figurées . . ." (1932, 12), Higgins (1977, fig. 13), Massin (1970, 160), and Peignot (1978, 160), and Cook (1981, 48, with English translation on 49);

3. "Ex torquet hoc sorte dei veni abiles ignum . . .," a rectangle with central cross forming four similar rectangles, and with diagonals in these forming a large diamond (the piece, which seems to be unfinished at first glance but is probably not, appears in Caruso [1969, 23], Massin [1970, 160], Peignot [1978, 43], and Cook [1981, 44, with English on 45]); and

4. Venantius's best known piece, a cross (see Fig 2.12); apart from the anonymous Greek one, it is the earliest known such piece. It appears in Accame (1977, 14), Caruso (1969, 25), Hatherly (1983, 91), Higgins (1977, fig. 14), Massin (1970, 161, Minocki's eighteenth-century "poetica" manuscript (see our Polish section, below), Peignot (1978, 43), Rypson's "Poezja wizualna" (1981, 40), Rypson's "Poesia visual" (1980, 55), and Cook (1981, 42, with English translation on 43). Variants of it were used as amulets in eighteenth-century Germany, where the work was known as the "Thomaskreuz" and worn around the neck, according to Lenz (1963, fig. 133 and caption).

The works of Vigilán (Vigilia de Albeda), a tenth-century monk from Riojas province in Spain, are contained in the "Codex Vigilano" (Escorial d. I, 2). In the manuscript, the pattern poems, all carmina cancellata, come at folios 1v, 2r, 2v, 3r and 3v. Díaz y Díaz (1981) gives transcriptions and apparatus, while the manuscript is described in Antolín (1910) and Díaz y Díaz (1979). Vigilán's five carmina cancellata are printed in color in Díaz y Díaz's "Vigilán y Sarracino" (1981). They are:

1. number 2 of his poems, "Gloriosa Cristi caro insons cruci adfixa," in red, blue, and black with cruciform intextus, on page 71;

2. number 3, "Salbatoris mater, Maria, gloriae

Fig. 2.11. 
Venantius Fortunatus (ca. 530-ca. 600), "De 
Signaculo Sanctae Crucis." See above. From Dick 
Higgins, George Herbert's pattern  poems: in their 
tradition, fig. 13. Copyright © 1977 by Richard C.
 Higgins. Reprinted by permission.

palmam . . .," a set of descending wedges on a central vertical, these in orange with the intexti, while the main text is in black, on page 74;

3. number 4, "Ortis uirginis, uirgo alme, Cristus, matris .. .," with orange intexti as a central cross and ascending great diagonal and acrotelestic, and with the main text in blue, on page 77;

4. number 5, "O alfa et [omega written as the Greek character], altissimi Dei patris sapienta .. .," with four borders, central cross and both great diagonals in orange forming intexti on a red main text, on page 80.

5. number 6, "Altissime, seruo tuo salua, redemptor, Vigila .. .," with intexti on the four borders forming an acromesotelestic and with a diamond formed by the meeting of the diagonals within four similar rectangles, all this in orange with a red main text, on page 83. The piece honors St. Martin.

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Fig. 2.12a and 2.12b. 
Venantius Forunatus (ca. 530-ca. 600), cross poem with translation by Geoffrey 
Cook. See page 36, above. Latin and English versions from  Venantius Fortunatus, 
A basket of chestnuts, tr. and ed. Geoffrey Cook. Cherry Valley, NY: Cherry Valley 
Editions. 1981. Copyright © 1981 by Geoffrey Cook. Reprinted by permission of 
Geoffrey Cook.

Vigilán's number 1, on page 70 of Dfaz's article (1981), is a simple acrotelestic, not a pattern poem. Numbers 4, 5, and 6 also appear in Romera Castillo's "Poesia figurativa medieval: Vigilán, monje Hispano-Latino del siglo X, precurser de la poesia concreto visual" (1980, 144 146).

Apart from Eugenius Vulgaris's syrinx, no medieval Latin poem is known which follows a classical model. This is not surprising, since the poets of the time were at pains to dissociate themselves from pagan antiquitythe very survival of many classical authors depended, in fact, on the existence of a single manuscriptand many Latin poets whose works we know well were not well known to the middle ages. Thus, the earlier poets, even those in "The Greek Anthology," were not so commonly available as to be models for the medieval poets, even if these had wished to use them in this way.

§ To 1900

Latin pattern poetry is rare from the time of Vigilán in the tenth century until the end of the fifteenth century. Some few pieces were composed, such as the circle attributed to Abélard (eleventh century; see Frontis), the carmina cancellata of Madelenet de Gouda and of Bockenrode (sixteenth century), and there were some pattern poems being composed in other European literatures, notably in Hebrew and Italian, as well as one very interesting and puzzling piece by Janus Pannonius (1434-72) described in our Hungarian section; but, apart from that and from the pieces by Iacobus Nicholai de Dacia described below, Latin pattern poetry reappears quite suddenly in the early years of the sixteenth century, becoming an avalanche through the seventeenth century, fading away in the later years of the latter, lingering on in some places in the eighteenth, but dying out in

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the nineteenth almost completely. This parallels the fortunes of Latin as a literary medium.

In many countries Latin was the daily language of the intelligentsia, with the result that in these literatures the pattern poems seem to relate to the local traditions and regions than to the pattern poetry of the Neo-Latin tradition in places where composing in Latin was a sort of militantly international gesture. Thus it is that we have put Latin pattern poems into our sections on Croatian and other south Slavic, Finnish, Hungarian, Czech (Bohemian), Polish, Ukrainian, Portuguese, and Peruvian works. To develop a truly comprehensive picture of Neo-Latin pattern poetry, one should study those sections as well as this.

Even with Neo-Latin pattern poetry diffused among several sections, the body of material is, after German, the largest of any single grouping. More interesting, although the early Neo-Latin pattern poems tend to follow classical forms (with the addition of suns and columns to the standard images), by the late sixteenth century a wealth of inventiveness is found which is quite startling, and through the seventeenth century the incidence of unique shapes and forms continues very high indeed. What this says about the role of Latin as a vehicle would be sheer speculaiton, but the fact is a striking one as we examine the material.

In the listings below, the reference to "HAB" refers to the Herzog August Bibliothek in Wolfenbüttel, Federal Republic of Germany, in whose collection they were reported by Professors Jeremy Adler of the University of London, Ulrich Ernst of the Universität Gsamthocheschule in Wuppertal, or Karl Otto of the Department of German at the University of Pennsylvania.

Arranged alphabetically by author, our first piece is a wedding cup byJohannes Albinus (Weiss? no date known) for the 1616 wedding at Lübeck of G. Alardus and Anna Laurenberg, which is printed in Melander (1960, 19).

An anonymous axe appears in Alsted[ius] (1630, 4: 566). Also see Samuel Pomario, below.

An undated anonymous chalice appears in Weis (1951, 107), evidently from the early seventeenth century.

Another anonymous wedding chalice for the 1669 wedding of Dithmar Wachmann and Margarethe Köper is described in Universität Bremen (1977, 5) as "Pat. Fol. Brem. a 6345 nor. 13."

Another anonymous chalice was printed by Rörer at Breslau in Ebenezer mnemonico-eucharistico-eugmaticus . . . in nuptiis Adami Kruberi . cum . . . Anna Magdalena Hermania (Breslau [Vratislaviae]: Baumann, exprimebat Johannes Güntherus Rörerus, 1691), signed "J.M.D.F." for the groom. It has a leonine verse under it.

An anonymous column, "D.L.D.," for Caspar Schacht, parson in Bremen, dated 20 June 1652 and printed by de Villiers, is in the HAB as "#T 80 Helmst, 4° (2)."

An anonymous "Arma Christi," evidently seventeenth century, appears in Adler's article (1982, 123). It has three crosses and other figures, and bears some resemblance to Benlowes's English piece with three crosses.

Two anonymous crosses appear in the Spanish journal La cruz 2 (1874, 638) and 1 (1876, 380), reprinted in Carbonero y Sol y Merás (1890, 252, 253). Also from La cruz, from the April 1872 issue (no page given), is another cross, also in Carbonero y Sol y Merás (1890, 254). An anonymous cross with a frame appears in the same work on page 255, reprinted from J. Oudin Manuel d'archéologie (1845, pl. iii, no. 16), while yet another cross from La cruz for August 1886 (no page number) appears on page 256.

An anonymous Latin cross for Joachim Middendorff, who died 17 May 1619, was printed in that year at Hildesheim by Joachim Gössel, reported in the HAB as "#T 46 Helmst. l° (1)."

An anonymous globe for the 1682 funeral of Ferdinand Albrecht I of Bremen, printed by Hermann Brauer, is described in Universität Bremen (1977, 19).

Two anonymous pieces, a goblet and an egg, appear in Alsted[ius] (1630, 4: 562, 564). Also see Samuel Pomario, below.

An anonymous labyrinthus cubicus printed by Johannes Billingsley celebrates the 1691 Stockholm wedding of Michael Törner and Margareta Bergius; it appears as figure 30 of Gran's dissertation.

An anonymous labyrinthus cubicus which celebrates the birthday in 1658 of Karl X of Sweden appears in Melander (1960, 20).

An anonymous palindromic sceptre and mitre of 1623 that was reprinted in a festschrift of 1753 appears with full discussion in Ernst (1985), 73-6).

An anonymous inverted pyramid of 1615 commemorates the 1610 assassination of Henri IV of

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France, reprinted in Ernst "Europäische Figurengedichte" (1982, 312).

An anonymous skyphos (chalice) for the wedding of Christian August Mithobius and Anna Sophia Wolf on 14 October 1645, place and printer unknown, is reported in the HAB as "#Db 3274 (6)."

An anonymous star for the 1591 wedding of Johann Adolf von Glauburg of Frankfurt appears in Diehl (1951, 36, reprinted in Massin (1970, 192) and Peignot (1978, 60).

In the anonymous festschrift Phoebus genethliacus serenissimo principi ac domino Christiano Augusto comite Palatino, Rheni, Bavariae . . . (1699?) there appear two pattern poems (unfolioed): a sun, "Carmen Centaurinum," and a labyrinthus cubicus on the line "Augustus vivat longaevi Nestoris annos . . . ."

An anonymous temple of 1691 for Maria Lemmens, probably of Stockholm, appears in Gran's dissertation (1981, fig. 10).

An anonymous tree appears in Bowler (1970, fig. 71); its source is unidentified, but our guess is that it is Scandinavian.

An anonymous "Wasserrad am Bruckentor" (water wheel at the bridge gate) for the 1680s funeral of Albert Löning is described in Universität Bremen (1977) as "Brem. a 857 nr. 21."

"Gustavus Selenus" is the nom de plume of Herzog (Duke) August II (1579-1666) of Lüneburg-Braunschweig, who also wrote a memorable book on chess besides the one which concerns us here, which is a work on cryptography, secret scripts, and so forth, the Cryptomenytices et cryptographiae libri ix (1624). The Praefatio (preface) to his work includes, at pages C4r, C4v and C5r, three labyrinthi cubici by "Johann Honthemius Ubius," presumably the same Johann Honthemius we mention below (q.v.), on the texts "Occulta inquiris, caelos caelanda perite, artificis res est utraque, crede, provi," "Magna SeLene probIs Das, ô VIrILapsVs ab aXe," and ''O bene, tV MULtos VIVe SeLene DIes," each of which he describes as a "Distichon Daedalicum, seu Cubus." For an illustration of the last of these, see Fig. 2.13.

In the actual text of August II's work, on pages 174-6, we find the asemantic labyrinth mentioned below in our discussion of Sutor [Schuster], with discussion, along with poem XXI by Optatian on page 139 and poem 2 by Hrabanus Maurus, already mentioned in our classical and medieval Latin sections. Both pieces have the names of their authors

Fig. 2.13. 
Schematic labyrinthus cubicus, usually said 
to be by Duke August II of Lüneburg-Braunschweig 
("Gustavus Selenus," 1588 1666) from Andreas Schuster 
("Sutor,"  Eighteenth-Century), Der hundert augige 
blinde Argos . . . (1740) 770. The piece is more likely
 by Daniel Klesel. See below and also page 87.

hidden in their texts; this is presumably why August II has chosen these particular pieces. August II also includes other systematic structures, analyzing the wheel on page 177 and the circular labyrinth on page 168. His discussions show considerable familiarity with pattern poetry and its cognates, and he mentions such authors as Puteanus [de Puy] and Trithemius (cf. Caramuel, above).

Bonifacio Baldissare (ca. 1570-1625) was a leading member of a circle in the Veneto in Italy in the 1620s which also included Fortunio Liceti and Mario Bettini (see below), both of whom made pattern poems, along with Domenico Molino, who made no known pattern poems but to whom Bonifacio's Urania (1628) and several of Liceti's works are dedicated. The group is discussed by Pozzi (1981, 205-6). Most of the twenty-one pattern poems in the Urania are reprinted in the Encyclopaedia septem tomis distincta of Johannes Henricus Alsted[ius] (1630), "sec. iv, lib. x, cap. v,

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Figs. 2.14 through 2.17. 
Bonifacio Baldissare (ca. 1570-1625), images from the Molino coat of arms from 
Urania (1628): heart, rake, cube (with acrotelestic) and "saw-for-a-critic." From  Bonifacio 
Baldessare, . . . Musarum  liber xxv. Urania ad Dominicum  Molinum (1628) unfolioed.

Poetica latina," which we therefore abbreviate as "A" to avoid repetition.

1. a poetical zodiac of the Molino family, reprinted in Pozzi (1981, 215);

2. a tower, reprinted A 567, and in Peignot (1978, 63);

3. a shield, reprinted A 554;

4. a column, reprinted A 555;

5. Mercury's sandals, reprinted in Pozzi (1981, 215) and in Peignot (1978, 63);

6. an hourglass, reprinted A 554;

7. a spindle, reprinted A 667;

8. an organ, reprinted A 562;

9. an axe, reprinted A 556;

10. a flight of stairs, reprinted A 566;

11. a heart (see Fig 2.14), reprinted in Higgins's article (1979, 43), Higgins (1983, 32), Peignot (1978, 63), and Pozzi (1981, 217);

12. a looking glass, reprinted A 554;

13. a sun spiral, reprinted A 554;

14. a cap, reprinted A 562 and in Pozzi (1981, 218);

15. a feather, reprinted in Pozzi (1981, 219);

16. a rake (see Fig. 2.16);

17. an amphora, reprinted A 552;

18 a chalice, reprinted A 554 and in Peignot (1978, 63);

19. a cube with acrotelestic text (see Fig. 2.15);

20. a "saw for a critic" ("Ziolum," see Fig. 2.17) reprinted A 567; and

21. an altar, reprinted A 553 and in Liceti's Encyclopedia ad aram Pythiam . . . (1630, 58). All twenty-one pieces are reprinted in Tau/ma 6 (1980), edited by Dick Higgins and Luciano Caruso.

For pieces by Niccolò Barsotti, see Niccolò da Lucca.

Johannes Johann Beck [Becker?] has a curious circular poem suggesting the solar system in his New

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Year's festschrift Anni hujus novi MDCLV Auspicium (1655) reprinted in Bircher and Bürger (1979, 130).

According to Pozzi (1981, 226), Antonio Bernardo includes an egg in his Gemmea corolla adamantalis, saphyrulis . . . (1621), an extremely rare book. We have not verified this piece.

The Lyceum e moralibus . . . (1626) of Mario Bettini (1582-1657) includes two columns dedicated to Ottavio Farnesi of Ferrara in part 3, pages 48-9 (see Fig. 2.18). The columns are said to be reprinted in his Florilegium (1632), per Pozzi (1981, 229). We do not know this edition, but in the Florilegium (1633), they appear on pages 22-3.

Christianus Biccius (n.d.) has a memorial sand-glass for Karl XI of Sweden on page 3 of his Carolus Undecimus Rex Swediae . . . (n.d. but obviously 1670s).

Guillaume Blanc (1551?-1601) includes a pyramid in his Epigrammata in obelis . . . (1586, 13) which is reprinted in Ernst "Europäische Figurengedichte" (1982, 320).

A crude carmen cancellatum with a sword intextus was made by Johannes Bockenrode of Worms around 1513 and is reproduced in Fickermann "Karolingische Kostbarkeit" (1961-2, 42). With Madelenet de Gouda's eleventh-century piece, it is one of the last works in the genre.

Joachim Calvör (n.d.) is the author of a trophy poem for Autor Camman and his children on the death of his wife and their mother on 22 March 1652, printed at Braunschweig by Andreas Duncker, and in the HAB as "#T 33 Helmst. 4º."

Juan Caramuel de Lobkowitz (1606-82) was a Cistercian monk best known to us as an architectural historian. Born of a Spanish father and a Bohemian mother, he lived most of his life in Italy, where he eventually became Bishop of Vigerano. As a young

Page 42

man he edited Trithemius (1635), which could be the origin of his interest in pattern poetry. In any event, he was active in the other principal group of pattern poets in Italy besides the Veneto one in the 1620s, this one at Rome in the 1550s and 60s; both are described in Pozzi (1981, 242-75). The Rome group also included Francesco Passerini and Niccolò da Lucca, just to mention two other NeoLatin pattern poets. Caramuel's principal work for pattern poetry is the Metametrica (1663), a convenient reduction of the full title, . . Primus calamus ob oculos ponens metametricam, quae variis currentium, recurrentium, abscendentium, descendentium nec non circumvolantium versuum ductibus, aut aeri incisos aut buxo insculptos aut plumbo infusos multiformes labyrinthos exornat, a work of formidable complexity but great interest and even originality. Its pagination is not continuous, unlike its section numbers, so that citations from it are best given by section. The plates fall before the first section. Only a portion of the work deals with pattern poetry. However, it contains labyrinths and pyramids (sections 301-12), pattern poetry as such (sections 313-4), carmina quadrata and cancellata (section 315), proteus poems (sections 500-20), along with anagrams, echo verses, and other forms of poetry which we do not discuss here in any detail.

The first ten figures of the work are diagrams on one plate, numbered I-X, that describes poetic forms, such as a cylinder for printing out endless poems; this is reproduced in Pozzi (1981, 43), and the forms are discussed in Caramuel's section 342, but there are no pattern poems as such on this plate.

Plates XI and XII are circular poems, in which the circles overlap to create multiple potential readings. XI is an evocation of the church fathers and is reprinted in Pozzi (1981, 46), while XII is an evocation of saints.

Plate XIII is shaped like a star of David, and it is dedicated to Saint Thomas Aquinas. Like XI and XII, it has multiple possible readings.

Plate XIV is a diamond-shaped labyrinth with visual images as well as words. Its form is known as a "quincunx," the form in which tradition says the Garden of Eden was laid out.

Plate XV is a similar piece to the above, a square with mixed verbal and visual elements, dedicated to Thomaso Sarria.

Plate XVI (see Fig. 1.8) is a poetic labyrinth and cosmology, reminiscent of the memory wheels of Giordano Bruno and other Post-Ramus thinkers as described in Yates (1966) in our supplementary bibliography. It is reprinted in Pozzi (1981, 250, and discussed on 249).

Plate XVII is a cross of four circular labyrinths, reprinted in Pozzi (1981, 252). The labyrinths are intended to be rotated as wheels, forming 9,644,117,432,715,608 possible readings or permutations.

Plate XVIII is a rectangular labyrinth dedicated to Passerini (q.v.) and discussed in section 302, first published in Passerini (1659, 177) and reprinted in Pozzi (1981, 266). It is based on the phrase "Ama fama," a palindrome.

Plate XIX is a visual acromesostic using the shape of a chalice under a cardinal's hat and ribbons. Dedicated to Passerini and dated 1659, it is reprinted in Pozzi (1981, 67).

Plate XX is a representation of new poetries analogous to plate I-X, listing musical notation pieces, several kinds of rebus, double labyrinths which resemble proteus poems, codes, and spherical and cubical poems (see Fig. 2.19). The sphere and cube appear in Pozzi (1981, 242, 252) and Caramuel discusses them in his sections 339, 344 and 369.

Plate XXI (see Fig. 2.20) is a rectangular labyrinth for Giuseppe Costalta of the Monserrat Monastery at Praha, discussed in Caramuel's section 306; it works off the palindrome "SUUS."

Plate XXII is another rectangular labyrinth, this one for Basilio de Aerea of the same monastery, discussed in section 305, using the palindrome "AEREA."

Plate XXIII is a labyrinth of the same sort for Benedict, the abbot at Altenberg, using the palindromic phrase "sua laus."

The next plate is another such labyrinth, erroneously numbered XXI, dedicated to Michael Weyms and the Dominican Giuseppe Ciantes, discussed in section 301 and reprinted in Pozzi (1981, 245).

Plate XXIV, dedicated to the Jesuit Order, is a labyrinthine chart of languages and an invented alphabet, which evidently deals with Caramuel's dream of a universal monosyllabic language based on Chinese and written with ideograms, using the grammar of English. Caramuel goes into this more deeply in the sequel to the Metametrica, listed in our supplementary bibliography.

Plate XXV is a circular labyrinthine sun of

Page 43

Fig. 2.18. 
Mario Bettini (1582-1657), double column for Ottavio Farnese, from the Lyceum
 e moralibus . . .(1626) part 3, 48 9. See page 41 above.

Jesus, reproduced in Peignot (1978, 65). Also see Paschasius a S. Iovanne Evangelista, whose 1525(?) cosmology is perhaps the prototype of such pieces.

The next two plates are unnumbered Greek and Latin puzzle poems, not really pattern poems at all though certainly visual texts.

Plate XXVI is a rectangular labyrinth dedicated to Philip IV of Spain (r. 1621-65).

The next plate, unnumbered, is a similar piece in Spanish, dedicated to Don Angel Miguel de Lara.

The next plate, again unnumbered, is a circular labyrinth similar to XXV entitled "Maria Stella," though it in no way resembles a star. It appears to be inspired by the one by Niccolo' de Lucca (Barsotti) in his Cynosura Mariana (1657) which mourns the death of Ferdinand III in that year, on Pozzi (1981, 119), while both are inspired by one by Paschasius a S. Giovanni (ca. 1525), for which see below. Pozzi (1981) prints Caramuel's piece on page 120 and Paschasius's on page 121 from Paschasius (1674, 195).

Next follows a blank (wordless) poem using musical symbols, dedicated to St. Benedict, reproduced in Pozzi (1981, 273).

The last plate, unnumbered, is a square labyrinth using rebus symbols and the "ama fama" palindromic formula of plate XVIII.

Within the book itself two more pattern poems appear, a cross with two bars at section 173 and a complex acromesotelestic in section 179. There are also a permutation poem for Pope Alexander VII (1655-67) in section 315, reproduced in Pozzi (1981, 249) and which has seventy-one ways of being read, and a puzzle poem in section 281, which Pozzi discusses, giving its scheme on pages 247-8. Caramuel's discussion of the "Enigma of Sator" (see

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Fig. 2.19. 
Schematic design for a spherical form of poetry 
by the visionary Cistercian monk Juan Caramuel 
de Lobkowitz (1606 82), enlarged from plate XX 
of his Metametrica (1663). See Fig. 2.20,
 below, and page 42 above.

Fig. 2.20. 
A typical carmen quadratum  by Juan Caramuel 
de Lobkowitz (1606-82), plate XXI of his 
Metametrica (1663). See Fig. 2.19, above, and 
page 42 above.

Fig. 2.21. 
Wings by Lancino Curzio (d. 1511), from 
his Epigrammaton libri . . . decem 
(1521, 2: 126v).

the opening section of this chapter) and his other, similar word squares are also notable.

Don Joseph de Caravajal y Lancaster (n.d.) is the author of Parentacion solemne de sufragio y obsequio que a la augusta memoria del rey nuestro señor Don Phelipe V . . . (1747), a work issued by the Jesuits of Salamanca in mourning for the 1746 death of Philip V of Spain (r. 1700- 46). On page 48, there appears a uniquely constructed permutational star based on the text "Ah? Modo, rex vixit noster iam, plangit Caeli . . ."

A broadside with a rectangular labyrinthus cubicus by Philipp Sigismund Cludius (seventh century) was printed by Stern at Lünenberg in 1630; it congratulates Duke August II of Braunschweig and Lünenberg on the birth of his daughter Sybille Ursula (1629 71); the piece appears with discussion in Ernst (1985, 83-5).

Alexander Carolus Curtius (seventeenth century) wrote a nine-spoked wheel poem in 1666 for

Duke Christian Albrecht (1641 94) of SchleswigHolstein, printed at Kiel by Joachim Reumann. This ingenious and complex piece is discussed in Ernst (1985, 79-81).

Lancino Curzio (Laurentius Curtius, d. 1511), a celebrated humanist, has five pattern poems in volume 2 of his Epigrammaton . . . libri decem (1521):

1. wings on fol. 126v (see Fig. 2.21);

2. a bird in flight on fol. 130v;

3. a song for Priapus, shaped like a male torso in profile with a distinct phallus, on fol. 133r;

4. another bird in flight on fol. 137r; and

5. an acrostic with an undulating form, perhaps intended as hills or as another form of wings. The forms are rather schematic, but the Latin is excellent and the printing of the book unusually fine, in spite of which, for all their craft-manly typography and presswork, the visual poems are hard to recognize (for one thing, they are

Page 45

embedded in the text and not printed one per page). Clearly the technique of printing had, at this point, outstripped the sophistication of the design sense at this time.

The work also contains a number of mesostics, telestics, "versus quadrati," in this case, pieces in which the words are arrayed to be read in several directions. As mentioned in the glossary, this term covers various kinds of poem at various periods of literary history. Also, the term "versus" is fourth declension, so that the plural ''versi," which one occasionally sees, is grammatically incorrect.

Danenritter's "Carmen . . . Ebda," a manuscript of 1666 by an all-but-unknown author, has two "steganographia," puzzle poems with multiple meanings that are visual enough to be considered pattern poems. The manuscript is in the Herzog August Bibliothek at Wolfenbüttel ("HAB . . . Briefe Nr. 224r, Beile 4 und 3") and the pair is reprinted in Bircher and Bürger (1979, 190-1).

Johann Christian Dienstorffer (n.d.) is the presumed author of a graceful Latin diamond with incurved edges for Christoph Philipp Richter and his bride, Catharina Heintz, whose wedding took place at Hannover on 4 June 1627, where the poem was printed by "Weidners Wittwe" (Weidner's widow)," as page B2v of a booklet of poems, of which a copy is in the HAB as "v 149 Helmst (75)."

A shaped-prose Latin wedding poem by Michael Faber (n.d.) for the 21 November 1594 wedding of Philipp Fugger and Barbara von Kirchberg and Weissenhorn was printed in that year at Ingolstadt by Wolfgang Eder. The shape is heraldic, perhaps representing three lillies in a band or coronet. A copy is in the HAB as "#Db 4° 1436 (26)."

Pedro Fernandez, Count of Lemnos, was supervisor of a Jesuit school at Napoli, from which the students published a volume evidently edited by him, Carmina libri quatuor discessuro Lemensium comite . . . (1616) cited in Pozzi (227) as including columns and an altar on pages 77-80.

Annardo Gamerio Moseo (Hannardus de Mosaeus Gamaren) of Ingolstadt is said in Carbonero y Sol y Merás (1890, 244) to have published an altar-shaped poem in an unnamed work at Amberes in 1568. This must be the altar dedicated to God on page 75 of the section "Bucolica et alia carmina," printed by Plantin at Antwerpen from a work on which the copy at the Jagiellonska Library at Kraków is missing the title page, but which must be the rare De merito Christi. An illud papistae suis concionibus, caeremonis et sacris adhibuerint, a satire. The altar is not satyrical, however.

The Sol Brittanicus regi consecratus . . . (1641) of Louis de Gand de Brachey (seventeenth century) has a sun on fol. C2v (see Fig. 2.22), reprinted in Pozzi (1981, 12).

An urn by "Wend, Mart. Gerlach" was reported by Dr. Erik Dal of Kobenhaven from the collection of broadsides ("Einblattdrucke") in the Gutenberg Museum in Mainz, composed for the 1607 wedding of "Joh. Ad. Braun" and Barbara Baur in Strasburg," printed byJodocus Martinus.

After Fernandez (see above) Pedro Girón Tellez was supervisor of the Jesuit School at Napoli, where in 1617 he may have been responsible for the collection of student poems, "Carmini libri quatuor

Page 46

Fig. 2.22. 
A typical sun-shaped poem, by I. Gand 
de Brachey (Seventeenth-Century), from Sol 
Britannicus regi consecratus (1641) C2v. See 
also Fig. 2.23, below, and page 45, above.

Ossunensium Duci Societatis Iesu Munsculum . . ." of which the manuscript is at the Biblioteca Nazionale de Napoli "seg. ix F 43." Pozzi (1981, 288) reports that it contains a horse-shaped poem in honor of Girón Tellez; the only horse poem appears on pages 61-70 (unfolioed) and, while it does contain long and short lines, it is not particularly visual.

A shaped prose pyramid for Sir Philip Sidney (1554 86) by the Neo-Latin dramatist, Sir William Gager (ca. 1555-1620), appears in his memorial Exegriae . . . (1587) at C2v, reprinted in Binns' article (1972, 231). The work also includes two monuments by Richard Latewar (1560-1601) at E4r and E4v and fine verse wings by Henry Price (fl. 1587-99) at G4r.

A syrinx by Samuel Gloner in memory of Johann Friedrich Benz was printed at Strassburg by Johann Philipp Miilbe in 1638; a copy is in the HAB as "#48.7 Poet. (74)."

Martin Gosky (ca. 1586 1656) has three pattern poems in his Arbustum vel arboretum Augusteum, aeternitati ac domui Augustae selenianae sacrum . . .(ca. 1586 1656). These are:

1. an "eteoctistichon," a labyrinthus cubicus on "Augustus Princeps" at 58r in honor of Herzog August II (q.v.), reprinted in Bircher and Bürger (1979, 64);

2. another labyrinthus cubicus on 218r (221r) attributed on 219r to "Ducalis colegii S. Blasiani subsenior A. aetate 78" in Bircher and Bürger (1979) 84; and

3. an urn or chalice in German at 476r, in Bircher and Bürger (1979, 95).

A German pokal by Gosky is described in our German section, since it is a broadside and not associated with any Latin text.

In Godofred Heidfeld's Sphinx theologicon philosophica . . ., edited by Johann Textor (1612), there appears a labyrinth which is almost certainly by Albert Szenci Molnár, and which is therefore listed in our Hungarian section.

Hermannus de Santa Barbara (n.d.), in his Carmelo-Parnassus . . . (1687) includes five pattern poems:

1. a star on page 19;

2. a second star on page 21, reproduced in Pozzi (1981, 107);

3. a third star on page 23 that is reproduced in Pozzi (1981, 134);

4. a sun (see Fig. 2.23)on page 129, and

5. another sun, this one on page 15, is reproduced in Pozzi (1981, 108) and Canel (1867, 2: 86).

A wedding chalice by Christopher Hipsted (seventeenth century) for the nuptials of Johann Georg Zepper and Gesche Spekhan from the Universität Bibliothek Bremen is described in Universität Bremen (1977, 3).

A poem by Tomas Höflich (n.d.) in his Centuriafunebris (1684) appears in Tuwim (1950, 6); it looks like a chalice.

A labyrinthus cubicus by Johannes Honthemius (n.d.), "Distichon" (see Fig. 2.24) celebrates the birth of the first son of Duke August II "the Younger" of Braunschweig and Liineburg. It was printed at Hamburg as a broadside in 1625, and is reprinted and described in Ernst, "The figured poem" (1985, fig. 6). Three more pieces are known, assuming that our Johann Honthemius is the same as

Page 47

Fig. 2.23. 
Another typical sun-shaped poem, by Hermannus 
de Santa Barbara (Seventeenth-Century), from his 
Carmelo-Parnassus in xenium oblatus . . . d.
 loanni Gualterio Slusio . . . (1687) 23. Note 
that this is also an acrostic. See page 46, above.

"Johann Honthemius Ubius," as he is called in August II (1624), where they appear in the Praefatio (preface) (q.v.) Both the style and dates seem right for this, as does the epithet "Ubius," meaning "a member of the Ubii," a Germanic tribe from east of the Rhine, indicating that Honthemius was from someplace to the east of Germany proper. This work was called to our attention by Ulrich Ernst.

Iacobus Nicholae de Dacia (="Jakob Nielsen?," fl. 1363 79), includes some startling verbal experiments in his "Liber de distinccione metrorum" (1363) which survives in two fine manuscripts, "Ms. Cotton Claudius A X IV" at the British Library in London, and "Ms Latin 10323'' at the Bibliothèque Nationale in Paris, detailed in Kabell's introduction to his 1967 edition of the poems, which also goes into other manuscripts in great detail. There is a tautogram, "XIII," on page 137, and six other poems which are nearly pattern poems, "XV" on page 139, "XVI" on page 140, "XVII" on page 141 (which resembles some of the acrostics by Eugenius Vulgaris, listed in our medieval section above), "XIX" on page 143, "XXI" on page 145, and "XXIII" on pages 148-9. However, there are also six actual pattern poems:

1. "XXV," a triangle on page 151, with manuscript on plates iv and v;

2. "XXVII," a series of concentric squares on pages 154-5, with manuscripts on plates vi and vii;

3. "XXVIII," a geometrical construction on squares and diagonals (see Fig. 2.25) on pages 156-7 with manuscripts on plates viii and ix.

4. "XXIX," a complex star on pages 158-9 with manuscripts on plates x and xv; and

5. "XXXI," a wheel with concentric circles on pages 161-2, with manuscripts on plates xii and xiii.

The "Litera Pythagora" of Janus Pannonius (1432-72) is described in our Hungrian section.

"Io. Baptista Laurus," which could either be the poet's name or the title of some otherwise unknown "Io. Baptista" (the term can mean poet, scholar, or graduate) has a strange "logogriphus,"as much code as poem, dedicated to "Silvester Aldobrandinus" in Bonciari[i] (1603).

Michael Kelner's mystical Epaenodia . . . (1620) includes three pattern poems:

1. a set of mesostics in a pyramid on pages 25-6, reprinted in Pozzi (1981, 64);

2. a cosmology on pages 22-3, in Pozzi (1981, 104); and

3. an arch on pages 301, in Pozzi(1981, 105).

A beer stein-shaped poem by Laurentius Kilchius (n.d.) celebrates the 1619 Berlin wedding of David Schröder and Anna Lyggefels.

The In memoriam honoratissimam . . . Elisabethae . . . reginae (1603), an Oxford University memorial for Queen Elisabeth (1533 1603) contains a set of wings on page 61 by Robert Pinck (1573-1647), an altar on page 98 by Thomas Winniffe (1576-1654) and a monument on page 105 by John Chichester (n.d.).

For all their exquisite graphics, the works of the Jesuit visionary Athanasius Kircher (1601 80) include no pattern poems except perhaps for one piece, a circular chart of the names of God in his Oedipus aegypticus . . . (1652, 204), reproduced in Pozzi (1981, 303). Also see Paschasius a S. Iovanne Evangelista, below. Piotr Rypson of Warszawa, in a letter of 8 October, 1984, says the piece in Pozzi's work is not from the Oedipus Aegypticus . . . but does not know its origin.

Page 48

A fine lapidary inscription by Kircher also appears in Ernst's "Europäische Figurengedichte" (1982, fig. 21, p. 342).

Another Kircher, Hermannus Kircher (n.d.), has a "pyramis" for Henry IV (r. Navarre 1572-1610 and France 1584-1610), in Alsted[ius] (1630, 4: 566).

Joachim Krüger (n.d.) published a chaliceshaped broadside poem celebrating the 1622 wedding at Freiwald (Pomerania) of Bartholomaeus Schubben and Benigna, daughter of Andreas Conovius.

A wedding cup byJohann Lehnmann (n.d.) for the 23 September 1633, wedding of Christian Lorentz and Johanna Becker, is found on leaf B1r of a booklet of poems whose title, place, and printer are unknown. In the HAB, "#68.17 Poet."

G. Lemens (early seventeenth century) is said to include a chalice in an unpublished manuscript in the Bayerischer Staatsbibliothek in München ("God. Latino 7960") per Pozzi (1981, 126).

The Tropheum amoris . . . (1739) of Engelbert Lenaerts includes a heart-shaped rebus poem on page 13, reprinted in Pozzi (1981, 128 in color and discussed on page 127).

Istvan Lepsényi's manuscript collection, "Poesis artificiosa . . ." (ca. 1700) is documented in our Hungarian section.

Fortunio Liceti (1577-1654), already mentioned in connection with Bonifacio Baldessare and in Chapter One, was a humanist of insatiable curiosity. He produced a prodigious number of works, almost all in Latin, on such subjects as ancient lamps, lightning, and hieroglyphics, besides composing a number of works which either include or study pattern poems, a few of them original but mostly extremely detailed studies of the surviving versions (some subsequently lost) of the classical Greek and Latin pattern poems.

His Ad alas amoris divini a Simmia Rhodio . . . (1640) studies Simmias's wings (see Fig. 1.2), and presents several variant versions with their meanings, working its way towards a sort of perfect text or reading. The various versions are on pages 6, 9, 10, 11, 31, 36, 59, and 60.

The largest, at 316 pages, of Liceti's studies is the Ad aram lemniam Dosiadae . . . Encyclopaedia . . . 1 (1635), studying Dosiadas's altar, with the texts on pages 3, 5, 7, 9, 14-18, 38, 42, 99, and 102-3. The balance of the book is a massive contex-

Fig. 2.24. 
A typical labyrinthus cubicus, byJohannes 
Honthemius (Seventeenth-Century), celebrating the 
1625 birth of the first son of Duke August the 
Younger of Braunschweig and Lüneburg. Courtesy 
Universitätsbibliothek Erlangen "2  Ltg. II 
100h nr. 143."

tualization and hermeneutic exigesis.

The Ad epei securim encyclopedia . . . (1637) studies Simmias's axe, which appears in Greek or Latin on pages 6, 7, 20, 113, and 114.

In the same way, Liceti's Ad syringam a Theocrito . . . (1655) analyzes the syrinx of Theocritus (see Fig. 2.2),which appears on pages 4, 5, 6, 32, 33, and 52, broken into triolets on 55.

Page 49

The Ad syringam Publilianam . . . Encyclopaedia (1635) is Liceti's study of Optatian's syrinx, which appears on pages 14-5. On page 76, he uses the term "technopeignia" to apply generally to visual poetry, which is the first such use of which we are aware.

His Encyclopaedia ad aram pythiam Publilii Optatiana Porphyrii (1630) includes Optatian's altar on pages 4, 7, and 40. It also includes new altars for Alessandro Terentio on page 42, Luca Clavaro on Page 49, Hieronymo Lando on page 50, its Italian translation on page 51 (reprinted in D'Ors [1977, 98]), Domenico Molino on page 52, and altar of "Heroic Friendship" on page 53, Antonio Canali on page 54 and Marco Priulio on page 56. Most of these dedicatees were Venetian magistrates or prefects around 1630. The book also includes a cross on page 43 which is reprinted in Massin (1970, 185), while Baldissare's altar from the Urania, already discusses, appears on page 58, the Greek altars of Besantinus on page 61 with Latin translation on page 62, and of Dosiadas on page 63 with Scaliger's Latin translation on page 65.

In his Allegoria peripatetica de generatione . . . (1630), Liceti's focus is less on texts than on the role of the creative act in Aristotelian aesthetics. Nevertheless, on page 268 he prints the version of Simmias's wings (see Fig. 1.2.)from page 60 of Ad alas amoris . . . (1640), suggesting that this later work was already in manuscript by 1630, and it is from this work that Peignot (1978, 64) reprints the wings.

In his Encyclopedia ad aram mysticam Nonarii (1630), Liceti includes a pyramid dedicated to Pope Urban VIII (1623-44) on page 1, Besantinus' altar on page 8 with Latin translation on page 10, an "altar of Pope Urban VIII" on page 24, a translation of the Dosiadas altar by one Felix Osio on page 62, another translation (by Liceti?) on page 63 and a third by Bartholomaeus Vecchius on page 64, with another version of Besantinus' altar on page 72 and Latin translation on page 73.

We have been unable to examine any copy of the anonymously published L'eroica e incomparabile amicizia (1628), a collective work from whose page 127 Pozzi (1981, 225) reproduces an original Latin axe by Liceti. Might this work be the same as L'amicitia incomparabile de gl'illustrissimi . . . (1627), in the Biblioteca Marciana at Venezia as "89 C. 133," of which we learned too late for description in this book?

However, in a group work that is dedicated to a Venetian magistrate, Ovantio Lando, Imitationes figurati metri a Simmia Rhodio (1627), which is unfolioed, there are nine pattern poems:

1. a latin syrinx, "Ovum Olari Castalia Consecratum";

2. a second Latin syrinx, "Syrinx Landum Herculi comparans";

3. an Italian "Syrinx Etrusca";

4. and 5. two Latin wings;

6. and 7. a Latin and an Italian altar, and

8. and 9. two Latin axes. The book also mentions a work by Liceti of which we cannot even find a listing, the Encyclopaedia ad Ovum Simmiae Rhodij, obviously a study of Simmias's egg. If the work was ever written, it appears to be lost.

Silvester Lieben (n.d.) is the possibly pseudonymous author of a circle with alliterations on the letter "O." It appears to be a wedding poem, and it is dedicated to Martin Oblick. The printer and city are unknown, but the year is about 1638. A copy is in the HAB as "#Db 4° 417 (8)."

Salmonius Macrinus ([ =Jean Salmon Maigret, Meigret or Macrin, 1490-1572]) includes a wing-shaped poem in his Epithalamion liber . . . (1531), for which see our Fig. 1.6 and D'Ors (1977, 65).

According to Pozzi (1981, 240), the Miscellanea exornatum philologicarum . . . (1637) of Benedetto Mariotti (n.d.) includes a tiara, but we have not been able to find the book and verify this.

A very complex visual mesostic celebrates the 1654 wedding of Karl X Gustav (r. 1654-60) of Sweden with Hedvig Eleanora; it appears in Melander (1960, 21). It is probably by Stockholm's Ignatius Meurer but could also be by Andreas Thuronius.

In the Kunglige Bibliothek at København there is a broadside chalice by Anthonius Netenblad of Rostock, printed in 1597 by Henricus Ronzov of København for Nicolaus Uvegener of Schleswig; it was found and reported by Dr. Erik Dal of København.

Niccolò di Lucca, also known as Niccolo Barsotti, has a circular labyrinthine cosmology not unlike those of Caramuel, Kircher, and Paschasius in his Cynosura mariana . . . (1657) on the title page, reproduced in Pozzi (1981, 117, and discussed on page 119). It is a memorial for Emperor Ferdinand III (1608-57).

For pieces by Jakob Nielsen, see Iacobus

Page 50

Fig. 2.25. 
"Metrum  XXVIII" by lacobus Nicholai de Dacia (Jakob Nielsen, fl. 1363-
79) from his "Liber de distinccione metrorum (ca. 1363), manuscript "Ms. Latin 
10323" in bibliothèque Nationale (Paris); schematic drawing by the author. See 
page 47, above, and see cover for colored reproduction of the piece.

There are slight editorial differences between this version of the manuscript and 
the equally impressive one in the British Library. A reading of this plate is:

Outside square

Subdola mors! Fera morS! [S]ecat, obnecat, impie custoS!
Surrepit inocuoS [S]tringens in carcere iustoS!
Sancte Deus fortiS! [S]ubuerte sophismata mortiS!
Scrutator mentiS! [S]pes et solamen egentiS!

Diamond

Simus constanteS, [S]ember Xristum veneranteS,
Sic rex virtutiS [S]it nostre cause salutiS!
Summus et inuictuS [S]uper omnia sit benedictuS!
Sisto reis mitiS, [S]oluens discrimina litiS!

Inside square

Spes expers fraudiS, [S]ors optima/ gloria laudiS!
Sol splendore vibranS, [S]olus regis omnia libranS!
Solue neci nexuS, [S]eruans himinis tibi sexuS!
Sumite, deflenteS, [S]olamina spe pocienteS!

Inner diagonals

Sitis prudenteS, [S]obrii, iusti, pacienteS!
Surgite, languenteS, [S]pem vite concipienteS!

Nicholae de Dacia, listed under "I," above.

Paschasius a S. Iovanne Evangelista [Paschasio di San Giovanni, early sixteenth century], a learned Carmelite monk from Mecheln, has at least five pattern poems in the 1674 edition of his Poesis artificiosa (1525).

1. There is a rose on page 151 that is reproduced in Pozzi (1981, 131); this is different from the rose in Cook's "Figured poetry" (1979, plate 4d) attributed to Paschasius, but it is the same as the "Hungarian Rose" in Bowler (1970, fig. 74) which is said to come from the Lepsényi collection described in our Hungarian section.

2. There are three pyramids on page 150, one of which also appears in Pozzi (1981, 125) and is discussed on page 124 as being related to that of Eugenius Vulgaris (see previous section), which we do not see.

3. There is a labyrinth on page 112 that also appears in Pozzi (1981, 119);

4. A circular labyrinthine poetic cosmology (we believe it is the prototype of such pieces) appears on page 195, in Ernst (1985, 85 7) with full discussion, and on page 119 of Pozzi (1981).

5. There is a sun on page 154, reprinted on page 137 of Pozzi (1981).

Pietro Francesco Passerini (1619 95), a member of Caramuel's circle, includes Caramuel's "Ama fama" labyrinth on page 177 of his Schedarium liberale . . . (1659) along with a wordless maze on page 216 which appears in Pozzi (1981, 268).

The Frankfurt-am-Main edition of the "Commentarii" of Eneo Silvio Piccolomini (1405 64), later Pope Pius II (r. 1458 64), in the collection Pii secundi pontficis max, rerum memorablium . . . (1614) includes a magnificent red and black rectangular labyrinth on page A4v (see Fig. 2.26)that is reprinted in Diehl (1951, 44) in black and white (Diehl evidently considered it a Frankfurt work). An acrotelestic with text on all borders, it also has a two part intext forming a profile head and papal tiara (see Fig. 2.27);the intext is repeated in the caption to the piece. However, Piotr Rypson of Warszawa has found that it appears in the 1584 edition of the Commentarii and believes it to be by Caesar Maluicinus V. I. Doct. (n.d.). It is not in the collected works of Piccolomini published at Basel in 1551. In spite of the caption, which attributes the piece to Piccolomini's youth, if one judges the piece

Page 51

on the basis of stylistic evidence, the piece seems to be later than its attributed date, and it resembles some slightly later pieces from Poland. Our conclusion is that Rypson's guess may well be correct, but that in the absence of a manuscript of the piece, it seems unlikely that the mystery surrounding its authorship will ever be solved with any certainty.

In the Carminum libri quatuor (1553) of Giovanni Battista Pigna (1529-75) one syrinx appears on pages 97-8, poorly typeset but charmingly written; it follows the classical models of Theocritus. Two more, even rougher "fistulae" (syrinxes) follow it on pages 98-9.

Pozzi (1981, 116 and elsewhere) cites Lorenzo Pignoria (1571-1631) as the author of shaped texts in the Miscella elogiorum adclamationum, adlocutionum, conclamationum, epitaphiorum et inscriptionum . . . (late 1620s), all shaped prose and not poetry. There is a rhombus on page 85, an altar on page 91, a cross on page 92, pyramids on pages 96 7, chalices on pages 100 and 102, and a possible amphora on page 103, with various pyramids or prose texts ending with inverted pyramidal ornaments on pages 87, 106, 107, and 115.

Jacques Pochet (n.d.) has three modest crosses in his Apollonis spiritualis (1651), reprinted in Chalon's article (1845) and in Canel (1867, 1: 206).

Samuel Pomario of Magdeburg (sixteenth century) is the author of an undated broadside that was printed by the Nürnberg engraver Balthasar Caymox (d. 1635); in it there appear a column, a whip, a heart, a lance, a cross, dice, a wallet, money, and a roosterall objects associated with Christ's passion. It is reprinted with full discussion in Ernst (1985, 76-9), and is discussed in Pozzi (1981, 127, 208), who draws a connection that we do not see between this and Casoni's contemporary, Italian set. Pozzi mentions that the work appears in Alsted[ius]'s Encyclopedia . . . (1630, 5: 549), but that volume is missing from all sets of this work in the United States, and we have not verified the citation. However, Alsted[ius] is clearly interested in pattern poetry; the Greek pieces are discussed in Book 10, section 3, chapter 9, pages 542-48, and the Latin (including Neo-Latin) in section 4, chapter 5, pages 549 68. See also the discussion of Benlowes's "Passio Christi" in Theophila (1652) in our English section.

A goblet by Bernhard Praetorius (1567-1616) appears in his Alchimendis Poculum [with] IIlustriss. und concordis. Corculis (1593), a chrestomathy of poems celebrating the 1593 wedding of Moritz, Landgrave of Hessen and Agnes, Countess Solms, facing on a single folded sheet, in "HAB: 49 Poetica (8)" in the Herzog August Bibliothek in Wolfenbüttel, reprinted in Adler's article (1981, 126).

For Henry Price, see William Gager, above.

Julio Sandou is the author of an undated cross from Spain, "Trepida, Fragilis ...," in Carbonero y Sol y Merás (1890, 231).

Eugenio di San Giuseppe's CastrUM doLorIs ... (1657) is said to include flag, pyramid and cross poems; the work is cited by Pozzi (1981, 116), who prints the pyramid on page 102 and describes Eugenio as having digested Caramuel very well. We have been unable to locate a copy of the work.

Julius Caesar Scaliger (1484 1558) is not definitely known to have made any pattern poems of his own, but a translation by him of the altar of Dosiadas of Crete appears in Liceti's Encyclopaedia ad aram Pythiam . . . (1630, 65). See also our NeoGreek section.

Andreas Schuster (eighteenth cntury), whose pen name is "Sutor," per Faber du Faur (1958, 283), has a sun-shaped rebus mesostic in his Der hundert Augige blinde Argos . . . (1740), "Sancta Maria ut sol electa" on page 435 that is reprinted unacknowledged from Kerersztszegh (1716), a very rare work that is described in our Hungarian section; Sutor/Schuster also has a labyrinthus cubicus on page 763, the "Enigma of Sator" on page 768, and he also reprints August II's abstract alphabetical array unacknowledged on his page 770.

Antonio Maria Spelta (1559-1632) includes a complex mesostic in his La curiosa et dilletuole aggionta . . . (1602, 78) that resembles the carmen cancellatum of Gosbert in the ninth century; it is reprinted in Pozzi (1981, 26).

Spelta's Enchiridion . . . (1591) includes several texts which resemble pattern poems, simple mesostics for instance, but no pattern poems as such.

Spelta's Historia . . . de fatti notabili . . . (1603) includes two acromesotelestics on pages 496 and 548, as well as a near-pattern poem in cruciform prose on page 533. These pieces have little of any distinction about them.

Johannes Stilsovius (n.d.) is the otherwise unknown author of a labyrinthus cubicus for

Page 52

Johann-Dietrich Vitzthumb von Eckstedt that is dated 28 November 1629, printed at Erfurt by Georg Hertz. A copy is in the HAB as "#Q 69 Helmst. 2º."

A Latin rectangle by Johann Strube (n.d.) honors the second marriage of Christoph Strube with Maria Bornemann of 24 November 1696, printed at Goslar by Nicolaus Duncker. A copy is in the HAB as "#Q 163 Helmst. 2° (240)."

For Andreas Sutor, see Andreas Schuster.

In the student work Sylvae . . . (1592 already described in our Greek section, there are nine pattern poems in Latin:

1. a set of squares;

2. circles;

3. a pyramid;

4. an altar;

5. an axe;

6. wings;

7. a hexagon;

8. spectacles, which are also reprinted in D'Ors (1977, 72); and

9. the proof of the Pythagorean theorem. The latter, the squares, and the pyramid all appear in Ernst's "Europäische Figurengedichte" (1982, 299, 301, 303, with discussion on 297-304), while the entire series appears in Massin (1970, 182-3).

For Andreas Thuronius, see Ignatius Meurer.

The pear-shaped poem by Giovanni Pierio Valeriano Bolzano (1477-1558) who was known as "Pierius"which has a distant resemblance to the sound of "pirus' (pear-tree)wrote a pear-shaped poem for Danielo Barbaro (see Fig. 1.9) which became one of the best known of his poems after its composition and publication in the Amorum libri quinque (1549), but it does not appear in most editions of Valeriano Bolzano's poems. It does, however, appear in the "varia poemata" section at the end of Pro sacerdotum barbis (1621, 100) and in the "poemata varia" of the Hieroglyphica (1604). It is reprinted in Gruter (1608, 2: 1380), in Rypson ''Poezja wizualna" (1981), and Rypson "Poesia visual" (1980, 56).

Jean Voulté of Rheims (d. 1542) has two sets of wings in his Inscriptionum libri duo . . . (1538) on page 23v and on pages 29r-v. They appear to be inspired by Curzio's wings.

J. Walmann (n.d.) is the presumed author of a wedding chalice poem for Henricus Edzards and Anna Abrahams printed by Hermann Brauer in 1687 and described in Universität Bremen (1977, 8).

In the Parnassi bicipitis vaticinia . . . (1626), the Dominican monk I. de Weerdt (seventeenth century) includes three pattern poems:

1. a pyramid on page 100;

2. a column on page 101; and

3. a star on page 96, reproduced in Pozzi (1981, 135).

The wings[?] and tree of Andrew Willet (1562-1621) are desceibed in our English section below.

The Poematum liber . . . (1573) of Richard Willis (ca. 1545-1600) includes the earliest pattern poems known to have been composed by an Englishman. These are:

1. an "altar of the Christian religion" at C2r;

2. a sword at C3r;

3. an egg at B2v;

4. a pear;

5. a syrinx at C3v;

6. a set of wings;

7. an inverted pyramid that is printed and discussed in Ernst's "Europäische Figurengedichte" (1982, 308); and

8. an axe that is reprinted in D'Ors (1977, 79), in Church's "First English pattern poems" (1946, 645), and in Dencker (1972). Inconsistent numbering in Willis's book makes it hard to give accurate page numbers.

Of these roughly 220 Neo-Latin pieces, the largest group is, of course, the labyrinths, which are difficult to sort out. There are twenty-eight of these. There are nineteen chalices, goblets, and "pokals" (German for "wedding goblets"), seventeen crosses, thirteen (each) altars and pyramids, eight sets of wings, seven (each) columns and stars, six suns, five rectangles or squares, four (each) axes and rhombuses, three (each) birds, hearts, and syrinxes, two (each) circles, eggs, pears, trees and wheels, with the rest in unique forms.

The significance of these counts is that the number of unique items is very high, higher than in the other groups. Only the German authors are less tradition-oriented in their choice of visual forms than the Neo-Latin ones. This suggests that the poet working in Latin felt sufficiently sure of himself to experiment in a way that the poet working in some other languages, English for instance, did not.

Page 53

Figs. 2.26 and 2.27. 
Carmen cancellatum (Fig. 2.26) attributed to Eneo Silvio Piccolomini (Pope Pius II, 1405 64) but 
possibly by Caesar Malvicinus (SixteenthCentury). The intext (Fig. 2.27) represents a head in 
profile with a prominent nose wearing a papal tiara. The original colors are red and black, with 
the red represented here by a halftone dot. See page 50, above. From Eneo Silvio Piccolomini 
(Pope Pius II), Pii secundi pontificis max, rerum memorabilium (1614, page 4 of unfolioed 
front matter). Courtesy of the General Research Division, New York Public Library, Astor, 
Lenox and Tilden foundations (ZLIB).

Page 54

Hebrew

Hebrew pattern poetry poses a number of special problems quite apart from the role of Hebrew as an Oriental language with a European literature. The most striking of these lies in the special position of micrography, which Stanley Ferber defines in the very title of his article as "Micrography: a Jewish art form" (1977). Micrographic texts, often known as figured "Masoretic texts" (which they often are, but there are other Masoretic texts too, since the Masoretes were textual authorities responsible for the accuracy of the Jewish Bible), are texts which usually existed previously, often chosen from the Law or from the more poetic parts of the Bible, shaped into such typical forms as gryphons, horsemen with falcons, geometric webs (known irreverently as "carpet pages,'' an art historical term), dragons, cats, eagles, winged dogs, and so on. Sometimes these actually illustrate the biblical passages, but more often they are free ornament (see Fig. 4.21). Some necessary corrections to Ferber's article appear in one by Avrin (1979), which, like Ferber's, includes no pattern poems as such, though Ferber does mention them. Micrography seems to have originated in the Levant in the late ninth century, to have spread to and flourished most highly in Italy, Portugal, and Spain through the next six centuries, to have waned slowly, surviving (though rare) into the sixteenth century in Central Europe, revived in the seventeenth century, but becoming more scarce thereafter. However, Diringer (1958, 221) claims that "the earliest illuminated Hebrew manuscripts" are both in the Leningrad State Library, "Codex Leningradensis B 19" (ca. 1008), from which he reprints folio 489v, an elaborate criss-cross design suggesting a sort of eight-pointed Star of David as his plate IV-17a, and a Pentateuch, "Codex II, Firk. 17" (tenth century), from which he reprints a temple with sacred vessels as his plate IV 17b. He suggests that both manuscripts come from Palestine, Egypt, or Syria, and quotes Dr. Cecil Roth as saying that other such pieces were made but have not survived.

From a typological and art historical point of view, the various works of Leila Avrin and Thérèse Metzger's essay in Sirat (1972) are the key texts. The most concise introduction to the subject is Leila Avrin's well-illustrated article, "Hebrew micrography: one thousand years of art in script" (1984). Interestingly, the only similar non-Jewish European work which resembles micrography is the French cycle by Jacques Cellier of Rouen, described in our section on shaped prose; since nothing whatever is known of Cellier, one might even speculate concerning his background that he was Jewish though working in French. Leila Avrin, in Sirat and Avrin (1981, 55), expresses the opinion that micrographic texts are the origin of pattern poetry. Some awareness, at least, of micrographic texts on the part of pattern poets seems not improbable. That the style was occasionally used, even after it passed from currency, is suggested by a nineteenth-century Book of Jonah done by Moshe Eliyahu Goldstein (Goldsch) in 1881, in which the text forms a ship and a whale eating Jonah. Goldstein's manuscript is in the Library of the Jewish Theological Seminary in New York, and a page of it is reproduced in Kanof (1969, 60). There are even twentieth-century shaped texts in a micrographic style, though these fall outside the range of the present work.

Useful selections of micrographic texts besides the illustrations in Sirat's and Avrin's works and Ferber's article, are found in Bowler (1970); Bowler's "Word as icon" (1970); and Rothenberg, Lenowitz, and Doria (1978); these selections favor the less geometrical pieces, however. Fine geometrical ones are found in the illustrations for the Hebräische Schrifte catalog (1976). What differentiates such texts from pattern poetry is, above all, that the poet did not make the poem visual; the artistic decision to make them this was made by a later scribe or artist. Also, the micrographic text does not interrelate with its forms, as pattern poetry does, but is a visual form superimposed over a completely autonomous text.

As for Hebrew pattern poems themselves, these are rare but not unknown. The best articles are those by Pagis (1977) and Davidson (originally 1914, expanded in 1917). The most striking thing about the pieces is the early dates of some of them; in fact, from the late middle ages, the only languages in which there are any pattern poems are Greek, Latin, Hebrew, and Italian.

A tree by Abraham ben Ezra (d. 1167) appears in Pagis (1977, 23). See Fig. 2.28. It is the earliest known Hebrew pattern poem.

Page 55

Fig. 2.28. 
The earliest known Hebrew  pattern 
poem: a tree by Abraham ben Ezra (d. 
1167). See page 54, above. From Dan 
Pagis, "Carminafigurata in premodern 
Hebrew poetry," HaSiftrut 25 (Ock., 
1977) 23. Reprinted by permission of 
Dan Pagis, who points out that this 
is a late version of the piece. Note 
the stiff typography.

Abraham ben Samual Abuláfia (1240-ca. 1291) is responsible for three sets of four discs each in a work called, in English, "The life of the world to come" (see Fig. 2.29). Four are printed with translation and commentary in Rothenberg (1978, 400 6), the discs with poetic expansions in Abuláfia's Path of the names (1976), in Rothenberg and Lenowitz's article "Abulafias circles" (1977), and four of the discs appear in Rypson's "Poezja wizualna" (1981). A version of the four discs, evidently from a different manuscript from the one from which the above reproductions are made, "Brit. Mus. Oriental no. 4596," appears in Budge (1930; 1978, 376), without the ascription to Abuláfia, and with a discussion of them as magical, caballistic texts.

A tree by Tadros Abuláfia (d. after 1298) appears in Pagis (1977, 24).

An anonymous spiral incantation "poem" from the eighth century B.C. from Babylonia appears in Diringer (1968 2: 198, fig. 15.14).

An anonymous seven-branched menorah (candelabra) based on Psalm 67 from a Provenal manuscript of 1400, "Ms. Adler no. 1470" in the Jewish Theological Seminary in New York, and which was published in 1742, appears in Pagis's article.

A similar piece using the text of Psalm 67 exists in a prayer book published at Amsterdam in 1742, per Dan Pagis in a letter of 18 August 1985. In a letter of 10 July 1985, Leila Avrin comments that "these [pieces] were quite and are quite common in printed and manuscript form."

The books of Samuel ben Elhanan Isaac Archevolti (=Elchanan Jacob b. Samuel Joshua, 1516-1611) are usually editions of earlier authors, and in many of them Archevolti includes a poem or so by himself. These are extremely rare books, and we have not had access to more than a few of them. The only pattern poem by Archevolti we have seen is a circular one from the Arugat Habbossem (1602) reprinted in Pagis's article (1977, 21).

Naftali Bacharach (seventeenth century) has a wheel-shaped "Poem for the sefiroth as a wheel of light" in Rothenberg (1978, 9 12), with translation and commentary.

Moses Cordovero (1522-70) has a sun-shaped pattern poem in Rothenberg (1978, 397), "Composition around the ineffable name," with commentary and translation on page 398.

Another sun-shaped Hebrew pattern poem is by Solomon ben Hayim Eliyashu (1841-1924), "The primordial Torah as the cloak of God," in Rothenberg (1978, 49 51), with commentary.

Jacques Gaffarel (1601?-81), in his Curiositez inouyes hoc est curiositates inauditae de figuris persarum talismannicis . . . (1629), has two diagrams of the heavens at the end of which special forms of the Hebrew letters are arrayed. It is difficult to say whether these are actually pattern poems or not, since there is no way to read them. But they have been included as poems in Rothenberg (1978, 419-20, with commentary), and in Pozzi (1981, 79).

Joseph ben David Ibn Yachya (1494 1539) has a menorah-shaped poem, "Law is light," in his Sefar Tora or (1538, vol. 2, on the verso of the title page).

In the Mid bar Yehuda (1602) of Leon of Modena (=Yehuda Arie Modena, 1571 1648),

Page 56

Fig. 2.29. 
Caballistic discs by Abraham ben Samuel Abulafia (1240-ca. 1291), from The life of the world 
to come. See page 55, above. From Jerome Rothenberg, Harris Lenowitz and Charles Doria, 
eds., A big Jewish book (Garden City, NY: Doubleday, 1978) 400 6. Reprinted by permission.

Page 57

there appear two tassle-shaped pieces on pages 28v and 104v, possibly by Samuel Archevolti (q.v.) but they are really prayers, not pattern poems. However, a fourteen-branched candelabrum by Leon of Modena, composed for a wedding in 1589, appears in Pagis (1977, 25, fig. 10).

Menachem ben Moses Egozi (n.d.) is said in Avrin's article (1981, 55) to be the author of pattern poems, but we have not yet verified this.

"A rose [lily] for the learned" (1763) by Simha ben Yehoshua (n.d.) appears in Pagis's article (1977, 22) with an explanation by the poet in Hebrew of its complex acrostic and rhyme structures.

Solomon di Oliveyra (n.d.) is the author of a star-shaped poem reported in Avrin's article (1981, 55) from his epic poem Ayelet ahavim (1665) on the last page (see Fig. 2.30); it is reprinted in Pagis's article (1977, 22). Two more pieces, perhaps from the same work, also appear in Pagis (1977), a circle and a square on pages 21-2.

A date palm (1768) by Mordechai Tama (n.d.) appears in Pagis's article (1977, 26).

Joseph Tsarfati (= Sartfati), who died in the 1527 Sack of Rome, is the author of a square poem with diagonals in Pagis's article (1977, 20), which Pagis notes is described in Tsarfati's commentary as a circle, presumably since it is a continuous text. It is found in "Ms. Or. 554b" in the Bodleian Library at Oxford on folio 122b.

For Ibn Yachya, see Joseph ben David Ibn Yachya.

As might be expected, none of the Hebrew pattern poems listed here follows classical European models, but they do have in common with the others the sun motif.

Beyond this, there are four questions posed by the Hebrew materials to which one might like to know the answers.

1. Are there no Hebrew labyrinths? None have been reported, and this is surprising, since so many labyrinths resemble known caballistic texts.

2. What is the specific semiotic of each of the traditional shapes of Hebrew pattern poems? What is the function of each genre?

Fig. 2.30. 
A star by Solomon di Oliveyra (n.d.) from the
 last page of his Aylet Ahavim (1665). Reprinted 
by permission of the Library, Hebrew 
University, Jerusalem. 

3. Out of what tradition did the earliest Hebrew pattern poems emerge? They have no obvious connection with the carmina cancellata of medieval Latin, no grid structure. Yet they seem to have a continuity of some kind among themselves, suggesting that they were in a tradition which has not been defined in the texts concerning pattern poetry.

4. How separate were the micrographic and pattern poetry traditions? How do they relate?

On the theoretical level, these are the questions which, in my opinion, are salient in regard to Hebrew pattern poetry.

Page 58

Hungarian

A good deal of pattern poetry is known in Hungarian literature, though almost all of it is in Latin, which was the preferred language of the intelligentsia from at least the fifteenth century until the early nineteenth century. Unfortunately, rather little of it has been reprinted; it remains either in manuscript or in books which are unknown outside of Hungary. A scholar there, Dr. Kilián István, of the Hungarian Academy of Sciences, is at work on a long article which will appear in 1986 and will deal with Hungarian pattern poetry, especially the pieces by Moesch Lukács. Until his work appears, anything we say here must be regarded as tentative. Even Dr. Kilián, in a letter to the author, notes that there may well be more works unknown to him by Moesch Lukács which include pattern poems. (Note that in Hungarian, given names follow the family ones; throughout our work we will follow the practice of the literature we are describing.)

There is an anonymous Latin oval, a linear poem with a mesostic inscription on the name "Ambrus Golyobis," surrounded by a circular poem, reprinted in Aczél (1984, 52) and described in Kilián (1980, 33); it is actually in honor of Ambrus Golyobis, and appears on page 13r of a manuscript collection of work by the novelist Kemenes Egyed, "Augidius Kemenes," a Franciscan monk. The manuscript is entitled "Allocutiones benevetoriae ad A.R.P. Ambrosium Golyobis Almae Provinciae S. Stephanis Regis in Transylvania Commissarium Vitatorem Generalem dictae et in unum Fasciculum conscriptae Anno 1774" (presumably dated 1774), in the University Library of Debrecen (Ms. collection "Ms 169").

Dr. Kilián has sent us a copy of a broadside of 1694 from Kolozsvar in Transylvania, printed by "Nicolaus M. Toifalcsy" (=Tothfolusi, 1650 1702) who also worked in Amsterdam. It includes three Latin poems: a phial of color, a sort of pretzel with multiple readings, and an acrostic chalice.

There is also an anonymous near-pattern poem in the "Necrologbuch" (book of deaths) in the frontis of a pharmacopeia in the library Tiszántuli Református Egyházkeriileti Könyvtár at Debrecen, Catalog number 48/d/24, but really it is just a chronosticon.

A second "Necrologbuch," this by students at the school at Sárospatak, is called "Pataki diákokhalotti búcsúztatói" (1774-1818), and is in the library of the Tiszánttúli Református Egyházkerület Sárospataki Nagykönyvtára at Sárospatak, catalog number 1124. The pieces in this manuscript are not anonymous but are prepared by otherwise unknown poets, presumably students. They include the following five pieces:

1. printed in Kilián (1980, 20) and in Aczél (1984, 54), composed by Váradi Gerson for the dead Pap László, presumably a fellow student (undated and in Latin);

2. a cross with a mesostic in the text, in Latin, composed by Török István for the dead Szathmári Sámuel Paxi (undated, but we know the 1774 date of the piece from the rose poem below);

3. a cross composed by Kiss Mihály for the dead Molnár József at Sárospatak in 1799 (it is an acromesotelestic in Hungarian);

4. a cross, composed by Akab István for the dead Pap Gábor at Sárospatak in 1778 (it has a cruciform inscription in its text); and

5. a rose poem composed by Szentpéteri Samuel for the dead Szatmári Paxi Samuel in 1774. It appears as our Fig. 2.31, in Kilián's article (1980, 20) and in Aczél (1984, 54).

None of the three crosses has been printed.

Bucholtz György (1688 1757), "Itinerarium Bucholtzianum," a journal in the library Martin of Túrócszentmárton (now Matica Slovenska in Czechoslovakia), catalog number G 24/I-II, in volume 1, page 371, includes a drinking glass or cup. Its date is 1711.

Bulyovszky Gyula (n.d., but nineteenth century) has a cross in Hungarian in the newspaper Hazánk for 27 March 1847; an innocuous piece, it is hard to see why it should have provoked the impassioned attack by Petöfi Sandor which is quoted among other attacks on pattern poetry in Chapter One, except that perhaps pattern poetry was so obscured by 1847 that it seemed like quite a bizarre poem.

The Methodica poetices praecepta inusum Scholae Solnensis (1642) by Graff Andreas (n.d.) is said by Dr. Killián to contain a glass, an egg, a heart, a pyramid, an axe, and a cone.

Illyes Andreas (or Andreas Illyes, n.d.), in his Brevis norma vitam sapienter institutuend . . . (1696, n.p.), has an "isogrammatistichon," an intricate web of four lines.

Page 59

Fig. 2.31. 
A student at the Sárospatak School named 
Szentpéteri Samuel wrote this rose-shaped poem 
for the 1774 death of his fellow student Szatmári 
Paxi Samuel. See page 58, above. From Dr. 
Kilián Istaván, "A régi magyar képvers," 
Üjirás 20 n. 11 (Nov. 1980) 55. 
Reprinted by permission.

Perhaps the best known Latin poet of Hungary is Janus Pannonius ( ="Joannes Cisinga," "Jean de Cisinge," and "Ivan Cesmicki," 1434 72). His manuscripts are scattered and the 1972 edition of his works is based on earlier ones, notably that of 1784. His longer pieces do not concern us here, but poem 232 of the short "epitaphy," on page 146 of 1972 in Latin with Hungarian translation on page 147, a piece called ''De litera Pythagorae," was originally shaped as a "Y," and is thus one of the very few shaped poems of the fifteenth century. Though the 1972 edition prints it linearly, a note on page 519 points out its original shape. It is also reprinted in Heidfeld (1612, 114) in its graphic form; that work is described in our Neo-Latin section, above. It was so popular that Albert Szenci-Molnär, for whom see below, added a distych outside of Janus's lines. According to Piotr Rypson of Warszawa, the form became popular in the seventeenth century and was known as "pythagoreic" [sic]. For Szenci-Molnár's version of this piece, see Fig. 2.32, discussed below.

For Kemenes Egyed, see the anonymous oval above.

Imre Csaki de Keresztszegh (n.d.) published his Domus Austriacae curae sive tripudium genethalicum . . . (1716) in Vienna, a work which we have never seen but which is described by Piotr Rypson in a letter as "an interesting booklet . . . full of cabalisticons and chronosticons." On page D1r, he says, there appears the sun-shaped rebus acromesostic, "Sol" (sun), which is reprinted in Sutor (1740), described in our Neo-Latin section, and also, on the same page there is a similar piece, "cor" (heart). On page D1v there are similar pieces on "rosa" (rose) and "ver" (spring); on page D2r a "leo" (lion), which is cruder, perhaps because of difficulty with the typography; and, on D2v, a cross.

An acromesotelestic in Latin by Lányi György (n.d.), in Latin using "Iesus" as the inscriptus and with the center one a cruciform "Iesus" with overlapping Ss, appears in a manuscript by him, "Ms. K. 1018," (1708 10) in the Lutheran Library at Kesmarok or Késmárk, now in Czechoslovakia.

Lepsényi István (fl. ca. 1700) is the otherwise unknown editor of a miscellany, "Poesis ludens seu artificia poetica, quaedem ex variis authoribus collecta," which includes poems by himself as well as by others. Bowler (1970, fig 74) prints a rose piece from his manuscript, which she then describes as being in the "seventeenth century rose tradition" of Hungarian verse, of which our Hungarian correspondents know naught. Her rose is, in any case, the same rose attributed to Paschasius in Cook's "Figured poetry" (1980, pl. 4d), and it seems to include Paschasius's name on it. Pozzi (1981, 135 6) describes "Ms. Quart. Hung. 1551 p. 105b" of the Országos Széchinyi Könivtar (National Széchinyi Library) in Budapest, as the number of Lepsényi's work there. But the most comprehensive coverage of the Lepsényi manuscript is in Kilián's "A régi magyar képvers" (1980) which reproduces fifteen

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Fig. 2.32. 
The central fork in this poem is by Janus 
Pannonius (1434 72), outside which Szenczi-
Molnár Albert (1574-1633) added a couplets. We 
do not know who translated the piece into 
Hungarian, but it is in this form that the piece 
is best known. See page 59, above.

pieces from it. Dr. Kilián believes that the pieces in Lepsényi's collection which are in Latin are by Lepsényi, while those that are in Hungarian are by others. The pieces Dr. Kilián lists are:

1. a cubus on page 90r;

2. a cross on page 90v;

3. a second cross on page 92r;

4. a star on page 92v, on page 24 of Kilián's article and in Aczél (1984, 58);

5. a chalice on page 93r;

6. a banner on page 93v, on page 26 of Kilián's article and in Aczél (1984, 57) (This work also appears in Moesch Lukácz (1893);

7. a cup on page 94r, a strange candelabra-shaped mesostic reprinted on the inside rear cover of Üj irás and in Aczél (1984, 60);

8. a star on page 95r;

9. a wheel with spokes on page 97r (see Fig. 2.33),reprinted on page 23 of Kilián's article from manuscript page 104 and in Aczél (1984, 62);

10. a labyrinth on the death of Nestor appears on page 25 of Kilián's article from manuscript page 97v and in Aczél (1984, 59) (but it is not in Dr. Kilián's listing of pieces in the Lepsényi manuscript which we have used);

11. a crown on page 98r, reprinted on page 28 of Kilián's article from manuscript page 98 and in Aczél (1984, 61) and Pozzi (1981, 120);

12. a harmonica on page 99r that is also in Moesch Lukácz (1693);

13. a cross on page 99v;

14. a sun with rays on page 100r, front cover of Üj irás (in which Kilián's article appears), in Aczél (1984, 63);

15. pyramids on page 100v;

16. a set of four crosses with text, almost a carmen cancellatum, appears on page 101r, on page 27 of Kilián's article and in Aczél (1984, 65);

17. a complex cross with two cross-beams appears on page 101v (see Fig. 2.34), on page 22 of Kilián's article, in Lukácsy (1981, 538), and in Aczél (1984, 64);

18. a rose with leaves and thorns appears on page 102r;

19. Moesch Lukas's wheel (see below) is said to be stuck into the collection on page 104r;

20. a mesostic heart appears on the inside front cover of Üj Irás, from manuscript page 105 (it is also the frontis of Aczél [1984]);

The final five pieces are cubi at 110r, 110v, 111r, 120r, and 131v. Dr. Kilián writes that there are thirty-six pattern poems in the manuscript. What and where they are remains unknown until he presents his own description of it, which would, clearly, be more the final word than my description here.

Moesch Lukács (n.d.), in the Vita poetica . . . sive poesis tota (1693), has at least seven pattern poems (unconfirmed):

1. a rose on page 117 with an acrostic with the intext "Suivat Ioannes . . ." (see Fig 2.35) on the rear cover of Üj irás (see Lepsényi's entries above).

2. a star on page 117;

3. a wheel with spokes on page 118, said to be the wheel at 104r in Lepsényi's collation above;

4. a banner on page 118, the same as

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Figs. 2.33 and 2.34. 
A wheel and a cross from the manuscript "Poesis ludens seu artificia poetica, quaedem ex variis 
authoribus collecta" (ca. 1700) compiled by Lepsényi István (fl. ca. 1700). See page 60, above. 
Hungarian National Library (Budapest), "Ms. Quart. Hung. 1551" 97r and 101v. 
Printed by permission.

Lepsényi's 93v (above), reprinted in Lucácsy (1981, 538);

5. a cross on page 120;

6. a pyramid on page 121; and

7. a harmonica that is also on page 121.

For Molnár Albert Szenczi, see Szenczi-Molnár Albert.

Molnár Gergely (n.d.) in the later editions of his Elementa gramaticae latinae (e.g., 1725) has, according to Dr. Kilián, a pyramid, a flower, a cross with mesostic, a heart, and a wheel with spokes. These are not in the first edition (1702), and it is by no means certain that they are actually by Molnár.

Mudrony Márton (eighteenth century) has a simple rhombus on the name "Iesus" and an equally simple cubus on "Iesus," in his manuscript "Libellus excercitiorum Poeticorum," in the Matica Slovenska Turócszentmárton library, now in Martin, Czechoslovakia, where it is catalogued as "Ms. B. 246."

Palocsy György (1670-1730) is the author of what appears to be a vase of flowers on page 29 of Kilián's article, in Lukácsy (1981, 350), and in Aczél (1984, 56). He was a general in the army of Rákóczy Ferenc II and a poet of some repute. The language of the tulip poem is Hungarian, and the piece is in an untitled manuscript in the Déri Múzeum, catalog number "I.197/1911.1." page 220). The poem is in honor of Karolyi Judit.

Piscator Philippus Ludovicus, in his Artis poetices praecepta methodice concennata et perspicuis exemplis illustrata . . . (1642), does not actually include any pattern poems in his work, but discusses them, suggesting that the following forms

Page 62

are suitable: geometric shapes, triangles and squares, rhombuses, trapezoids, circles, crosses, cylinders, cones, pyramids, eggs, suns, hearts, towers, tombs, organs, altars, anchors, cups, pulpits wheels, axes, shields, spindles, water wheels, tripods, glasses, and so on. This sounds as if he must have been au courant with the works of Bonifacio Baldessare (see our Neo-Latin section) as well as with the north German pieces of his time.

Purkhart György (n.d.) has a "symphoniaca" in his Lusus pietici(1768, 33), but this turns out to be a leonine verse. However, Kilián feels that the forms can take the form of musical notation, and that they are therefore pattern poetry.

Szenczi-Molnár Albert (1574 1633), a famous rhetorician, is the author of at least three pattern poems that are reprinted in Aczél (1984):

1. "Pythagoras Betüje" on Page 49, clearly derived from Janus Pannonius's piece above (see Fig. 2. 32), but with two extra couplets added at each side of it;

2. a labyrinthus cubicus, "Cubus I," on "Légyeneférfierönégyzeteképetiéd" on page 50; and

3. another labyrinthus cubicus, "Cubus II." Both the labyrinths appear to be translated from the Latin by Tándori Dezsö, though the original language is not noted in Aczél's book.

In the Lusus pietici excellentium aliquot ingeniorum mirifice exhibientem . . . (1594), SzencziMolnár has a labyrinthus cubicus for Giorgius Remus on "omniareddomeoquipraebuitomniaremo," on page 57. There is also an acrotelestic on page 51 by Remus for Szenci-Molnár, based on the word "omnia."

Szenci-Molnár is known to have studied at Dresden, Wittenberg, and Heidelberg in Germany. Included in Godofred Heidfeld's Sphinx theologicon philosophica . . ., edited byJohann Textor (1612), is a section byJohannes Heidfeld (d. 1623), "Analecta aenigmatica e clarissimo viro Dr. Alberto Molnaro Ungaro comportata"; the Dr. Albert Molnar is no more identified than that, but he is probably our Albert Szenci-Molnár. Johannes Heidfeld's section includes a labyrinthus cubicus of no great distinction, "Talis quadra bonis itti biforma viri" (1607); the same text appears in Johannes Heidfeld's own Sphinx philosophica . . . (1604, 104), but not in the 1601 or 1624 editions of the work. According to Piotr Rypson of Warszawa, the labyrinth also appears in Godofred Heidfeld and Johann Textor's

Fig. 2.35. 
An anonymous rose collected both by Lepsényi 
(see Figs. 2.33 and 2.34, above) and by Moesch Lukács 
(n.d.) in his Vita poetica . . . sive poesis tota 
(1693). See page 60, above.

Septimum renata, renovata . . . Sphinx theologicophilosophica (1616, 1006) and in the 1631 edition of this work on page 1344. It is also known from Hungary, where its identification is "Függelékében: analecta aenigmatica e clarissimo viro domino Alberto Molnaro Ungaro comportata. RMK iii, 718, Vö. nli 246 (n.d.)" and it appears on page 104 of whatever work this indicates. We have only the loose page. Presumably, therefore, Heidfeld was a mentor or a mycaenas who helped the young Szenci-Molnár.

No generalizations can be made concerning Hungarian pattern poetry since so few pieces of the total corpus have been reprinted. We must wait until more have been printed before we can make any formal analysis of them.

Page 63

Italian

The number of Italian pattern poems in Italian is rather small, since Latin was to such a large extent the preferred language of those to whom pattern poetry appealed the mostthe literati, the upper classes, and so forth. Therefore, most pattern poems by Italians were written in Latin and are described in our Latin sections. However, this group of pieces does include the fascinating pieces by Nicolò de Rossi (ca. 1290-ca. 1348), listed alphabetically below.

An anonymous labyrinthine piece with words listed diagonally in squares (see Fig 2.36),almost a chessboard poem (see our description of that subgenre in Chapter Five), was found by Mario Diacono in an antique shop in Roma in 1978. Entitled "Sentenze trovate nelle ruine di Persopoli/l'ano 1810," it harkens back to Caramuel's Metametrica (1663) in our Neo-Latin section, as well as to the anonymous Portuguese Aplauzos academicos (1678) piece which it closely resembles. Perhaps there was once a tradition of exactly this form of piece, but no work has been done on it.

Count Mario Bevillacqua, probably of Verona, is the author of a crude syrinx (see Fig. 2.37)in Camillis (1586 1: 132), a charming pastorale poem whose writing is far more sophisticated than its shape.

Twelve pattern poems are known by Guido Casoni (1575 1640), appearing in the twelfth edition of his L'opere del sig. cavaliere Guido Casoni (1626): a column (page 327), a pair of whips (pages 228-9), a cross (page 230), a hammer (page 231), three nails (pages 232-4), a spear or sponge with blood (page 235), the point of a lance (page 236), stairs (page 237), and dice (page 238)all objects associated with the Passion of Jesus Christ. The cross, whips, and hammer appear in D'Ors (1977, 94-7), two nails, the lance, and stairs in Pozzi (1981, 206-7), and all the pieces in Rak (1975, 159-61). Lucienne Porter has an excellent article on these pieces, "Les calligrammes de Guido Casoni" (1961), but it does not mention the set by Pomario, discussed in our Neo-Latin section.

The Hypnerotomachia Poliphilis (1499) of Francesco Colonna (d. 1527) is sometimes cited as containing pattern poems, but the pieces are,

Fig. 2.36. 
An anonymous Nineteenth-Century piece, 
"Sentenze trovate nelle ruine de Persopoli," from the 
private collection of Mario Diacono in Roma. 
Reprinted by permission.

rather, exquisite and fanciful shaped prose. See his lapidary inscription, Fig. 4.4.

P. Fattori, in his Ampli e diligente relazione . . . (1614, 45), has an ingenious heart-shaped poem which, as Pozzi (1981, 126) points out, "combines calligraphy with the acrostic" while remaining basically a literary work.

Almost all the pattern poems written or described by Fortunio Liceti are in Latin and are in our Neo-Latin section, but an Italian column appears on page 51 of his Ad aram Pythiam . . . (1630), reprinted in D'Ors (1977, 98).

Nicolò de' Rossi (ca. 1290 ca. 1348) has what may be the earliest pattern poems in any modern

Page 64

Fig. 2.37. 
A syrinx-shaped pastorale poem by Count Mario 
Bevillacqua. See page 63 above. From Camillo 
Camillis, Impresse illustri . . . (Venezia: F. Ziletti, 
1586) 1, 132. Courtesy of the Spencer Collection, 
New York Public Library, Astor, Lenox 
and Tilden Foundations.

Fig. 2.38. 
"Canzona 247," a star, by Nicolò de' Rossi (ca. 1290-
ca. 1348). This is one of the earliest surviving 
pattern poems in a modern language. From "Ms. it. 
7.1.32" f. 50r in the Biblioteca Capitolare Columbina, 
Sevilla (España). Printed by permission.

language, "Canzona 247," which Nicolò's manuscript notes describe as a stella (=star) and "Canzona 248," described as a cathedra (= arch), both in Brugnolo (1974, 1: 142-6, with corresponding mss. fcg. 139 and 154, and discussed in 2: 258-68). Both pieces are in "Ms. it. 7.1.32" in the Biblioteca Capitolare Columbina in Sevilla, Spain. The arch has a superficial resemblance to the anonymous Hebrew "temple with vessels," described in our Hebrew section. But neither poem looks very much like what Nicolò indicates it should. There is something mysterious about both pieces. Interestingly, almost never do Western pattern poets present their pieces in both linear and visual formats, but, in the citra-kavyas of India, which correspond to Western pattern poems and which are plentiful from about 700 to 1900, the poem is almost always given in both a linear and a visual form. Nicolò's star (see Fig. 2.38),which has fourteen points, looks most like a wheel, and his arch looks very much like a spread-out necklace. Neither is a known shape in pattern poetry, but both are common bandhas (standard shapes) of citra-kavyas. It goes without saying that cultural contracts between India and Italy were all but nonexistent at the time of the composition of these pieces, but it does not seem too far-fetched to suppose that some traveller might have brought Indian manuscripts with him as curiosities or bought them in some bazaar in the middle east, and that, if Nicolò saw them, he might be interested in imitating them, whether or not he knew what the writing said. He might also decide it would be prudent to affect not knowning what these pagan images were, and to describe them as a star and an arch, even though a fourteen-point arch is unique as a shape (fourteen-spoke wheels are fairly common among citra-kavyas). Perhaps all this is conjecture; but we feel it is not inappropriate to point out the resemblances for future consideration, if only as an example of parallel development.

Page 65

French

§ To 1750

Apart from David W. Seaman's Concrete Poetry in France (1981), and his other work, there is virtually no scholarship on French pattern poetry. Almost everything which has been documented appears in books, but there has been no known scholarship on collections of miscellanea and ephemerawedding and funeral announcements, for instanceor serious literary broadsides which might include pattern poetry. Thus, the pieces which are known at all have tended to be printed time and time again; and yet it remains rather difficult to make any generalizations concerning French pattern poetry on the evidence of the few reported pieces. We have, however, found a few pieces which have not been previously reported, and these can be identified by the brevity of their bibliographies.

There exist five pattern poems by Robert Angot (1581-?), styled "Sieur de l'éperonière" and author of one book of poems which was reprinted from the 1634 edition as Le chef d'oeuvre poëtique (1872). These are:

1. a pair of bottles, reprinted in D'Ors (1977, 102), Peignot (1978, 64), and Massin (1970, 185);

2. a cross, in Massin (1970, 185);

3. a pair of Easter eggs, in Massin (1970, 185) and Peignot (1978, 65);

4. three laurel leaves, in Massin (1970, 184) and Peignot (1978, 65, and on the front cover); and

5. a lute (see appendix II, Fig. II-8), in D'Ors (1977, 101), Higgins (1977, fig. 26), Massin (1970, 185), Peignot (1978, 65), Seaman's "Development of Visual Poetry" (1972, 35, with excellent translation), Seaman (1981, 76-7, with the same translation), Seaman's "Early French Visual Poetry" (1979, in translation only), Tortel (1957, 275), and Todd's portfolio (1981, with translation).

Jean-Antoine de Baïf (1532-89) made a cross about 1570 which appears in Dencker (1972, 35), D'Ors (1977, 70), and in Zobel von Zabeltitz "Figurengedichte" (1922, 22).

Estorg de Beaulieu (1495-1552) has a labyrinthus cubicus on the word "gloire" that is used as the final page of his Les divers rapportz (1537), discussed in Harvitt (1966, 85), and reprinted in Seaman's "Development" (1972, 31), Seaman's "Early French Visual Poetry" (1979, 27, with translation), Seaman (1981, 67, with translation), and Todd's portfolio (1981). Many visual poems, not just pattern poems but also modern concrete ones, are designed to be exact squares; this piece virtually defines the genre.

Fig. 2.39: 
Estorg de Beaulieu, "Glorie à 
dieu seul" (Glory to God alone).

Simon Bouquet (dates unknown) includes a globe on a pedestal in his 1571 panegyric, Bref et sommaire recueil de ce qui a été faict de l'ordre tenue à la joyeuse et triumphante entré de . . . Charles IX (1572); this is borderline material, probably shaped prose, but it is printed as pattern poetry in D'Ors (1977, 71), Massin (1970, 185), and Peignot (1978, 57).

Undeservedly neglected is the set of four inverted pyramids on pages 75-6 of Les troisièmes oeuvres de Boyssières (1579) of Jean de Boyssières (1555-ca. 1583) in the section "Pières spirituelles et sonets christiens," (74-5) (see Fig 2.40). The title of the set puns on "à dieu" (to god) with "adieu" (goodbye), and the diminishing length of the lines creates an emotional curve suggesting decline and impending death. One might compare this curve with that in George Herbert's "Easter Wings" in our English section, which also follows a graphically simple form to strong literary effect.

A curious manuscript, "Sieur François Merlin. Rercherches de plusieurs singularités" is dated 1583-7 and is in the Bibliothèque Nationale in Paris, where it is credited to Jacques Cellier of Rouen, of whom nothing more is known. This work resembles Hebrew micrography in that it consists of calligraphic renderings of what appear to be prose texts into flowers, a stork eating a snake, bouquets, a Janus-faced fountain, and so on. What the texts say

Page 66

Fig. 2.40. 
"A dieu," a set of four pyramids by Jean de Boyssières (1555-ca. 1583). 
See page 65, above. From Les troisième oeuvres de Jean de Boyssières . . . (1579) 74-5.

is impossible to tell from the published illustrations. Selections appear in D'Ors (1977, 73 4), Lukácsy (1981, frontis and 538), Massin (1970, 178-81), Peignot (1978, 58 9), and in the magazine Verve, volume 1 number 1 (1938, 14 5).

Orizelle, ou les extrêmes mouvements d'amour, tragicomédie by C. Chabrol (first name and dates unknown) is one of the stranger plays of its time. First peformed in 1631 and published in 1633, it has a fantastic plot, ironic characterizations, and a curious, artificial diction invented just for this work, strange vocabulary and metrics, and so forth. It has a superficial resemblance to Andreas Gryphius's Die gelibte Dornrose, discussed in our sound poetry section in Chapter Four, but it also includes an acromesotelestic on page vii of the unfolioed front matter which has some resemblance to the works later classified by D. José González Estrada (ca. 1830 1883) as "pentacrosticas cruzados" and discussed in our Spanish section. It is reproduced in Lalanne (1857, 6) and in Peignot (1824, 14).

The "Hymne de May" of Quillaume Géroult (sixteenth century), included in Peignot (1978, 56), looks like a pattern poem at first glance, undulating down the page like Joseph Beaumont's English "Suspirem ad amorem," but a closer reading reveals that it is shaped prose.

Jehan Jean] Grisel's Premières oeuvres poétiques (1599) includes an axe on page 29, wings on page 96 and Easter eggs on pages 76 7. All three apper in Massin (1970, 184) and the wings and egs appear in D'Ors (1977, 76-7).

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Jean Marot (1450?-1526), one of the grands rhétoriqueurs, has a curious work in his Oeuvres (1700, 251-2), a "Rondeau" in which he places words over or under other words or letters to indicate "sur-" or "sous-" (meaning "over-" or ''under-") to indicate the actual French words. This is not a pattern poem, but the piece is reprinted and discussed by Seaman in "Early French Visual Poetry" (1979, 29-30), in Concrete Poetry in France (1981, 62-3, with translation), and in his dissertation. It also appears in Morgan (1872, 102).

Regnier Mathurin (1573-1613) was said by Henri Chopin in a personal communication to have written at least one pattern poem in one of his volumes of satires, but these are extremely rare, and we have not been able to locate the piece.

F. Nicholas Percher (seventeenth century?) made an untitled Latin mesostic of which we have not located the original information; however, it is reprinted and discussed in Canel (1867, 2: 205) and Tuwim (1950, 223).

One of the best known pattern poems in French is attributed to François Rabelais (1494?-1553), a bottle and cork in the apocryphal "Book V" of Gargantua et Pantagruel (see Fig. 2.41). It is sometimes printed from one or another book version and sometimes from the manuscript. Paris: Bibliothèque Nationale, ms. fr. 21 5 6, as in Cook's Cook's "Figured Poetry" (1979, pl 4e). It appears in Chapter forty-four in Rabelais (1929, 5: 166), and in Canel (1867, 2: 88), Carbonero y Sol y Merás (1890, 270), Cobbing and Mayer (1978, pl. 2), in Slovenian translation in Debeljak's article (1922, 290), in D'Ors (1977, 68-9, in both manuscript and type), Lalanne (1857, 19), Seaman's "Development" (1972, 33), Seaman's "Early French Visual Poetry" (1979, 34), Seaman (1981, 70, with English translation), and Spatola (1978, 44). An accompanying glass appears in Massin (1970, 188). We cannot vouch for the authenticity of this. However there is also an altar in Rabelais's Chapter forty-six of the same book (1929, 5: 171), discussed in Masters's article (1969, 67).

By Melin de Sainct-Gelays (1481 1558) is a set of wings (see Fig. 2.42) in his Oeuvres (1893, 130), in Dencker (1972, 34, with German translation), in Higgins (1977, fig. 25), in Seaman's "Development" (1972, 32, with English translation), reprinted in Seaman (1981, 68), and in Seaman "Early French Visual Poetry" (1979, 33). It also appears in D'Ors (1977, 66).

Geoffroy (Geoffrey) Tory (1480 1533) includes a cross in the Champ fleury (1529, xxxv) that is reprinted in Accame (1977, 16), D'Ors (1977, 67), Massin (1970, 185), and Peignot (1978, 16).

§ To 1900

One of the first modern articles on pattern poetry, which had gone largely undiscussed in the previous century, is an article which appeared anonymously in the Journal de l'empire for November 1806, and which is reprinted in Peignot (1824, 144-50), Lalanne (1857, 1-3, and, in incomplete Spanish translation, in Carbonero y Sol y Merás (1890, 235-6). Its author was, however, Jean-François Boissonade, who reprinted it in his Critique littéraire sous le premier empire (1863, 1: 367-81).

An anonymous chalice appeared in the Rosier de Marie (23 February 1884), reprinted in Carbonero y Sol y Merás (1890, 273).

Fig. 2.41. 
The bottle and  cork 
attributed to François Rabelais 
(1494?-1553) from the apocryphal 
Book XV of Gargantua and 
Pantagruel ch 44. From A. Canel, 
Recherches sur les jeux 
d'esprit . . . (1867) 2, 88.

Page 68

An anonymous caricature of Louis-Philippe (r. 1830-48) from Charivari (27 February 1834) appears in D'Ors (1977), but it is shaped prose.

An anonymous manuscript hourglass from "L'apprentif administrateur" is reprinted in Peignot (1978, 26) from Queneau (1950).

An anonymous triangle, 'O mort, viens terminer ma misère cruelle," appears in Canel (1867, 2: 89), probably from the eighteenth century.

A cross by S. Bayle (nineteenth century?) appeared in Le rosier de Marie on 6 December 1883, repeated on 22 December and 23 December 1884; it is repeated in Carbonero y Sol y Merás (1890, 234).

Andre Bourgade is the author of "La tour de 300 metre construite en 300 vers" of 1889, shaped prose forming an Eiffel Tower, which appears in D'Ors (1977, 46).

In the Contes, anecdotes, chansons et poésies . (1818) of Pierre Adolphe Capelle (1772-1824?), there appear a glass and bottle, evidently in imitation of those by Panard, described below. The is in D'Ors (1977, 111), Massin (1970, 189), and Peignot (1978, 88); the bottle is in D'Ors (1977, 112), Massin (1970, 189), and Peignot (1978, 88).

A curious eye-shaped piece describing the "typographical eye," by the printer Nicholas Cirier (nineteenth century), a macronic text with French, Latin, English, Hebrew, and Greek, appears on page 28 of L'oeil typographique (1839). It is printed in Seaman's "Development' (1972, 40), with discussion, and is discussed in Seaman (1981, 83-4).

A pyramid by "Gagne" (nineteenth century), a political piece of 1867, appears in Debeljak's article (1922, 291).

Victor Hugo (1802-85), while he never composed any pattern poems as such, has two rather visual acrostics in José González Estrada's magazine El Piston (see our Spanish section) that are not in his collected works (in Piston 12, page 2, and 18, page 4). He is also the dedicatee of a piece by González Estrada in Piston 11, page 3.

Whether the cycle "Un coup de des" (1897) of Stéphane Mallarmé (1842-98) is a pattern poem is hard to say. It deliberately rejects any logical or mimetic pattern, thus being a sort of anti-pattern poem, yet it is certainly a visual poem of the highest order. It appears in Mallarmé (1945, 457-77), among other places, and is frequently referred to in the pattern poetry literature.

Very little is known about Gabriel Martin

Fig. 2.42. 
Wing shaped poem by Melin de SainctGelays 
(1481-1558) congratulating the queen mother on 
her recovery from an illness. From Dick Higgins, 
George Herbert's pattern poems: in their tradition 
(1977, fig 25). Copyright © 1977 by Richard C. 
Higgins. Reprinted by permission.

Fig. 2.43. 
"Ledos" by Gabriel Martin (1862-?) 
from Les poésis fantaisistes (1894, 129).

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Figs. 2.44 and 2.45. 
Bottle and glass by Charles François 
Panard (1694 1765). See page 70, 
below. From Dick Higgins, George 
Herbert's pattern poems: in their 
tradition (1977) figs. 5 and 
4. Copyright © 1977 by Richard C. 
Higgins. Reprinted by permission.

Fig. 2.46. 
Cross by Paul de la Salle 
(Nineteenth Century). See page 70, 
below. From A. Canel, Recherches 
sur lesjeux d'esprit . . . (1867, 2:93).

Fig. 2.47. 
Hour glass by the Québec poet 
Albert Ferland  (1872 1943) in  Les 
soirées du  Château  de Ramezay 
(1900, 280). See page 70, below.

Page 70

(1862 ?), whose book Les psaumes de la beauté (1891) includes two pattern poems praising the parts of the female body. One of these, "Le dos" (the back) on pages 89 92 (see Fig. 2.43), is reprinted in Martin's Les poésies fantaisistes (1894, 129) and in D'Ors (1977, 115). The other, "Les mollets" (the calves of the legs), appears on pages 109-12. Both pieces are light verse of a high order.

Charles-François Panard (1689-1765), a comic poet and theater writer, has three pattern poems in the Oeuvres choisies (1803). The first is a bottle from 1765 (see Fig. 2.44), in Canel (1867, 2: 91), Carbonero y Sol y Merás (1890, 271), Higgins (1977, fig. 5), Lalanne (1857, 20), Massin (1970, 189), Peignot (1824, 142), Peignot (1978, 88), Seaman's "Development" (1972, 38, with English translation), Seaman's "Early French Pattern Poetry" (1979, 36 with the same translation), Seaman (1981, 81, with the same translation), Todd's portfolio (1981), and Wells (1906; 1963, 19, truncated and in English translation).

His second piece is a companion glass (see Fig. 2.45), reprinted in Canel (1867, 2: 92), Carbonero y Sol y Merás (1890, 272), Debeljak's article (1922, in Slovenian translation), Higgins (1977, fig. 4), Lalanne (1857, 21), Massin (1970, 189), Peignot (1824, 143), Peignot (1978, 23), Seaman's "Development" (1972, 37), Seaman's "Early French Visual Poetry" (1979, 35), Seaman (1981, 80)these last all with English translation and Walsh (1925, 275).

Two crosses by Paul de la Salle (nineteenth century) are reprinted in Canel (1867, 2: 93-4), and one (see Fig. 2.46) appears also in D'Ors (1977, 114). They are not in the author's only known book, Fleurs de pommier (1839).

The French pattern poems, early and late, seem pretty much to follow a standard set of formsthe classical ones from the Greek Anthology, crosses, glasses and bottles, above all. But, as we stressed at the beginning of this French section, it is extremely unlikely that sufficient French material has been collected to justify any generalizations beyond this.

§ French Pattern Poems From Outside France

Only two French-language pattern poems have been reported from outside France. One is a delightful anonymous truncated lozenge, "Mon cher lecteur," that appears in the (Danish) Odense Adresse Contoirs Efterretninger 3 (1782, with Danish Translation), and both are reprinted in Den Viborger Samler 6 (1782).

Apart from this piece, there is a pattern poem that has been found from Québec, an hourglass (see Fig. 2.47), "Crépuscule," by Albert Ferland (1872 1943), in Les soirées du Château de Ramezay (1900, 280), by "l'Ecole littéraire de Montréal," a group of which he was among the founders, per Ferland-Anger's article (1952). It is also one of only two known Canadian pattern poems. The other, in English, is described in our section on Commonwealth Literature (see section x).

It is also said that there was a tradition of shaped devotional poetry in Québec, in French and in Latin, in the nineteenth century, but none of this work has been documented.

One might expect to find pattern poems from Haiti, Guadaloupe, and perhaps elsewhere in French colonial literature, especially in folk and popular poetry, but it has not come to light as yet.

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German

§ To 1600

Apart from Latin, German is the language and literature with the most pattern poems. So much scholarly work is being done on German materials, unlike others, that it is hard to keep up with; furthermore, the chronological checklist of German pattern poems at the back of Warnock and Folter's "The German pattern poem" (1970, 70-3), a pioneering effort in its day, lists less than half the pieces now known.

Almost all the "Figurengedichte," to use the correct German name for the subject, are occasional verse, written for weddings, funerals and so on, although there are a number of pastorale pieces and some truly fine devotional ones as well. Labyrinthi cubici, while not unknown, are comparatively rare. The forms deemed suitable for the various occasions are somewhat circumscribedpyramids and monuments for praises, hearts and chalices for weddings, crosses and pyramids for funerals, and so onin the early years of German pattern poetry; but by the mid-seventeenth century, though the traditional forms continue, there are enormous numbers of unique shapes introduced, more so than in any other literature except for Neo-Latin (in which, of course, some German pattern poets worked).

The German pattern poem developed out of a milieu which was already rich in visual texts of another sort discussed in our section on labyrinths in Chapter Five, specifically the calligraphic labyrinth, of which the best selection we know is in the museum catalog, Schrift und Bild (1963), from Baden-Baden and Amsterdam.

Lorenz Albert ("Laurentius Albertus," dates unknown, but sixteenth century) is the first poet to have published a German pattern poem in a book, although Erhard Falkener's piece, below, antedates it considerably. His lozenge or wedge, in the Teutsche Grammatik (1573, 172) is reprinted in Warnock and Folter's article (1970, 53) and in Severin (1983, 11).

An anonymous "Teutsch Carmen" for the 1580 New Year's card of Johann Feyerabend, an acrotelestic with heart-shaped versus intexti, appears in Diehl (1951, 34).

Johann Baptista Caesar (n.d.) is the presumed author of the heart-shaped wedding poem in German and Latin versions for the 1587 marriage of Christoph Kellner, which appears in Diehl (1951, 35), Massin (1970, 192), and Peignot (1978, 60).

What may be the earliest German pattern poem was carved into a choir stall in the St. Valentine's church at Kiedrich in the Rheingau around 1510 by Erhard Falkener (see Fig. 2.48). A spiral text, it reads: "Die Gerechtigkeit lit in grosser Not, die Wahrheit is geschlagen dot, der Glaube hat den streit, Es lorn die Falscheit, die is hochgeborn, Da du dem Herrn Zorn. O Mensch las ab, das du nit werdes ewiglich verlon. Lobt Gerechtigkeit." The best reproduction is on a color postcard available from the church. We first noticed the piece in an old surrealist magazine, Organographes du cymbalum pataphysicum 26 (clinamen 103), number 2-3 (ca. 1926, 30).

A case has been made for viewing such hymns as "Ein' feste Burg ist unser Gott" by Martin Luther (1483-1546) as pattern poems by Eichberg (1904) and Becker (1953), summarized in Dencker (1972, 47). This is, however, controversial.

§ To 1700

The "Stolberg" referred to in many of the citations below is the Stolberg collection of funeral orations, "Leichenpredigten," at the Herzog August Bibliothek (HAB) at Wolfenbiittel in the Federal Republic of Germany, listed under ''Katalog" in our main bibliography. In addition, a second grouping of pattern poems in the HAB has been researched by Dr. Karl F. Otto, Jr., of the Department of German at the University of Pennsylvania. The locator numbers of this group of pieces are given as HAB numbers below.

Matthias Abele von Lilienberg (d. 1677) includes a palm tree in his Vivat . . . Unordnung (1670-5, 5: 105) (see Fig. 2.49). Per Liede (1963, 2: 196 n. 48) there is another at volume 4, page 465.

There is said to be anonymous chalice, undated but seventeeth century, in the library at the University of Abo in Abo, Finland, for the wedding of An-

Page 72

Fig. 2.48. 
Anonymous spiral text carved by Erhard 
Falkener on a choir stall in the St. Valentine's Church 
at Kiedrich in the Rheingau around 1510. See page 71, 
above.

dreas Fridzberg. It appears as figure 3 in Gran's dissertation (1981).

An anonymous wedding chalice for Maria Siegfried and Zacharias Beichling of Halberstadt, dated 20 February but of an unknown year, was printed at Halberstadt by Andreas Kowold; it is HAB "#Q 163 Helmst. 2° (233)."

An anonymous wedding chalice of 1666 for Focko Krumming and Kunigunde Zobel, printed by Hermann Brauer, is described in Universität Bremen (1977, 5) as being in their library as "A, 628 nr. 40." Another such chalice of 1681 for the wedding of Dietrich Böning and Margarethe Elisabeth von der Lieth is listed in the same work on page 7 as "Bremen A. 629 nr. 22."

An anonymous funeral bier for the poet and scholar J. Fabricius was printed at Rostock at his death in 1671.

An anonymous heart from Sweden for the 1647 funeral of Frederich Peringer appears in Gran's dissertation (1981, fig. 2).

An anonymous pair of wedding hearts printed by "Nic. Wankijff," the royal printer at Stockholm, for the 1674 wedding of Wilhelm Mumm and Maria Eleonora Tauscherin, appears in Gran's dissertation (1981, fig. 13).

An anonymous memorial lozenge or wedge for J. Salbom, dated 1694, appears in Gran's dissertation (1981, fig. 12).

An anonymous pyramid in memory of Prof. Hermann Conring, dated 1679, appears in Bircher (1979, 172) and is also reprinted in Ernst's "Europäische Figurengedichte" (1982, 348, fig. 23).

An anonymous stag in large poster format, dated 1625, is the subject of two articles by Stewart, where it appears in (1980) plate 32, facing page 447, and (1981) facing page 310.

There is an anonymous marriage trophy poem by "I.L." from about 1650 in the HAB, "#Db 1271"; it has no other identification.

Joseph Johann Beck ("Becker"?) has a memorial pyramid for Rudolph August of Braunschweig from 1669 in Ernst "Europäische Figurengedichte" (1982, 353, fig. 25), from ''HAB 'G 3: C 13'."

Valentin Bernhard (n.d.) has a cross from 1670 on G4r (Stolberg: 7934) reprinted in Adler "Technopeignia" (1982, 125).

There are three pattern poems in the Guelphis (1669) of Sigmund von Birken (1626-81). These are:

1. a heart at page 23, reprinted in Severin (1983, 41) and in Gran's dissertation (1981, fig. 5);

2. a goblet on page 35; and

3. an open book on page 36, reprinted in Warnock and Folter's article (1970, 58) and which also appears in the Teutsche Rede- Bind- und Dicht-Kunst (1679). It has some resemblance to the "Bible" of Samuel Speed in his Prison Pietie (1677), but this is unlikely to be more than an instance of parallel development.

In von Birken's collaborative Pegnesis (1673-9, vol. 2, "Pegnesis: Zweyter Theil") there appears the "Pipenburgische RahtStelle beglückwünscht von Floridan" (1665) on pages 205 52, which contains four more pattern poems by Birken:

1. scales on page 251, reprinted in D'Ors (1977, 90), Severin (1983, 25), and in Zobel von

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Zabeltitz's article (1925, 124);

2. a scepter on page 224, reprinted in Dencker (1972, 42), Petit (1977, 19);

3. an "Erle" or alder tree on page 250 (there are also an anvil by "Strefon" (Harsdörffer) on page 20 and a hat by "Hylas'' (Daniel Bärholtz) on page 393for an explanation of these pseudonyms, see Helwig's Nymphe Noris, below); and

4. a cross appears in the "Die Norische Parnaß und Irdische Himmel Garten" section on pages 121-204. It also appears in von Birken's Teutsche Rede- Bind- und Dicht-Kunst (1679, 145), reprinted in Gran's dissertation (1981, fig. 7), Schöne (1963, 693), and Severin (1983, 29).

In von Birken's Teutsche Rede- Bind- und Dicht-Kunst (1679), one more pattern poem appears besides the pieces already mentioned: a pair of hearts on page 37, which is included in Gran's dissertation (1981, 131, n. 19).

In his equally collaborative Fortsetzung der Pegnits-Schäferey (1645), there are two more pattern poems: a garland on page 33, reprinted in Adler's "Technopeignia" (1981, 181, with English translation), in Petit (1977, 133, with French translation), and in Severin (1983, 31) (it is also printed in the Teutsche Rede- Bind- und Dicht-Kunst (1679), above); and a shepherd's pipe or syrinx on page 67, reprinted in Severin (1983, 15).

Quirin Capsius (n.d.) is the author of a wedding cup poem for the wedding of Wolf-Thilo von Trotha and Anna von Hakeborn on 19 February 1661, at Stassfurth, printed at Quedlinburg by Johann Ockell in that year; it is HAB "#Db 4757 (11)."

Christoph[er] Chapmeyer (n.d.) appears to be the author of a wedding chalice poem for Herr Kronner; the poem is reprinted in Universität Bremen (1977) as the frontis.

"Christello" (n.d., pseudonym?) is the author of an untitled wedding poem in the form of two hearts for the Rosenau-Wende wedding on 4 October 1698. The printer and place of publication are unknown. The work is in the HAB, "#Db 4° 469 (21)."

J. C. D. is the semianonymous author of a folder reported by Piotr Rypson, Als die weyland . . .Anna Maria . . . Thomae . . ., printed at Breslau by Gottfried Gründer in 1675, which contains a pyramid on page 2v, its last page.

Heinrich Christoph von Damm (n.d.) is the

Fig. 2.49. 
Palm tree by Matthias Abele von Lilienburg 
(d. 1677)) in his Vivat . . . Unordnung 
(1650-5) 5, 105. See page 71, above. Courtesy 
Yale Collection of German Literature, 
Bienecke Library, Yale University 
(New Haven).

author of a heart memorial poem for his father, Georg von Damm, who was buried on 15 May 1670 at Braunschweig, where the poem was printed by C. F. Zilliger in that year. It is in the HAB, "#T 36 Helmst. 4°."

Martin[us] Ignatius von Döring (n.d.) is the author of a "Scherz und Wunsch Pocal" for the wedding of Hieronymus von Laffert and Richel Dorothea Stöterogg on 28 January 1656, HAB "#Db 4° 351 (la)."

J. J. Fabricius (n.d.) is the author of a pair of German-language pyramids in honor of Georg

Page 74

Figs. 2.50a and 2.50b. 
Wings by Johann Geuder (1640 93); see page 75, below, in the original 
and in a modern typesetting. The original is from Johannes Praetorius, Satyrus 
etymologicus (1672). Courtesy Yale. Collection of German Literature, Bienecke 
Library, Yale University (New Haven). The modern version is from Karl 
Severin, ed., Funfundzwanzzg Figurengedichte des Barock (1983), reprinted by 
permission. See page 75.

Friedrich and Ludwig von Aschenberg (1685) printed by Lorentz Klönbohm at Göteborg, Sweden. These compare interestingly with Harsdöffer's twin peaks in Helwig's Nymphe Noris . . . (1650, 83). An anonymous funeral bier in his memory has already been mentioned.

Michael Franck (n.d.) is the author of a cross for Good Friday, printed at Coburg by J. Eyrich in 1646, HAB "#T 199 Helmst. 4° (4)."

Rudolf Karl Geller (n.d.) is the author of a cross which appears in Klaj's drama Der Leidende Christus . . . (1645; 1694, 72), printed in Petit (1977, 134), Wagneknecht's "Konkrete Poesie" (1970, 105), and Wiedemann (1965, 28).

David Gessner (n.d.) is the author of a cup and cross in "Zürich: Zentralbibliothek, I a 1, 57" per Pozzi (1981, 103), where it is printed; it is also in Peignot (1978, 68).

Page 75

Johann Geuder (1640-93), author of Der Friedseligen Irene Lustgarten, composed at least fifteen pattern poems which appear in Johannes Praetorius' Satyrus Etymologicus . . . (1672), a work on witchcraft. These poems are therefore occasionally attributed to Praetorius, which is erroneous. They are:

1. a "love candle" on page 210, reprinted in Warnock and Folter (1970, 61);

2. a column on page 211;

3. a set of wings on page 225, reprinted in Severin (1983, 23) (see Fig. 2.50);

4. a set of scales on page 230, reprinted in Warnock and Folter (1970, 61) and Pozzi (1981, 138);

5. a clover leaf on page 133 reprinted in Pozzi (1981, 138);

6. a flower vase on page 234, reprinted in Warnock and Folter (1970, 61);

7. an "Irenen Altar" on page 248;

8. a wreath on page 249;

9. a syrinx on page 249;

10. a "fiddle," on page 250, which looks more like a guitar, reprinted in Warnock and Folter (1970, 62), Pozzi (1981, 144), and Severin (1983, 47);

11. a fir tree on page 251;

12. a heart on page 252;

13. a "Thürm-Säule" monument on page 259;

14. an "Irenen-Bächer," which seems to be a two-handled wine jug on page 270, in Warnock and Folter (1970, 62); and

15. a "Friedenschiff" or "peace ship"on page 271.

Johann Friedrich Glaser (n.d.) composed a word lattice shaped as a chalice or pokal for the wedding of Gottfried Müller and Margaretha Haberland on 30 November 1641, printed at Braunschweig (printer unknown), in the HAB "#Q 163 Helmst. 2° (246)."

A German "pokal" or chalice by Martin Gosky is described in our Neo-Latin section, since it appears with a Latin version among other poems by Gosky.

There is also a pokal by Gosky for the 20 August 1648 birthday of Sophie Elisabeth, Duchess of Braunschweig-Lüneburg, née Duchess of Mecklenburg, printed at Wolfenbüttel by Johann and Heinrich Stern in 1648, in the HAB, "#1248 Helmst. Dr. (11)."

In the Sonnette, Lieder und Gedichte (1662) of

Fig. 2.51. 
Devotional cross poem  by Catharina Regina 
von Greiffenberg (1633-94), from Geistliche 
Sonnette, Lieder und Gedichte (1662) 403. See 
page below.

Catharina Regina von Greiffenberg (1633 94), on page 403 (see Fig. 2.51) there appears an exquisite cross, "Über den gekreuzigten JESUS," in Daly (1976), in manuscript on page 250 and transcribed on pages 130-1, and in Adler "Technopeignia" (1981), transcribed on page 134, and in Maché and Neid (1980, 248).

There is a regular labyrinthine array in four symmetrical parts for Dukes Johann Casimir and Johann Ernst, brothers, Dukes of Sachsen, Juelich, Cleve and Berg, by Johann Gütting (n.d.) printed at Leipzig by Gregor Ritzsch in 1627, in the HAB "#Q 163 Helmst. 2° (188)."

Page 76

Johann Heinrich Hadewig (1623 71) has three pattern poems in his Kurtze und Richtige Anleitung . . .(1650):

1. a heart-shaped poem on page 164, reprinted in D'Ors (1977, 88);

2. a wedding goblet on page 165; and

3. a wedding cup on page 166.

The heart also appears in Hadewig's Wohlgegründete teutsche Versekunst . . . (1660, 347).

The exact relationship between Enoch Hanmann (Hahnemann?) (n.d. but seventeenth century) and Martin Opitz (1597-1639) can be confusing. Evidently Hanmann was Opitz's editor. But the pyramid from the Prosodia Germanica . . . (1658) that is reprinted in Warnock and Folter (1970, 54) and in Ernst's "Europäische Figurengedichte" (1982, 325, fig. 12) is ascribed to Hanmann. Editions of the work also appeared in 1645, 1650, and 1689.

In Opitz's Opera Geist und weltliche Gedichte (1689), there are four more Hanmann pattern poems: an egg on page 259, a "Thurn-seule" on page 260, a cross on page 262, and a chalice on page 263. The pyramid from the Prosodia Germanica reappears on page 261. Interestingly, Opitz died at Gdansk (at that time Danzig), thus providing a possible link with circle of pattern poets who lived there and whose works are described in our Polish section. He also had contact with the Moravian psalmist Jan Amos Kamenský ("Comenius," 1592 1668?), who wrote about labyrinths, among other things.

Volckmar Happe (n.d.) composed a wedding pokal for Albrecht Anton, Count of Schwarzburg and Hahnstein, and Aemilia Juliana, Countess of Barby and Muehlingen, on 7 June 1665, in Rudolfstadt; the chalice has arms and might be an angel form. Printed at Rudolfstadt by Freyschmid in 1665, it is in the HAB, "#Db 4° 557 (19)."

Johann Philipp Härpffer (n.d.) composed a memorial column for Anna Elisabeth Groppe, who died on 30 April 1686 at Schweinfurth. Place of publication and printer are unknown. The piece is in the HAB as "#T 36 Helmst. 4° (22)."

Georg Philipp Harsdörffer (1607-58), in the collaborative Pegnesisches Schäfergedicht (1644) has an anvil on page 18, the same as that in von Birken's Pegnesis (1673 ed., 20), reprinted in Severin (1983, 33). Also see von Birken and Helwig.

In his Frauenzimmer Gesprächspele . . . (1644 57, 5: 454), Harsdöffer includes a wine bottle that is reprinted in D'Ors (1977, 82) and in Grümmer (1985, 164).

C[hristian] H]eise] (n.d.) is the author of a memorial pyramid "'Ehren-Seule") for Ursula von Heimburg, née von Biinaw, who died in Göttenstadt on 3 October 1659. The place and printer are unknown, but the work is in the HAB, "#T 112 Helmst. 4° (13)."

In Die Nymphe Noris in Zweyen Tageszeiten . . . (1650) by Johann Helwig (1609 - 74), and in various works by von Birken, Harsdörffer, and others, a number of poets appear under the following pseudonyms:

Alcidor is Johann Sechst.
Amyntas is Jakob Hieronymus Lochner.
Betulius is Sigmund von Birken.
Clajus (Klajus) is Johann Klaj.
Floridan is Sigmund von Birken.
Helianthus is Johann Georg Volkamer.
Hylas is Daniel Bärholtz.
Lerian is Christoph Arnold.
Montano is Johann Helwig himself.
Myrtillus is Samuel Hund.
Periander is Friedrich Lochner.
Strephon is Georg Philipp Harsdörffer.

These poets were members of the Pegnesischer Blumensorder, a literary society which still exists in Niirnberg. Unscrambling their names can be quite confusing, and some reprinters do not attempt to do so but only mention the author of the overall work, which may not be by the pattern poet. But be that as it may, Die Nymphe Noris . . .contains twelve pattern poems:

1. a heart on page 72;

2. a pyramid on page 8, reprinted in Severin (1983, 59) and in Ernst "Europäische Figurengedichte" (1982, 328, fig. 14);

3. "Mt. Parnassus" by Strephon-Harsdörffer on page 83, which is actually two mountains;

4. a tower on page 84;

5. a nut tree on page 85 by HelianthusVolkamer, reprinted in Warnock and Folter (1970, 68), Rypson's "Poesia visual" (1980, 56), Gran's dissertation (1981, fig. 8), and Daly (1979, 128-9, with translation into English);

6. an imperial orb on page 86, attributed to Strephon-Harsdörffer in the name of MyrtillusLimburer or Hund, reprinted in Dencker (1972, 43) and Severin (1983, 35);

7. an organ on page 87, attributed to

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Helianthus-Volkamer and dedicated to AminthasLochner, reprinted in Dencker (1972, 43), D'Ors (1977, 83), and Wornock and Folter (1970, 58);

8. a shawm on page 88, attributed to Clajus-Klaj;

9. a crudely-formed lute on page 88 for Floridan-Birken;

10. a fountain on page 89 attributed to Periander-Lochner, reprinted in Dencker (1972, 45), Gran's dissertation (1981, fig. 17), and D'Ors (1977, 84);

11. an hourglass on page 90, attributed to Alcidor-Sechst or to Helwig himself (see Fig. 2.52), reprinted in Machee and Neid (1980, 160), Peignot (1978, 53), Petit (1977, 136), and Warnock and Folter (1970, 59); and

12. a monument on page 91, attributed to Lerian-Arnold, but reprinted and credited to Harsdörffer in Severin (1983, 21).

In Helwig's Ormund (1648), a low, rounded pyramid appears on page 116, described as an Egyptian "Flammenseule"; it is reprinted in Warnock and Folter (1970, 54) and Ernst's "Europäische Figurengedichte" (1982, 327, fig. 14).

Friedrich Hildebrand (n.d.) is the author of two pattern poems for Magdalena Otto, née Hampe, who died on 14 March 1652, printed in that year at Northausen by Hynitzsch, both in the HAB as "#T 341 Helmst. 4° (4)." One is a chalice and one is a pyramid.

For the Latin labyrinths of Johann Honthemius [Ubius] see our Neo-Latin section under "Honthemius" and "Selenus."

A spring by Michael Hörnlein (n.d.) is only marginally a pattern poem, but it is reprinted in Warnock and Folter (1970) from an antiquarian book catalog, "No. 706: Deutsche Literatur aus der Barockzeit, Erster Teil (Dez. 1963)," page 63, from the Haus der Bücher in Basel, Switzerland.

Pattern poems by the master printer from Pommern (Pomerania), Johann Kankel (1614 87), are listed in our Swedish section, since some are in Swedish and he worked, for the most part, in Stockholm.

Johann Rudolph Karst (1624 82) of Frankfurt-am-Main is the author of seven pattern poems that have survived, five in his Deutscher Dichtung Lust u. Schau Platz (1667):

1. a cradle on page 121, reprinted in Diehl (1951, 41), Massin (1970, 192), and Pozzi (1951, 96);

2. a chalice on page 43, reprinted in Diehl (1951, 37) and Massin (1970, 192);

3. a marzipan heart on page 67, reprinted in Diehl (1951, 40), Massin (1970, 192), and Piegnot (1978, 67);

4. a heart pierced by an arrow on page 46, reprinted in Diehl (1951, 40), Massin (1970, 192), Piegnot (1978, 67), and Severin (1983, 43); and

5. a fern on page 79, reprinted in Diehl (1951, 38), Massin (1970, 192), and Peignot (1978, 66).

A cross by Karst for the 1600 funeral of Anna Sibylla Ruland appears in Diehl (1951, 42), reprinted in Massin (1970), who implies that she wrote it, which seems unlikely.

Karst is also the author of a cross-shaped poem in the funeral sermon for Johann Hartmann Ammerich (Stolberg 3473; Jena: printer unknown, 1670).

Martin Kempe (1642-83) is the author of Poetische Tafeln (1667), in which some pattern

Fig. 2.52. 
Die Nymphe Noris in zweyen Tageszeiten . . .(1650) 
by Johann Helwig (1609 74) includes many pastorale 
works by his fellow-members of the Petnesischer 
Blumensorder, a poetry society which still exists in 
Niirnberg, usually writing under pseudonyms. This 
hourglass is by Johann Sechst using the pen name 
"Alcidor." See page 76, above. Courtesy Yale 
Collection of German Literature, Beinecke 
Library, Yale University  (New Haven).

Page 78

Fig. 2.53. 
Johann Klaj[us] (1616-56), "Cross of peace" 
from Irene, das ist vollständige Außbildung Der zu 
Nürnberg  gescholssenen  Frieden  (1650) 2, 37. 
Courtesy Yale Collection of German Literature, 
Beinecke Library, Yale University (New Haven).

poems by Georg Neumark appear, but Kempe is not known to have composed any pattern poems himself.

Johann Elias Kirch (1643--1723), mayor of Schweinfurt (1691 1708), composed a Klag-Eich (Oak of Grief) in 1685 for Johann Hartlaub (1625 84), who was mayor of Schweinfurt at the time of his death. A copy is in the Bayerische Staatsbibliothek in München.

Johann Klaj ("Klajus," 1616-56), apart from his contributions to Helwig's Nymphe Noris, is also the author of Irene, das ist vollständige Außbildung Der zu Nürnberg geschlossenen Frieden (1650), in which a "cross of peace" appears in volume 2, page 37 page 4 of the unpaged section of part two) (see Fig. 2.53),reprinted in Severin (1983, 39). It also appears in his Geburtstag des Friedens (1650) at 4r and in Klaj (1968) and Wiedmann (1965). An extremely elegant piece, it looks more like a monument than a cross.

A cross by Geller appears in Klaj's Der leidende Christus (q.v.)

There is a labyrinthus cubicus by JohannBurchard Kleinsmid (n.d.) for the 19 June 1655 marriage of Johann Heinrich Hagen and Lucia Schrader, printed at Halberstadt in 1655 by Andreas Kolwald, in the HAB as "#Q 153 Helmst. 2°."

There is a "Denck-Täffelchen" by Daniel Klesel (1631 87) in Maché and Neid (1980, 258). See also the Maennling's pieces in the eighteenth century section, below.

Theodor Kornfeld (1636 98) is the author of at least fifteen pattern poems, all in his Selbst-lehrende alt-neue Poesie . . . (1685). These are:

1. a cross on page 69;

2. a goblet on page 70;

3. a tree of life on page 71;

4. a bush on page 72;

5. a lute on page 73;

6. a "riddle glass" on page 74, reprinted in Warnock and Folter (1970, 64) and Severin (1983, 51);

7. a heart on page 75;

8. a candle that is reprinted in Warnock and Folter (1970, 64) and Severin (1983, 51);

9. an apple on page 77 that is also in Severin (1983, 53);

10. a "Denk- und Dank-Säule," a victory hourglass, on page 78 that is also in Severin (1983, 17);

11. a victory pyramid on page 79 that appears

Page 79

in Ernst's "Europäische Figurengedichte" (1982, 255, fig. 26);

12. a "Mt. Parnassus" on page 80;

13. an Easter egg on page 81;

14. another Easter egg on page 82; and

15. another hourglass on page 83 (see Fig. 2.54), this one reprinted in Dencker (1972, 48), D'Ors (1977, 93), Peignot (1978, 53), and Petit (1977, with French translation).

Also, in Kornfeld's text, on page 73, he mentions that he composed a monastery-shaped poem "Anno 1664 auf Herrn Klostermann," a pun on "Klostermann" which means "Cloister-man," but which he did not include "weil aber dies Pappier-Form solches nicht fassen kann . . .'' (because this paper form cannot include such an oversize format); however, we have not succeeded in locating this poster poem.

Heinrich Georg Kulenschmiedt (n.d.) is the author of a diamond-shaped wedding poem for Volrath Eisentraut and Margarethe Sauerhering on 6 May 1649. Printer and place are unknown, but the piece is in the HAB as "#Db 4° 1270 (37)."

In a pamphlet by Gottfried Kiipffender (n.d.), Die Leiche des weyland collen . . . Hn. Caspar Sachsens, printedat Breslau by "Baumann, gedruckts Johann Günther Roerer" in 1686, reported by Piotr Rypson, there is said to be a "Sanduhr" ( a "sand-clock" [hourglass]) on page 2v. We have not verified this.

Evidently Johann Georg Lipp (n.d.) and Johann Rochow (n.d.) are the coauthors of a word maze in heart shape for August, Duke of Braunschweig, and Sophie-Elisabeth, his duchess, née Duchess of Mecklenburg, in honor of the new year. Printed at Wolfenbüttel by Stern in 1666. HAB "#1248 Helmst. Dr."

There is a pair of hearts in Latin with German translation or parallel texts, written by Christopher Lorenz of Halberstad and dedicated to Friedrich, heir to Norway and Duke of Schleswig-Holstein, in honor of his 1630 marriage to Maria-Elisabeth of Ducal Saxony (Sachsen), where Lorenz was the court poet. A copy is in the Strahov Library at Praha.

Ludolff von Lude (n.d.) composed a wedding chalice poem for the nuptials of Melchior Johann Türcken and Anna Catharina Wölder on 6 February 1649, printed at Hannover by Johann Friedrich Glaser (see author listing above), HAB "#T 446 Helmst. 4° (82)."

Fig. 2.54. 
Hour glass  by  Theodor  Kornfeld (1636-98)
 from his Selbst-Lehrende alt-neue Poesie . . . 
(1685) 83.

Johann Christoph Maennling (1658-1723), who appears again in our eighteenth century section below and in the labyrinth section of Chapter Five, has two pattern poems in his Europäische Parnassus . . .(1685), a heart on page 86 and a palm-tree on page 85.

A cross byJohannes Maukisch (1617 69) from Christliche Leichtpredigt . . . (1641), a funeral sermon for Maria Höpfner (Leipzig, 1641; Stolberg: 6288) appears at page L4r, reprinted in Adler "Technopeignia" (1981, 124).

David Mayer (n.d.) is the author of a pamphlet reported by Piotr Rypson, Der mensch ein leben-

Page 80

diges Kreuz . . . Herrn Andreae Watsgottes (Breslau: Baumann, drucktsJohann Günther Rörer, 1696), which has a cross and a circle of words on its title page, not necessarily a pattern poem.

A German chalice by Ignatius Meurer of Stockholm for the 1646 wedding of Heinrich Trips and Johanna de Geer (see Fig. 2.55) appears in Melander (1960, 54) and in Gran's dissertation (1981, fig. 1). The original is in the Royal Library at Stockholm. Meurer also composed a cross and globe in Latin, listed in our Neo-Latin section.

Fig. 2.55. 
A chalice poem, neither better nor worse than 
the many other such "Pokal" poems ("Pokal" is the 
German word for chalice) by Ignatius Meurer 
(Seventeenth Century) of Stockholm, composed 
for a wedding in 1646.

Daniel Georg Morhof (1639-91) has a discussion of pattern poems in his Unterricht von der teutschen Sprache (1682; 1700, 581 2), but he prints no examples.

Four pattern poems by Quirinus Moscherosch (1623-d. after 1657) are known, all in Hanauische Lob- Lieb- Lust- und Leidgedichte (1668):

1. a goblet on page 36;

2. another goblet facing page 50 and reprinted in Adler "Technopeignia" (1981, fig. 5, facing page 116);

3. a handkerchief which is also a labyrinth on page 64, reprinted in Habersetzer "Ars poetica simpliciana" (1975); and

4. a cross on page 81.

Georg Neumark (1621-81) has a monument in Martin Kempe's Poetische Tafeln . . . (1667) on page 267, reprinted in D'Ors (1977, 91); he also has a fountain on page 268, reprinted in Warnock and Folter (1970, 56 and D'Ors (1977, 92).

For Martin Opitz, see Enoch Hanmann.

Adolf Theobald Overbeck (n.d.) is the author of a memorial column, ("Ehren-Säule") for Christoph Anthon Victor. All else is unknown (ca. 1640?). HAB "#Db 595 (7)."

Johannes Parpard (n.d.) is the presumed author of a pyramid in memory of David Schröder, printed at Wittenberg by Johannes Hacken in 1661.

Nikolaus or Nikolaj Peucker (d. 1674) has a bridal garland in his Wohlklingende lustige Paucke . . . (1672) on page 107 (see Fig. 2.56)that is reprinted in Warnock and Folter (1970, 65).

For Johannes Praetorius, see Johann Geuder.

Johann Günther Roerer (n.d.), in his Danckund-Gedächtnüss-Säule Herrn Christoph Albrechten . . . (Breslau: Baumann, 1684) has a very well-printed column on the death of its subject, reported by Piotr Rypson. Roerer was active in the Baumann printshop at Breslau during this period (see "J.C.D.," Küpffender and Mayer, above) during the final years of the seventeenth century, thus placing him in the tradition of pattern poetrycomposing printers such as Rhete (Gdansk-Danzig, for which see our Polish section) and the Pommeranian-Swedish Kankel.

Joachim Rosencrantz (n.d.) is the author of a wedding chalice poem for Johann Haldenschleben and Catherine Kiinnen, who were married on 27 January 1651. The place and printer are unknown. HAB "#Q 153 Helmst. 2° (89)."

Page 81

Fig. 2.56. 
A bridal garland by Nikolaus Peucker (d. 1674), from his Wohlklingende lustige Paucke... 
(1672) 107. Stylistically it resembles the pastorale pieces in Helwig's Nymphe Noris (q.v.). From 
Warnock and Folter (1972) 65. Courtesy of the General Research Division, New York Public 
Library, Astor, Lenox and Tilden Foundations.

Page 82

A pair of apples by Jacob Rothut, for the 1694 wedding of Christopher Kauffmann and his bride, Fräulein Busch, is in the Commerzbibliothek of Hamburg, reprinted in Gran's dissertation (1981, fig. 22).

Bartholomaeus Runge (n.d.) is the author of a bier-shaped poem for Anna Sophia von Hackenborn, nee von Etzdorff, who died 31 October 1669. The piece was printed at Quedlinburg by an unknown printer, and is in the HAB as "#Db 2252 (27)."

A cross by Andreas Sander (n.d.) for Dorothea Christina Bote, née Wende, who died 20 April 1675, in Vekensted, was printed at Goslar by Duncker in 1675, and is in the HAB as "#T 27 Helmst. 4° (27)."

Christian Scharmidt (n.d.) composed a shaped prose wedding chalice for August Wieg and Clara Elisabeth Hagen, who were married 13 April 1650, and which was printed at Quedlinberg by Johann Ockel in that year. In the HAB it is "#T 446 Helmst. 4° (85)."

A labyrinthus cubicus by Johann Peter Schill (n.d.) appears in the anonymous CreutzSact und FrewdenErndt . . . (1631), reprinted in Wagenknecht's "Konkrete Poesis" (1970) and in Petit (1977, 132).

Johann Schmied (n.d.) composed a tree-shaped prayer poem for the wedding of Volrath Eisentraut and Margaretha Sauerhering on 6 May 1649, printed that year at Schöningen by an unknown printer, and in the HAB as "#Db 1270 (37)."

Justus Georg Schotteler (known also as "Schottel" and "Schottelius," 1612 76) is the author of six known pattern poems, of which the first five appear in his Teutsche Vers- oder Reim Kunst (1645) and are of high literary merit. They also appear in the 1656 edition of the same work, from which their paginations are given here in parentheses after the first listing:

1. an egg on page 258 (215), reprinted in Dencker (1972, 41) and D'Ors (1977, 81);

2. a tower or pillar on page 259 (216);

3. a pyramid on page 259 (216), reprinted in Rypson's "Poezja wizualna" (1981, 41) and Ernst's "Europäische Figurengedichte" (1982, 336, fig. 18);

4. a cross in trochess on page 261 (218), which appears in Seaman's "Development" (1972, 36 and Grümmer (1985, 163); and

5. a goblet on page 262 (219), which appears in von Zesen's Deutsches Helikon . . . (1649, 83), Seaman's "Development" (1972, 36), and Todd's portfolio (1981).

All five appear in Hanmann (1658, 315 56) and Schotteler Ausführliche Arbeit der deutschen HaubtSprache (1663, 952-5).

Also by Schotteler is a "Piramid oder ThurnSeule" of 1651, which appears in Ernst's "Europäische Figurengedichte" (1982, 331, fig. 16), different from the pyramid already mentioned, and reprinted from Bens (1976, 28, entry no. 188). It also appears in Bircher and Bürger (1979, 94, where it is identified as coming from the "Einblattsammlung HAB G3: A 24" at the Herzog August Bibliothek in Wolfenbiittel).

Johann Georg Schütz, of Belgard in Pommern (Pommerania, n.d.), wrote a cross-shaped poem on the death of a Herr Brunnemann whose printer, place, and date are unknown. It is in the HAB as "#Db 4° 90."

A cross by Daniel Simon, Jr., (n.d.) printed at Colberg in 1675 by Ludwig Röder mourns the death that year of his father, Daniel Simon, Sr.

Hartwig von Sprekelsen of Hamburg (n.d.) wrote a memorial pyramid for Nicholaus Daniel Steman, who died 13 August 1666, printed at Halmstedt by H. D. Müller, and is in the HAB as Helmst. 4° (10)."

E. M. von Stain, in his Janus Christianus . . . (1659) has an A-shaped pattern poem, reprinted in Bircher and Bürger (1979, 135).

"Das Horn der Glückseligkeit," a horn of plenty, by Johann Steinmann (n.d.) appears in a festschrift of 1653, is reprinted with discussion in Ernst (1985, 69 71), and also appears in Maché and Neid (1980, 216).

Alexander Christian von Syborg (n.d.) composed a cross-shaped poem for Catharina Clasen, née Lentkin, who was buried on 7 January 1677 at Magdeburg. The poem was printed in that year at Helmstedt by H. D. Müller, and is in the HAB as "#T 59 Helmst. 4° (29)."

Johann Peter Titz (1619 89), in his Zwey Biicher . . . (1642), includes an egg in volume 2, chapter 16, section 9, reprinted in Warnock and Folter (1970, 54). Titz lived at Gdansk (Danzig) and is another connection with the Danzig group of pattern poets described in our Polish section.

Wedding hearts by "Nic. Laur. Tolfstadius," probably of Stockholm, composed for the 1657 wedding of "Nic. Petrus Riaelius" and Catrina Alm ap-

Page 83

pear in Gran's dissertation (1981, fig. 18).

Christoph Völschen (n.d.), in his Tuba Augustae . . . (a birthday festschrift of 1663) has a pyramid, reprinted in Bircher and Bürger (1979, 172). He also has a column in his Paschalia Seleniana (a birthday festschrift of 1664), reprinted in Bircher and Bürger (1979, 173), who give further identification of the two pieces as "LB Hannover: C 10034(15); HAB 36.12.1 Poet." and "LB Hannover: C 10034; C 10024 (17)."

In the Moesta Cupressus . . . (1669), a funeral sermon for Ludwig Meier, there is a bier by Christian Wagener, described in Adler "Technopeignia" (1981, 144, n. 21) as "Fol. 6v (Stolberg: 6132)."

In his Sieben Theile wohlreichender LebensFriichte (1649), Georg Weber (n.d.) has fifteen pattern poems, only one of which has been reprinted in recent times. These are, in four cases, set to music which is printed immediately preceding the poems. The pieces are:

1. a set of stairs, "Treppe der Andacht," which reads upwards, on page 2;

2. a chess castle, "Geistlicher Schatz-thurm," on page 58;

3. a set of five stanzaic hearts with music, on pages 59-64;

4. a heart pierced by a cross, reprinted in Adler's "Technopeignia" (1981, 119);

5. a set of six wings, on pages 190-1;

6. a set of six more hearts on pages 216-21;

7. "Drauff wird man opffern immer dar," an altar, on page 242;

8. a set of eleven lozenges with music, on pages 274-9;

9. and 10. a communion wafer and chalice, "Der Seelen Hunger nach Jesu Christo" and "Der Seelen Durst nach Jesu Christo," on pages 306-15'

11. a pair of crosses with music, on pages 336 42;

12. a second set of monuments, on pages 364-6;

13. an altar, "Jesu nim much hinn zu bier" [sic], on page 370;

14. a cycle of four altars or monuments with music, on pages 430-5; and

15. a cross and banner, printed on their sides, with the cross on the left and the banner, a justified quintain, on the right (see Fig. 2.57).

Weber's use of music and his grouping of similar pieces into what might be taken either as individual works or as cycles indicates a highly sophisticated formal sense, as well as an attempt, on the one hand, to synthesize the visual and poetic sensibility with the musical one, and, on the other, to explore the architectonics of the cycle. His forms are traditional and his language must have seemed a bit archaic even in his day, but the works themselves are impressive.

A discussion of pattern poetry appears in the Curiöse Gedanken . . . (1691; 1698) of Christian Weise (1643 1708), at chapter v, section 16 7, pages 109 12.

A chalice by F. Weiss (n.d.) is printed in Peignot (1978, 67) and also in Pozzi (1981, 129), where it is described as "Zürich Zentralbibliothek, 1 a 1, 1651."

Friedric Wigand (n.d.) composed a column or altar in memory of Balthasar Olffen of Braunschweig (ca. 1660), of which the exact date, printer, and place of publication are all unknown. The work is in the HAB as "#T 80 Helmst. 4° (18)."

David Wilcken (n.d.) celebrated the Colberg marriage of 1641 of Ulrich Schozamens and Margareth-Elisabeth Steobanin in a wedding chalice poem.

Johann Wolf, a parson at Ippesheim, wrote an "epicedium" (memorial cross) in honor of Philipp Friedrich Carl, Lord of Limburg, who was buried 19 August 1681, at Sommerhausen. The shape of the piece is interesting because it has a single vertical at the top but a double one below the cross-bar. Printed at Sommerhausen by Johan Bünsow in 1681, the work is in the HAB as "#Db 2889 (6)."

Philipp von Zesen (1619-89) has three pattern poems in his Deutsches Hellicons erster und ander Theil (1641); these also appear in his Sämtliche Werke (1971), where references are given to other appearances and versions elsewhere in Zesen's works; we cite the pagination in the Sämtliche Werke in parentheses following the first entry:

1. a chalice on page 83 (volume 10, part 1, page 351; volume 9, pages 342 4), reprinted in Severin (1983, 55) and in D'Ors (1977, 85);

2. a heart on page 84 (volume 10, part 1, page 352); and

3. a second chalice on page 86 (volume 10, part 1, pages 353 4).

These three also appear in Hanmann (1658).

In addition, Zesen also has a palm tree in the Hoch-deutscher Helicon (1649) at page 7r, reprinted

Page 84

Fig. 2.57. 
A funeral cross and banner by Georg Weber 
(n.d.), from his Sieben Theile wohlreichender Lebens-
Früchte (1649) in a modern typesetting by Dick 
Higgins. Weber used many of his pattern poems as 
lyrics for hymns. See page 83. above.

in D'Ors (1977, 87), in Lienard's article (1983, 85), in Maché and Neid (1980, 139), and in Severin (1983, 13). Zesen's work also contains many acrostics.

See also the work by Petersen in the Danish section and the Gdansk (Danzig) pieces in the Polish section for other German-language pieces from this period. The pieces from Gdansk and from elsewhere in present geographical Polandeven when, as in the case of such cities as Stettin, Griefswald, and so forth, they were not formally under the Polish crownare listed there both to keep these stylistically similar pieces together and to reflect present political reality.

§ To 1800

In German, as in most European languages, this is the period when, after the first years of the century, pattern poetry disappears very rapidly. A larger proportion of the pieces are anonymous, and the quality falls off, from a literary point of view. Two good contemorary theoretical discussions of pattern poetry exist, however, one in Morhof (1700, 581 2) and in Omeis (1712, 128-9).

An anonymous chalice for the 1742 wedding of Dietrich Smidt and Amalie Schöner, printed by Hermann ChristopherJan [sic, Jahn?] is described in Universität Bremen (1977, 12) as being from the library there, "2-B17 Brem. A 628 nr. 177."

An anonymous circle with rays, "O Bild der Ewigkeit" for the 1722 wedding of Johann Jakob Schluiter and Anna Magdelena Biben, printed by Erben Cattepoels, is described in Universität Bremen (1977, 11) as "Bremen Bibliothek A 627 nr. 127."

An anonymous new year's chalice of 1754 is in the Gutenberg Museum in Mainz (see Fig 2.58),"Seg. Mori: VI B. 1. 25," reported by Professor Erik Dal of København and Professor Ulrich Ernst of Wuppertal.

An anonymous wedding poem in the form of a church portalthe poet's name is, evidently, hidden in the inscription "Guten Acker," but we have

Fig. 2.58. 
An anonymous New Year's chalice of 1754.

Page 85

no way of identifying itwas composed for the nuptials of Christian Bartsch and Sophia Leiding. Place, printer, and date are unknown, but it appears to be from around 1720, and it is in the HAB as "#Db 4° 88 (36)."

An anonymous verbal maze appears in Pozzi (1981, 141), described as "Zürich Zentralbibliothek: I a 1, 1758."

A similar maze, undated but printed at Darmstadt by J. Schirmer as a New Year's greeting (see Fig 2.59),is in the Mori collection of broadsides ("Einblattdrucke") at the Gutenberg Museum in Mainz.

An anonymous pyramid for the 1715 funeral of Wommelia Schöne, née Harmer, printed by Hermann Brauer, is described in Universität Bremen (1977, 18), as "Bibliothek Bremen A 625 nr. 42/4."

An anonymous star of 1744, also a New Year's greeting, is in the already-mentioned Mori collection.

An anonymous sun (undated), evidently a greeting card, appears in Diehl (1951, 45), Massin (1970, 193), and Piegnot (1978). Possibly this piece is by Johann Casparus Zetsching of Gdansk (Danzig), in which case its proper date could be 1666.

An anonymous tree, a "Mey-Baum" (may-pole) for the wedding of Johann Meybohm and Mette Oriana Hollen in 1721, printed by Herman Christoph Jani [sic, see above] is in Universität Bremen (1977, 10), described as Bremen Bibliothek "2-B1 A 627 nr. 129."

An anonymous vase for the 1721 wedding of Frankfurt Town Councilor Nicholas von Offenbach appears in Diehl (1951, 43) and Massin (1970, 192).

A "Memorial pyramid for Rudolf August of Braunschweig," from 1704, composed by Christian Ludwig Ermisch (n.d.) appears in Ernst's "Europäische Figurengedichte" (1982, 351).

One can only feel sorry for Johann Leonhard Frisch (1666-1743), whose Schulspiel von der Unsauberkeit derfalschen Dicht- und Reimkunst (ca. 1700) is an attack on pattern poetry among other things, since his pattern poems are the works for which he is best remembered. There are three:

1. the Berlin Bear (see Fig. 2.60) at page 197, reprinted in Cobbing and Mayer (1978, plate 2), Dal's "Figurdigte" (1966, 6), Dencker (1972, 49), Grümmer (1985, 165), Liede (1963, 2: 197), Reichardt's "Type in art" (1965, 211), and Tuwim (1950, 242);

Fig. 2.59. 
A anonymous verbal maze from Darmstadt 
printed by J. Schirmer (dates unknown). See above. From
 the Mori Collection of broadsides, at the Gutenberg 
Museum, Mainz. Reprinted by permission. 

2. an altar with flames consuming a heart on page 198, reprinted in Dencker (1972, 50), D'Ors (1977, 108), Liede (1963, 2: 198), and Severin (1983); and

3. a crown on page 131 (dated 1729 by Severin), in Severin (1983, 37).

In 1782 Johann Wolfgang von Goethe (1749 1832) wrote the "Liebeslied eines Wilder Brasilienischen Schlange," a serpentine-shaped poem, in most editions of hs works and in Thalmayr

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(1985, 312, described on pages 466-7). He also wrote rebuses, in Thalmayr (1985, 314-5).

Johann Hofmann (ca. 1640-1703) has a trophy in the form of a goblet on page 107 of his Lehrmäßige Anweisung zu der teutschen Verß- und Ticht Kunst (1702).

Three pattern poems by Christian Friedrich Hunold (1680 1721), known as "Menantes," appear in his Allerneuester Art . . . (1707): a pyramid on page 266, another pyramid on page 267, and a cross on page 268.

Fig. 2.60. 
The Berlin bear by Johann  Leonard Frisch 
(1666 1743), which is, among other things, an attack 
on pattern poetry although it is also his best known
 piece. See page 85. above. From the Schulspiel von 
der Unsauberkeit der falschen Dicht- und Reimkunst, 
ed. L. H. Fischer (1744; 1890) 197.

A square maze poem by Ernst Friedrich Kielburg (n.d., a pseudonym?), dedicated to Johan Jakob Baier, the rector of Altdorfer University, was printed as a broadside in 1723 and is reprinted and discussed in Ernst (1985, 82-3).

Gottfried Kleiner (1691-1767), in his GartenLust im Winter (1732) has seven pattern poems:

1. a grapevine on page 92;

2. a cedar on page 93, reprinted in Adler's "Technopeignia" with English translation on page 135, in Ernst (1985, 71 3), in Peignot (1978, 55),

Fig. 2.61. 
A vase by C. J. Metzger (Nineteenth Century), 
printed in the Wiener allgemeinen Theaterseitung und 
Unterhaltungsblatt (26 July, 1823,1). See page 88, below.

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and Petit (1977, 178);

3. a temple on page 95, reproduced in Adler's "Technopeignia" (1981, 121, with additional information on page 144, n. 25);

4. a castle on page 94;

5. a pyramid on page 96;

6. another pyramid on page 97; and

7. a coffin on page 98.

Andreas Köhler (n.d.), in his Deutliche und grundliche Einleitung zu der reinen deutschen Poesie (1734), has a goblet on page 172.

Johann Christoph Maennling (1658 1723),

Fig. 2.62. 
A  vase by the eccentric poet Joseph Gutsmüthl 
(Nineteenth Century), who wrote under the 
name "Shalomon Schönenfels." See page 88, below. 
From Robert Kapfhammer, "Joseph Gutsmüthl 
= Shalomon Schönenfels," (1973) 37.

already mentioned in our seventeenth century section, has five pattern poems in Der europaeische Helicon (1704):

1. a pyramid on page 135, reprinted in Warnock and Folter (1970, 55) and in Ernst's "Europäische Figurengedichte" (1982, 327, fig. 13);

2. a palm tree on page 134;

3. an egg on page 134;

4. a heart on page 135; and

5. a coffin on page 136, reprinted in Schöne (1963, 695) and in Severin (1983, 49).

The heart and the palm tree are the same as in Maennling's Europäische Parnassus . . . (1685), already mentioned. Maennling's palm tree also appears in Uhse (1708, 92), while the coffin may be the same as in Maennling (1702, 2v).

Besides these actual pattern poems, there are three arrays of letters in the work that are printed on a fold-out between pages 131 and 132 which resemble cabbalistic texts, and which are examples of the process of making a labyrinthus cubicus ("cubus") described on pages 130 and 131. Maennling discusses labyrinths and attributes his examples to "Herr Klesel," apparently Daniel Klesel (1631 87), for whom see our seventeenth century section. The examples are reprinted in Schuster/Sutor, for which see below. See Fig. 2.13 and page 201.

Erdmann Neumeister (1671 1756), in his Die allerneueste Art . . . (1712), includes:

1. a pyramid and globe on page 266, reprinted in Warnock and Folter (1970, 55);

2. a pyramid on page 267; and

3. a cross on page 268.

Friderich Redtel (n.d.) in Nothwendiger Unterricht . . . (1704), includes six pattern poems:

1. a cross at page H7v;

2. a goblet at page H8r;

3. a basket at page H8v;

4. a soup bowl at page I1r;

5. an egg at page I1v; and

6. a heart at page I2v.

A verbal maze by J. Roch, from a broadside, appears in Pozzi (1981, 140), where it is described as "Zürich Zentralbibliothek, I a 1 (1748)."

Andreas Schuster (eighteenth century) of Bavaria, known also as "Sutor," in his Hundred Augige blinde Argos . . . (1740) has a complex rebus acromesotelestic on page 215 in which the intextus has a large heart composed of small hearts, reprinted in Tuwim (1950, 247) with new typog-

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raphy. He also reprints Klesel's cubi unacknowledged (cf. Maennling, above).

Heinrich Trier (n.d.) composed an untitled New Year's greeting in the form of a rose for Maria Sibylla von Rantzau; printed at Wolfenbüttel by Christian Bartsch in 1718, it is in the HAB as "#Db 4° 468 (5)."

§ To 1900

In the ninteenth century, pattern poems reappear from time to time, and occasionally they seem to show some awareness of the past of the genre. But, for the most part, they are treated as novelties and curiosities. One anonymous piece is known, a pyramid in the satirical review Kladderdatsch (25 December 1853) 238. It has thirty-two lines, growing from one to forty syllables, and strongly suggests a Christmas tree.

Three pieces appear in a journal edited by Adolf Bäerle (n.d.) at Vienna, known by such names as the Wiener Allgemeinen Theaterzeitung, Wiener Illustrierte Theaterzeitung, and so on. The best known such piece is a "Männchen," a little person, by Dr. Ferd. Aug. Oldenburg (n.d.) in number 20 (1845, 4), reprinted in Dencker (1972, 55), Schenck (1973, 351), and D'Ors (1977, 110). There are also a vase by C. J. Metzger (n.d.) on page 1 of number 89 (1823) (see Fig 2.61) and a glass by Bäerle himself on page 1 of number 137 (1818), this last resembling the French glasses of Panard and Capelle.

The strangest group of pieces is a set of deliberately archaic ones by Joseph Gutsmiithl, a Bavarian known also as "Shalomohn Schönenfels," who includes a vase (see Fig 2.62) in his ShorhrohS (1853, 73), along with nine alliterative mesostic labyrinths that are not pattern poems. These are reproduced in Kapfhammer's "Joseph Gutsmüthl = Shalomohn Schönenfels" (1973, 27-47).

There are over two hundred and fifty documented pattern poems in German, of which more date from the seventeenth century than all other centuries put together. This is a larger body of pieces than in any other language but Latin. The most typical shapes are, in descending order, pyramids, chalices, goblets or glasses, crosses, hearts, trees, eggs, hourglasses, mazes, wreathes, altars, animals, apples, candles, columns, fountains, lozenges, lutes, mountains, orbs, scepters, scales, syrinxes, and towers, with the rest in unique shapes.

Scandinavian

§ Danish

As Erik Sonderholm, a prominent Danish baroque scholar, told us in April 1983, Danish pattern poems are rather rare, as are emblem books in Danish. Dr. Sonderholm attributes this to the poverty of Denmark in the seventeenth century, when one would expect to find such pieces. Fortunately, another scholar, Erik Dal, has searched for years for pattern poems, and has found seven pieces in Danish as well as others in other languages but from Denmark, and has published two articles on the subject: "Lidt om figurdigte og expressiv typografi" (1971-3) and "Figurdigte? I nutid, baroktid og middelalder/Hvordan?-Hvorfor?" (1966). These are the key texts for Danish pattern poetry.

In passing, we should note the exquisite Latin pattern poems of Iacobus Nicholai de Dacia (Jakob Nielsen, fl. 1363-94) in the Liber de distinccione metrorum (1363), described in our Neo-Latin section. Iacobus was a Danish subject; "Dacia" was the archdiocese which included Denmark and Sweden.

There is an anonymous chalice in Danish, written for the 1711 marriage of Dr. Johann Fischer and Margaret Mälber, found by Dr. Dal but never reprinted.

A second anonymous chalice, for the 1719 marriage of August Bresemann and Anna Dor (see Fig. 2.63), is 165mm high and is in the Kongelige Bibliotek at København. It is reprinted in Dal (1966, 5).

A third anonymous chalice, for the 1758 wedding of Nicolaus Mollerand and Catherine Wendelia Berling, is also in Danish.

A fourth anonymous chalice, also in Danish, is dedicated to the good health of King Christian VII (r. 1766-1808, see Fig 2.64); it appeared in the Odense Adresse-Contoirs Efterretninger on 23 February 1776 and is reprinted in Dal (1971/3, 132). The newspaper must have been interested in pattern poetry, because it also included a French lozenge, described in our French section, no less than three times.

An anonymous pyramid in German from 1704, 65mm high, written for the 1704 marriage of Friderich Adolph Hansen with Catherine Braten (see Fig. 2.65), "E2-42/3, Lejlighedsdigte" in the

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Fig. 2.63. 
An anonymous wedding chalice in German from Denmark, for the 1719 wedding of August 
Bresemann and Anna Dor. See page 88, above. From the collection of wedding poems 
(''Lejlighedsdigte"), Kongelige Bibliotek (Kobenhaven). Reprinted by permission.

Fig. 2.64. 
Another anonymous Danish chalice, this one in Danish, found by Dr. Erik Dal in the 
Odense Adresse-Contoirs Efterretninger for 23. February, 1776. See page 88. above. 
From  the Universitets Bibliotek (Kobenhaven). Reprinted by permission.

Kongelige Bibliotek in København, is reprinted in Dal (1966, 5) and (1971/3, 131).

One of three signed works from Denmark is a pair of monuments capped with pyramids by Peder Cappel (1664 1727), a west Zeeland pastor, in his memorial pamphlet Danske Pyramider . . . (1700).

The second is in an abstract form based on a square, in German, by Nicolaus Petersen, pastor of Elmeshorn, printed at Glückstadt by Melchior Kochen in 1679 in a festschrift forJohannes Birckenbusch, a scholar (see Fig. 2.66). It has four groups of two syllables each, arrayed at the centers of an imaginary oblong. It remains unreprinted but was found by Dr. Dal.

The third signed piece is a chalice in Danish, by the rhetorician and poet Peder Jensen Roskilde (seventeenth century), reprinted in Arnholtz, Dal, and Kabell (1953, 1: 16 17, with holograph manuscript on 393). It was written in 1627 for Christian Friis of Kragerup, the Royal Chancellor and an outstanding Maecenas, and for his wife, Barbara Bittrop; it opens up the prosody of Roskilde, but was not actually published until 1953.

Clearly the association of pattern poetry with weddings was very strong in Denmark. Not a single funeral poem in pattern form is known, for example.

We should mention that there is yet another probably Danish wedding poem in Latin, a chalice by Antonius Netenblad described in our Neo-Latin section.

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Fig. 2.65. 
An anonymous wedding pyramid in German from 
Denmark for the 1704 marriage of Friderich Adolph
 Hansen and Catherine Braten. See page 88, above. 
From the Kongelige Bibliotek (Kobenhaven) 
"Lejlighedsdigte, E2 42 3." reprinted by permission.

Fig. 2.66. 
This unusual poem  in German is by Nicolaus 
Petersen (Seventeenth  Century), pastor of Elmshorn, for 
a festschrift for the scholar Johannes Birckenbusch, from 
Nicolaus  Petersen, Dankschüldige Ehrengedächtniß dem 
Johannes Birkenbush (1679), frontis. See page 89, above. 
Courtesy Kongelige Bibliotek (Københaven).

§ Swedish

Swedish pattern poetry is certainly a good deal more plentiful than our listings here indicate. Many of our listings are based on documentation in an unpublished dissertation by Ulf Gran, from the University of Lund, which is unfortunate in its chaos and inconsistency. For example, Gran says on pages 98-102 that he knows of about 120 pattern poems from seventeenth-century Sweden: eighty in Swedish, twenty in Latin and a few in Greek; however, this does not add up. Many, if not most, of his references have nothing whatever to do with pattern poetry or even mannerism, in which he includes pattern poetry, and others are extremely rare and inaccessible to us. We list, therefore, only the pieces which he actually includes in his dissertation.

Generally, the Swedish pattern poems are rather like the German ones from the same period, which is not surprising, since Sweden was under heavy German influence in the renaissance and baroque periods. Almost all the pieces are occasional verse for weddings, funerals, and ceremonial occasions. However, the sets by Treutzel and Phalleen are designed for pamphlets and form series, which is rather unusual in pattern poetry.

An anonymous bell for the wedding of Jacob Aschengreen and Elisabeth Bure in 1693 appears in Gran's dissertation (1981, fig. 14); it was printed by Niclas Wankijff, then the royal printer.

An anonymous chalice hangs on the wall of the Royal Library in Stockhom, along with the death figure (see below). It has a date in chronosticon form, DCIVXILVVVCCLXLCVLVC, which adds up to 1652, which we therefore take to be the date of the piece (see Fig. 2.67).

A cross over what could be either a globe or a bottle of anointing oil forms an anonymous piece dedicated to Claes Arrhenius, who became secretary of the University of Uppsala on 15 December 1681. It appears as figure 16 in Gran's dissertation. A copy is in the Royal Library at Stockholm.

A hauntingly beautiful, though crude, death figure is the form of an anonymous piece which, like the chalice, hangs on the wall of the Royal Library (see Fig. 2.68). Undated, it appears to date from the middle of the seventeenth century. Both it and the chalice were sent to us by Professor Bengt af Klintberg of the University of Stockholm, but the death figure also appears in Dal's "Figurdigte" (1966, 6),

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in his other article (1971/3, 131), and in Fehrman (1952, facing 272).

An anonymous heart printed by Alexander Petre for the funeral of Ericius A. Holsteen (1622-47) appears in Gran's dissertation as figure 29.

Two anonymous Swedish labyrinths are known: a labyrinthus cubicus for the 1677 wedding of Carl Feiff and Elisabeth Rampe (fig. 29 in Gran's dissertation) and another labyrinth for the 1691 wedding of Davidh [sic] Kämpe and Margareta Magdalena Ebertz (fig. 19 in the same dissertation). This last piece is described as a labyrinth by virtue of its resemblance to the German calligraphic labyrinths listed in our Chapter Five, but it also can be described as a "lover's knot," a genre which is met with in English-language pattern poetry, especially in valentines. That such a form should appear in Sweden is not surprising, both from the German connection, and also because of the resemblance of such a piece to the more intricate suviving runic inscriptions, such as that in Jansson's "Runinskrifter" (1946, 55).

A rather delicate anonymous memorial pyramid for Matthias Sygman was printed by Johan Georg Ebert of Stockholm in 1681 and appears in the Gran dissertation as figure 18.

A charming little X-shaped poem from a nineteenth-century autograph album appears in af Klintberg (1977, n.p).

Another "lover's knot" was composed by Werner Charreus (n.d.) for the wedding of Nils Strömman and Catherina Caspers in 1691, appearing inthe Gran dissertation as figure 20.

Gustav Fröding (1860-1911) has an L-shaped poem, "Gråbergsång" (Grey mountain song), from before 1900 in his "Efterskörd," in Samlade skrifter (1911, 7: 142). The suggestion is that the shape resembles the foot of a cliff.

Johan G. Gazelius is the presumed author of a flattened sphere for the 1682 Stockholm wedding of B. Hagen, in Gran's dissertation (1681, fig. 15).

A sort of near-labyrinth with a repeated text using the word "helig" (holy) over and over is by Erasmus Johan Huss (d. 1699), in Linquist (1939, 90).

Johann Kankel (1614-87), a master printer originally from Greifswals and a Pomeranian German, spent most of his life in Sweden under the patronage of Pehr Brahe. His life and work are the

Fig. 2.67. 
This anonymous Swedish chalice probably dates 
from  1652. It hangs on the wall of the Kongeliga 
Bibliotek (Stockholm).

Fig. 2.68. 
This death's figure, like the chalice above, hangs 
on the wall of the Kongeliga Bibliotek (Stockholm). 
It  appears  to  date  from the  mid-Seventeenth 
Century.

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Figs. 2.69 and 2.70. 
Johann Kankel (1614 87), a pomeranian master 
printer who worked in Sweden, made this German-
language maze poem in the form of a heart in 1680 
for the wedding of Karl XI (r. 1659-97) of Sweden 
and princess Ulrica Leonora of Denmark. See page 
below. 2.69 shows the overall shape, while 2.70 
is a close-up. The text has end rhymes but also 
has alternate forks, so that the actual sequence 
of lines is indeterminate. Courtesy: 
Kongeliga Bibliotek (Stockholm).

subject of Sven Almqvist's Johann Kankel, Pehr Brahes boktryckare på Visigsö (1965), in which his six known pattern poems appear as figures 25 30, following page 64,

1. Figure 25 is a word maze in the form of the Brahe coat of arms.

2. Figure 26 is a rectangular word maze for the 1674 birthday of Pehr Brahe.

3. Figure 27 is a word maze with a sort of eight-leafed clover around its edges, used for the wedding of Pehr Brahe in 1674; it is reprinted in Melander (1960, 23).

4. Figure 28 is a heart-shaped poem for the 1680 wedding of Karl XI (r. 1659-97) of Sweden and Princess Ulrica Eleonora of Denmark (see Figs. 2.69 and 2. 70). A copy of this poster poem is framed and hangs on the wall of the Royal Library at Stockholm. Its words form a maze within the heart, and it is also reprinted in Dal's "Figurdigte" (1966, 82).

5. Figure 25 is a word maze in the shape of a grave stone, for the funeral of Pehr Carl Brahe in 1680.

6. Figure 26 is a word maze in the form of a pyramid surmounted by a cross, printed in 1681 to commemorate the death of Pehr Brahe.

For the wedding of Andreas Phalleen in 1697, Israel Phalleen (n.d.) composed a cithra-shaped and viol-shaped poem (see Fig. 2.71),in Phalleen (1697) and also figures 27 and 28 in Gran's dissertation,

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Fig. 2.71. 
This viol-shaped poem by Israel 
Phalleen (n.d.) was made for the 1697 
wedding of Andreas Phalleen, probably 
Israel's nephew. From his Skyldigt . . .
(1697). Courtesy: Kongeliga Bibliotek 
(Stockholm). Reprinted by permission.

where the title of the pamphlet is not given. Gran implies that "Phalleneus" composed other pieces in the cycle as well.

Johan Runius (1679-1713), one of the major figures in Swedish baroque poetry, mentions pattern poems in his Hercules, lines 61-4, quoted in von Platen (1934-5, 299). He also wrote a poem in the shape of a wine glass in a letter to Göteborg, printed in the Samlade skrifter (1934-5, 2: 220, with the manuscript described in 3: 324).

A memorial booklet by Daniel Treutzel for Olof Sparrman (1690) includes a distaff, hourglass, candle, and monument, in Gran's dissertation, figures 23 through 26.

Swedish pattern poems in German and Latin, except for those by Kankel, are so close to the other pieces in those languages that we prefer to describe them there, since they belong to those traditions. None of the nineteen Swedish pattern poems has a classical or medieval Latin shape, but there is, as noted, considerable resemblance to what were then modern German forms.

§ Finnish

Although no pattern poems are known in Finnish, several in other languages are known from Finland. There is an anonymous German chalice for the wedding of Andreas Fridzberg (n.d., but seventeenth century) described in our German section.

There is also a Neo-Latin chalice, undated but probably late seventeenth century, by "Andrea Thur. Kyroensi/Finnone," in Melander (1960, 71). This could be the Andreas Thuroneus mentioned in our German section.

A third such chalice, also Neo-Latin, is undated and unsigned, but is so close in style to second that one might conjecture it is also by the same author. It appears in Melander (1970, 71).

J. O. Mallander of Helsinki told us in 1982 that he had seen some pattern poems by nineteenthcentury students in Finnish itself, but these have not materialized.

§ Other

No pattern poems are known in Old Norse or Icelandic.

Neither are any pattern poems known in Norwegian, but this is a little more surprising. In Norway there florished a floral style of woodcarving during the fifteenth century and immediately before; texts were frequently a part of this, and it might be expected that some sort of pattern poems would exist there.

During the long period when Norway was in personal union with Denmark (1380 1814), Norwegian culture was repressed and printing forbidden except for certain religious works. However, by the end of this period, in the eighteenth century, pattern poetry was on the wane, so one would not expect to find pieces from then. However, when Norway passed to Swedish control in 1814 and underwent the national revival leading to independence in 1905, one might have expected some pattern poems to appear, at least in popular or children's literature. There has been research done at the libraries in Bergen and Oslo, but to date no pieces have materialized.

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Dutch And Flemish

Very little scholarship has been done as yet on pattern poems in Dutch or Flemish, although there is some nineteenth-century work on them, especially on the rebus (see Chapter Four), which was a particular specialty of the Flemish. This is a pity, since baroque poetry is very rich in both these languages, and the pieces must exist.

We describe chessboard poems in Chapter Five, since they amount to being a subgenre of labyrinth. However, we should note that there are two in Dutch or Flemish. One is by Anthonis de Roovere (d. 1482), who may have invented chessboard poems, although, so far as we can discover, his piece has never been reprinted in facsimile but only in linear typesetting. There is also one by the rhetorician Matthijs de Castelein (1485-1550), for which see Fig. 2.72.

An anonymous Dutch cross, extremely elaborate, for "Koppermaandag, 8. Jan. 1855," printed by C. L. van Langenhuysen, was found by Dr. Kurt Weidmann of Stuttgart in 1981. If it has been subsequently reprinted, we do not know of it.

A charming heart-shaped poem of unknown authorship is printed in color in Pozzi (1981, fcg. p. 126), but it is not fully identified.

Fig. 2.72. 
A Flemish chessboard poem by Matthijs de 
Castelein (1485 1550), from De const van rhetoriken 
(1555, 225 6). See also page 198, below.

An anonymous teapot and vase, from the work De nieuwe nassauwse princelyke schenkhan (1708) appears in Massin (1970, 189).

The Testament rhetoricael (1543, 1544, 1553) of Eduaerd de Deene (Dene) includes some pieces with versus intexti in the stanzas. They are reprinted in both holograph manuscript and typeset versions in the Jaarboek de Fonteine (1978 9, pt. 2). In the

Fig. 2. 73. 
A Dutch chalice by David Joris de Gand 
(ca. 1501 56) from the Wonderboek (1542). See 
page 95, below. From Renier Chalon, "La 
première édition du Wonderboek . . ." 
Annales du bibliophile belge et 
hollandais 8 (June, 1865) 140.

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old editions and magazine, these are on: page 324v of 1543, facing page 21, typeset on page 21' page 327r of 1544, facing page 28, typeset on pages 23-4; and page 331r of 1553, facing page 29, typeset on page 31. We get our bibliographic information from Dr. A. van Elslander of the University of Gent in a letter of 6 September 1983. The first of the above is an acromesostic forming an X-shape, the second forms a heart, and the other forms an X. All are in Flemish.

A cross by the emblem poet Hermann Hugo (1588-1629) is said to appear in the 1624 edition of the Pia desideria, but we have not verified this.

A Dutch chalice by David Joris de Gand (ca. 1501-56) from the Wonderboek (1542) (see Fig. 2.73), is reprinted in Renier Chalon's "La première edition du Wonderboek . . . (1865, 140).

In the early twentieth century, visual poems were made by Paul van Ostaijen [Ostayen, 1893-1928] and by Nicholaas Werkman (1882-1945), even before the many Dutch concrete poems of the 1960s. However, these obviously fall outside our survey. Dutch poems by Lenaerts and de Weerdt that are in Latin are listed in our Neo-Latin section.

British And English-Language Literatures

§ English To 1750

There are about 110 English-language or British pattern poems. Of these, the most striking thing about the ones composed in England is their formal conservatism. Almost none are in unique shapes, and most imitate the shapes of the Hellenistic Greek models axes, altars, eggs, wings, syrinxes, supplemented by a handful of other approved forms, the nature of which we shall come to momentarily. This is less true of the other British piecesthe Scottish and Welsh ones. King James's piece must have seemed quite avant garde in its day, and Trebor Mai's Welsh tree is the only tree-shaped piece known in these literatures. The American pieces are a little less limited to the traditional forms; however, once they begin, in the nineteenth century (except for Taylor's seventeenth century one), they are less apt to be anonymous unlike the English, who one might speculate were by then giving into an instinct in the making of pattern poems by which they were slightly embarrassed.

The second unusual thing about the English pieces is that virtually every one exists in a book, almost never in a broadside (Jackman's piece is an exception), and seldom even in a pamphlet. What this says about the national character is not for us to say, but it does mean that such English pattern poems as do exist are less apt to be occasional verse than is the case in the German pieces, for instance; furthermore, they are less apt to have a distinctly literary poetic diction, attempting instead a sort of ongoing eternalization which sometimes gives them a comparatively forced tone, as if they would not hear of our not instantly recognizing them as poetry. There must have been some broadside pattern poems and the equivalent of greeting card verse in England, of course, but there cannot have been very much or, in that nation of collectors, someone would have collected it and more of it would have survived.

The third unusual thing about the English pattern poems is really a corollary of the firstthe extraordinary role of the prescribed forms for pattern poetry which Puttenham recommends in The arte of English poesie (1587; 1936; 1969, 92-3). The Puttenham who wrote the book may have been George

Page 96

or Richard, there is controversy about that, and he was not even a very good poet; yet the forms which he recommends as being suitable for pattern poetry in a chart on the pages I have cited are, with the addition of the cross and serpentine forms, virtually the only forms the English have used besides the Greek models: lozenges, rhomboids, triangles, rectangles, "tricquet reuerst" (inverted pyramid), "lozange rabbated" (the top and bottom cut off, making a sort of rough hexagon), and so on, described in detail below.

The final unusual thing about these English pieces is, like the Swedish pieces, the prevalence of stanzaic pattern poems. The pieces are quite often cycles with several partssets of lozenges, sets of rhomboids, sets of pyramids and wings. These four special characteristics seem necessary to note if one wants to understand the unique character of English pattern poetry.

Richard Willis (ca. 1545-ca. 1600), whose six pattern poems from the Poematum liber . . . (1573) are in our Neo-Latin section, with other early English pattern poems in Latin, is the first Englishman whose pattern poems have survived, evidently, as he mentions in the scholia in his book, inspired by a "Gaul," presumably a Frenchman, Caspar Collinus, whose works have not survived.

Working alphabetically, we start with Philip Ayres (n.d.) who, in Lyric poems, made in imitation of the Italians (1687) has two rather fine pattern poems: "The four seasons," on page 409, with four stanzas followed by lozenge-shaped near-choruses; and "The trophy," on page 162, in altar-shaped verse. In Saintsbury (1910-21), they appear in volume 1, pages 313-5 and 342, respectively.

Robert Baron (1593 1639), in his 'Erotopathia, or the Cyprian academy (1646), has three pattern poems:

1. "An epitaph," on page 30, in the form of an altar;

2. "22," on page 44, in which each line is longer than the preceding one; and

3. "23," on page 44, in which each line is shorter than the preceding one.

These last two, of course, form wedge shapes overall, or a sort of rough syrinx. Margaret Church, in her dissertation (1944), describes these pieces as a pair of wings, which seems possible. She also claims that "The rose" in Baron's Poculae castelae (1650) on page 64v is a pattern poem, but this seems to be stretching the point. In any case, none of the Baron pattern poems has been reprinted to date.

The Anglican priest and poet Joseph Beaumont (1616-99), a friend of Traherne and Crashaw and, in late life, a Cambridge don, wrote three of the finest English pattern poems of the seventeenth century. They were not published until 1914 however, when they appeared in his Minor poems, to which we give page references. The manuscripts are in the library of Wellesley College at Wellesley, Massachusetts.

1. "Good Fryday," on page 153, in the form of an egg (see Fig. 5.6).

2. "Easter," on page 154, also in the form of an egg (see Fig. 5. 7).

3. "Suspirem ad Amorem," on pages 301 2, a serpentine column of short Skeltonic lines weaving sinuously down the page, perhaps to suggest the breathing of the lovers in the poem (see Figs. 2.74 and 2.75).

All three poems lack the dryness and bombast of most of Beaumont's longer poems, naturally enough since they are, literally, lyrics, intended to be sung. Comparing the manuscript and typeset versions, however, one must say that Beaumont deserves more sensitive typography.

Next we come to Edward Benlowes (1603-76), copies of whose beutifully printed Theophila, or love's sacrifice (1652) seldom include the same graphics or pattern poems:

1. and 2. two altars, an English one on page 14 and a Latin one on page 161. They translate each other, and it is difficult to say which is the original. Both have a strong lapidary quality and read like monument inscriptions. The English one is reprinted in Qvarnström (1966, 73).

3. "The crosses at Calvary," a tour de force of acromesotelestic writing on the verso of the page facing the last normal page of text, page 268, and etched by "MATPQ," a fine craftsman (reprinted as pl. 2a in Cook's "Figured poetry" [1979]);

4. A "Passio Christi," exquisitely engraved by Thomas Cecil (fl. 1632), so closely resembles the 1632 printing of Samuel Pomario's poem on the passion (see our Neo-Latin subsection) as to amount to a plagiarism, though who stole from who is hard to say. The piece is an alternate last page to 3. above. Some copies include both.

Margaret Church claims in her dissertation (1944) that the Latin inscription in Benlowes's

Page 97

Figs. 2.74 and 2.75. 
"Suspirem ad amorem," by 
Joseph Beaumont (1616 99), manuscript and 
typeset versions. See page 96, above. Manuscript 
version courtesy of the English  Poetry Collection, 
Wellesley College Library, Wellesley, MA. 
Printed version from Beaumont (1914, 301-2). 
Courtesy of the General Research Division, New 
York Public Library, Astor, Lenox and Tilden 
Foundations (NCL).

Page 98

Sphinx theologica . . . (1636) is a pattern poem, but to us it seems like an excellent lapidary inscription. It neither scans as verse, nor is there anything particularly poetic in the language.

It should be noted before leaving Benlowes that he was attacked for his making of pattern poems by Samuel Butler (1612-80) in the Characters in "A small poet," pages 82-94, especially 89-90 of the 1970 edition). The nature of his attack suggests that Benlowes wrote many small pattern poems which have not survived, since the shapes that Butler cites are not those of the poems we have.

Thomas Blenerhasset (ca. 1550 ca. 1625) includes three pattern poems in A revelation of the true Minerva (1582):

1. a bird at page F1v;

2. a lozenge at page F2r; and

3. wings at page F2v.

They are the epitome of the remarks I made at the beginning of this section about the problems with English pattern poetry. The most interesting thing about them is their early date, and they have not been reprinted since their original publication.

In his The chaste and lost lovers (1651), William Bosworth (1607 50?) includes three pattern poems:

1. an altar on page 39 (D7r), in Saintsbury (1910-21, 2: 556);

2. a heart or arrow on page 62 (E7v), in Saintsbury (1921, 2: 570); and

3. a pair of wings on page 63 (E8r), in Saintsbury (1910-21, 2: 572).

The poems appear as interludes in the "Arcadius and Sepha" section of Bosworth's long poem. They are described, with a discussion of Bosworth, on pages 172 5 of Church's dissertation (1944).

Church also sees pattern poems in Songs and other poems (1664) by Alexander Brome (1620-66). "Song 1- plain dealing," on pages 1-2, suggests a hexagon and pyramids, but these seem too ill-defined for full acceptance into the canon. It is simply impossible to know the poet's visual intention in this piece.

In the Shepheard's pipe (1614) of William Browne (1590 ca. 1645), there appears an altar on Page E1v, reprinted in The whole works (1970, 2: 218, fag. the fifth eclogue); it is of no great literary value. But in Britannia's pastorales (1613 4), there appear two really interesting pieces:

1. a set of uniform pipes on page 60, in The whole works (1: 98); and

2. a twisted, pretzel-like rhyme on page 61, in The whole works (1: 99) (see Fig. 2.76) which is possibly the earliest "lover's knot" in English. The form is described with Mennes's similar pieces below.

There is also a shepherd's crook with a one-line poem in it on page 59, in the whole works (1: 97), but it is really shaped prose.

In Trivial poems and triolets (written in 1651 but first published, edited by Sir Walter Scott, in 1819) by Patrick Carey (n.d.), Church, on page 231 of her dissertation, claims to see stanzaic wings. We cannot agree, lovely as the poems are.

Hugh Crompton (n.d., but late seventeenth century), in his early Pierides, or the muses mount (1656), includes a pair of rather flattened pyramids: "Man," at page C4r, and "A kiss," at page G4r-v. The title of the book may well refer to "Pierius," the nickname of the famous poet and scholar Valeriano Bolzani (1477 1558), who composed a famous pear-shaped poem in Latin, ''Pierus," around 1549 (see Fig. 1.9), published in Valeriano Bolzini (1621, 100) and elsewhere (see our Neo-Latin section), and which was known in England and attacked by Gabriel Harvey (ca. 1545-1630) in a passage quoted from the Day-Book in Smith (1904, 1: 126), also included in our Chapter One.

Church, in her dissertation (1944, 232), sees eight pattern poems in the works of George Daniel (1616-57); in Grosart's edition (1878), these appear in volume 1, pages 50, 678, and 70; volume 2, pages 6, 13, 44, 67, and 85. We have studied these pieces and, while we find them visually interesting, they do not seem to us to have any strong visual form that is used as a matrix, an opinion with which the modern editor of Daniel's works, Thomas B. Stroup, has expressed agreement in a letter to us.

Hyder Rollins, Margaret Church's mentor and the supervisor of her dissertation (1944), is the editor of the 1944 edition of A poetical rhapsody (1602), which includes an altar on page 180 of Rollins's edition, "My muse by thee restored to life . . ." We believe it to be by Francis Davison, who may be the main author and editor of the work.

Christopher Harvey (1597-1663), in his Schola cordis (1647; 1859) has six stanzaic pattern poems:

1. "Ode IX," on page 22 (131-4), which has ten axes;

Page 99

Fig. 2.76. 
The earliest known "lover's knot" in English, from Britannia's pastorales (1613 4) by 
William Browne (1590-ca. 1645). See page 98, above. From The whole works (1868-9) 1, 99.

2. "Ode XXIII," on page 74 (169-71), with seven more axes;

3. "Ode XXIV," on page 77 (171-3), with seven lozenges;

4. "Ode XXV," on page 80 (174-6), with six more lozenges;

5. "Ode XXXVII," on page 116 (205-7), with six pyramids; and

6. "Ode XXXVIII," on page 119 (108-20), with six wings.

Church also calls "Ode VII," on page 26, and "Ode XX," on page 65, pattern poems, but they seem too ill-defined. The poems are, in fact, in all ways rather ill-defined, not really odes at all but personal meditations, seldom getting beyond the tip of the poet's nose.

George Herbert (1593-1633) has two pattern poems in The temple (1633), both fully deserving of their fame, pieces in which the lines fit the form perfectly and the emotional curve of the poems seems naturally suited to the confines and expansions of the shapes. The "Altar" appears on page 18 of the original work and is in all standard editions of Herbert's poetry, such as the popular Gardner one (1961, 21). In the pattern poetry literature, it is in Dencker (1972, 31), Gomez's article (1981, 66), Higgins (1977, fig. 2), Klonsky (1975, 50), Massin (1970, 186), D'Ors (1977, 103), Todd's portfolio, and Walsh (1925, 272). Patrick (1973, 4-14) details the problematic relationship of the fair copy manuscript of The temple which is in the Bodleian Library at Oxford with the printed version.

Herbert's "Easter Wings" (see Fig. 2.77) is on pages 34-5 of The temple (1633), in all the standard editions such as Gardner (1961, 36), and in such pattern poetry works as Daly (1979, 126), D'Ors (1977, 104), Dencker (1972, 38, with German translation), Higgins (1977, fig. 1), Klonsky (1975, 51), Massin (1970, 186), Seaman (1981, 72 3 [incomplete]), Walsh (1925, 275), and Zobel von Zabeltitz's "Figurengedichte" (1926, 23).

Robert Herrick (1591-1674) also wrote two famous pattern poems:

1. a cross, "This crosse-tree," in Noble numbers (1647, 77), which, besides being in all the standard editions of Herrick, appers in Massin (1970, 186) and D'Ors (1977, 105); and

2. a pillar, "the pillar of fame" (see Fig 2.78) in Hesperides (1648, 398), in all standard editions, and also in D'Ors (1977, 105), Higgins (1977, fig. 3), and Klonsky (1975, 52).

A globe of 1620, "The ten commandments," by Richard Jackman (n.d.), appears in Bowler (1970, fig. 70) and Peignot (1978, 62). It resembles several

Page 100

of the German and Polish pieces of the following generation, but is unique in English.

Sir John Mennes (1599 1621) and James Smith (n.d.) were the editors, perhaps with others (George Herbert's name has been mentioned in this regard), of a popular collection, Facetiae. Musarum deliciae . . ., which appeared in several editions into the 1650s with some variation in contents. Using the 1874 reprint for our pagination, since it collects all the works which were in any edition of the work, it contains seven pattern poems:

1. a lovely altar, "Cupid unto thy altar and thy lawes . . ." (1: 295);

2. a lover's knot, "Time that all things doth inherit . . ." (1: 298);

3. a rebus which is also a poem (1: 301);

4. a second lover's knot, whose first line cannot be told, as it is continuous (it would be breaking into a loop) (1: 302) (see Fig 2. 79);

5. a second rebus poem (1: 303 4);

6. a third lover's knot, "Wreath like a maze entwining . . ." (1: facing page 304), reprinted in Klonsky (1975, 53); and

Fig. 2.77. 
"Easter wings," by  George  Herbert (1593 1633). 
Originally published in The temple (1633) 34 5. See 
page 99, above. From Dick Higgins, George Herbert's 
pattern poems: in their tradition (1977) fig. 1. 
Copyright © 1977 by Richard C. Higgins. 
Printed by permission.

7. a fourth lover's knot, "X begins this knot Love without crosses . . ." (1: facing page 306), reprinted in Klonsky (1975, 55).

There is also a fine shaped prose altar-shaped monument for "Andrew Turncoat" in volume 2, page 268 (see Fig. 4.22), reprinted in Higgins (1977, fig. 22) and Klonsky (1975, 59). In some copies of the 1874 reprint, all the lover's knots are grouped together at the start of volume 1. The lover's knot, known also by such names as "lovers' knot," "true love's knot,'' and so forth, is an outgrowth of the calligraphic labyrinth (see our German section), and it became popular in the seventeenth century, is mentioned in Chapter Four of The virar of Wakefield (1984, 33-4) of Oliver Goldsmith (1728-74) where the author lists rustic joys, then either continued into or was rediscovered in the

Fig. 2.78. 
"The pillar of fame," by Robert Herrick 
(1591 1674), originally from the last page of 
Hesperides (1648). See page 99, above. From Dick 
Higgins, George Herbert's pattern poems: in their 
tradition (1977) fig. 3. Copyright ©  1977 by 
Richard C. Higgins. Printed by permission.

Page 101

nineteenth century, when it was popular for valentine cards. (See our American section for this.) Besides English, it is found in Swedish literature (q.v.) The earliest we know of is by William Browne, already mentioned.

In the Collection of miscellanies (1687) of John Norris (1657-1711), the "Second chapter of cant[icles] from verse 10 to 13," reprinted in Grosart's Miscellanies (1873, 3: 279), is said by Church in her dissertation (1944, 235) to form four stanzaic lozenges, but these seem too irregular for this to be true. Neither is there any pattern poetry in the 1710 edition of the Miscellanies.

Leaving aside the controversy over who actually wrote The arte of english poesie usually attributed to George Puttenham (d. 1590), the list of forms (see Fig. 1.7) appears on pages 92-3 and has been reprinted widely, not always complete, in Ernst's "Europäische Figurengedichte" (1982, 314), Massin (1970, 186), and Seaman (1981, 71). The forms are: "The lozange called rhombus," "The fuzie or spindle called romboides" (in this work we call such pieces wedges), "The triangle, or tricquet,'' "The square or quadrangle," "the pillaster or cillinder," "The spire or taper, called piramis," "The rondel or sphere," "The egg or figure oual," "The triquet reuerst" (we call it an inverted pyramid, and it has its own traditional associations), "The triquet displayed" (we call it a pair of pyramids, one inverted, points touching), "The taper reuersed" (we would call it a narrow, inverted pyramid, but the only one we know is by Whiting, below), "the rödel displayed" (evidently a "rödel" is a half circle, but it is a very rare form), "The lozange reuersed" (it is wider than tall, but we do not distinguish this from other lozenges), "The egge displayed" (half ovals, point to point, another seldom-used form), and "the lozange rabbated" (trucated pyramids, already commented upon). The list excludes the Hellenistic Greek forms as well as the cross.

Puttenham also includes seven pattern poems illustrating his forms:

1. a set of lozenges, on page 94, reprinted in Klonsky (1975, 46) and Newell (1976, 127-8);

2. "Ribouska's lament," on page 95, a truncated and inverted pyramid (see Fig. 2.80), reprinted in Ernst's "Europäische Figurengedichte" (1982, 314) and Higgins (1977, fig. 23); Ernst deals with it in his article which discusses the pyramid forms, and points out how an inverted pyramid usually either reverses the stated message of the poem, or how it is used to express regret, misery, desolation, and so on;

3. "Selamour's reply" (see Fig. 2.81),page 95, in Higgins (1977, fig. 24) and in Ernst's article (1982, 315);

4. and 5. two pyramids, on page 96, reprinted in Cook's "Figured poetry" (1979, 92 3, pl. 2b) and Klonsky (1975, 47);

Fig. 2. 79. 
A variant form of lover's knot which 
has neither beginning nor end; it has not 
survived (see Fig. 2. 76, above). This 
anonymous piece first appeared in Sir 
John  Mennes and James Smith's popular 
collection Facetiae. Musarum delicaciae 
. . . which went through many editions 
in the 1640s and 50s. See page 100, above. 
From Mennes and Smith, Facetiae . . . 
(1658; 1874, 1: 301). Courtesy of the 
General Research Division, New 
York Public Library, Astor, Lenox 
and Tilden Foundations (8-NCI).

Page 102

6. and 7. two columns, on page 97, reprinted in D'Ors (1977, 80), Higgins (1977, fig. 21), Klonsky (1975, 48), and in Ernst's article (1982, 320-1).

Puttenham suggests that pattern poetry originated in "Tartary," and the possible oriental connections of these poems are discussed and minimized in Ch'ien's "China in the literature of the seventeenth century" (1940, 351 84).

Francis Quarles (1592-1644) is best known for his emblem texts, but he is also the author of at least five pattern poems. One is a lozenge, "On God's law," in Divine fancies (1632), in Grosart's edition (1880, 2: 210). The others all appeared first in his Hieroglyphikes (1638) and, using Grosart's edition for pagination, they are:

1. an altar or hourglass called, "Her epitaph," in volume 3, page 26;

2. eight stanzaic pyramids, "Hieroglyphic IX," in volume 3, page 192;

3. five stanzaic lozenges, "Hieroglyphic XII," in volume 3, pages 194 5; and

4. a set of twenty-four stanzaic pyramids, "Sighes," of which the first word is capitalized, and on which the other lines seem to comment. These poems, especially the last, are really rather fine in an unpretentious way, perhaps not great literature but certainly worthy of some occasional reading.

Only one edition is known of the Celestiall publican (1630) by Nathaniel or Nathanael Richards (ca. 1600 ?), which church says contains five pattern poems:

1. a lozenge, "The Adamant," at 15r;

2. an anchor, "Hope," at K3r;

3. a heart, "Charitie," at K5r;

4. a chalice or glass, "Faith," at K5v; and

5. a sort of rounded lozenge with a tail and on a pedestal, "Virtues pyramid," at L2r.

Church reproduces these five pieces, albeit crudely, as illustrations in her dissertation. There is also supposed to be only one copy of the original edition of the work in the United States, in the Huntington Library in California, from which a reprint was made in1974. However, when we examined this reprint, we found that it included only the lozenge at page C6r in common with Church's findings, but that, instead, it includes two other pattern poems:

1. a pair of crosses, "The key of Heaven," at C8r-v; and

2. a tree, "The pyramid of Paradice," at D1r.

Figs. 2.80 and 2.81. 
Ribouska's lament" and "Selamour's reply," 
from The arte of english poesie (1587?) by 
George Puttenham (d. 1590). Inverted pyramids 
can be used to express sadness, regrets, 
lovers' complaints, or, in some cases where 
political considerations, for instance, might 
enter into the picture, to signify that the real 
meaning of the poem  is the opposite of 
whatever it says it is. See page 101, above. 
From Dick Higgins, George Herbert's 
pattern poems: in their tradition (1977) 
figs 22 and 23. Copyright © 1977 by 
Richard C. Higgins. Printed by permission.

Page 103

There are two pierced hearts at K6v and K7r, but these are basically ornaments. Interestingly, they appear in an acrostic dedicated to Mary and Thomas Stanley, who could be the pattern poet (see below) and his wife. We can only speculate that there must have been two editions of the work in 1630, and Church must have had access to one which was different from ours, perhaps borrowed from Hyder Rollins, now deceased like Church herself. We know of no record of there being two editions, nor do we have any way of discovering which is the earlier one or why the differences exist. It will not prove easy to solve this mystery.

In her dissertation, Church cites a set of nineteen stanzaic wings by Thomas Shipman (1632-80), "Poetical plenty," in Carolina (1883, 141-2), but we find them too amorphous for the pattern poetry category to be meaningful here.

Samuel Speed (1631 82) is often dismissed as a crude and imitative poet (e.g., by Church). What is more just is to regard him as a primitive, self-taught and deeply sincere in his way. At any rate, he has three pattern poems in Prison pietie (1677):

1. "The altar," A broken ALTAR, Lord to thee I raise," on page 72;

2. "The cross," a crude cruciform quatrain, on page 65; and

3. "The bible," on page 81. This last is one of only two known book-shaped pattern poems, the other being a bible in von Birken's Guelphis (1669, 36), to which it has some superficial resemblance. This piece is described in our German section.

There are three stanzaic pyramids by Thomas Stanley or Stanly (1625-78) in his manuscript of about 1645, Cambridge "Add. ms. 7514." They are in a piece called "The exequies," at folio 161r, but the poem, reprinted in Saintsbury (1921, 3: 139-40), is very poorly defined, visually, whatever its literary interest. It appears in the 1907 edition on page 61. Church's dissertation (1944) discusses "The exequies" and Stanley on page 237.

Matthew Stevenson (ca. 1620-85), in Occasions of spring (1654) includes a set of three lozenges, "To my honoured friend," on pages 34-5. Church (1944) also claims two other poems as stanzaic wings: "Mrs. E.G. To his false and faithlesse servant," on page 41, and "upon the sickness and recovery of a fairly promised lady," on page 121, but these last are, again, quite amorphous.

Josiah Sylvester (1563-1618) has a pyramidal dedication to Sir Philip Sydney (1554 86), "England's Apelles," in his translation of Du Bartas (1603), reprinted and discussed in Ernst's "Europäische Figurengedichte" (1982, 333, fig. 17), and in Snyder's edition (1979, 2, pl. 2, fcg. p. 889). This and the twelve columns dedicated to the muses, one for each, appear in Grosart's edition of Sylvester (1880, 1: pages 5-11) and are also reprinted in Massin (1970, 186-7). Du Bartas's original work contains no pattern poems, and the current edition of Sylvester, by Snyder (1979), minimizes the graphic element, reproducing only the column to Clio, in volume 2, plate 1, facing page 888.

Much as one might like to have a pattern poem by Thomas Traherne (d. 1674), Church's citation in her dissertation (1944) of "Sin?" and "The recovery," in Margouliouth's edition (1958, 2: 139-140 is questionable.

Church also cites four poems by Thomas Washbourne (1606-87), all from the Divine poems (1654), none of which seem clear enough for acceptance into the canon. Citing titles and paginations from the Grosart edition (1868), these are "The burning bush," on page 73, "The best harbinger," on page 143, "No continuing city," on page 158, and "Upon his walking one day abroad . . .," on page 194.

Thomas Watson (1557?-92) composed the earliest pattern poem in English if we except the alleged one by Stephen Hawes in the Convercyon of swerers, described below, and if we exclude Scottish literature. It appears in Watson's 'Ekatopathia (1582, 81, [p. 117 of the Arber edition of 1870]), a full lozenge on a stem, entitled "My love is past," and subtitled "A pasquine pillar erected in despite of loue" (see Figs. 2.82 and 2.83)."There is a discussion of the piece on the previous page, and a linear version of it on the following one.

There is an inverted pyramid in Le hore di recreatione; or, The pleasant historie of Albino and Bellama (1637, 5) by Nathaniel Whiting (1617?- 82) reprinted in Saintsbury (1921, 3: 433). It is a conventional piece but with considerable charm, "The authour to his book," saying farewell to it as it goes out into the world.

Two more early pieces are those by Andrew Wilett or Willett (1562-1621) in his Sacrorum emblematum (1596). They are:

Page 104

Figs. 2.82 and 2.83. 
This poem by Thomas Watson (1557? 92) 
exists in two versions, an acrostic and a "pasquine 
pillar." From the 'Ekatompathia (1582) 81 2, 
it is possibly the earliest pattern poem in English.

1. a tree in Latin, "Elizabetham reginam Diu nobis servet Iesus," at A4v (this is also an acrotelestic, with the first part of the title presented as an inscription running down the left side, and the second part down the right); and

2. a set of what could be wings or altars dedicated to an earl, once in Latin and once in English.

These pieces should, perhaps, have been listed in our Neo-Latin section. Both pieces are purely occasional verse in a pleasing lapidary style.

Finally, there is a set of six lozenge-shaped "sonnets" by George Wither (1588-1667) in his Fair virtue (1622), on pages 151-3 of the Poetry (1902), reprinted in Massin (1970, 187) and Walsh (1925, 275). Less wooden than most of Wither's verse, the pieces are lovers' regrets.

From our examination of these pieces, it can be seen that we find Margaret Church has a tendency to see pattern poetry in many places where, we feel, to do so dilutes the usefulness of the concept. Nevertheless, her dissertation (1944) is a pioneering work, because rather few pattern poems have been found in English since then which she was not the first to list. However, she does make one citation which is, we feel, problematic, perhaps only to be explained by the patriotism or even chauvinism of the period in which she was working, at the end of World War II. This is her citation, in both her dissertation and in "The first English pattern poems" PMLA 61, number 3 (1946, 636-50), of a piece by Stephen Hawes (d. 1523) in The convercyon of swerers (1509). Her argument is that the piece is an assemblage of syrinxes, each of which follows the shape of that of Theocritus. It is indeed an irregularly-shaped piece, but there is no interior evidence in the text to justify any relationship to Theocritus's work. If it were a pattern poem, then English would be one of the first literatures to include pattern poetry. But basically the piece is simply a crude and irregular one, not without charm and linguistic interest, but not particularly appropriate to classify in the pattern poetry genre. A modern typeset version of the piece appears in Berdan (1931; 1961, 90) which looks more like a pattern poem than the one Church reproduces in her article. The poem runs onto two pages in the 1509 edition, but Church's illustration comes from some later printing of Hawes's work, of which there are five before the Elizabethan period.

Page 105

§ English To 1900

No English pattern poems are known from the entire eighteenth century. The vogue for them, such as it was, simply died away with the coming of Neoclassicism, and when pattern poems were made in the nineteenth century, they were apt, as we noted at the start of this section, to be anonymous (only those by Lewis Carroll are signed). One might speculate concerning this, but there are no nineteenth-century English discussions of the genre to back up what might be said, unlike other literatures, notably French.

There is an anonymous poem on losing weight, "Averdupois," in Wells (1906; 1963, 31).

Bombaugh (1875; 1961, 94) includes an anonymous serious cross, "Blest be they who seek while in their youth .. .," to which he attributes greater antiquity than seems likely. It is not a translation of any known cross poem from someplace else. It is reprinted in Massin (1970, 186) and Walsh (1925, 273).

Bombaugh (1875; 1961, 95) also has a serious piece with three crosses, "My God! My God! INRIvers of my tears," which calls "a curious piece of antiquity" and speculates that monks may have made it. It is also in Morgan (1972, 23) and Walsh (1925, 276). Another "curious piece of antiquity" cross is said to appear in some copies of Benlowes's Theophila (1635, see above), and we suspect this could be the source of the piece.

Bombaugh (1875; 1961) also includes an anonymous bow-shaped poem, "O lovely maid," which really is in the bow bandha of Sanskrit citrakavyas described in Yates's "Essay on sanskrit alliteration" (1836, 154). Massin (1970) reprints the piece on page 187, as does Morgan (1872, 21), evidently from Alger (1856, 6-7); it is also in Alger (1883, 6-7) and Walsh (1925, 271-2). In other words, this simple piece is not just a bit of imitation orientalia, as it might seem, but is somebody's serious attempt to make a little poem in one of the actual bandhas, discussed in Chapter Three.

An anonymous "cubic triolet" appears in Wells (1906; 1963, 31), one of only three known labyrinths in the English language. The second, lozenge-shaped, appears in Smith (1914; 1965, 172), discussed in our Chinese section of Chapter Three, while the third is Sam Loyd's text in our American section, below.

There is an anonymous violin-shaped "Ode to an old violin" in Walsh (1925, 274), reprinted in Massin (1970, 187) and Peignot (1978, 22).

Wells (1906; 1963, 18) reprints an anonymous bottle-shaped piece, "Song of the decanter," also in Massin (1970, 188); she also includes a piece called "The stegyomyia," on page 23, and "A type of beauty," on page 22, in the shape of a woman, which resembles the little man by Oldenburg in Bäerle's Vienna newspaper, described in section vii.

The only reported English pattern poems that are not anonymous, as noted, are those by Charles L. Dodgson ("Lewis Carroll," 1832 98), the two mice tales from Alice in Wonderland. The better-known is the final version, "Fury said to the mouse," which is in all editions of the book for example, in The Annotated Alice (1960, 51)but the earlier version, "We lived beneath themat," is not unknown either (see Fig. 2.84). Cobbing and Mayer (1978, 2) print both versions, as does Dencker (1972, 56-7. Peignot (1978, 93) prints only the early version, while Wells (1906; 1963, 25), D'Ors (1977, 117), and Todd's portfolio (1981) print only the later one. Klonsky (1975, 144-5) prints the manuscript of "We lived beneath the mat" and the typeset "Fury said to the mouse.'' Critically, the early text relates better to the mouse's point of view, telling why he does not like dogs, but the lines are wide and do not make an amusing shape as does the version finally selected. The shape suggests Goethe's "Liebeslied eines Wilder Brasilienischer Schlange" (see our German section, above).

§ Scottish

Only two pattern poems are known in Scottish literature, although Edwin Morgan, Alisdair M. Steward, and others besides myself have been searching for them. Both are in English, though some may exist, unreported as yet, in Latin or in Scots Gaelic. The first is a pyramid by William Drummond of Hawthornden (1587 1649), from Poems (1616) (see Fig. 2.85); in the Kastner edition (1913) of Drummond's works, it appears in volume 1, page 84.

The other piece is by King James VI (I of England, 1566 1625), in The essayes of a prentise, in the divine art of poesie . . . (1585); in Craigie's edition of James I (1955), it appears in volume 1, pages 40 1. It is a monument with an acrotelestic key on the facing page.

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Fig. 2.84.
 This is the original pattern 
poem, less familiar than  the one finally 
used, from  Charles L. Dodgson's (Lewis 
Carroll's)  Alice's  adventures  in 
Wonderland. See page 105, above. For 
the manuscript version of this 
piece, see Fig. 5.9.

§ Irish

From Ireland, no pattern poems have been reported in English. However, there are two pieces in manuscript in Gaelic, both in the Library of Trinity College, Dublin.

One is in "TCD Ms 52," fol. 160v ("The Book of Armagh," ninth century), a chapter heading for "The Book of Revelation." It has a diamond shape which could also be an urn.

The other is an inverted pyramid introduction to a poem by Cathan O'Duinin in "TCD MS 1296," page 90, a collection of genealogies, tales, and poems concerning the families of Ibh Eachach of Munster. It dates from the eighteenth century.

Both could be classified as shaped prose, but the distinction is not very meaningful in such pieces, since in any case, they approach being prose poems.

No doubt other pieces exist, perhaps in Latin or in English, but they have not yet been found.

§ Welsh

In Welsh literature, the only two known pattern poems are in Cymric (Welsh Gaelic).

Hywel Tudur (n.d., but late nineteenth century) includes a little tower of Babel, "Twr Babel," in her Genesis i blant (1906, no. 14). The book consists of poems for children on stories from Genesis, intended to encourage them to learn or to practice Welsh, and the poem may or may not have actually been written before 1900.

Robert Williams (1830-77) wrote two books in Welsh under the nom de plume of "Trebor Mai," which means "I am Robert." In his Collected works (1883, 383), there appears an oak tree listing Mai's fellow poets by their bardic names (see Fig. 2.86). The internal rhymes in the piece are, as Meic Stephens of Cardiff pointed out when sending us the poem, "very sophisticated."

§ Common-Wealth

No true pattern poems have been reported from Australia. However, two pieces by [Christopher] John Brennan (1870 1932), "Musicopoematographoscope" and "Pocket musicopoematographoscope," both written in 1897 and both consciously influenced by Mallarme's "Un coup de dés" of that year, nearly qualify. Basically, they have no visual pattern but are scatterings of words on the pages, with simultaneous

Page 107

Fig. 2.85. 
A pyramid poem by William Drummond of Hawthornden (1587 1649) from Poems (1616), final 
page. See page 105, above. Reprinted from  William Drummond, The poetical works of 
William Drummond of Hawthornden, ed. L. E. Kestner (1913, 1: 39; plate 15). Courtesy of 
the General Research Division, New York Public Library, Astor, Lenox and Tilden 
Foundations (NCL).

Fig. 2.86.
 This tree-shaped Cymric (Welsh Gaelic) poem by Trebor Mai ( = Robert Williams, 1830-77) 
has an intricate rhyme scheme and list the names of Cymric bards. See page 106, above. 
From Robert Williams, Collected works (Liverpool: I. Faulkes, 1883) 383. Courtesy Gaelic 
Collection, Widener Library, Harvard College Library (Cambridge, MA).

texts functioning independently of each other. Both are in Brennan (1981), listed in our supplementary bibliography.

H. Marshall McLuhan, who was, among other things, a scholar of Canadian poetry, told the author once that he had seen pattern poetry from Canada in both French and in English. At least one French piece has come to light, an 1897 glass by Albert Ferland (1872-1943), for which see our section of French pieces from outside France. But the only English-language piece which has thus far come to light is a fascinating tombstone of about 1865 for Henrietta and Susanna Bean, the two wives of Samuel Bean, M.D. (1842-1904), of Linwood, near Kitchener, Ontario. Both predeceased him, and he had a marble stone erected in their honor with a rectangular labyrinthine array of letters (see Fig. 2.87), it starts with an "I" near the center, reading clockwise but then it starts to zig-zaga true puzzle poem. The marble stone aged poorly and has now been replaced by a granite one. Acording to a clipping from the Kitchener Waterloo Record for 7 August 1968, sent to us by James Reaney of the University of Western Ontario, there was an accompaning funeral card also, all original copies of which have disappeared. However, the text is in the newspaper article. A substantial documentation of the gravestone and card are in Kathryn Hansuld Lamb's "The puzzle tombstone and Rushes Cemetary," Waterloo Historical Society [Bulletin] 70 (1982, 114 9). There is said to be a tradition of visual gravestones in the area, so we can hope that more English Canadian pieces of this sort and others will turn up in due course.

Page 108

b

c

 Fig. 2.87. 
The text on Samuel Bean's 1865 "puzzle gravestone," as 
it is known locally, is very close to those of labyrinths. 
Fig. a shows the original marble gravestone, which 
weathered badly and has therefore been replaced by 
a granite one. Fig. b shows the text. Fig. c shows the 
text on the card which Dr. Bean sent out in memory of 
his wife. From the Waterloo Chronicle (Waterloo, 
Ontario) Aug. 7, 1968. Photo © 1955 by the Kitchener-
Waterloo Record, Kitchener, Ontario. Reprinted by 
permission.

Page 109

§ American

For a country whose national literature is such a recent development, there are a surprising number of pattern poems and near-pattern poems in American literature. Except for the lover's knots, rather few are anonymous, unlike the English pieces of the last century or so.

One anonymous piece, a lover's knot, was found by the art curator Jon Hendricks folded into an old book. Unpublished until now, it is dated 1856 (see Fig. 2.88). However, it resembles the English lover's knots by William Browne and those collected by Mennes (1656), listed in our English section, where the form is described more fully.

Evidently lover's knots were popular in the early nineteenth century for valentine's greetings. Staff (1969) gives four examples, calling them "True-Love Knots," on pages 28, 31, 38, and 39, all of which qualify as pattern poems technically, though they are not exactly timeless literature (nor were they meant to be). The form, it should be noted, is also known from seventeenth-century Sweden.

"The old line fence," by A. W. Bellaw (n.d.), is a zig-zag poem printed in Wells (1906; 1963, 27-8).

H. C. Dodge (n.d.)one of the "New York Wits," as they were called in the anonymously edited Simon and Schuster pamphlet, Pamphlet poets (1929)is the author of the vase-shaped "Bait of the average fisherman." It appears in the pamphlet on page 23, and also in Wells (1906; 1963, 21).

A diamond-shaped pattern poem telegram, allegedly sent by General Ulysses S. Grant (1822-85, president 1869-77) in the Civil War, appears in The Rose Lawn HomeJournal (1871, volume 1 number 3: 4), reprinted in The Baum Bugle (1885, 1: 16). Edited by Lyman Frank Baum (1856-1919), who later wrote The Wonderful Wzzard of Oz (1900), it could be by Baum himself if it is not by Grant according to b. p. Nichol of Toronto. The text is based on the word "retreat."

Mary Hazard (nineteenth century) was a Shaker who did not entirely accept the usual Shaker dismissal of the arts as frivolous. She produced three pieces (or one, if two surviving unsigned pieces which very closely resemble her signed one are anonymous), which are on the borderline between shaped prose and pattern poetry. These are:

1. a circle, "From Holy Mother Wisdome to Eldress Dana or Mother (Hancock, 1848)," in Andrews (1969, pl. viii);

2. "Floral wreath (Hancock, 1853)," in Andrews (1969, pl. iii); and

3. a leaf-shaped paper with writing on the front, back, and edges, "Leaf sketches by Mary Hazard (New Lebanon, 1839)," in Andrews (1969, fig. 4, and 1940, 1967, fig. 6, fcg. p. 37), in Rothenberg and Quasha (1973, 406), and resembling a valentine in Staff (1969, 35).

One intuitive labyrinth, probably composed without any knowledge of the traditions of the form, is by Sam Loyd (1873 ?), who speculated about Alice and the Cheshire Cat in Alice in Wonderland, finally producing a diamond-shaped text on the palindromic formula, "WAS IT A CAT I SAW" (see Fig. 2.89), and asking the reader how many readings of the text are possible (answer: 63,504). Is it a poem? Perhaps not by intention, but de facto it seems to be, in the lineage of some eighteenth century Portuguese texts which also query the number of possible readings. Sam Loyd's text and its story must have originally appeared in some newspaper,

Fig. 2.88. 
This anonymous lover's knot of 1856 (see also Fig. 
2. 76, above) of 1856 indicates the popularity of the 
genre in the United States, especially for valentines 
greetings. Unpublished until now, the original is 20" 
square with tiny letters in the poem, which is why our 
illustration is hard to read. From the private collection 
of Jon Hendricks, New York City. Printed by permission.

Page 110

which would give us an exact date for it; it could be twentieth century. But it is, in any case, reprinted in Sam Loyd's cyclopedia of 5000 puzzles, tricks and conundrums with answers (1914, 164, 360), as well as in John Fisher, The Magic of Lewis Carroll (1973, 190 1). A cruder piece by Loyd is in the Cyclopedia on 122 and 355, but it cannot be read as a pattern poem.

A wine glass by Frederick Saunders (1807 1902), from his Salad for the solitary (1853), appears in Church's dissertation (1944) from Morgan (1872, 20); it is also in Wells (1906; 1963, 17), and Walsh (1925, 275).

The earliest known American pattern poem is a very elaborate acromesotelestic of 1674 by Edward Taylor (1642 1729), first printed in Thomas H. Johnson's "The topical verses of Edward Taylor" (1941), then described by William Goodman in "Edward Taylor writes his love" (1954), and subsequently included in Keller (1975, 168); it is not in any of the pattern poetry collections. See Fig. 2.90.

Fig. 2.89. 
This lozenge-shaped text is by Sam Loyd 
(Nineteenth-Century), who asked the Lewis 
Carroll-type question, "in how many ways and 
directions can this palindrome be read?" If one 
counts all of the diagonals, verticals and crooked 
routes, the answer is a very high number indeed. 
From  Sam[uel] Loyd, Cyclopedia of puzzles 
(1914) 164. See below.

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Fig. 2.90. 
This florid acromesotelestic of 1674 by Edward Taylor (1642 1729) is the earliest 
known American pattern poem. From Thomas H. Johnson, "The topical verses of 
Edward Taylor." Publications of the Colonial Society of Massachusetts. Transactions 
34 (1941) 532. Reprinted by permission. Courtesy of the General Research Division, 
New York Public Library, Astor, Lennox and Tilden Foundations (IAAA 
(Massachusetts)).

Page 112

Hispanic

§ Spanish

For a major world literature, amazingly little pattern poetry has been reported from Spain; as for scholarship, there is even less. A nineteenth-century work, Carbonero y Sol y Merás's Esfuerzos del ingenio literario (1890), collects many pieces, but without any deep understanding or documentation. Miguel D'Ors's El caligrama, de Simias a Apollinaire (1977) is excellent and serious, but it is a small book which attempts to cover the entire field of pattern poetry, an impossible task. And Armando Zarate's Antes de la vanguardia (1976) covers mostly the classical pieces. Yet these are the main books in Spanish on the subject of "poemas de figuras," as pattern poems are known there.

Some Catalan pattern poems are printed and described in Grilli, "Poesia artificiosa e metametrica nella letteratura catalana" (1985) and in Molas (1983), but we received the information too late to verify the pieces for this work.

In this section, we list only works in Spanish, while Latin works from Spain appear in our Latin sections, such as the excellent carmina cancellata by Vigilán (Vigila de Albeda, tenth century), since these relate mostly to the Neo-Latin and medieval Latin traditions.

The anonymous pieces appear in Carbonero y Sol y Merás. They are:

1. a modern cross, "tu que fuistes," without full documentation, on page 232, reprinted in Ory (1905?, 119);

2. "Adoración de la cruz," evidently nineteenth century, on page 233, reprinted in Ory (1905?, 118);

3. another cross, probably nineteenth century, on page 264;

4. a pyramid, on page 265;

5. a mesostic column, on page 266;

6. a steeple, as figure 1, facing page 266;

7. another cross on a mesostic pedestal, as figure 2, facing page 266;

8. a highly complex cross with four smaller crosses beside it, as figure 3, facing page 266;

9. a complex visual mesostic, as figure 4, facing page 266; and

10. a pair of pyramids, one upright and one inverted, both enclosed in a circle, on pages 260-1, resembling the abraxas charm described in our magic text section in Chapter Four.

Ory (1905?) also includes two anonymous

1. a star from Badajoz, on page 19, celebrating the 1788 accession of King Carlos IV; and

2. a chalice, "A.M.D.G.," clearly for the Virgin Mary and presumably dating from the nineteenth century, on page 120.

The unnumbered labyrinth in Juan Caramuel's Metametrica (1663) for Don Angel Miguel de Lara, in Spanish, is listed in our Neo-Latin section, since it belongs with the rest of the pieces in the Metametrica.

Pedro Francisco de Castro (n.d.) has a charming labyrinthus cubicus on the last page of his Christiana reformación assi del pecador (1680), "DE DIOS YO SOY AMADO" (I am loved by God). See Fig. 2.91.

A mystical diagram by Juan de la Cruz (1542-91) is printed in Pozzi (1981, 148), described as "Madrid: Biblioteca Nacional, ms. 6296," but it is not really a pattern poem.

Juan Díaz Rengifo (n.d.) has three pattern poems in his Arte poetica española (1592; 1759):

1. The most familiar is a star, on page 181, reprinted in Dencker (1972, 36), Rypson's "Poesia visual" (1980, 57), and Zobel von Zabeltitz's "Figurengedichte" (1925, 181).

2. A labyrinthus cubicus on the name "Maria" appears on page 183.

3. A banner ("bandera" or "vandera") appears on pages 184-5, reprinted in Carbonero y Sol y Merás (1890, 258). In a letter of 3 March 1984, Ana Hatherly has pointed out that in the earliest editions of Rengifo the banner is open, while in the later ones it is depliant. We do not know the author of the depliant version. Also, in editions after 1606 there appears a "labyrintho al modo de el juego de el Axedrez . . ." which can be read part by part, almost as if with chess moves, in 5500 different ways. Though it resembles a carmen quadratum, it is not really a pattern poem.

Díaz Rengifo is also the dedicatee of an acrostic by D. José González Estrada, in his Poesias (1861?), for which see below.

Best known as an early commentator on Camões (1524-80), Portugal's Manuel de Faria e Sousa (1590-1649) has a complex grid in Spanish in the seventh part of the manuscript of his "Fuente de Aganipe" (ca. 1648, Biblioteca Pública e Arquivo Distrital de Evora," "CXIV/2-5") which resembles the drum citra-kavyas of Sanskrit literature as well as the anonymus Italian "Sentenze Trovate nelle

Page 113

ruine de Persopoli," several plates of Caramuel's Metametrica (1663), and the anonymous Latin star chart mentioned in our medieval section. The piece is reprinted in Askins's article (1983, 269) and in Hatherly (1983, fig. 29).

By far the most prolific of Spanish pattern poets is D. José González Estrada (ca. 1830-83), of whom very little is known other than his dates and the information in his books, the legend that he died "un loco" (a madman), and what he says in his review, El piston. He was fanatically patriotic for Spain, passionately for monarchs in general, and acrostics, mesostics, and their various related poetic forms. Canel (1867, 1: 40) quotes an article by "M. L. de R." in the Revue des provinces 9 (1864, 132) which describes a meeting of González Estrada's group, including the fantastically named "Carpoforo Arreovillo y Rotoabrio," at the end of which the critic says that after listening for some time he had no idea at all what was being said and so he departed. "Carpoforo Arreovilla y Rotoabrios'' is surely a pseudonym; it is also spelled in many ways in El piston, and even González Estrada seems ambiguous about the spelling of his own name, which is almost never written with its proper accent and often with terminal "s." His spellings and accents are very inconsistent, however, we follow them. The magazine itself is filled with hearsay, gossip about half-identified friends and enemies, literary speculations, and so on. It is, however, utterly charming, for all its naiveté, and by no means deserves its obscurity. In a sense, it is the earliest magazine of experimental verse anywhere, and perhaps some of its strangeness is inevitable considering that literary Madrid in the 1860s was quite dreary. It is also a nightmare of typographic errors and misplaced running heads. There is, however, one ongoing quarrel, with Juan Eugenio Hartzenbusch (1806 80, sometimes called "Hartzembusch" in the magazine), a man of letters, translator of French dramas, and editor of another review, El cascabel, presumably on the grounds that Hartzenbusch disliked González Estrada's beloved Miguel de Cervantes Saavedra (1547-1616). However, Hartzenbusch did, in fact, take the bait which El piston offered with its attacks, and he answered in kind though with much less humor than El piston.

In the following guide to González Estrada's works, these abbreviations are used for identification: P+ number = the issue of El piston (there are twenty-four). P = Poesias; SP1 = El siglo poético volume 1; SP2 = El siglo poético volume 2. These last are González Estrada's actual books, in which many of the poems are printed and reprinted.

In P1 (April 1864), on pages 1-2 there is a statement of purpose of the magazine, on page 2 there are an acromesostic by González Estrada dedicated to Cervantes, "Cervantes autor," a mesostic for Cervantes, "Lira de Cervantes" ( = P20 3), what González Estrada calls a "pentacr6stico cruzado," described in a moment, "El incomparabale [Cervantes]," and an acromesostic, "Don Miguel [Cervantes]." On page 3 is another piece on Cervantes, a mesostic. On page 4 there is the first of many advertisements in El piston for what was to be González Estrada's collected poems.

In P2 (May), there appear two simple mesostics on page 2 by González Estrada, "El piston" and El duende," and, on page 4, poems by him on the heroes of May 1808, in mesostic form, and a cruciform memorial for Don Diego Muñoz Torrero which is really a lapidary inscription.

In P3 (May), there are three mesostics on page 3, described as a "pentacróstico cruzado" (this is González Estrada's most characteristic form), that is, an acromesostic with the mesostic portion in a larger interior X, this one using his name as the intext (= P 55 and SP2 12), "dos octavos en pentracróstico forzado," meaning that there is a telestic component which is syllables, these forming rhymes with the ends of the lines and sometimes making up words when read vertically, and two acrostics by anonymous subscribers using González Estrada's name. On page 4 is a simple mesostic, described as an "octava de complicacion laberintica" by Luis Dfaz.

P4 (May) has an anonymous acrostic wishing the magazine and its editor well, and a complex mesostic on page 2 which has three prongs, one coming out the top, one out the bottom, and one cruciform, the whole thing surmounted by two flowers. Four mesostics and a square outline text appear on page 3, sent in by readers. Another such piece appears on page 4.

In P5 (May), three mesostics appear on page 2 by various readers and one by Penaflor y B6s (= Carpoforo Arreovilla y Botoabrios?), and one on page 4 by Julian Remanso. There is also an acrotelestic on page 4 by "un suscritor que ha leido el arabe."

Page 114

Fig. 2.91. 
This is a typical Hispanic labyrinthus cubicus, 
"Soy amado de dios" (I am loved by God), by Pedro 
Francisco de Castro (n.d.) from  his Christiana 
reformación, assi del pecdor (1680) last page of text. 
See page 112, above. Courtesy: Biblioteca Capitolare 
Columbina (Sevilla).

P6 (May) has two "pentacrósticos cruzados" on page 1 by González Estrada, "Manifestacion" and ''Aprended poesia" (= SP2 60), plus a simple mesostic, "Iberia," evidently also by him. On page 2 there are two "pentacrósticos cruzados" dedicated to the editor by an admirer, with an inverted pyramid poem and other mesostics; on page 3 are a truncated pyramid mesostic and three acrostics; and on page 4 there is a complex mesostic by "B. G. Sinifo."

P7 (June) includes an informal discussion of Chinese hui wen, not well informed, and there appears a complex mesostic by P. Gayangos along with other acrostics and simple mesostics; on page 4 is a "pentacróstico cruzado," "Feliz emperador" (= P 2 and SP2 15) by González Estrada.

P8 (June) includes an acrotelestic and an acromesotelestic attacking Hartzenbusch on page 1, and two "pentacrósticos cruzados" against him on page 2. there is "un capricho' by José González Alvarez on page 3 with an unusual shapea horizontal pair of couplets and pyramids with their points embedded in it on top and bottom; on page 4 there are four acrostics, three by "Masdores" and one by Antonio Sancho y Poco.

P9 (June) has an acrostic by Alfonso el Sabio (=Alfonso X of Leon and Castille, r. 1252-84) dated 1256 and an acrostic by Dolores Alegres "una americana;" on page 3 are a complex "pentacróstico forzado" with the intext "Contesta Jose Celeberrimo," a "pentacr6stico" mesostic called "Guerrero" (= P 55, SP2 17) and an acrotelestic "Contesto a Arcembu" ( = Hartzenbusch). on page 4 is an acromesostic celebrating González Estrada by poetry students of the university.

P10 (June) has acrostics and mesostics on page 2 by González Estrada, Manuel Breton de los Herreros, and Luisa Perez, and an acrotelestic on page 3, along with a "pentacróstica cruzado" called "Estrella" (= SP2 22, one of the poet's best works), see Fig. 2.96) and an acrostic by Micaela Valderrada; on page 4 are acromesostics and acrostics by Dr. D. Pedro de Alarcon, Serafin Machuca y Calendas, and Gesualdo Corbejon.

P11 (June) has three acrostics, mesostics, and acromesotelestics on pages 2-3 by Julian de la Cova and by José Zorrilla y Moral (1817-93) (unreprinted so far as we know); there is a poem by González Estrada dedicated to Victor Hugo (1802-85), who responded in the next issue. On page 4 is an abecedarian vowel echo poem by Dolores Alegres (cf. P9), along with an "acróstico, unicróstico en Agalimatiástico, esdrujólico, geroglifico" by Mauro Marcatos.

P12 (June, see Figs 2.92 to 2.95) has an "octava laberintica" acromesotelestic by González Estrada on page 2, along with a poem imitating González Estrada's style by Victor Hugo that is not in his collected works, a Latin acrostic on page 3 by "Cajico Asimus," said to be said to have been found in Pompeii and dated A.D. 65 and then in the "Museum of Antiquities" in Berlin, this along with an inverted pyramid in Spanish on page 4 that is attributed to Pythagoras.

P13 (July) includes an acrotelestic on page 2 by "C. Aleorrobillo y R," surely a misspelling of the associate editor's name, along with a simple acrostic by Adelina Melao, Emilia Zorita, and Antonia Merero, another on pages 2-3 by Dionisio Ortiga y Piñaz, and a complex "acrostico forzado" on page 4.

For the most part, P14 (July) describes the public reaction to El piston, but two anonymous acrostics, "Elvira" and "Quita Esplines" (which may

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Figs. 2.92 to 2.95. 
El piston was a magazine edited by José González Estrada (ca. 1830-83) who based his entire 
poetics on acrostics and other visual texts. Here is issue number twelve (June, 1864) which 
includes an uncollected poem by Victor Hugo (1802 85) on page 2, and alleged texts from 
Pompeii on page 3 and by Pythagoras on page 4. See page 114, below. Courtesy Hemerotica 
Municipal (Madrid).

be one piece), appear on page 4.

P15 (July) includes a mesostic dedicated toJosé Zorrilla y Moral on pages 2-3, and one by Arturo A. Pebeda to González Estrada on page 3. A "pentacróstico cruzado" for González Estrada appears on page 4.

P16 (July) includes a picture of González Estrada (=P24 1, P 39, SP1 4 and SP2 5), along with an acromesotelestic mocking El piston, an acromesotelestic by Arturo A. Pebeda to González Estrada, and an acrostic with "forzado" ending. On page 2 is a mesostic making fun of El piston. a long acrostic by Jeremias Belhen[?] appears on page 3, and two acrostics, by José Casado (el Rojo) and Enrique Garcia Conde, appear on page 4.

P17 (August) includes "Retrado Cervantes . . .,"a long acrostic presumably by González Estrada, and an acrostic by "Carpoforo Arreolovillo y Rotoabino (his name seems to vary slightly every time it is printed), both on page 3, and a fragment of a one-act comedy by González Estrada, El jugador y el usurero, on pages 3-4.

P18 (August) announces the termination of El piston, has two acromesotelestics by González Estrada concerning this event on page 1, a tiny acromesotelestic by Arreolobillo y Botoabrios on page 2, along with a description of what must have been the meeting described in Canel (1867), acrostics by González Estrada, Joaquín Giménez, Gregorio Vicente Meles, and by "a disciple of El piston," Leoncio Rodriguez Faorlas on pages 2-3; on page 4 appear a letter from Victor Hugo (1802-85) of 6 August 1864, and an acrostic of 1860, translated into Spanish with a responding acromesotelestic by González Estrada (not the same as the piece in P11 3) and an acrotelestic by Amalia Aesaoa[?]. Victor Hugo's piece is not in his collected works.

P19 (August) announces the continuation of El piston. On page 2 there appears a Latin acromesostic allegedly by Vergil (70-19 b.c.) to Cicero (106-46 B.C.), which González Estrada says proves the antiquity of "poésia laberintica." The same issue includes acrostics, mesostics, acrotelestics, and so forth, by González Estrada, by "Solioquio," by Lucas Gomez of Salamanca, and by Cármen Salmeron Ramirez; there is an acrostic by Francisco de Quevedo y Villegas (1580-1645, cf. the section on sound poetry in Chapter Four).

P20 (September) includes an attack on El piston reprinted from El cascabel by "Sr. Hartcembusch." On page 3 are a complex mesostic and an acromesotelestic by González Estrada, "La lira Cervantes" ( = P1 2). On page 4 are an acromesostic by Casimiro Megallans and an acromesotelestic by González Estrada.

P21 (September) has an acromesostic by "some appreciators of El piston" who congratulate it on surviving, three mesostics on page 3 (evidently from readers), and a mesostic by A. Lopez Ayala that includes a rhombus on a pedestal within its text. On page 4 there appears a mesostic by Gregorio Vincent y Meliá.

P22 (October) refers on page 2 to acrostics by Isabel I, Felipe II (r. 1556 98), III (r. 1598 1621), and IV (r. 1621 65), and Carlos III (r. 1759 88) and IV (r. 1788 1808), as well as including a "pentacróstico cruzado" acromesotelestic by González Estrada, one by D. Pedro de Alarcon, and a simple anonymous acrostic. Page 3 has letter from Eugenio de Ocha on some old acrostics-including one from Constantinople, dated 1206 and a long acrostic by Ocha. Page 4 includes two acromesotelestics, an acromesostic, and a "pentracróstico cruzado," all dedicated to González Estrada.

P23 (October) includes a "pentacróstico cruzado," "La madre deJesus" (the mother of Jesus, = SP1 199), and a mesostic with cruciform intextus, "Doña Maria Cristina" (the Spanish queen mother) and an satirical acromesostic, "El Castabel es el adornado .. .," all by González Estrada and all on page 3 On page 4 is an acromesostic, "Poesia inmortal ...,'' for González Estrada (evidently by himself, = P 2, 6 and SP 14).

P24 (October) includes the picture of González Estrada (= P16 1, P 39, SP1 4 and SP2 5) on page 1, remarks on ongoing attacks on El piston appearing in El cascabel on page 2 (cf. P20), a "soneto acrostico," "Arpa poética" (=SP2 26), a mesostic for Queen Isabel I with cruciform intextus on page 3, and repeats "inmortal y gracioso Quevedo"

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( = P19 4). All these are by González Estrada.

The question of how many contributors to El piston actually existed and who they were, and of how many were made up by González Estrada or Carpoforo Arreobillo/Arreovilla y Botoabrios, will have to be answered by experts in this field. As noted, for all its megalomania, El piston is at heart a very serious magazine given its effort to build a poetics around the acrostic family, the "pentacróstico cruzado" and "poesia laberintica"; on the other hand, it is a sheer delight to go through the pages of this strange journal, pan-monarchist in its politics, incredibly deft in its illustrations, with its ladies in enormous skirts and its odd juxtapositions of imagery. Extremely rare, the only full set appears to be in the Hemerotica Municipal in Madrid.

Besides El piston, there are two books by González Estrada. His only publications that we know of, apart from El piston and one complex acromesostic in Canel (1867, 1: 41), are in these books. One is the two-volume El siglo poético (1862?). It too has many many acrostics and mesostics, many in honor of the Buonaparte family and of the various monarchs and consorts of the royal families of Spain and Portugal. The book is inconsistently folioed, like the Poesias. The only copy we know of is in the Library of the Hispanic Society in New York City.

On page 4 of many issues of El piston there are references to a forthcoming book by González Estrada. This could be the Poesias de D. Jose González Estrada (n.d.), a very strange object, partly printed and partly a scrapbook, also in the Library of the Hispanic Society. It appears to be a mock-up for the book which, so far as we know, was never actually manufactured in finished form. Many of the pieces in it appear at one time or another in El piston. However, all the pieces in the Poesias date from between 1858 and 1861. Of course, this could mean that only the early portion of the collected works was prepared for press (or that the rest was lost). But it could also mean that the Poesias is an earlier project, antedating El siglo poético. We tend towards the latter view and, very tentatively, date the work 1861.

The fifty six pages of the Poesias are in a large format and can therefore include a very large number of visual poems. As usual with González Estrada, we are unable to decide which pieces are pattern poems and which are simple acrostics, so we include all the latter. On page 2 is a "pentacróstica cruzado," "Brillen seimpre" ( = SP2 11). On pages 2 and 6, both, is printed the "Poesia inmortal" for himself ( =P23 4 and SP2 14). Also on page 2 are two "pentacrósticos cruzados," ''La Reina D. Isavel" for the then queen, and "Feliz Empredor" for "Francisco José I" (Franz Josef I of Austria-Hungary), Austria 1848-67, r. Austria-Hungary 1867-1915; poem = P7 4 and SP2 15). A sort of emblem poem appears on page 3, "La lira moderna." On page 4 are "Suma gesta del rey [Francisco]," consort of Queen Isabella II (r. 1833-68), and "Nuestra soberana [Isabel II], all "pentacrósticos cruzados." "Isabel segunda," "Conde de Lucena," two pyramids in shaped prose, and four shaped prose hearts all appear on page 5. "Poesia inmortal" appears on page 6 ( = P 2 above, and SP2 14 and P23 4). A mesostic for the "Duque de Tetuan" appears on page 10. A similar mesostic honoring "Los Castillejos" is on page 11. A cross honoring Cervantes (=SP2 97) is on page 13, but it is more a lapidary inscription than poetry, but with it is his poem for himself, "Don José Estrada, a "pentacróstico cruzado." A long acrostic for Cervantes is on page 14, "Honras al inmortal Miguel de Cervantes Saavedra," along with simple acrostics on "Merito," "Musa," and "Poeta." On page 15 are "La filantropia de la infanta" and "Maria Luisa," both acromesostics. "Arhol cientifico," a simple acrostic, is on page 16. On page 17 are four simple acrostics, "Literatura, "Justicia," "Gratitud," and "Y Elejancia," clearly a set, and a "pentacróstico cruzado," "Alfonso do Cerey," for Alfonso XII, prince of Asturias. A complex scattering of nouns and names makes up another homage to Cervantes on page 18, while on page 19 are five acrostics, "Isabel Segunda," "Alfonso Doce," "Dios esel," "Poderoso," and "El Rei San Fernando y la Reina"; possibly some of these poems go together in some way. A\ long acrostic, "Merito artistico del señor infante en la pintura," is on page 20 ( = P 26 also). A similar piece is also on page 22: "Bien Benido Seas Infante don Sebastian de Borbon." Three more similar pieces are on page 26: "Los escritores del dia san como las noches malas" (=P 44), "La intelijencia de los medicos es utila la salud," and "Merito artistico del señor infante en la pintura ( = P 22). On page 27 are a "pentacróstico cruzado," "Es rey d. Portugal," and a simple acrostic, "D. Pedro Quinto rey d. Portugal" ( = Pedro V. r. 1855-61). An acromesostic with "for-

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zado" syllables, "Dedicado a Vas Concelles," is on page 28, along with a long acrostic, "A los fulletinistas portugueses.'' An acromesostic with "forzado" syllables is also on page 29, "Isabel segunda es sagrada imbiolable." On page 32 are three long acrostics, "Conte stacional merito de mi amigo y campañeros [D. Pedro Garcia y Argensola]," "Al celebrevate D. José González Estrada," and "Carlos Rey Justo." On page 33. are three more such acrostics, "Los hechos dan de . . .," "Obras son amores," and "Mariano Estrada." "Actos de fe dedicados al sol luz de superiordad" and "Que admiracion presenta la luna . . ." are both acrostics on page 34. On page 35 are two satyrical acrostics, "Un abogado y un poeta . . ." and "Satiricamente cada cual se defiende con merito." Both end on page 36. "El sol dado que de voluntariamente o a la campaña" and "El granadero Vicente . . ." are two similar acrostics on page 37. On page 38 are yet two more similar acrostics, "El oficial que vade marcha . ." and "Ascyende el soldado Vicente." On page 39 appears the picture of González Estrada already noted ( = P16 1, P24 1, SP1 4, and SP2 5), along with a long acrostic, "El censor de obras dramaticas . . ., " ending on the next page. Two shorter acrostics appear on page 41, "La vida de la flor . . ." and "El gran buey y de mala intencion . . ." On page 42 are yet two more such acrostics, "Esta o la orden del dia . . ." and "La juventud literaria . . ." on page 43 are two more such acrostics, "Amygo este lance es Chystoso . . ." and "La yntelijencia de los medicos . . ." (=P 26), with two more on page 44, "El señorito Tonto . . ." and "Los escritores del dia son como las noches malas" (= P 25), on page 45 "Fin degracio de el dygno General empecinado . . " and "El General empecinado com io . . ." Two more are on page 46, "El joben Don Gernando . . ." and "El deber cientyfico de los señores catédrátycos . . ." On page 47 is the "Manifiesto de un español monarquico constitucional (= P6 1) in verse, with a small acrostic to "Alfonso Duce." On page 51 are short acrostics to the "Duque de Altamira," "Duque de Bailen," and "A my amigo gran poeta José Zorrilla . . ." the "Conte Stacion," a "pentacr6stico cruzado," appears on page 55 ( = P3 3 and SP2 12), along with a piece in similar form, a greeting by "D. José Estrada" to "Sr. D. José de Posadas Herrera" (= SP2), and the acromesostics with "forzado" endings, "Guerrero" (=P9 3 and SP2 17) and "Providad" ( = SP2 17).

The first volume of El siglo poético has only a modest number of acrostics or visual poems compared with the Poesias and the second volume. Many of these are Bonapartist. On page 7 there is a "pentacróstico cruzado" for the "Reina Emperadora [D. Eugénia = Eugénie], on page 9 a similar piece for the "Real emperatriz [de los franceses (Louis Napoleon III, r. 1848 as president, emperor 1857-71)], one "al Principe . . . [De. Luis Bonaparte (Louis, son of Napoleon III)] on page 11, another "acróstico forzado" for the "Emperador de Francia, Napoleon Tercero," on page 13, one for "Napoleon primero" ( = Napoleon I, r. 1797-1814, 1815), one for the "Contes stacionados" on page 17, another poem for Cervantes by "Don José Estrada" on page 195, the "Gran talento precoz." cross for Cervantes (=P 13), a lovely "pentacróstico cruzado" on "La Madre de Jesus" on page 199 (= P23 3) and one on "Flor lirica . . ." on page 209.

Volume 2 of El siglo poético has, as noted, many more acrostics and pattern poems. Most of it was printed by P. Gracia Oaga in Madrid, but the portion from page 149 on was printed by "M. Calero" in London, and the style changes. Also, the folios "26" and "27" are repeated.

The "pentacróstico cruzado" "Brillen siempre" appears on pge 11 ( = P 2), abbreviated hereafter as "p/c," "Conte stacion" (p/c, = P3 3 and P 55) is on page 12, "Don José Estrada" (p/c, = P 55) is on page 13, the mesostic "Poesia inmortal" ( = P23 4 and P2, 6) is on page 14, "Feliz emprador" for Franz Josef I ( = P7 4 and P 2) on page 15, "Es. el. gran ministro [Don Pedro Salaverria]" p/c on page 16, "Providad" and "Guerrero," both p/c, are on page 17 ( =P 55 and =P9 3 and P 55, respectively), "La reina D. Isabel" p/c is on page 18, "Don José Salamanca" p/c is on page 19, the exquisite "Estrella" ( = "star," = P10 3) p/c appears on page 22 (see Fig. 2.96), two crosses, one for "Poet de fe" Francisco Martinez de la Rosa and "Entendido" for Juan Alvarez y Mendizabal are on pages 24 and 25 (like his other crosses, they are really lapidary inscriptions), "El arpa poetica," which appears to be a syrinx, is on page 26 ( = P24 2), another cross in memory of Don Pedro Calvo Asensio, "Honor y gloria," is on page 27, a mesostic "Feliz Olozaga" is on pages 38 9, "Sabio dos de la Real Academia" is a mesostic with "forzado" ending on page 53, "Apprended poesia" p/c (=P6 1) is on page 60, a p/c for "Don Francisco Quevedo" (1580-1645) p/c is on page 80, with a

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mesostic to Quevedo on page 81, an acrostic for Quevedo "Inmortal y gracias Quevedo" on page 82 ( = P24 3), and a set of three pieces for Christopher Columbus on pages 87, 88, and 89, "Cristoval Colon" p/c, acromesostic ''Cristoval Colon Genovese," and acrostic "Cristoval Colon Guerrero."

There is really a large amount of uninteresting material to go through in searching out González Estrada's best pieces, but these exist and one would like to know not only the visual poems and acrostics which we have listed, but to know the short dramas as well, some of which approach the tetro sintetico of the futurists nearly half a century later.

Miguel Infante (eighteenth century) is the author of a poster poem 47 x 36 cm, a star in quadrifoil surmounted by a crown, reprinted in Hatherly (1983, fig. 47), where it is described as being in "v. 670 fl. 10814" at the Biblioteca Geral de Universidade de Coimbra.

Fig. 2.96. 
"Estrella" by José González Estrada, 
from El siglo poetico (1862, 2: 19). This is a 
typical "pentacróstico cruzado," in González 
Estrada's terminology. See page 121, above. 
Courtesy  Hispanic Society of America 
(New York).

A second work by Infante in the shape of a wheel, 41 x 29 cm, appears in Hatherly (1983, fig. 46) from the same library, "v. 666 fl. 10255/10559."

Three glasses by Carlos Miranda (n.d., but probably nineteenth century) appear in Ory (1905?):

1. "La copa del amor," on page 21'

2. "La copa del licor," on page 122; and

3. "La copa del dolor," on page 123.

Unlike the glasses by Acuña de Figueroa from Uruguay from the same period, they are not occasional verse.

A cross poem by Braulio A. Ramirez (n.d., see Fig. 2.97),possibly from the twentieth century, appears in D'Ors (1977, 118).

A cross by C. Rodriguez, "A la cruz," appears in Ory (1905?, 117). It seems to be a nineteenth-century piece.

José Rodríguez had a poem in the shape of a

Fig. 2.97. 
A cross poem by Braulio A. Ramirez 
from the very end of our period. See above. 
From d'Ors (1977, 118). Printed by permission 
Miguel d'Ors.

Page 123

large skirt, "El miriñaque," in La aurora del miño (18 September 1857) from Lugo, reprinted in D'Ors (1977, 116) and documented on page 46.

Some poems byJosé Zorrilla y Moral (1817-93) resemble pattern poems and show a fine visual sensibility, but none can usefully be called a pattern poem except, perhaps, for his acrostic in González Estrada's El piston 11 (June 1864, 2). Nonetheless, we list some of his books in our supplementary bibliography for comparison.

Of the one hundred Spanish pattern poems from Spain, only González Estrada's syrinx is in a shape from classical times. The rest are crosses, glasses, various forms of acrostics, or unique shapes. This is far and away the lowest portion of classical shapes in any literature, quite the opposite of the English pieces, for example.

§ Spanish Latin America

There are thirty-four known pattern poems from Spanish Latin America, of which twenty-seven are by Acuña de Figueroa. This group outnumbers all the pieces from the new world in English, French, and Portuguese put together, even without the pieces in Latin from Spanish America. However, there must be more pieces, unreported, particularly from those countries which had strong Colonial Period literaturesMexico, New Granada (Colombia), La Plata (Argentina), Cuba, the Central American Countries, and so forth.

Francisco Acuña de Figueroa (1791-1862) is one of the national poets of Uruguay, since he wrote the words for the Uruguayan national anthem. He wrote a great many simple acrostics, not listed here, especially in the Diarios historicos, in Acuña de Figueroa (1890, 2: 345), in the Antologia epigramatica and elsewhere; they do not resemble those of González Estrada, much as one might expect them to. They are not visually striking in any way. His pattern poems consist of twenty-two glasses, two crosses, two hour glasses, and a bottle, of which many are also acrostics, as noted. In his Obras completas (1890), they are arranged in rough chronological order, so that we can see some stylistic grouping through the series, unlike almost any other pattern poet. Most of his pattern poems are occasional verse, often written for the albums of friends, especially lady friends. The pieces are:

1. in volume 2, "La santa cruz," a devotional cross, on page 50;

2. "La copa de miel," a glass on page 80;

3. "El relo de arena/puesto en el album de una pesona ya meurta," a memorial hourglass on page 86;

4. "La copa de Ganimedes," a glass on page 178;

5. a second cross, "De santa delzura . . .," on page 206;

6. in volume 3, "La copa de amor," on page 173;

7. "La botella," a bottle, on page 194;

8. in volume 4, "La copa y el nectar/ al album de Pilar," a glass on page 27:

9. "A la memoria del patriota Don Pedro Pablo Sierra,/La copa de amargura" (see Fig. 2.98) another glass, on page 330;

10. "A copa de amizada," a glass in Portuguese, on page 351 (interesting, since Portuguesespeaking Brazil was the traditional enemy of Uruguay);

11. in volume 5, "La copa de Amalia" (1848), a glass with the partial acrostic whose letters face downwards, "Amalia Suarez," on page 89;

12. "Al doctor don Bernardo Vélez/ inventor del instrumento de medir distanzias" (1848), a glass with the partial acrostic whose letters also face downwards, "Bernardo Vélez," on page 90;

13. "Una copa," a glass for D. Carlos Creus, on page 148, which contains his name in a partial acrostic whose letters face down;

14. "Una copa/ al Señor Cura Vicario de Gualeguaychú, Don Cosme Damián Olascoaga," a glass on page 209;

15. "Una copa/ á la amable Carmelita," a glass on page 214;

16. "Una copa/ al álbum de Rosalía," a glass on page 226, which includes "Rosalia" as a partial acrostic with its letters facing down;

17. in volume 6, "La copa misteriosa/ á la joven Señora Doña Dolores Marta Pereira de Faucón," a glass on page 89, which has the partial acrostic "astro del amor," with its letters facing down;

18. "La copa de néctar," a glass on page 263;

19. in volume 7, "La copa simpática/ en el álbum del Doctor Don Francisco José López," a glass dated 1 May 1855, on page 212;

20. "En el álbum de Doña Rosíta O'Leari," a

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glass with the partial acrostic "Rosíta O'Leari," with its letters facing down, on page 235;

21. "El reloj de arena imagen de la vida," a glass on page 247;

22. "Felicitación en Pascua de Navidad de 1860/ La copa de oro," a glass with the partial acrostic "Aurora divina," with its letters facing down, on page 258;

23. "A Albina Perea/ el reloj de arena," an hourglass on page 270, and with its letters facing down, on page 270;

24. "Al álbum de la linda señorita Julia Iriarte/ una copa," a glass with the partial mesostic "Julia Yriarte," on page 279;

25. "Copa Poética . . .," a glass for Doña Cristina Ascasubi with the name "Cristina" as an acrostic, its letters facing downwards, on page 282;

26. "En el mismo álbum de la señorita doña Cristina/ á Buenos aires," a glass with "A Buenos Aires" as a partial acrostic, with its letters facing downwards, on page 283; and

27. "Una copa/ en el encabezamiento del álbum presentado á la misma Pura Rodríguez en la escena del Teatro de San Felipe," a glass with the partial acrostic text, "á la joven Pura," with its letters facing downwards, on page 339.

The narrowest parts of the glasses and the first hourglass use the words "se," "ay," or "ya." They and the bottle resemble those of Panard in French in the preceding century and suggest a familiarity with these. The hourglasses both have the same first and last lines and are both memorial poems; this suggests a familiarity with the German tradition of hourglass poems, which, however, we cannot demonstrate.

We have already noted the mesostic and the abecedarian poems by Dolores Alegres, described simply as "una americana," in El piston 9, page 2, and 11, page 4 (Madrid, 1864); the latter poem has lines over a box, a unique form but a very light poem. See our Spanish section.

From Peru, in the Oracionfunebre que en las solemnes exequias de la R. M. Maria Antonia de San Joseph, Larrea, Arispe, de los Reyes (1783), F. R. P. Pr. F. Cypriano Gerónimo de Calatayud y Borda has a "Labyrinthus" in Latin which is cruciform and which works outwards symetrically from the center, so that the left half is only a reflection of the right, and only the right half can be read directly (see Fig. 2.99).

Also from Peru, a memorial for Queen Maria

Fig. 2.98. 
A glass, "La copa de la amargura" (The glass 
of bitterness) dedicated "a la memoria del patriota don 
Pedro Pablo Sierra" by Uruguay's Francisco Acuña de 
Figueroa (1791-1862), in the Obras completas (1890, 4: 
330). See page 123. A modern typeset version by Dick 
Higgins.

Fig. 2.99. 
Peru's F. R. P. Pr. F. Cypriano Gerónimo de 
Calatayud y Borda (Eighteenth-Century) has this 
permutational cross in his Oracion funebre que 
en las solemnes exequias . . . (1783, 200). 
Courtesy: Biblioteca Nacional (Lima).

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Barbara of Portugal was published as a special section of the Gaceta de Lima 6 (1759); it contains three pattern poems by Padre Mariano Luxan (n.d.) of the convent of Rosario:

1. a circular mesostic in Spanish, using the letters of the dead queen's name;

2. a diamond-shaped labyrinth in Latin; and

3. a square labyrinthus cubicus in Spanish.

All three are reprinted in Gaceta de Lima . . . (1982, fcg. p. 278).

There is a cross from Mexico by A. Rivero (n.d.) in La voz de México (4 July 1886), reprinted in Carbonero y Sol y Merás (1890, 233) with the wrong date, then mentioned in D'Ors (1977, 47). In our century there are, of course, many visual poems from Mexico, by Octavio Paz and, somewhat earlier, by José Juan Tablada (1871 1945), for example, a labidary dedicatory cross in "Ex voto a Lopez Velarde" in La feria (poemas mexicanas) (1928, 81). From what did such pieces evolve?

It seems more than likely that a meticulous search of Mexican and other Latin American libraries and archives will turn up pattern poems as well as pieces in the emblem tradition, especially in the manuscript festschrifts which were often presented to royal governors upon their arrival in the various colonies. To find these, however, will require the efforts of local scholars, and it will surely take many years before they are all documented.

§ Portuguese

Two things impress us immediately about the Portuguese pattern poems. One is their late date, since so many come from the eighteenth century when most literatures were moving away from pattern poetry. The other is the preoccupation with labyrinths. These have been classified by Ana Hatherly in her various writings as "labirintos de versos," poems with combinatory or alternative ways of being read (these would include proteus poemsfor which see Chapter Four as well as other forms of permutation pieces), "labirintos de letras," which comprise the true pattern poems and which, in Portuguese, are most commonly cruciform, square, lozenge-shaped or star-shaped, with only a few of them based on Greek models, and "labirintos cúbicos" (labyrinthi cubici), based on the spiral or diagonal displacement, line by line and letter by letter, of a simple text or inscription. Very few of the original works in which the poems appear exist outside Portugal and, unless the page numbers are given in Hatherly's works, it is impossible for us to verify and provide these. The appearance of her book, A experiência do prodigio (1983), a large work including labyrinths and other pattern poems, has made the Portuguese materials among the best documented of pattern poems.

Pieces by Portuguese authors but in Spanish are in our Spanish section, except for those in mixed Portuguese and Spanish, given here.

Typical "labirinthos de versos" are those by Fernão Alvares do Oriente in his Lusitania transformada (1607), in Hatherly's "Labirintos" article (1980, fig. 1); another work, by the celebrated Luis Vaz de Camões (1524?-80), is "Labirintho, queixando-se do mundo," in Hatherly's "Camões ed la tradizione del programma" (1980, 126 7) in our supplementary bibliography.

An anonymous seventeenth-century Latin cross appears in manuscript in Hatherly (1983, fig. 1) from the "Miscelânea," ms. 2559 in the Biblioteca Geral da Universidade de Coimbra. Another, difficult to read in Hatherly (1983, fig. 88) is "C. d. CVII-I-14, fl. 233" at the Biblioteca Pública e Arquivo Distrital de Évora. Three more such crosses appear in Hatherly (1983, figs. 89 to 91), all from the Biblioteca Geral da Universidade de Coimbra, described as "Ms. 346-fl. 264," "Ms. 2559" and ''17th Century?, ms. 379."

Two anonymous Portuguese flower poems from an early nineteenth-century manuscript, "Enigma," are in Hatherly's personal collection. Of no great literary value, they show that pattern poetry was not forgotten at the time of their composition.

An anonymous circular labyrinth, "soneto acrostico" (1823), appears in Hatherly (1983, 153).

An anonymous Latin labyrinthus cubicus in stone, from the Chapel of St. João at Ericeira (eighteenth century) appears in Hatherly (1983, fig. 18).

Two anonymous labyrinthi cubici also appear in Hatherly (1983) as figures 24 and 26, based on the texts "por dezempenho da Festa" and "naceo Joze mui regio sol com mais sublime . . .," described respectively as in the Biblioteca Geral da Universidade de Coimbra and "17th Century?, L.-598A" from the Bilioteca Nacional de Lisboa.

A final anonymous labyrinthus cubicus in Portuguese, based on the name of D. Fr. Maria de Evora, appears in Hatherly (1983, fig. 25) and in Kern (1982, 354, fig. 459). It resembles a Spanish

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piece in Rengifo (1592; 1739?- 18th ed., page 184), listed in our Spanish section, "Al sol de la Iglesia, Santo Thomas de Aquino/ labyrinto cubico."

From the anonymous Aplauzos academicos . . . (1673) comes a complex, criss-cross Latin labyrinth which resembles the Italian "Sentenze trovate nelle ruine di Persopoli . . ." in our Italian section (see Figs. 2. 100 and 2. 36). The piece appears as the front cover of Hatherly (1983), and in the same book as figure 28. The piece also resembles closely the anonymous medieval Latin star chart described in our Medieval Latin section, as well as Faria e Sousa's piece in our Spanish section.

Also from the same work comes a circular labyrinth in code which is almost a pattern poem, in Hatherly (1983, fig. 50). It was deciphered by João Batista de Castro (1700-?), who used the name "Custodio Jesam Barata," an anagram of his name, in deciphering the sonnet. It appears in de Castro's Peculio 2 (2 February 1720) but not in his Recrea am proveytosa (1728).

Two handsome red and black labyrinthi cubici by José da Assunção (n.d.) from the "Hymnodia sacra" (1728) in the Biblioteca Geral da Universidade de Coimbra, "ms. 37," appear in Hatherly (1983) as figures 11 and 12. These are based on the texts ''Sancta Maria istud agas" and "Comentarios hymnologicos."

A Latin pyramid by the famous lexicographer Rafael Bluteau (1638 1734) appears on page 34 of his Protheus doloris (n.d., but ca. 1684, since it commemorates Dona Maria Francisca Isabel de Saboia, who died in 1683).

A series of sixteen true pattern poems appears in Francisco de Cunha's Oraçam academica panegyrica historica . . . (1743), a work celebrating the Empress Maria Theresa of Austria (ruled 1740 80). There are letters at the centers of most of them, their main difference since they for the most part use the name of the empress, "Maria Thereza." Six are crosses: E, another E, and S are reprinted in Hatherly's "Labirintos" article as figure 10, with the two E crosses in Hatherly (1983) as figures 4 and 5; crosses D, M, and F appear in Hatherly's "Labirintos" article (1980) as figure 8. There are also four similar squares in the same series, with the center letters O, T, S, and E. The S piece is also in Kern (1982, 355, fig. 461) where its caption attributes it to Manuel Ferreira Leonardo, and who notes its formal resemblance to the anonymous fourth-century Latin labyrinths from Al-Asnan. These appear in Hatherly (1983) as figures 6 through 9. There is also a labyrinthus cubicus on "Maria Thereza" in Hatherly (1983, fig. 19). A star on Maria Theresa, "Soneto acrostico esferico," is in Hatherly's "Labirintos" article (1980, fig. 3) and in Hatherly (1983, fig. 45). Next come four more labyrinthi cubici, "Labirinthus I in laudem D. D. Mariae Theresae Reginae Ungariae" with her name repeated in descending lines (see Fig. 2.101), "Labirinthus II" with her name in ascending ones, in Hatherly (1983) as figures 20 and 21, the complex "Alius difficilimus III," a composition based on diagonals and symmetry, upside down and sideways, the letters forming a diamond pattern with the same text as the above and an F at the center, in Hatherly's "Labirinthos" article (1980, fig. 8) and in Hatherly (1983, fig. 22), and "Alius IV" using "Regina es felix dignissima," in Hatherly (1983, fig. 23), a prayer. There are also mesostics in the work, not documented here.

A Spanish labyrinth by Portugal's Manuel de Faria e Sousa is described in our Spanish section.

The Isagoge (1613) of Fr. João Felix (n.d.) includes three pattern poems: a diamond and two syrinx-shaped pieces. These appear in Hatherly (1983) as figures 86 and 87. Formally, they are unique among the Portuguese materials, in that the only known pieces there that are based on Greek models are these syrinxes.

Manoel Ferreira Leonardo (n.d., but eighteenth century), is his section, titled "Labyrinthos que pelos titulos," of the Colecção dos applausos em prosa e em verso (1745), has seven "labyrinthos cubicos" found by Ana Hatherly and in her private collection: "Labyrintho I," on the name of D. Fr. Jozé Maria da Fonseca Evora, on page 165; "Labyrinto II," on "Dignissimo Bispo do Porto," on page 166; "Labyrintho III," for the "Ex-Geral da Ordem Seraphica," on page 167; "Labyrintho IV," a cruciform for the "Academico da Academia Real," on page 168 (See Fig. 2.102); "Labyrintho V," on "E Do Concelho de sua Magestade," on page 169; "Labyrintho VI," on "E Prelado Domestico de sua Santitade," on page 170 (the most complex of the pieces); and "Labyrintho VII," on "Assistente ao Solio Pontificio," on page 171.

The Conclusiones deductas (1726) of Emanuel A. Gama Lobo (1658 1742) includes five striking pattern poems. These are:

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Fig. 2.100. 
This complex grid poem comes from the anonymous Aplauzos académicos e 
rellação do felice sucesso da celbre Victorio do Ameixal . . . (1673) (See the Italian 
"Sentenze trovate nelle ruine de Persopoli" Fig. 2.36 above and page 126). From Ana 
Hatherly, A experiência do prodígio (1983) fig. 28. Reprinted by permission.

1. "Conclusio VIII," a star on page 7 (see Fig. 2.103),in Hatherly's "Labirintos" article (1980) as figure 18 and in Hatherly (1983) as figure 48 (it has texts along its arms, both right side up and upside down, thus reading in and out);

2. "Conclusio XIII," on page 11 is a rectangular arrangement of letters to form the palindromic "SidesillusnonasillisediS," with a cross formed by the Os (each side has the same inscription, sideways and upside down); this appears in Hatherly's "Labirintos" article (1980, fig. 12) and in Hatherly (1983, fig. 15);

3. "Conclusio XIV," on page 12 is a magic square imitating the "Enigma of Sator" (see our Latin section) using the word "xeris," a poem and set of emblems which form a rebus (this appears in Hatherly's "labirintos" article [1980, fig. 4]);

4. "Conclusio XV," on page 13, in Hatherly's "labirintos" article (1980, fig. 4) and in Hatherly (1983, fig. 17), uses the same kind of palindromic arrangement of letters as "Conclusio XIII," but with the text "NoniexulneMilitisbonA" (the corner letters of the piece form the name ''Anna," which is, of course, itself palindromic); and

5. "Conclusio XXVII," which appears in Hatherly's "Labirintos" article (1980, fig. 4) and in Hatherly (1983, fig. 38), has the letters of "Maria" at irregular edges, set up to form a playful mesostic with large letters forming the inscription "Maria Sacra, Maris Domina Deus Mater."

"Conclusio VI," on page 5, is a mesostic but not a pattern poem.

A Latin labyrinthus cubicus by Gama Lobo appears on a broadside of 1726 in the Biblioteca Geral

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Fig. 2.101. 
"Laberinthus I in laudem D. D. Mariae Theresiae 
Reginae Ungariae" by Francisco de Cunha (Eighteenth-
Century)  from   his  Oraçam academica panegyrica 
historica . . . (1743). See page 126, above. From 
Ana Hatherly, A experiência do prodígio 
(1983) fig. 20. Reprinted by permission.

da Universidade de Coimbra. It appears in Hatherly (1983, fig. 15), and it uses the text "Ore fero nite sol, flos et in ore fero," which is a palindrome.

A Portuguese tree poem by Antonio Manuel Leyte Pacheco Malheiro e Mello (seventeenth century) is on an undated broadside in the Biblioteca Geral da Universidade de Coimbra, "v. 670, fl. 10815." It is printed in Hatherly (1983, fig. 85).

A lovely Portuguese pyramid on a stand, "Pyramide solenne, que se levanta immortal à immortalidade de nossa Minerva," appears on page 185 of the Obras métricas (1665) of the distinguished historian and academician Dom Francisco Manuel de Mello (1608 66), reported but not yet printed by Ana Hatherly.

Joseph Pereira Veloso (d. 1711) has two pattern poems in his Desejos piedosos de huma alma saudosa (1688) in Latin, both with a large I at the center, standing for "Iesus" (Jesus): a labyrinth and a cross. Both appear in Hatherly (1983, figs. 2 and 3, respec-

Fig. 2.102. 
A cruciform piece (as Ana Hatherly, who 
found the piece, would put it, a "laberinto de letras"), 
"Labyrintho IV" by Manoel Ferreira Leonardo 
(Eighteenth-Century) from his Colecção dos applausos 
em prosa e em verso (1745, 168). See page 126, 
above. From the private collection of Ana Hatherly. 
Printed by permission.

tively), and the texts of both are palindromic.

Tomás Ribiero (nineteenth century) has two pyramid pattern poems in his Dom Jaime: "Canto VIII," which is inverted, and "Canto III," which is upright. Both appear in Hatherly (1983, 239).

A Portuguese labyrinthus cubicus by Fr. Tomás de Sousa (eighteenth century) appears in Hatherly (1983, fig. 14), from the Biblioteca Geral da Universidade de Coimbra, "v. 669 n. 10741."

Jeronymo Tavares Mascarenhos de Tavora (n.d., but eighteenth century) has two pattern poems:

1. in the Lugubre panegyrico à morte de D. nuno Alvares Pereira de Mello (1727), a complex grid variation on the labyrinthus cubicus in Latin, using an S at the center and Os at the four corners, with sequential displacements of the words in between; and

2. from the Paraben epithalamico (1738), a sort of exploding rising sun, a marriage poem, with

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Fig. 2.103. 
"Conclusio VIII," a star by Emanuel A. 
Gama Lobo (1658 1742) from his Conclusiones 
deductas (1726, 7). From Ana Hatherly, A experiência 
do prodígio (1983) fig. 48. Reprinted by permission.

a lacy network of words connecting the beams. Partly in Portuguese and partly in Spanish, it, like the other work, above, is in Hatherly's private collection, not yet published by her.

The manuscript "A pheniz de Portugal Prodigiosa' (seventeenth century) by Luis Nunes Tinoco (n.d.), ms. 582 in the biblioteca Geral da Universidade de Coimbra, has two labyrinths dedicated to the queen of Portugal, Mária Sophia Isabel:

1. a permutational piece based on the labyrinthus cubicus, nearly a chessboard poem, and capable, it says, of being made into 14,996,480 different verses (it somewhat resembles some of the pieces in Juan Caramuel de Lobkowitz's Metametrica [1663], described in our Neo-Latin section; it appears in Hatherly's "Labirintos" article [1980, fig. 9], in Hatherly [1983, fig. 10], and in Kern [1982, 355, fig. 460]); and

2. a poem with a rose over a lozenge, slightly resembling Paschasio's rose in our Neo-Latin section; it is reproduced in Hatherly (1983, fig. 60).

Fig. 2.104. 
An anonymous sonnet with dot leaders 
at the ends of the lines; this is the form which José 
Gonzalez Estrada (see above) called "forzado" endings, 
suggesting that it was a tradition known to him but 
since forgotten. This piece comes from  the "Conjunto 
de lovaçoes em  honor de Dom  Luis Antonio de 
Souza Botelho Mouram, Margado de Matteus, Capatão 
General de Capitania de S. Paulo, as assumir o 
cargo, em 1758" on page 134. Collection Dr. José 
Mindlin São Paulo.

§ Brazilian

Four pattern poems have been discovered from Brazil, all in manuscript since printing was forbidden there until 1808, when the royal court moved to Brazil from French-occupied Portugal.

Two possible pattern poems appear in the anonymous "Conjunto de lovações em honor de Dom Luis Antonio de Souza Botelho Mouram, Margado de Matteus, Capitão General de Capitania de S. Paulo, a assumir o cargo, em 1758," in the private library of Dr. José Midnlin in Sao Paulo:

1. a circular labyrinth, nearly a wheel, with an inscription honoring Mouram within the spokes so that it forms a mesostic, on manuscript page 68; and

2. a sort of sonnet in which dot-leaders extend from the terminus of each line to a large and elegant

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floating A in the right-hand margin (see Fig. 2.104), on manuscript page 134. This is a form which Spain's González Estrada either named or knew as a "forzado" ending (see our Spanish section), suggesting that other such pieces are yet to be found.

The third Brazilian piece is by Anastácio Ayres de Penhafiel (n.d.), a member of the Academia dos Esquecidos (1724-5), printed in Avila (1980, 88). It is a simple word square using "introquesar."

The fourth piece is by Juan Lopes Cierra (n.d.), in his "Panegirico funebre," a manuscript of the seventeenth century in red and black, from the city of São Salvador (Bahia). It is an acrostic and anagrammatical pyramid, a funeral poem for the governor of Bahia, printed in Hatherly (1983, fig. 32).

One of the glass-shaped poems by the Uruguayan poet Francisco Acuña de Figueroa (1791-1862), number 9 in our listing in our Spanish Latin American section, is in Portuguese again, this is interesting, since Uruguay and Brazil were traditional enemies at the time of the poem's composition (ca. 1848).

There are probably other Brazilian pieces, but they have not yet been found. Some may well exist in nineteenth-century popular literature, since the Brazilians were inclined to be playful with their forms in the late nineteenth century.

Slavic: Polish

§ To 1700

We start our listing of the slavic materials with Polish ones because these are by far the most plentiful-enough to provide a real picture of the status of pattern poetry in Polish literature-thanks to the work of Piotr Rypson of Warszawa, who has researched the libraries of many of the Polish cities and universities and has done much of the necessary yoeman's work of reporting and documenting them.

As with most slavic countries, the preferred language of the literati during this period was Latin. Therefore, it would be improper to separate out the Latin pieces or add them to our Neo-Latin section. Further, within the territories belonging to the Polish crown there were many German-speaking areas and also some Germanophone areas that are now under Polish rule. The complexity of Polish and German cultural interaction is too great to involve us here, but since the German materials are among those which are needed to study this interaction, at least so far as pattern poetry is concerned, we list them at the end of this Polish section - except for Wroclaw (Breslau), which was a purely Germanic city within the German tradition.

Polish baroque literature is very rich, and is also rich in pattern poetry. From a formal point of view, Polish pattern poems are extremely adventuresome and are seldom based on the traditional models from other literatures, either classical or medieval. Often they evoke heraldic devices. It might also be tempting to suggest that they belong to an overall Baltic group of styles, since in many cases they resemble Danish and, even more, the Swedish pieces. This is not entirely surprising, since the seventeenth century was what the Swedes call the "stormakttid" (great power time), when Sweden was very active in European politics and was engaged militarily in Poland, and was so dreaded that until recently it was a common warning when a child was being naughty before being put to bed, to say, "Watch out, or the Swedes will get you." In fact, one of the main printers of pattern poems, Kankel, whose poems are in German, worked both in Polish Pomerania (of which he was a native) and in Sweden (we list his pieces, which are in German, in our Swedish section).

One stylistic peculiarity of the Polish materials

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is that, like the Portuguese ones, there is an extraordinarily large number of labyrinthi cubici, which are very close to the Portuguese. Since both are traditionally catholic countries, there may have been some intellectual contact by way of Rome.

Books written by groups of otherwise unknown poets, usually festschrifts presented as laudatios in the universities or for consecrations, are fairly common in Polish pattern poetry but less so elsewhere.

A third peculiarity of Polish pattern poetry is that it is so concentrated in the seventeenth century. The only known pattern poetry works from the sixteenth century are by Susliga, Szober of Torun, and Tyrigetes.

A final peculiarity is that such a high percentage of the Polish pattern poems are associated with clerics, especially with members of the Jesuit order. Secular, middle-class pattern poetry is very rare in Poland, unlike in Germany.

In the Biblioteka Academiei Romana (Library of the Roumanian National Academy) in Bucaresti there is an anonymous, incomplete Polish manuscript on rhetoric in Latin, the "Miscellanea de poetica" (1685), described as "si ms. lat. 6". Unfolioed, it includes a vertical acrostic identified as "japonico modo," as well as four actual pattern poems:

1. and 2. labyrinthi cubici of which one is in Cyrillic letters, while the other is on the name "Maria";

3. a cross, and

4. a boat or crescent moon with a star at each end and an upwards-pointing arrow. This last is the coat of arms of Bishop Barlaass Jedlinski (no date).

The Czartoryski Library has an anonymous manuscript on rhetoric, dated 1659 but lacking a title; it is by a group of scholars from Kroze in Polish Lithuania from the local Jesuit Collegium, and it includes eight pattern poems:

1. a carmen cancellatum with a cross over "IHS" as the intext, on page 674;

2. a wheel of fortune on page 679;

3. a rectangular grid text on page 687;

4. a diamond-shaped labyrinth on the text "Velletunreddetvictimagratadeos" on page 688. It reads outwards from the center;

5. there is the fragment of a partly torn sunshaped poem on page 689;

6. there is another labyrinth on the subject of Theseus on page 689;

7. there is a pyramid-shaped acrostic on page 692; and

8. there is a musical puzzle rebus where the notes make up part of the words on page 690. This suggests that the author knew Caramuel's piece of this sort in the Metametrica, discussed in our Neo-Latin section.

A pamphlet by Rafal Kazimierz Artenski (d. 1699), Triumphans Herculae victus . . . (Kraków: Stan. Piotrkowczyk, 1672) has a Latin pyramid descrbed as "columns" on page K2r.

The only known Polish labyrinth that is in a signed book is by Jan Karol Dachnowski (ca. 1590ca. 1654) on page A4v of his wedding poem Philantropia lubo . . . (1631), which also contains an acrostic on page B1r-v.

A folio leaflet by Jeremiasz Dembinski (n.d.), Monumentum/ ad maiorem D. O. M. gloriam . . . (Kraków: printer unknown, 1617), contains a Latin pyramid for the occasion of the donation by Pope Paul V (r. 1605 21) of certain relics to the Church of St. Peter and St. Paul in Pultusk, a city in southern Poland in which there was a Jesuit College.

A greek pyramid poem by Adam Draski (d. 1648) appears in Eparkhias (1631, 7), reprinted by Rypson "Poezja wizualna" (1981, 45).

Henricus [Henryk] Firley, known as "Leopardus" from his family crest which included a leopard, was the dedicatee of thirteen Latin pattern poems by students of the Kalisz Collegium Societatis Iesu (i.e., Jesuit), all otherwise unknown as poets, in the Leopardus illustrissimi ac reverendissimi . . . Dno. Henrici Firley . . . (1624), a festschrift celebrating Firley's consecration as bishop. Each poem includes a frame and Firley's name within the text. The poems are:

1. a text between two columns (an altar?) by Albertus Bienecki, at L2v;

2. another text between two columns (a building?) by Hieronymus Buzenski, at M2v;

3. a shield by Martinus Gloszowski, at F2v;

4. a pyramid by Alexander Jawornicki, at A1v;

5. the facade of a cathedral by Albertus Kobierzycki, at G2r;

6. a ring with an inscription in a column within it by Christophorus Poniatowski, at M1r;

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8. a mitre by Andreas Radolinski (see Fig. 2.105), at G3r;

9. a column by Sventoslaus Rudnicki, at D2r;

10. a pyramid with a chronosticon by Nicolaus Sokolowski, at C2v;

11. the Lighthouse at Pharos by Ioannes Suchorzowski, at L1v;

12. an edifice by Ioannes Szkudelski, at N2r; and

13. a cross on a pendant by Andreas Zawissa Trzebicki, at K2r.

These forms are either traditional ones for pattern poetry or have some connection with the office of bishop (except for the Lighthouse which, even so, might suggest the Lux aeterna).

A column by Pominio Gisberto (n.d.) appears in his Bos loguens (1664), dedicated to the Gdansk aristocrat Nathaniel Schröder.

In his Poema historicum de S. Paulo . . . (1628), Andrzej Goldonowski (1596 1660) has a labyrinthus cubicus in Latin at H2v, reprinted in Rypson's "Poezja wizualna" (1981, 40).

Stanislaw Serafin Jagodynski (n.d.) has a beautiful pattern poem in Polish in his panegyric Nymphica mosciwego pana I.M.P. Alexandra Chaleckiego . . . (1617), on the verso of the title page, in the form of the coat of arms of the Chalecki family, a W with an arrow projecting upwards from it. It is also in Jagodynski (1860, 62). There is a framed garland on B2r, page 72 of Jagodynski (1860), but it is more an emblem text than a pattern poem.

By Ignacy Krzykiewicz (n.d.), in his Attica musa thitoream et hyampeum (1674), three pattern poems have been documented:

1. a pyramid on page 58;

2. an acrostic sword on page 60; and

3. a banner on page 51.

There is also a discussion of pattern poems and alliterative verse forms on pages 46 55, from which it is clear that Kryzyzkiewicz intends his pieces to be poetry, even though they appear more to be shaped prose.

Florian Lepiecki (n.d.), in his Lampas extincti loci sideris aeternum . . . in funere . . . Caeciliae Renatae . . . Reginae . . . (Kraków: Valerianus Piatkowski, 1644), has four pyramids on pages B2r, D1v, E2r and G1v. These are, perhaps, more shaped prose than pattern poetry. The work mourns the death of Caecilia Renata, the queen of Vladislav IV, who ruled 1632 48.

Mikolaj Lubomirski (seventeenth century) has a copper-engraved Latin "hieroglyphic star" in his Illustriss. et Reverendiss. D. D. Petro Tylicki . . . (1607) on the frontis. He also edited Tyrigetes (see below).

Stefan Mlodinski (n.d.), in his Infula Geronomia . . . D. Stanislaus Kiszka . . . (1614), has a pyramid or monument on its last page, 4v. The only interesting thing about the piece is that it comes from Vilna, the great Lithuanian university city; the university was, however, at that time rather provincial and under extremely heavy Polish influence (the two countries were united, but Poland was dominant). However, if it were not that its author clearly has a Polish name, one could consider it a Lithuanian Latin pattern poem.

Thereis an anonymously-written work associated with Piotr Mohila (1597 1647), metropolitan of Kiew (which was then Polish), composed by students two years after the founding of the Jesuit Collegium in that city. It is in Polish and is called Mnemosyne slawy, prac y trudów . . . Piotra Mohily, wojewodzica ziem moldawskich . . . od studentów gymnasium w bractwie Kijowski. . . (1633). It has a pryamid poem on page D3r.

Valerius Montelupi de Mari (n.d.) is the author of the Gratulationes in reditum . . . Sigismundi III . . . (1611), a book celebrating King Sigismund III's victory over the Muscovites (Russians), after which the king, who ruled from 1587 to 1632, moved the capitol fromKraków to Warszawa. (Following which, as Piotr Rypsonwho found the poems wryly observes, "as the Cracowians would say, the trouble began. Which is somehow true if you look at the dates.") Be that as it may, it is a book with five Latin pattern poems in it:

1. a "Porta triumphalis" on page D2v, a gate for the triumphant king, with its words in two columns;

2. an "Arcus triumphalis," a triumphal arch which is really more like a plain arc;

3. and 4. pyramids on pages D3v and D4v; and

5. an inverse pyramid on page D4v.

Daniel Naborowski (1573 1640) is one of the best known of Polish baroque poets. While he is not known to have made any pattern poems as such, he did compose an elaborate shaped-prose inscription in the form of a chalice in the guest book of Daniel Cromer at Wittenberg (Germany) in 1593, which is reprinted as a pattern poem in Piotr Rypson's "Poez-

Page 133

Fig. 2.105. 
Andreas Radolinski (SeventeenthCentury), a student 
of the Kalisz Collegium Societatis Iesu, contributed 
this mitre to a festschrift celebrating Henryk "Leopardus" 
Firley (Seventeenth-Century) on Firley's consecration as 
bishop, Leopardus illustrissimi ac reverendissimi . . . 
Dno. Henrici Firley . . . (1624) G3r. See page 132, 
above. Courtesy Piotr Rypson.

ja wizualna" (1981, 41). The bound manuscript is in the PAN Library at Gdansk, catalogued as "Ms. 2504," and Naborowski's text, which is in Latin, is on page 240r.

In the Sacritissima virginis dei matris . . . Nyegossevii . . . (1584), Stanislaw Niegoszewski (1565 99) has an engraved winged lion with an acromesotelestic on each wing, an intextus on its chest, words on its tail and paw, and two palindromes beneath. It is marginally a pattern poem, and it may not be by Niegoszewski.

In the Kirys Hartowny (1662 3) of Adam Nieradzki (n.d.), there appear three texts which are

Fig. 2.106. 
This star, "Phosphorus irradiens," appears on page 
C1v of the Adorea Ferrarium F. Antonii Pauden 
. . . (1639) by Piotr Pogorzelski (Seventeenth-
Century). See page 134, below. Courtesy Piotr 
Rypson.

visual but which are more in the emblem tradition than the pattern one; that is, the verbal and visual elements are simultaneous but separate, not fused. One is a set of knives over two loaves of bread, one cut and one not. This probably refers to the plundering of churches (see below). The second is a poem between two swords, with a banner over each. The third is a text on a hand with an eye on its thumb, and, on the fingers, symbols of the other senses. The work was composed as a reaction against a tumult in the army that was caused by the kingdom's empty treasury and no pay for the soldiers. This was known as the "Zwiazek * Swiecony*" (the Blessed Union). The second and third of these are reprinted in Rypson's "Poezja wizualna" (1981, 44) and in his "Poesia visual" (1980, 57).

Page 134

In the Sacritissima virginis dei matris . . . (1698) of Sebastian Jan Piskorski (d. 1707), there is an acrotelestic on page D2r in Latin. It is basically shaped prose.

In the Adorea Ferrarium F. Antonii Pauden . . (1639), Piotr Pogorzelski (n.d.) includes two Latin pattern poems:

1. an ingeniously devised star, "Phosphorus irradiens" (see Fig. 2.106), at C1v, at the tips of the points of which are the letters forming "ANTONIUS" with the letter S repeated and the name in the center of the star; and

2. a hexagon on page A3r, with a mesostic at its center. "Antonius" is St. Anthony of Padua, the work's dedicatee.

Ludwik Ferdynand Przeczkowski (n.d.) includes a Latin monument, on page A4r of his Sarmatici labores Herculis mortalitique immortalitatio, inperennaturo sculpti colosso . . . (1644), but it is only marginally a pattern poem.

The Verflorentis Poloniae . . . (1642) of Jan Racki (1610 82) has a rectangular carmen cancellatum on page G2r, an acrotelestic with two diagonal intexts.

There are six Latin pyramids in the anonymously edited Logion episcopale illustrissimi . . . (1612), a festschrift which honors Szymon Rudnicki (1552 1621), Bishop of Warmia. These are:

1. by Ioannes Smogulecki, at D3r;

2. by Samuel Piasecki, at E3r;

3. by Martinus Badach, at F3r;

4. by Andreas Kowalski, at C2r;

5. by Albertus Hosius, at H3r; and

6. by Henricus a Creuz, at C3r.

All are otherwise unknown as poets.

The earliest pattern poem from Poland yet discovered is in the Epitaphium Stephan I . . . Poloniae Regis (1586), by Ulryk Szober ( = Huldericus Schoberius or Ulrich Schober, 1559 98), probably of Torún. It is a complex Latin mesostic on "Stephanus," a memorial for King Stephen Báthory (r. 1575-86), with the king's name on diagonals and vertical at the left, center, and right. Although it is not a piece of any great distinction, it resembles pieces from the Polish and Neo-Latin literature of the next century and does not derive from any earlier models. Thus, it suggests that perhaps it already belongs to a fairly mature tradition and that there may well be earlier pieces as yet unreported.

There are six Latin pattern poems in the Reverendissimo in Christo Patri et Dno. Francisco Lacki . . . (1598), by Wawrzyniec Susliga (1570 1640). They celebrate the elevation of Franciszek Lacki to the order of archbishop and, as in the case of the Firley set, they depict objects associated with that office. They are:

1. a bishop's mitre (see Fig 2. 107), at B3r;

2. a cross medalion, at C2v;

3. a pendant or spread-out chain with three crosses, at C1r;

4. a crook and bishop's ring, at C2r;

5. a chalice, at B4v, that is reprinted in Rypson's "Poezja wizualna" (1981, 42); and

6. a pillar-shaped complex mesostic, at B2r.

A Latin labyrinthus cubicus appears on page A2v of the Epithalalianion albo Godyniec . . . (1636) of Stanislaw Temberski (d. 1679).

The Wirydarz poetycki viridiarum . . . (1675) of Jakub Teodor Trembecki (d. 1719), a poetics, includes (along with many acrostics) leonine verses, chronostica, anagrams, and one pattern poem, a wheel-shaped piece in Polish, this last reprinted in volume 1, page 38 of Bruckner's edition (1910 1).

For pieces by Tylkowski, see the mathematical poetry section in Chapter Four.

An extremely interesting collection of poesia artificiosa is contained in the very rare Technopaegnion sacropoeticum venerabili corporis Christi festum, pietatis ergo consecratum (1698) of "Iano Tyrigeta Germano" (Jan Tyrigetes the "German," n.d.), of which no copy is known to exist in the United States and only one in Poland. It contains a poem illustrating a five-pointed star, a retrograde poem, a "hieroglyphic poem," list poems, two tautograms, a curious acrostic in which one text is right side up and one upside down, and so on. More important to us is a poem on page B2r, consisting of three crosses, titled "Rabanianae artificiosae figurae" (artful Rabanian figures), evidently composed in imitation of Hrabanus Maurus's fifteenth pattern poem in De laudibus sanctae crucis (for which see our Medieval Latin section in this chapter), thus indicating that Hrabanus was known and read in Tyrigetes' time. The book was edited by Lubomirski (see above).

There are seven pattern poems by Wojciech Wasniowski (n.d.), all in Polish, in his Wielkiego boga Wielkiej Matki Ogrddek (1644). They are:

1. a mesostic with red letters forming a cross and using the intext "Maria," on page I1v;

Page 135

Fig. 2.107. 
Compare this mitre with Radolinski's 
above. This is by Wawrzyniec Susliga (1570-1640) 
and it appears in a festschrift celebrating Franciszek 
Lacki's elevation to archbishop, Reverendissimo in 
Christi Patri et Dno. Francisco Lacki . . . (1598) 
B3r. See page 134, above. Courtesy Piotr Rypson.

2. a similar acromesotelestic, on page I3v, forming "Jesus";

3. another acromesotelestic, forming "Maria," on page K1r, and in Rypson's "Poezja wizualna" (1981, 43);

4. a star on, page K1v (see Fig 2.108),that also appears in Rypson's "Poezja wizualna" (1981, 43) and in Tuwim (1950, 245);

5. an "apostrophe" in rectanuglar labyrinthine form with a leonine text using "Maria," on page I3r;

6. a pair of concentric circles with a palindrome, on page K2r; and

7. a simple cross, on page K2v.

Fig. 2.108. 
A star by Wojciech Wasniowski (Seventeenth-
Century) from his Wielkiego boga Wielkiej Matki 
Orgródek (1644) K1v. Courtesy Piotr Rypson.

There are also various leonine verses and acrostics, but none of these are pattern poems. Either they are shaped prose or they lack any strong visual pattern.

A complex mesostic, "Izrierzi," by Jan Zabczyc (d. after 1629), appears in his Mars Moskiewski Krwawy (1606), in Polish, on the title page. It is based on the coat of arms of the Mniszech family, which included six ostrich plumes. An acrostic text runs through the entire book, based on an inscription that begins "Dymitr Samozwaniec Wszystkiej Rusi Samodzierzca . . .," and a mesostic that is based on "izrierzi," a reading of "Jerzi Mniszech," the magnate to whom the work is dedicated.

§ Eighteenth Century

The eighteenth-century Polish pattern poems are usually more monotonous and panegyrical than their baroque counterparts. Perhaps visual poetry was no longer a novelty by then, and, therefore, was no longer something to invent with, but merely a stock in trade. Almost all these eighteenth-century poems are monotonous and formula-ridden, by contrast with the seventeenth-century

Page 136

Fig. 2.109. 
A star by Maurycy Kielkowski (Eighteenth-
Century) from his Hypomena Franciscanum (1718) 
E1r. Courtesy Piotr Rypson.

ones. They almost always appear at the very end of books, and are usually occasional verse honoring neolaureates from universities. Only a few pieces, notably Kielkowski's, Minocki's, and Nieweglowski's, are of any particular great literary interest.

The Conchylium gemmas . . . (Kraków: typis haeredum Francisci Cezary, 1728), by Michal Jan Nepomucen Awedyk (d. 1780), a booklet reported by Rypson which we have not verified, has three Latin pattern poems or near pattern poems:

1. a monument, on page A2v, with each verse in a different meter, like similar pieces in Herka, Nieweglowski, and Kielkowski;

2. an acrotelestic on JOANNES LAUREATUS, on pages C1v and C2r; and

3. a rectangular poem, on page D1r, that contains four diagonal mesostics which start in the center with S and can be read as STANISLAUS in each direction.

The Lucina orti sub sole lechico (1736) by Franciszek of St. Casimirus (n.d.), has four pattern poems or near pattern poems. The "lechico" of its title is an old word for "polish." The poems are:

1. on page 27, a pyramid that is not filled out with text but only framed with it, and also a cross that is made of the words inside, with an eye at the center;

2. on page 32, an acromesotelestic with the inscript "S. Joachim patronus provincjal regni Poloniae Ost";

3. and 4. on page 37, a rebus acromesotelestic with a cross made out of small crosses inside, each standing for the word "cross," and, on page 42, a similar piece with hearts made of hearts, as in the rebus of Schuster/Sutor.

Ignacy Kanty Herka (n.d.) has an "obeliscus" (monument) with a star above it for Franciszek Jósef Domaniewski at the end of the latter's Porta triumphalis . . . (1725).

In the Liber passus (1732) of Klemens Kostka Herka (1713 59), there appear three pattern poems:

1. a complex visual mesostic, describable as a versus intextus in a rectangular carmen quadratum, on page D2v;

2. a star, on page Elr (see Fig. 2.109);and

3. a truncated acrostic pyramid or obelisk, on page D2r.

The book also contains a leonine verse and, on the final page, a musical rebus. All the poems are in Latin and are dedicated to Stanislaus Wadowski, a scholar. Herka wrote these laudatios for his "neodoctus" at the Academia Cracoviensis (Kraków).

Maurycy Kielkowski (n.d.), in his Hypornena Franciscum (1718), a Latin work dedicated to St. Anthony of Padua, includes eight pattern poems:

1. an alliterative mesostic labyrinth, at D2r;

2. a complex visual mesostic, nearly a carmen quadratum, with versus intextus, at E2v;

3. and 4. two "Chronostica monosyllabica" pieces, something like proteus poems, both of them diamond-shaped, at F1r and F1v;

5. a star at E1r (see Fig. 2.109),that is reprinted in Rypson's "poezja wizualna" (1981, 41);

6. a complex acrostic in the form of a pyramid, at D1r;

7. a sundial, at E2r, also in "Poezja wizualna" (1981, 45); and

8. a musical rebus, at D2r, that has enough visual emphasis to be considered a pattern poem.

Stanislaus Maykiewicz (n.d.) has a Latin pyramid dedicated to Józef Walenty Tomaszkiewicz on page F2r (the last page) of the dedicatee's Arbor laureato (1723).

Page 137

An extremely interesting Latin ''poetica" (poetics), probably by Franciszek Minocki S. J. (d. 1784) and dated about 1756, is in the Jagiellonska Library at Kraków as "Ms. 5594." The work is very anachronistic, being written in the style of a century before, and evoking the baroque and the great kings of Poland's past rather than the sad present of Poland's state when the work was written. Piotr Rypson, who found the workwhich is missing its front cover and therefore involved a great deal of literary detective work to discover its correct attributiondescribes it as "a real treasureand so lovely coloured, very vivid colours even today." It contains a theoretical discussion of labyrinths, "De carmine Cubico" (following p. 65v); the pattern poems and near pattern poems which it is said to contain are:

1. a carmen cancellatum with cross, on 52r;

2. an acromesotelestic with versus intextus, on 52v;

3. a "carmen astrologicum" with a rebus on Zodiac signs, on 57r-v;

4. a labyrinthus cubicus on IESU LE CORDIS AMOR, on 66r;

5. a cubus on O PIA VIRO, on 66v;

6. the cross by Venantius Fortunatus (see our medieval Latin section);

7. a labyrinthus cubicus, "Casimirus provisor," with the word VIVAT starting from the four corners of the rectangle (the dedicatee seems to be either Casimir III "the Great" [1310 70] or IV [1427 92], both among Poland's most powerful rulers);

8. a companion piece to the above, in which VIVAT is written into a diamond shape;

9. a cross with two sentences crossed, on 70r;

10. a pyramid in color, on 70r;

11. a sword of John III Sobieski (r. 1674 96), on 70, which also appears in Krzkiewicz;

12. a colored rose, on 71r (see Fig. 2.110);

13. three crosses of Saint Francis of Assisi (ca. 1181-1226), on 71v;

14. an infula and sceptre for a Krak6w bishop, on 72r;

15. a colored crescent, on 72v;

16. a sentence inscribed in an O from Szenci Molnár's cubus (see section iv, above), on 73r;

17. an obelisk or pyramid, on 80v;

18. "De parodia in forma quaratum" (On a parody in square form), a rectangle with two diagonals, said by Rypson in a letter 15 September 1985 to be "inscribed in the two and four sides, identical in form to the one by Witzke" (see the Gdansk pieces below); and

19. on the last page the Engima of Sator (see subsection 2-a, above).

Franciszek Norbert Mitulski (n.d.) has three Latin pattern poems or near-pattern poems in his Candor religioni domesticus . . . (1723), a work dedicated to Michael Joseph de Wilkow Wilkowski:

1. a mesostic labyrinth, on B2v;

2. a complex visual labyrinth or carmen quadratum, on C2r; and

3. a combination of echo poem and mesostic, on C2v.

These somewhat resemble Kielkowski's poems.

Four interesting texts in Latin by Franciszek Norbert Nieweglowski (n.d.) appear in his Festum crucis Potocianae (1741), on G2r and G2v. Described

Fig. 2.110. 
Franciszek  Minocki (EighteenthCentury) wrote a poetics 
manuscript whose title page is missing, in the Jagiellonska Library 
at Kraków as "ms. 5594." This is the rose from  page 71r of it. 
See left. Courtesy Biblioteka Jagillonska.

Page 138

by the poet as "chronostica," they resemble proteus poems but are diamond-shaped. The same work also contains two notable pieces of shaped prose: an elaborate coat of arms of the Potocki family, and a truncated pyramid or obelisk on the last page (see Fig. 2.111). There are also an echo poem on page C2v, a simple mesostic on page C2r, and an unusual alliterative piece forming the name "Josephus" with its initial letters on page B2v.

Wladislaw Simandi (dates unknown), a Croatian Pauline, in his Corvi albi eremitici nova musa Inconcinna (1712 or 1717), is said by Rypson to include eight pattern poems.

A simple diamond-shaped composition on "finis" appears at the end (page D1v) of the Praedicatum panis rei . . . (1735) of Jakób Antoni Józef Surowiecki (eighteenth century).

A diamond-shaped labyrinthine VIVAT appears on the last page, N2v, of the Liber votivus . . . of Idzi Stefan Wadowski (d. 1721). The form resembles a piece in the "Ms. ag. 5595" discussed in our seventeenth century section, and suggests that such pieces were occasionally used to end panegyrics.

Józef Wieczkiewicz (n.d.) has a Latin "obeliscus" on the last page, E2v, of Stanislaw Antoni Bielecki's Naumachia triumphalis (1732) which resembles the works by Ignacy Herka and Kielkowski.

A lacy mesostic with a VIVAT at its center, perhaps a flower or a star, appears on page H3r of the Caput. palladis curae (1764?) of Sebastian Wykowski (1700 64), but it is really shaped prose.

§ Nineteenth Century

In the nineteenth century, in Poland as elsewhere, pattern poetry is very rare. Only three poems, all anonymous and humorous, are known. These are: 1. an anonymous Polish "kielich (cup) of 1840 that appears in Tuwim (1950, 241); 2. a bottle on the cover of Tuwim (1935) by Franciszek Betka (nineteenth century), which originally appeared as an unsigned New Year's pamphlet in 1822, called "Pasztet nie z truflami ale z faceciami," on page 58, a comic dialogue among strange, allegorical characters; and

3. "Biedny poeta" (poor poet) in Tuwim (1950, 246), reprinted from the Kurier Swiateczny (1896), depicting the plight of a poet who offers his manuscript to a publisher, goes hopefully up the stairs to the publisher's office, and then bounces down the stairs when the manuscript (and the poet) are rejected. See Fig. 2.112.

§ German Materials From Poland

In the summer of 1983, when Piotr Rypson of Warszawa was on holiday at Gdansk, formerly Danzig, he decided to look in the PAN Library there to see if it held any pattern poems that were different from those in Warszawa. What he found was a large collection of texts, almost all in German and in broadsides and chapbooks, but different in various ways from most other known German pattern poems. For example, in German pattern poetry labyrinthi cubici are rather rare, but they are common in Polish German pattern poetry. The only previous mentions of these texts are in an unpublished dissertation by Walter Raschke, "Der Danziger Dichterkreis des 17. Jahrhunderts" (Rostock: Rostock University, 1923), and a highly nationalistic essay by Heinz Kindermann, "Die Danziger Barokdichtung" (1936), whose object is to demonstrate the German sensibility of the poems (Hitler seized Gdansk shortly thereafter). While we could equally well divide these pieces into our German and Neo-Latin sections, this seems illogical since they provide a unique unit as described at the start of our Polish section, and so we list first the pieces found at Gdansk/Danzig, and then those found at Szczecin (formerly Stettin) and elsewhere in old Prussia as well as German-speaking cities that were always under the Polish crown. Evidently some printers encouraged the composition of pattern poems, or were particularly skilled in printing them, notably the Rhete family of Gdansk, whose names appear frequently in our listings below. The pieces are:

1. an anonymous chalice or goblet in German, "Ad generosum dominum sponsum . . . Herr[n] Johannes Ernst Schmieden Brautigam . . .," an undated wedding poem printed at Gdansk;

2. an anonymous Latin shield with the coat of arms of Jan III Sobieski, in the small book In serenissimi . . . Johannes Tertii Dei gratiae regis Poloniae (1682), on page 2 (the dedicatee, one of Poland's greatest kings, ruled from 1674 to 1696);

3. a mesostic byJohann Benther, "Valett des Wayland Woll-Edlen .. .," in which some of the vertical center texts form crosses, evidently a funeral

Page 139

 Fig. 2.111. 
Norbert Nieweglowski (Eighteenth-
Century) includes this pyramid, which is 
really shaped prose (but more poetic than the 
author's poetry) in his Festum Crucis 
Potocianae (1741)  last page. See page 38, 
above. Courtesy Piotr Rypson.

poem, printed by G. Rhete at Gdansk in 1635 (its versus intexti are in red, the rest in black except for the names of the parts of Christ's body, themselves also versus intexti);

4. Georg Bernhardi, "Gamelia in festivitatem nuptuarum . . .," an undated Latin labyrinthus cubicus printed by Rhete, a wedding poem for Henricus Freder and (see piece below) Regina Weider, on page 2 of an otherwise untitled booklet;

5. and 6. Georg Bernhardi, "Nuptiali festivitati .. .," Latin epithalamia in the form of two labyrinthi cubici, composed for the 19 June 1640 wedding of Henricus Freder and Elisabeth von Holten, on pages 2 and 3 of an otherwise unidentified booklet printed by G. Rhete;

7. a Latin wedding poem by Bernhardi, "Hochzeitlisches Ehrengedicht . . . Heinrich von Dorne . . . und Lucretiae Preaten . . ." was printed by Georg Rhete in 1640 in a pamphlet of the same name on the verso of the title page.

8. Andreas Coien, "Viridarium in honorem et festivitatem nuptiarum . . . Dni. Michaelis . . . Dni. Georgii Wiederi in Rep. Elbigensis Consulis . . . fili sponsi. Nec non . . . Dni. Johannis Lindani, inclyta Reipub. Gedanens . ." (1607), a hand-colored wedding poem in the form of two trees with interlocking branches, in Latin;

9. Michael Conovius (d. 1692),"Justa funebria piis manibus . . .," a Latin funeral poem in the form of a mesostic with the versus intextus forming a cross (see Fig. 2.113), printed by G. Rhete in 1662, for Adrianus Engelken of Gdansk, on page 3 of an otherwise unidentified booklet.

10. Michael Conovius, "Leich-Tuch welches bey zwar unverhofften und traurigen jedoch sanfften und seeligen Todes Fall Will Edlen Gestrengen, Vesten und Hochweisen Herrn Jacob STüven [sic] . . .," in German, printed at Gdansk in 1657, a versus intextus in the form of a cross;

11. Michael Conovius, "Letzte Valet-Rede der Weiland, Wol-Edlen, viel ehrbaren und tugendsamen Frawen, Frawen Catherinae Schmieden .. .," in German, printed at Gdansk by Rhete in 1657 for the funeral of Catherina Schmied, with a cruciform versus intextus;

12. Michael Conovius, "Nuptiarum festo . . . dominum Johannes Heckerus . . . cum . . . Anna Lavinia," printed by Rhete at Gdansk in 1657, a wedding poem;

13. Michael Conovius, "Skyphos gamikos in gamelion neonymphis . . .," a Latin wedding poem with Greek inscription, printed by Rhete at Gdansk, in the form of a Greek skyphos;

14. Michael Conovius, "Via universae carnis in acrostiche epitaphii loco super obitu . . . Dni. Johanni Schulzii .. .," a Latin funeral poem forJohannes Schultz, printed at Gdansk by Rhete in 1658

(There are also a number of musical puzzles by Conovius, such as a laudatio of 1655 for Peter

Page 140

Fig. 2.112. 
"Biedny poeta" (poor poet) is an anonymous 
piece from  an 1896 issue of the Kurier Swiatecny; it 
describes the poet going up the steps to his publisher's 
office and bouncing down them afterwards. See page 
138, above. Courtesy Piotr Rypson.

Olhaff printed by Rhete.)

15. Johann Klein (1599 1662), "Stenegmata anagrammatica . . . Dr. Martinus Raubanichius," evidently a funeral poem for Martin Raubanacki[?], a labyrinthus cubicus on the Latin text "Vivat in aeternae spirita sacerdomus . . .," on page 4 of an otherwise unidentified pamphlet, printed by G. Rhete in 1659;

16. a German acrotelestic crown with a cross, for Catherine II, queen of Polish king Stanislaw Leszczynski (who ruled 1704-9 and 1733 4), composed by Johann Carl Kreutzer, appearing on pages 2 3 of his An den Nahmens-Feste Catherina Zweyer Grossen Koeniginnen . . . (1733) (the printer is unknown);

17. Jan Stephan Laganowski (1625 94), "I.N.J.C. bonarum artium et linguae polonicae patronos . . .," a Latin occasional poem in the form of a labyrinthus cubicus, written for an unidentified scholarly occasion and printed by Rhete in 1679;

18. Jan Stephan Laganowski, "Pietate et Justitia," a Latin mesostic diamond in a rectangle, in Q. D. B. V. Fulcra Bene . . ., which uses the pamphlet title as its text;

19. Jan Stephan Laganowski, "Votum ad novi anni felix auspicum . . .," a Latin piece celebrating the new year, printed by Rhete in 1651, on page 2 of an otherwise unidentified pamphlet;

20. Jan Stephan Laganowski, "Votum nationi sarmaticae . . .," a Latin labyrinthus cubicus in his pamphlet C. C. Bonarim Artium . . . 1679);

(Martin Opitz, discussed in our German section, is to some extent associate with Gdansk//Danzig, visited there, etc.)

21. Sigismund Podkostelsky (1594 1652), "Omne trinum perfectum seu triplex perfecta metrica aggratulatio quarum Vladislao IV .. .," a Latin carmen quadratum and rebus, printed by G. Rhete in 1636, which celebrates Vladislav IV, who ruled 1632 to 1648 (there are also an acrotelestic and an echo poem in the same booklet; Podkostelsky is also known from Bohemian (Czech) pattern poetry, where he is known as "Zikmund Podkostelský." He was in exile in Gdansk for some years);

22. Johannes Valentinus Rhetius, "IN nuptias amplissimi viri Adami Riccii J.U.L. et . . . virginis Ursulae Bahmiae," a Latin epithalamion on page 3 of anotherwise unidentified pamphlet of 1643 for the wedding of Adam Ricci[?] and Ursula Mahmia (Martin Opitz is listed as a joint author of the piece);

23. Bartholomaeus Rothmann, "Cubus, ein sonderliches Votum auff einen cubum geschrieben, welchs darauff 51. mahl gelesen wird, an statt Ubergebung wolgeselligen Hochzeitlichen EhrenGeschencks Dem Edlen und Ehrnvestern Herrn Ernest Hein . . . den 21, Jaunarij dieses 1642 . . ." a German labyrinthus cuicus for the 1642 marriage of Ernest Hein and his bride Barbara Wolssen;

24. Bartholomaeus Rothmann, "Cubus, ein sonderlisches Votum, auff einem cubum ges-

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Fig. 2.113. 
Michael Conovius (d. 1692), a member of the 
Gdansk group of visual poets in the 1640s, composed 
this piece with a cruciform versus intextus. See 
page 139, number 8, above. Courtesy Piotr Rypson.

chrieben, . . . Dem Ehrnvesten und Achtbarn Herrn Georgen Wittkopf, in Dantzigk etc. als G. Brautigam, welcher den 5, Augusti dieses 1642. Jahres .. .," a German labyrinthus cubicus of 1642, similar to number twenty, above, for the marriage of Georg Wittkopff and Regina Scharten;

25. Bartholomaeus Rothmann, "Ein zierlicher Ehren Kranz mit manscherlei schönen Kreuter- und Blumen werck des Gliicks auff Labyrinthische Arth besetz, gewunden und gebunden . . . [dem] Herrn Johanni Rossow, new-ehrkohrnen Rhatmann der Königlischen Stadt Dantzigk . . .," a German wreath of 1640 with a maze, in honor of the new city councilman Johann[es?] Rossow;

26. Bartholomaeus Rothmann, a circular wreath very similar to number twenty-one, but with the title missing, a German wedding poem evidently for Herr Schmalenberg, probably written about 1640;

27. Bartholomaeus Rothmann, "Votum cubicum, ein christlicher Wunsch auff einem cubum geschrieben . . .," a German labyrinthus cubicus of 1637 in honor of Adrian Engel;

28. Bartholomaeus Rothmann, "Votum Cubicum, ein christlicher Wunsch auff einem cubum geschrieben welcher darauff weit gesuchter arth und weise nach 1450 mahl gelesen wird . . .," a German Labyrinthus cubicus for the 23 April 1641 wedding of Benjamin Engelkin and Anna-Maria Rossow, evidently the daughter of the man for whom the circular wreath mentioned above was written;

29. Bartholomaeus Rothmann, "Votum Cubicum, ein hertzlicher Wunsch auff einen cubum geschrieben . . . Herrn Gottfried Bolner . . .," (see Fig. 2.114), a German lbyrinthus cubicus of 1641 for the wedding of Gottfried Bolner and Anna Bolner (the date of the wedding is given as "62. August, 1641," which suggests that the surviving print may be a proof intended for correction);

30. Bartholomaeus Rothmann, "Votum Cubicum, ein Christlicher Wundsch nach Daedalischer Arth und Weise . . .," a German labyrinthus cubicus in honor of Christopher Coleto;

31. Bartholomaeus Rothmann, "Votum Cubicu, ein Christlicher Wundsch nach Daedalischer Arth und Weise . . .," a German labyrinthus cubicus of 1636 in honor of Ernst Kleinfeldt, a "citizen and merchant";

32. Bartholomaeus Rothmann, "Votum Cubicum, ein Christlicher Wundsch nach Daedalischer Arth und Weise auff einen Cubum geschrieben, vollkommen 53. mahl zu lesen . . . Herrn Hinrich Nantzen, Kauffherrn in Dantzigk . . .," a German labyrinthus cubicus of 1636 in honor of Hinrich [Heinrich?] Nantzen;

33. Bartholomaeus Rothmann, "Votum cubicum, ein hertzlicher Wunsch auff einen cubum geschrieben, welcher darauff 50. mahl gelesen wird, an statt eines wolgefelligen Geschencks . . . Herrn Albrecht Rosenberg, in Dantzigk . . . Kurtz nach

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sienem hochzeitlischen Ehren-tag, so er den 14. Februarii lausenden 1639 Jahres mit . . . Dorothea von Bodeck . . . Herrn Valentin von Bodeck, Burgermeisters der Königl. Stadt Dantzigk . . . Tochter ... celebriret und begangen .. .," a German labyrinthus cubicus of 1639, celebrating, after the fact, the wedding of Albrecht Rosenberg with Dorothea von Bodeck, daughter of the mayor of Gdarisk/Danzig, Valentin von Bodeck (evidently the wedding took place on the father-in-law's name-saint day, St. Valentine's Day);

34. Daniel Schrader, "Bei sehligem Ablaiben des . . . Herrn Gregor Düstenwaldts ansehnlichen Bürgers .. .," a German funeral poem of 1657 for Gregor Düstenwaldt, in the form of a coffin, printed by Rhete;

35. Johann Georg Seidel, "Votum adonicum elementis tantum constans viginti quator . . .," a Latin labyrinthus cubicus of 1667 printed by P. Ch. Rhete, congratulating Elart Fridrichsen on his eightieth birthday (see also Wahl's and Zetsching's pieces, below);

36. Solomon Wahl, "Haustulus ex hydriis Cananaeis . . .," in Festitate nuptiale, fratri suavissimo Johanni Wahlio sponso lectissinaque virgini Elesabethae Friderici sponsae . . . (1644), a German wedding goblet, in honor of the 21 January 1644 wedding of Johann[es?] Wahl and Elisabeth Freder, printed by G. Rhete (the poet is the brother of Johann[es?] Wahl, and is also mentioned in connection with the first of Laganowski's labyrinthi cubici, above; see also Seidel's and Zetsching's pieces);

37. Joachim Willich, "Fried-, Freud-, und Ehrenzeit der edlen, weit- und weltberühmten Stadt Gedantzig welches der allergütigste Himmel auss deso schönen Nahmen . . . andeuten wollen . . .," a German poem of 1660 in the shape of a tent of God, honoring the city of Gdansk/Danzig, on page 2 of an otherwise unidentified pamphlet.;

38. and 39. Petrus Witzke, "Epithalamia in solemnen nuptiarum festivitatem . . . Dn. Tobiae Gasten Pomerani . . . nec non . . . Judith von Dueren .. .," a German goblet, on page 2, and a wedding cup, on page 3, of an otherwise unidentified pamphlet, printed by M. Rhode, for the 1611 wedding of Tobias Gasten of Pomerania and Judith von Düren;

40. Petrus Witzke, "Freuden-Becher zum Hochzeitlischen Ehren des . . . Hn. Francisci

Fig. 2.114. 
Each of the Gdansk poets has his 
characteristic form. That of Bartholomaeus Rothmann 
is the "cubus," the labyrinthus cubicus. See page 141, 
above. Courtesy Piotr Rypson.

Adriani, Notarii Publici, Brautigams: so woll der . . . Jungfrawen Helenae, des . . . Hans v. Kappeln hinterlassenen Tochter, Braut," a German epithalamion in the form of a goblet, printed by G. Rhete, for the 1621 wedding of Franz Adrian, a notary public, with Helena, the surviving daughter of Hans von Kappeln (or "Keppeln," since the name appears both ways);

41. Petrus Witzke, "Freuden-Glöcklein zum Hochzeitlichen Ehren des Erbarn . . . Andreae Ulrici, Signatoris zur Farr/Brautigams, wo wol der Ehren Tugentsamen Jungfrawen Christinae Des Erbarn und Kunstreichen Christoph Spiessen vielgeliebten Mödder Braut .. .," a German wedding poem in the form of a bell with a cruciform mesostic intext, printed by Georg Rhete, celebrating

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the 24 August 1621 wedding of Andreas Ulrich with Christina Spiessen;

42. Petrus Witzke, wedding poem for "Joann. Philippus Pierius," a pair of wedding goblets, one in German and one in Latin, without a title, printed on a folded page, celebrating the wedding of "Joann. Philippus Pierius" (the bride's name is not mentioned, and the date, 1612, is given in a chronosticon; conceivably the groom's name is coded from something like "Johann Philipp Birne'');

43. Petrus Witzke, "Tetragonismus die Jahrzahl in der vier Seiten und Diametris enthaltende zum Ehrenfreudentag des . . . Herrn Michaelis Blancki . . . auch der . . . Jungfraw Barbara des . . . Michaelis Hancken vielgeliebte Tochter/Braut," a German chronosticon text inscribed in a square and on the diagonals, dated 1614 but with the printer unknown a near-pattern poem, really;

44. Jacobus Zetzkius (Zetzke, d. 1671), "Eidylla nuptiis secundis . . . Nicolai a Bodeck . . . Reip. Gedans. consulis . . .nobilissimaeque virginis Constantiae . . . Salomonis Gisii filiae exhibita . . .," three Latin hearts, on page 2, and three in German, on page 3, of an otherwise unidentified pamphlet printed by Rhete, printed in red and black with acrostics in the hearts in red, for the wedding of Niklaus von Bodeck(?) and Constanz(?), daughter of Salomon Giesen;

45. Johann Casparus Zetsching, "SphaeroLycophronticum quod antiqua generis prosapia, doctrina, rerum eximiarum scientia atq. experientia nobilissmo Domino Eilard Friderihcsen [sic] .. .," a German poem with Latin title in the form of a sun, printer unknown, congratulating Eilard Fridrichsen, whose name is misspelled, on his 1666 ordination to the ministry (Fridrichsen is part of the same family as the dedicatees of Wahl's and Seidel's pieces, above);

46. Johann Casparus Zetsching, "SphaeroLycanphronticum quod antiqua generis prosapia, doctrina, rerum eximiarum scientia atq. experientia, nobilissimi Domino Georgio Schroeder . . .," a second German sun of 1666, companion piece to the above, celebrating Georg Schroeder; and

47. Christianus Ziegerus, "Epithalamia in festivitatem nuptialem . . . Dr. Nicolai von Bodeck, . . .nunc secundo sponsim et virginis . . . Constantiae viri magnifici nobilissims amplissimique Dn. Salomonis Giesen .. .," a Latin goblet on page C2v of an otherwise unidentified pamphlet printed by Rhete, celebrating the 30 June 1648 wedding of Nikolaus von Bodeck and Konstanz, daughter of Salomon Giesen (see Zetzkius's poem above; Ziegerus wrote this poem in collaboration with Michael Albinus, Johann Peter Titz [1619-89], and Bartholomaeus Manhart [and perhaps others]Titz was one of the best-known poets in Gdansk and appears in our German section, above);

From Elbing comes a poem by Jakob Barner, "Capta Venus in Elaboratissimum opus de Osculis quo . . . Dr. Martinus Kempius . . .," a German poem on page 4 of an otherwise unidentified pamphlet, in concentric circles, with "Schmatz" at the center, in honor of "Martinus Kempius," who wrote a history of the electors of Brandenburg. "Martinus Kempius" is probably the same Martin Kempe in whose Poetische Tafeln (1667) there appear some pattern poems by Georg Neumark (see our German section).

A manuscript of 1636[?], now or formerly in Codex A, B, and C in the State Archive of Elbing, was copied in 1713 by a parson, Wilhelm Rupson, possibly an ancestor of Piotr Rypson. It is meticulously described by Dr. M. Toeppen in Hoppe (1887), and it contains the following visual pieces in Latin:

1. a pear in shaped prose, on the title page;

2. what appears to be an extremely elaborate chalice, on page 3;

3. and 4. there are two curious pieces in which the lines are centered under each other, but which do not appear to have any overall shape in their published version. To these Toeppen has attached respectively the following two notes:

"Diese Worte sind in eine geometrische aus zwei concentrischen Kreisen und zahlreichen Kreissehnen gebildeten Figur eingetragen, und zwar die Worte Patriae, albae Gallinae und Fillium in rother Farbe" (These words are shaped into a geometric form out of two concentric circles and numerically rich figures, and, to be sure, the words 'Patriae,' 'albae Gallinae' and 'Fillium' are [written] in red ink).

And

"Diese Worte stehen auf einem Schilde, der an eine Friedenssäule (oben Pacis statua, unten Pacis tempore de bello cogitandum) gelehnt ist, in concentrischen Kreisen geschrieben. Die Uncialbuchstaben hier

Page 144

bezeichen die rothen Buchstaben dort. Verbunden ergeben sie in den 10 ersten Versen die Worte Israel Hopp, in den letzten beiden die Zahl 1636" (These words are on a label which is attached to a peace monument [above a Pacis statua and, below, Pacis tempore de bello cogitandum], written in concentric circles. The uncial letters here designate the red letters there, but, in the printed text, no uncials are used. Taken together they yield, in their first ten verses, the words of the author, Israel Hopp, and, in the last pair, the number 1636).

Also in the Gdansk trove but from Königsberg, now Kaliningrad, comes the anonymous "Ehren geschenck auf den hochzeitlischen Freudentag dess . . . H. Daniel Schaeucken und der . . . Jungfraw Anna Rosenbergerin des Weilandt . . . Herrn Walther Rosenberges der Königlischen Stadt Dantzig wolverdienten Rathherrn und Scholarchen hinderbleibenen eh[r]lichen Tochter Glückwünchendt übersand von Königsbergk . . .," on page 2 of an otherwise unidentified pamphlet whose authors are Friederich Schroeder, Daniel Rurock, and Johann Schmidt (the latter two both from Gdansk), a German goblet for the 1644 wedding of Daniel Schaeuken and Anna Rosenberg. One might speculate that the bride came from the same family of Rosenbergs as the one whose marriage was celebrated in a poem by Rothmann, above.

From Szczecin, formerly Stettin, which was not under the Polish crown but which was Prussian like the other cities mentioned here, come at least fifteen pieces:

1. an anonymous altar in Latin (dated 1613) celebrates the wedding of Joachim Senge and his bride Catherinaan incredibly complex little text, each line is palindromic;

2. a Latin heart with mesostic intextus by Joachimus lordan [Jordan], from the Epithalamia in honorem . . . Christophori Butelli (1602), at B2r (one might speculate as to the relationship between this dedicatee and the one above);

3. an anonymous Greek skyphos or vase with mesostic intextus, from the anonymous Viro reverendo et clarissimo Domino M. Christophoro Betulio (1607), at A4v;

4. a German wedding candle poem by Joachim Duncker (n.d.), celebrating the nuptials of Joachim Fabricius and his bride Dorothea Sophia in 1667;

5. and 6. two wedding poems, presumably by Peter Forstenovius (n.d.), one, trombone-shaped in Latin (see Fig. 2.115) and one a Greek lute (see Fig. 2.116), for the wedding of Andreas Runge and Anna Hesehusen (n.d.), in the pamphlet Epithalamia in gaudiis nuptiarum dn. Andreae Rungii . . .;

7. a 1620 pamphlet, Hymenaei in honorem nuptiarum . . ., includes a Latin wedding chalice by Laurentius Ladanius (n.d.) in honor of the marriage of Wakter Lyndsay and his wife Barbara;

8. a Latin chalice by "Petrus Langiades," in the A mores Tesemeria-Rhetiani (1650)the printer is unknown, but it could be a member of the Rhete family, since we know Georg Rhete came to Gdansk from Szczecin (the title of this pamphlet seems to imply this);

9. an elaborate wedding chalice poem on a broadside by Christoph Schabeloek (n.d.), celebrating the 1688 wedding of Paul Wividts[?] and Dorothea Sophia Kruger;

10. and 11. an anonymous pamphlet, Condolentiae et affectus statua . . . Johanni Dillies (1657), containing a cross (see Fig. 2.117)by Friderich Schermer (n.d.), at C2r, and a monument by Casp[ar?] Voigt at B2r (both these texts are in German; the dedicatee was the Burgermeister [mayor] of the city);

12. also by Friderich Schermer, a German monument in his Adlicher Wittwen-Kranz (1658), at A2v (the work is condolences to "Frau Burgstorsin," a twenty-four year old widow);

13. a Latin poem of 1614, by Nicolaus Senyestachius (n.d.), celebrating the consecration of Nicolaus Senge at the University (it alliterates entirely with a letter "C" and has an oil urn intext);

14. a charming Latin wedding lute for the 1606 marriage of Christian Schwartzen and Regina Volscovia, presumably by Timothy Schwirse[?] (n.d.); and

15. a Latin poem with cruciform intext memorializing Andreas Trojanus, by Johannes Stargadius (n.d.)

From Griefswald comes the anonymus "Hochzeit-gedicht Herrn Michel Beringen . . ." (Greifswald: Jacob Jeer, 1647) which includes, at A2v, a German chalice. Other pieces from the city are listed among the Neo-Greek and Neo-Latin pieces.

Page 145

 Figs.  2.115 and 2.116. 
Peter  Forstenovius (Seventeenth-Century) 
of Szczecin, formerly Stettin, composed 
these trombone- and lute-shaped poems for 
a wedding in the mid-years of the 
Seventeenth-Century. See page 144, 
above. Courtesy Piotr Rypson.

Fig. 2.117. 
Friderich Schermer (Seventeenth-Century) 
of Peukuhn in Pomerania composed this cruciform 
poem. It was printed in the anonymous pamphlet 
Condolentiae et affectus statua . . . Johanni Dilthes 
(1657) c2r. See page 144, above. Courtesy 
Piotr Rypson. 

Page 146

If we combine the Polish and Gdansk materials, the most prevalent forms are, in descending order, labyrinthi cubici, goblets or wedding cups, crosses, complex mesostics with versus intexti, pyramids, stars, buildings, columns, chalices, rhombi or lozenges, concentric circles, hearts, carmina quadrata, mitres, rings, suns, and wreaths, with the rest being unique forms. If we count only the Polish pieces, the most characteristic forms are pyramids, mesostics with versus intexti, crosses, stars, buildings, columns, labyrinthi cubici, rhombuses, mitres, and rings, with the rest unique forms. If we count only the Gdansk pieces, the most prevalent forms are labyrinthi cubici, goblets or wedding cups, crosses, chalices, sets of hearts, suns, wreaths,and mesostics with versus intexti, with the rest unique forms.

Thus, even allowing for the disappearance of some forms because their classifications in this work are different from how other readers might have made them, the Gdansk group does not include such forms as the buildings, columns, mitres, and pyramids of the other Polish pieces, while the other Polish ones do not include so many labyrinthi cubici. However, labyrinthi are, as noted in our German section, rather rare in German apart from these Gdansk pieces.

Another noteworthy thing in the Polish materials is that they often, as in the pieces by Jagodynski and Nieweglowski, use coats of arms in their imagery. Apart from Bonifacio Baldessari's Neo-Latin pieces using the coat of arms of Domenico Molino, this is unknown outside or very rare outside of Poland, though not surprising considering the power and influence of the landed nobility there during this period.

Slavic (Continued)

§ Russian

Considering the large number of pattern poems in Polish, it is perhaps remarkable that so few are known in Russian; in addition, we are unaware of any Russian work on the subject.

There is a pyramid by Gavriil Romanovich Derzhavrin (1743 1816) in Tschizhewski (1958, 43). On page 443, Tschizhewski describes a second piece by Derzhavrin, a coffin-shaped poem in memory of Suvorov and dating from 1800. But this turns out, on examination, to be more of a coffin inscription than a poem. The references are, in Derzhavrin, edited by Grot (1869, 2: 220 3, and 1870, 3: 194-6, 380).

A rhombus-shaped poem by Erl Martov (n.d.), "Rhombus," appears in Briusov (1894, 2: 34) and in Janecek (1984, 8).

Alekseij Andrejevich Rzhevskij (1737-1804) also has a rhombus-shaped poem. We cannot determine where it was first printed, but it appears in Stepanov (1949, 85).

Simeon Sitianovich Polotskij (Simeon of Polotsk, 1629 80) has five pattern poems in Polotskij (1955):

1. a circular piece, perhaps not a pattern poem, which resembles a great hall, on page 8;

2. a cross, on page 113;

3. a labyrinth on the "TS" letter with As in the corners, on page 21 (the piece follows exactly the form of the Byzantine Greek labyrinth for Eudocia Macrenbolitissa (tenth century), suggesting that Polotskii may have been aware of either that piece or its tradition);

4. a heart, on page 119 (see Fig. 2.118),reprinted in Rypson's "Poesia visual" (1980, 57) and in "Poezja wizualna" (1981, 41); and

5. a star, on page 128, reprinted in Janecek (1984, 7).

§ Ukrainian

There are two known works in Ukrainian literature in which pattern poems appear: Mytrofan Dovhalevskij's "Hortus poeticus" (1736) and the works of Ivan Velichkovskij (1687 1726) collected in the Tvorij (1972).

The Dovhalevskij "Hortus poeticus" exists in two original manuscripts, kept in the Central Research Library

Page 147

Fig. 2.118. 
A Russian heart by Simeon of 
Polotsk (1629 80). See page 146, above.

of the Ukrainian Academy of Sciences in Kiev. The first is numbered "521" and the second "261." They were edited toether and the Latin portions translated into Ukrainian by P. Masliuk, using mostly "521," but with some references to "261," and published as Poetyka: sad poetychnii in 1973. The pieces are, referring to this edition.

1. a Latin crowned heart, on page 280;

2. to 5. four labyrinths, on pages 290, 291, 294, and 295; and

6. a Latin cross, on page 293 (see Fig. 2.119).There are also three rebuses on pages 253-5. The pieces in Ivan Velichkovskij's Tvorij (1972) are:

1. a flame, facing page 73;

2. a labyrinthus cubicus,on page 74, with color plate between pages 72 and 73;

3. an anagrammatical poem on the name "Maria" which looks like a chalice but is not;

4. a pyramid, on page 82 (see Fig. 2.120),with color plate facing page 81, reprinted in Piotr Rypson's "Poezja wizualna" (1981, 41);

5. to 8. a set of four more labyrinthi cubici on, page 84.

The plates reproduce the original manuscript materials, while the numbered pages are typeset.

§ Czech (Bohemian) & Slovakian

No pattern poems are known in Slovakian, but Czech literature includes fifteen pattern poems in German and Latin, and one in Czech. All are occasional verse. ¶ The former Strahov Monastery is now part of the Museum of Czech Literature; its library contains a collection of broadsidesincluding wedding and funeral announcements, and other memorabilia, acrostics, mesostics, puzzle poems, and so on. Many acrostics, mesostics, puzzle poems, and so on. Many of the most striking of these were printed at Praha (Prague) by Georgius Nigrinus, documented in "Farbige Figuralacrostichen aus der Offizin des Prager Druckers Georgius Nigrinus (1574/1581)" by Dr. Mirjam Bohatcová (1982), who also wrote "Deutsche Einblattdrucke des 16. Jahrhunderts im Prager Sammelbuch des Václav Dobrenský" (1979), an article describing forty pieces in an album containing som four hundred broadsides. Both articles include some startling visual acrostics and mesostics, but none are, per se, pattern poems. Most of the information given below was graciously given by Dr. Bohatcová, to whom thanks are due, as there is as yet no systematic study on pattern poetry in Czechoslovakia; however, Dr. Bohatcová and others have written about them, Dr. Daniela Hodrová and Eva Adler have researched them, and it remains only for someone to publish them. The "E" number of the listings below stands for "Enchiridion," the key word in the name of a work by Josef Hejnic and Jan Martínek, Rukovt * humanistického básnictví/Enchiridion renatae poesis in Bohemia et Moravia cultae (1966-82), whose five volumes provide the standard descriptions of books from this literature, and in which the books containing the pattern poems are also described. None of the books listed in the Enchiridion are known to be in holdings in American libraries.

An anonymous maze in German which is really shaped prose, not a pattern poem, is on a broadside in the Národní Muzeum in Praha (Library of the National Museum), "Inv. Nr. 102 A 145," and also in a pamphlet of 1620 in the Bayerische Staatsbibliothek, "4° J. publ. E. 103," at München.

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It deals with the outbreak of the Thirty Years' War, and it is printed in Kern (1982, 326, fig. 412), who cites Bohatcová (1966, illus. 1) as mentioning that it appeared both separate and in a seven-page brochure. Dr. Bohatcová writes (24 January 1985) that she did not mention this maze.

Václav Dobrenský's album does contain two pattern poems or near pattern poems:

1. "Zalm CXVI" (Psalm 116) by Benjamin Malý (n.d.) of Tulechov, dating from 1589; a lovely piece, printed by Jan Suman in Praha, a cross over a heart inscriptus containing the Czech prose text, "God in the cross brings happiness to the hearts of the sad" (it was located for us by Eva Adler of London and was confirmed by Dr. Bohatcová, who points out that it is number 343 in Dobrenskýs album); and

2. A Latin broadside, "Munus honorarium," by Matthäus Philomates von Walkenberg (n.d.), with the inscript of a splendid wedding chalice, composed for the marriage of Isabella von Pernstein with Albert von Firstenberg on the Pragerburg, printed at Praha by Georgius Nigrinus in 1578 and number 5 in Dobrenský's album, in E 4, page 168.

There is a truly elegant German chalice of 1621 (see Fig. 2.121) by Paul Haugsdorf (n.d.), parson at Hirschfelde, in a broadside, Spirituale poculum nuptiale, den christlichen Hochzeit-Gästen . . ., eingeschenckt (Zittaw: Joachim Clemens, 1621), reprinted in Bohatcová's Humanistické jednolisty z Luice (1957, 152). A copy of the original is in the Národní Muzeum at Praha, listed as "10 A 152."

An egg, apparently modelled after the one by Simmias of Rhodos, listed in our Greek section (see Figs. 2. 1 and 2. 122),was composed by Jan Haidelius of Rassenstein (n.d.), number 20 in Musa illustrissimi . . . principis . . . Caroli [Lambergia a Lamberg] (Praha: Daniel Sedesanus, 1607), in E 3, page 133.

There is a vase or chalice by Tomá Mitis (1523 91) on folio 82r of Prima Farrago sacri argumenti poematum ab aliquot studiosis . . . scriptorum . . . adJoannem sen. Hoddeiovinum . . . poetarum Mecoenatem (Praha: Iohannes Cantor, 1561), E 2, page 319.

There is another vase or chalice by Michael Nanticovius (n.d.) in the work for the marriage of Joachim Golz, rector of the school at Jihlava, Encomia et vota, 6 (Praha: Georgius Nigrinus, 1591), in E 2, page 224.

There are three pieces by Pavel Nemcanský (n.d.) in Vota strenae loco anno 1615 missa, (Praha: Samuel Adam a Veleslavín, 1615), numbers 3, 4, and 5, in E 4, page 20:

1. an anchor with mesostic for Matthias Konecný;

2. a chalice for Matthias Cyrus[?]; and

3. another chalice for Dr. Georgius Erastus.

There is also a vase or amphora for Zikmund Podkostelský (1594-1652), written by Johannes Nigrinus Bohemo-Brodenus (n.d.), in Podkostelský's Chairosyné anamnésis . . . (Praha: Matthias Pardubicenus, 1616), number 9, in E 4, pages 205-6. Podkostelský was in exile in Gdansk around 1642, where he figures in the Gdansk pattern poetry of the time, listed in our Polish section, but he returned to Praha around 1652, shortly before his death.

Eliás Nysselus (n.d.) composed a graceful vase or chalice for Nicolaus Spissius (n.d.), in Spissius's Ampliss. inclitae Cuttebergae senatui metalicae rei

Fig. 2.119. 
A cross in Latin by the Ukrainian Mytrofan 
Dovhalevskij (Eighteenth-Century) from his "Hortus 
poeticus" (1736). See page 146, above.

Page 149

encomium (Praha: imprimebat P. S. [Pavel Sessius], 1607), 2, number 3, in E 5, page 151.

Pavel ofJizbice [Gisbicius] (n.d.) has an altarshaped poem in his Schediasmatum farrago nova . . .(Leyden [Lugduni Batavorum]: Christophorus Guyotius, 1602) 6, 43v, in E 2, 472. It is also number 62 in the Album Sophoniae Hasenmülleri. The book is known in several copies in Kraków, London (British Library "1070.d.18[3]"), and Praha (where there are three copies).

Also by Pavel of Jizbice is an inverted, truncated pyramid for Václav Rokycanský (n.d.) in the Venceslai Rokycanski feriarum poeticarum . . ., libelli tres (Dresden: Christian Bergen, 1609) 2a, number 3, in E 4, pages 340 1.

A Latin carmen cancellatum of 1580 by Michael Raid (? n.d.) appears in Bohatcová (1979, 176). The most interesting thing about it is its early date. The shape of the intextus is that of a shield.

A chalice by Martin Rhacopaeus [Vodnanský] (n.d.) appears in Propempticon . . . Zachariae Brunsvicio Pardubiceno Praga . . . Zatecium vocato (Praha: officina typogr. Schumaniana, 1606),

Fig. 2.120. 
A pyramid  by  Ivan Velichkovskij 
(1687 1726). See page 147, above.

number 3, in E 1, page 230 and 4, page 311.

There is a chalice by Esaias Vochius (n.d.) in his Amplissims . . . viris . . . consuli et senatoribus . . . civitatis Maioris Strezelicii. . . parsimoniae encomium (Praha: Paulus Sessius, 1607), number 5, in E 5, page 527.

No pattern poems are known in Moravian, or even by Moravians. However, the Moravian visionary psalmist Jan Amos Komenský ("Comenius," 1592-1670) wrote a work, Das Labyrinth der Welt (1623) which uses the poetic labrinth image, although not its form.

Fig. 2.121. 
Paul Haugsdorf (Seventeenth-Century), parson 
at Hirschfelde, composed this chalice for a wedding in 
1621. See page 148, above. From the broadside, Spirituale 
poculum nuptiale, den christlichen HochzeitGasten . . ., 
eingeschenckt (Zittaw: Joachim Clemens, 1621). Collection: 
Národní Muzeum at Praha, CSSR, "10 A 152." Reprinted 
by permission.

Page 150

§ Croatian, Serbian And Other South Slavic Languages

Pattern poems are rather rare in the south Slavic languages. More must exist than have been reported, and they are being researched by Harold B. Segel of Columbia University and by Dr. Denis Poni of Ljubljana.

Unless one counts the "De litera pythogorae" of Janus Pannonius (1434-72) as being by Ivan Cesmicki, his Croatian name, the only reported Croatian pattern poem is a verse translation of "Psalm 116" by Ignjat Ðordjic (1675- 1737) in the form of a slavonic cross on a pedestal with an outline (see Fig. 2.123), in Ðordjic (1926, 2: 385). We list Janus's work in our Hungarian section.

In Serbian, two labyrinthi cubici appear in Pavic (1970), one by Mjcejy (undated) on page 170, in the slavonic alphabet, and the other by Zacharija Orfelín (1726-85) from the Malovaznoe privjetsvije (1757), reproduced facing page 169 of Pavic (1970), where it is described as a magic square, which it is not. Pavic's book also includes reproductions of shaped prose and calligraphic labyrinths, these last similar to the German pieces of the sixteenth and seventeenth centuries by Fugger and others, described in our section on labyrinths in Chapter Five; see Pavic (1970, 173 5). An article on Orfelín's pieces, describing the circumstances under which they came to be written, is Mita Kostic's "Zacharias Orfelins Kalligraphie" (1915).

One pattern poem by Milan Dolinar (1870? 1914) has been found by Dr. Poni, the only one known in Slovenian. A rhombus, evidently written between 1895 and 1900, when Dolinar was a student in Vienna, it is printed in A. Debeljak's "Likovno pesnistvo" (1922, 296).

None are known in the other languages of what is today Jugoslavia.

§ Other Slavic Languages

Besides the pieces we have already reported, there is a pattern poem in Old Ukrainian Church Slavonic, on a broadside dated 1623 (see Fig. 2.124),by Elysei Pletenechkij, a monk from the "Grotto Cloister" near Kiev. It is reprinted in Titov (1924), 79 folio numbers in Slavonic]), and is described in Tschiewski (1958, 44 5).

Bulgarian literature was deeply influenced by Byzantine, in which pattern poetry is rare. Later, it was suppressed during the long Turkish occupation. There may be a few pattern poems, perhaps cross-shaped ones, but they have not been reported.

None of the other Slavic literatures are known to have pattern poems.

§ Other European Languages And Literatures

Albanian was not a language with an extensive written literature during the best periods of pattern poetry, and so it does not seem likely that pattern poems will be found there. Basque is primarily a folk language and literature, and so, while it may have visual pieces in itcrosses, valentines, etc.it does not seem likely that there will be very many. Breton seems unpromising, for

Fig. 2.122. 
Jan Haidelius z Rassensteinu (Seventeenth-
Century) modelled this piece after the egg of Simmias
 of Rhodes (see Fig. 2.1, above). See page 148, above. 
From  Jan  Haidelius z Rassensteinu, Musa illustrissimi
 . . . principis . . . Caroli [Lambergia a Lamberg] 
(Praha: Daniel Sedesanus, 1607) n. 20.

Page 151

the same reasons as Basque. Estonian, because of its Swedish influence, may have a few pattern poems. They have not been reported, however. Of the Baltic literatures and languages, Lettish (Latvian) seems the least promising for the same reasons as Basque.

However, Lithuanian has a baroque literature, mostly religious and in Latin. It was united politically with Poland from 1569 to 1797 and, naturally, there was a profound cultural influence. Although Luther's shorter catechism was translated into Lithuanian and printed in 1547 (at Königsberg), well before anything was printed in Russian, Lithuanian was primarily used as a spoken language, not a literary one; in any case, the elite spoke Latin, Polish, or French, and this was the case well into the eighteenth century, until the time of Christian Donalitius (1714-80), but that was after the main period for pattern poetry. Thus, any Lithuanian pieces are likely to be in Latin and to resemble the Polish pieces. Vilnus was the site of the main Lithuanian university, but in the seventeenth century it was rather provincial. One pattern poem is known from Vilnus, Mlodinski's piece in our seventeenth-century Polish section, but the poet's name is Polish, not Lithuanian, and we see no particular reason to call

Fig. 2.123. 
The only known Croatian pattern poem is 
this verse translation by Ignjat Dordjic (1675 1737) 
of "Psalm 116." See page 150, above. From 
Djela Ignacija Gorgi (1925-6) 2, 385.

it a Lithuanian piece, regardless of its place of publication.

Roumanian literature was also largely an oral one until recently. There is a tradition of beautiful gravemarker inscriptions, fanciful decorations on wooden crosses for the most part, but these are shaped prose. A work called the Reportoriul monumenteler si obiecteler de arta din timpal lui Stefan cel mare (1958) shows some of the riches of Roumanian Old Church Slavonic manuscripts. In fact, shaped prose is found in at least one of them, the "Acts of the apostles" (ca. 1445) in the Staatsbibliothek in Wien (number unknown) described in Iorga (1934, 1: 47-8) and partially reproduced in volume 1, part 3, plates 27 76. All this suggests that pattern poems may well exist in the late medieval and renaissance period before the Turkish conquest.

Fig. 2.124. 
A monk from the Grotto Cloister near Kiev, Elysei 
Pletenechkii (Seventeenth-Century) composed this 
poem in Old Ukrainian Church Slavonic. See page 
150, above. From  F. Titov, Materialy do istorii 
knyzhnoi spravy na Ukraini v 16 18 b.b. (1924, 79). 
Courtesy of the Slavonic Division, The New York 
Public Library, Astor, Lenox and Tilden 
Foundations.

Page 152

Fig. 3.1. 
The wife of a court official in the Han Dynasty, Su Hui (2nd Century A.D.) wrote 
this text lamenting her husband's infidelities, expressing her feelings and pleading for his 
reform. It is said to be capable of being read in 40,000 diferent ways. Graphically this 
version is only one of many possible arrangements of the ideograms. See page 153, 
below, and Dr. Franke's discussion of this piece in Appendix I, page 212.

Page 153

CHAPTER THREE
ANALOGUES OF PATTERN POETRY FROM OUTSIDE THE EUROPEAN LANGUAGES AND LITERATURES

The Far East

§ China

In The Strictest Sense, no pattern poems are known from China, since the written language is nonalphabetical (though it does include several syllabary systems); thus, there are no letters to array, and virtually all the pieces which consist of arrayed characters are not intended as poetry so much as verbal constructions for recreational or other purposes. Nevertheless, the distinction seems rather academic, since the pieces might well be taken as poems by some. Such pieces are known as hui-wen, and we shall come to them presently. That they resemble pattern poems was not lost upon early commentators. They are mentioned in Richard Eden's The history of trauayle in the west and east indies . . . (1577, 356), a fact which may not be without significance for Puttenham's theory that pattern poems came from the East. They are also mentioned in González Estrada's magazine, El piston 7 (June 1864, 1-2), discussed in Chapter Two in our Spanish section.

There are also many Chinese pieces which are talismans and interesting calligraphic distortions of ideograms, even some pieces which are rather mysterious, since they do not relate to normal Chinese writing directly, known as ''Thunder writing." The art newspaper devoted to the visual text, Kaldron 14 (Spring 1981) includes a selection of such Chinese pieces made by the London poet Peter Mayer, largely culled from Fr. Henri Doré (1911 and 1913). But these belong more to the world of magic and religion than to poetry.

Two examples of shaped work which are literary are:

1. a love letter by Su Hui (fourth century A.D.) that was brought to our attention by Richard P. Hayman of New York-it is a complex labyrinthine grid with multiple diagonals (see Fig. 3.1),and is discussed in detail in Dr. Franke's essay, Appendix I to the present work; and

2. a somewhat similar array of characters, also in Kaldron 14 (see above), a piece that looks like a pattern poem and has been reprinted as such in Cobbing and Mayer (1978, pl. 1), from the Ching hua yuan, an eighteenth-century novel by Li Juchen, whose work is translated as Flowers in the mirror by Lin Tai-yi; in the 1965 edition it appears on page 242, with an even more striking piece on page 243, multicolored in the Chinese editions. However, on close examination, these turn out to be number guides for reading an unusual prose piece and playing a children's game. In Li Ju-chen (1979), these pieces appear on pages 290 and 301. Also, Dr. Franke discusses it in his appendix to the present work.

Three other pieces appear in the Western pattern poetry literature as well, which are not really poetry:

1. There is a piece shaped as a wine pitcher, which is a diatribe against the drinking of wine. It appears in Cobbing and Mayer (1978, pl. 2). This is reprinted from Smith (1914; 1965, 172 5), who compares it with Western shaped texts and finds the latter "obviously inferior," citing an English labyrinth that obviously is inferior as if it were typical of all Western pattern poetry. We discuss this piece in Chapter Two in our English section.

Page 154

Page 155

2. A similar exhortation against the killing of oxen appears in our appendix II as Fig. II-11 (Jha describes it as representing a "wild beast," but it is probably a water buffalo), collected by Doré according to Cobbing and Mayer (1978, pl. 2), but we have been unable to find it in Doré. It also appears in Massin (1970, 177), Peignot (1978, 87), and the New wilderness letter 5/6 (Sept. 1978, 44.

3. A piece similar to the above is in Cobbing and Mayer (1976 version, unfolioed).

However, one piece which is not in the pattern poetry literature, but which is in the very same vein as the three pieces just mentionedand which is high artis the "Portrait of Li Bo [ = Li Po] drawn with ideograms" by Chang Lin (fl. early seventeenth century) in the Denver Art Museum (see Figs 3.2 and 3.3), accession number 1972.68. It portrays the poet, seated, and the lines of the drawing are made up of characters drawn from several of his poems. In this it very much resembles Hebrew micrography (see the Hebrew section of Chapter Two), though this is, of course, only a coincidence. The piece is drawn on a disk shape, with the title in calligraphy at the top and the picture of the poet at the bottom.

The most unique of the Chinese pieces are the hui-wen, sometimes translated as "palindromes," word constructions which are certainly literary if not necessarily poetry. All known hui-wen that he could find out about were collected in Chung-hua Wang's Hui wen wen hsüeh (1966), and its larger, book-format version, Hui wen wen hsüh ch'i kuan (1976). Many of these pieces come from a work of the fourteenth century, Sang Shich'ang's Sang hui wen leichü ("SSK," 266. Taipei: Commercial Press, 1976). A modern piece, somewhat similar, whether or not it is meant to be, is the linguistic specimen composed by Gustav Herdan in The Structuralist Approach to Chinese Grammar and Vocabulary (1964), given as a sort of labyrinth on page 35 with instructions for using it by making it into a moebius strip on page 36 and following.

The most definitive article on Chinese and Far Eastern pattern poetry is the essay by Dr. Herbert Franke, President of the Bavarian Academy of Sciences, included as Appendix I in the present work.

Figs. 3.2 and 3.3. 
Chang Lin (fl. early Seventeenth-
Century) made his "Portrait of Li Bo" using the 
Chinese characters of Li Bo's words, in a manner 
closely reminiscent of Hebrew micrography (see 
Fig. 4.21, below). That is, the lines of the poet's 
body are made up of words of his poems; Fig. 3.3 
is a close-up of the poet's foot in Fig. 3.2. See 
also Fig. 3.4 for a similar piece from Japan. Denver 
Art Museum, acquisition  number "1972.68." Photos 
copyright © 1982 by Denver Art Museum. All 
rights reserved. Printed by permission.

Page 156

§ Japanese

In Japanese literature, the calligraphic tradition is so strong that the visual literary impulse usually led to shaping the characters rather than spatializing them. There are, however, as we shall shortly see, some pieces from Japan that are akin to the Chinese hui-wen.

In our own time, visual poetry has been very strong in Japan and the works of the late Niikuni Seiichi and others such as Kamimura Hiro are among the finest concrete poetry in the world. In fact, the older visual poetry is extremely difficult to obtain. It has not been so popular or revered as one might expect, considering its high quality. One will find examples of the Niikuni and other pieces in most anthologies of concrete poetry, such as those by Williams (1968) or Solt (1969), but such an article as Shutari Muhai's "Concrete poetry: its source and relation with Japan" (1973) all but ignores the earlier indigenous pieces.

The closest thing we have seen to pattern poems from Japan is the genre called ashide-e, which include such things as:

1. a reproduction of a piece of 1688 by Basho, a representation of his pupil's snore, in Ichikawa (1958, pl. II, fcg. p. 30) an array of characters, two horizontal and one, in the center, vertical, surrounded by a wavy line (perhaps it is more in the emblem poetry tradition);

2. a block print of 1697 (see Fig. 3.4) in the Ise monegatari taisei of Kakinomoto Hitomaro (fl. ca. 1700) in the British Library (vol. 1, p. 29, shelf-mark "16114, f. 23") it shows a picture of the poet made up of his words, very much in the manner of the Li Bo piece described in our Chinese section above; and

3. an excellent collection of ashide-e is the "Hyaku-nin isshu," used at the literary contests of the Emperor Gosai (=Gosaiin-tenno, 1637-85, r. 1655-61), where traditional waka from the collection, which featured one hundred poems by one hundred poets, were redrawn by master poets and calligraphers. Waka are poems of thirty-one syllables, which were often composed as part of ceremonies of well-wishing. The "Hyaku-nin isshu," which is a cycle of ashide-e, was published in 1976 by the Mikan-Kokubun-shiryo-kankokai (Society for the Publication of previously unpublished Documents of National Literature) as part of the Gosai Tenno shinkan shikishi-cho (Album-

Fig. 3.4. 
This block print portrait by Kakinomoto Hitomaro 
(fl. ca. 1700) is an example of the Japanese genre 
ashide-e. The poet's body is made up of his words. 
Compare with Figs. 3.2, 3.3, above, and 4.21, below. 
From   Kakinomoto  Hitomaro, Ise monegatari taisei 
(1697) 1, 29, shelf-mark "16114 f. 23" in the British 
Library. Photo copyright © 1984 by The British 
Library. All rights reserved. Printed by permission.

Page 157

collection-of-poetry calligraphied-upon-"poem-cards" in-the-august-hand-of Emperor Gosai), which also includes "Sanjurokunin-Kashu," the work of thirty-six master poets, poetesses, and calligraphers of the tradition. The Shikishi in the title are the square poem cards. They were often decorated with gold dust and offered on the kind of ceremonial occasions we have mentioned, such as birthdays, New Year's, and so forth. The pieces appear quite improvisatory, done as elegant and serious entertainment. The characters are arrayed as squares, sets of diagonal parallel lines, circles, sets of triangles, and so on. It is difficult to tell how closely the texts interreact with their forms, but they are indeed visually arrayed. Examples are on pages 92, 94-5, 104-5, 118-9, 137, 141, 145, 156, 164-5, 167-9, and 172-3. They differ from Western pattern poetry in that they are a reworking of previously existing texts rather than poems in which the visual element is integral; this they have in common with Hebrew micrography, which is not pattern poetry as such but is closely related to it.

Interested readers should see also the article by Dr. Herbert Franke, President of the Bavarian Academy of Sciences, included as Appendix I in the present work.

§ Korean

Since Korean is an alphabetical language in which printing with movable type has been known since the fourteenth century, and in which courtly and middle-class literary traditions are strong, one might expect to find pattern poems in this literature. Nonetheless, none have been reported. We feel certain, however, that they must exist.

The Citrakavyas And Other Analogues Of Pattern Poetry In India

§ Sanskrit And The Prakrits

The visual poetry of India presents a bewildering richness of materials and forms, on which there is very little scholarly writing in the West, and very little from India which is compatible with Western approaches. The feeling one is apt to get, even when one works on these materials in the company of someone who knows the languages and can read the materials, is that what is important to the reader is not what would be intelligible to the Westerner.

The main group of materials are in the main form or group of forms which are called, collectively, citrakavyas. Their main characteristic is that they are works in which a poem (or section of a larger poem) is presented stanzaically but, parallel to this, the poem or section is also presented in a visual shape. These shapes are called "bandhas," and each belongs to an order or class with its own traditions and associations, its own history. Yates (1836, 148 57) gives nine typical and venerable bandhas: a criss-cross (similar to our leonine verses, for which see Chapter Four), named for the path of falling urination of a cow (this is "gomutrika-bandha"; see Dr. Jha's example in Appendix II, Fig. II-7; a drum; a simple wheel (usually with four spokes); a great or potter's wheel, which criss-crosses through the center in several ways; a lotus; a sword; a bow (usually with an arrow in place); a necklace or rosary; and a pyramid or tree or other complex grid. Evidently Yates is deriving his scheme from the Nalodaya of Kálídasa. Yates's examples of lotus, wheel, and sword are reprinted in Newell (1976, 124-6), and the bow is very much like that in the anonymous English piece, "O lovely maid," in our English section in Chapter Two.

Within these basic groups there are other subgroups. Lotuses and wheels are usually clssified according to the numbers of their petals and spokes. In addition to this, there are whole other sets of bandhas not mentioned in Yates, but some of these are discussed in Kapadia * (1954). In Jakobi (1896), a group is mentioned which is based on chess moves,

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having such names as "turangapada," "gaja-pada," meaning "knight's foot" (or move), "castle's foot,'' and so on. In an illustration caption at the end of this book, Dr. Jha says there are a total of 101 bandhas.

There is only one theoretical work in English on the citrakavyas so far as we know, Kalanath Jha's Figurative poetry in Sanskrit Literature (1977), which deals largely with the aesthetics of citrakavyas and is a defense of them against their detractors, which is necessary since the citrakavyas have been attacked as much in India as has pattern poetry, in general, in the West. In his appendix, he gives several examples of citrakavyas: six pieces which resemble labyrinths, four of these similar to our own but arranged by syllable (as befits the Sanskrit alphabet); two lotuses; a six-spoke wheel; an umbrella; a banner; a club; and a drum. He does not give their sources.

Jha also gives an account of the history of citrakavyas on pages 35 61, concentrating on Sanskrit, the most succinct account in English. Kapadia's * study (1954-6) is far more digressive, though it too includes useful information, including a plethora of examples. His historical information is spread throughout his work and is hard to folow. Kapadia* does make an interesting assertion (1955, 65) that Valmiki is believed in India to have been the first Sanskrit poet to have attempted citrakavyas, by means of composing gatri-bandhas, going beyond the six or seven traditional citras of the rhetoricians such as varnacitra. He also cites, as an early practitioner of citrakavyas, Nandisena, "a svetambara* savant" of not later than the sixth century A.D., and cites references from him, but does not include any actual diagrams from him. He then discusses Samantabhadra or Santivarman, compiler of the Jinasataka, of the seventh century A.D.; what he is getting at is that the work includes earlier pieces. From the Jinasitaka he includes three drums (see Fig. 3.5 through 3.7), a lotus (see Fig. 3.8),and two lotus-in-wheel combinations. However, though the first stage of the history is obscure, the second is not. Citrakavyas were composed by many poets, and examples were included by subsequent rhetoricians and authors of works on poetics, especially by Jain savants, whose names are recognizable to a Westerner because of the surname "suri" or "gani" attached to them. During the twelfth to sixteenth centuries A.D., the making of citrakavyas was very

Figs. 3.5 through 3.8. 
Three drums and a lotus from theJinasataka 
(seventh century A.D.), which includes pieces 
by Samantabhadra or Santivarman (seventh 
century A.D.) and Nandisena (sixth century 
A.D.) See page below. From Hiralal R. 
Kapadia, "Illustrations of letter diagrams." 
Journal of the University of Bombay (new 
series) 23, part 2 [Arts number 29] 
(1954, 77-9).

Page 159

widespread in Sanskrit and, more rarely, in the then-evolving Prakrits. (Jha has mentioned, in a personal communication to me, Ajiyasantithaya and the Setubandha of Pravarasena in this regard.) Also by the sixteenth century the composing of citrakavyas spread to the other languages of India and beyond into the surrounding region. Citrakavyas never disappeared; they flourished in the seventeenth to nineteenth centuries, as well as earlier.

Kapadia * (1954) also gives the following other examples: a six-spoke wheel by Devanandi, from the Siddhipriyastotra (eighth century A.D.); a wavy-spoked wheel by Jinavalabha Suri (see Fig. 3.9) from the Dharmasiksaprakarana*(before 1135); a set of five flowers (mostly lotuses); two butter churn wheels and a cow track (gomutrika) by Jinavalabha Suri from the Prasnasataka (1135); and four necklaces and an umbrella by Vagbhata or Bahada* from the Vagbhatalankara*(1175).

In Kapadia (1955, 129-47) the following examples appear: a sword by Hemacandra Suri (1089-1173), from the Alankaracudamani*; six pieces in the form of military itemsa bow, arrows, swordblade (see Fig. 11-2 in Appendix II), and two objects that are hard to identify (missiles?), all by Anandavardhana, son of Nona, in the Kavyalankara*of Rudrata* (ninth century A.D.) quoted by Hemacandra Suri; an incredibly complex wheel from the Devisataka (A.D. 875); an eight-and four-petalled lotus quoted by Namisadhu; and eight-petalled lotus and quiver by Narendraprabha Suri (1282); and an extremely complex blossom and a wheel by Harianda or Haricanda from the Dharmasarmabhyudaya (A.D. 1230), the wheel appearing also in Higgins (1983, 32) and Kostelanetz (1979, 43). He also gives these additional examples: an eight-spoke wheel and eight-petalled lotus (see Figs. 3.10 and 3.11) by Amaracandra Suri from the Kavyakalapata (1300), a plumed fan or chowrie, a missile, trident and plough by Jinaprabha Suri from the Virastavana (1450), a twenty-four petalled lotus-shaped hymn, svastika, vajra and bandhuka svastika by Jayatilaka Suri of Agamike, a complex eighteen-spoke wheel, conch, a type of umbrella, spear and looking glass by Kulamandana* Suri (1409-55) from the Pañcajinahara-stava (1455), six pieces that represent various auspicious signs, including a pair of fish (see Fig. II-5) and an involuted, maze-like svastika by Udayamanikya* Gani* (fourteenth century?) from the Candraprabhasvamistavana (1512), a necklace and set of five small lotuses that are side by side by Samayasundara Gani from the Harabandhastotra (1649/50), and a sixteen-petalled lotus started by Hemavijaya Gani in 1665 and completed by Gunavijaya* in 1681, from the Jinastavana-caturvimsatrika.

In Kapadia (1956, 105 13) there appear the following: two four-spoke wheels (one of which Kapadia calls "crude" on his p. 84), a lotus in a wheel, a wheel, an axe[?], a looking glass (see Jha's Fig. II-3), a pair of snakes touching tongues (see Fig. 3.12), a sort of vajra, a fan (see Jha's Fig. II-3), a tea pot and a handle by Ajitasena (Digambara, ca. tenth century) from the Alankaracintamani*, which is the largest of these works on rhetoric. Kapadia* cites an edition of the work from 1750, but it is clearly much earlier. He also prints and eight-petal lotus by Gunbhadra* of Gunabhadrakirti* (Digambara) from the Citrabandhastava revised by Medhavin (ca. 1750).

Besides the works collected by Kapadia, there are also citrakavyas by Surya Dev (sixteenth century) of which we have a striking circular array of eight lotuses, and a circle of twelve lotuses by Vitthala* (1609 82), both sent to us by Mr. R. K. Joshi of Bombay. This work comes from his Ramakrisnakavyam*(n.d., but in the 1978 ed.).

Fig. 3.9. 
a wavy spoke wheel by Jinavallabha 
Suri, from the Dharmasiksaprakarana*
 (before 1135). From Hiralal R. Kapadia, 
"Illustrations of letter diagrams." Journal of the 
University of Bombay (new series) 23, part 2 
[Arts number 29] (1954, 83).

Page 160

Figs. 3.10 and 3.11. 
An eight-spoke wheel and a lotus in a 
wheel by Amaracandra Suri, from the 
Kavyakalapata (ca. 1300). See page 159, above. 
From Hiralal R. Kapadia *, "Illustrations of letter 
diagrams." Journal of the University of Bombay 
(new series) 24, part 2 [Arts number 30] 

(1955, 136).

Fig. 3.12. 
Two snakes with a text by Ajitasena* 
(Digambara, 10th Century) from the 
Alankaracintamani* (1750). See 
Fig. 3.15 below and page 159. From 
Hiralal R. Kapadia, "Illustrations of letter 
diagrams."Journal of the University of 
Bombay (new series) 24, part 2 [Arts 
number 31] (1956, 109).

Page 161

Apart from the actual citrakavyas, there are also many religious texts which resemble such poems. Sometimes these are arrangements of the characters in the Sanskrit syllabaries, an example of this being the parasol-shaped array of Sanskrit letters from nineteenth century Rajasthan in Rawson (1973, fig. 28). The situation is analogous to the Greek materials of the early Christian period, or to the magical texts discussed in Chapter Four. The pieces resemble poems, but their purpose is spiritual rather than aesthetic power. There are quite a number of such texts in various issues of Kaldron, a magazine devoted to visual poetry; for example, a cosmology of the world as a serpent collected by John Taylor and published in Kaldron 9 (1979, 3). It, too, is said to be from Rajasthan, but its bibliography is not given.

From the point of view of the Western scholar, what really is needed is a full checklist or, ideally, an anthology, giving all known citrakavyas. Kapadia * (1954, 97-104) gives the beginnings of such a checklist, including an attempt to list all the bandhas, which could provide the basis for real genre criticism. Dr. Kalanath Jha has taken up the task, and is assembling the nucleus of what will some day be a comprehensive archive of citrakavyas in all the languages of India, starting with Sanskrit and the Prakrits, but it is a monumental work, and to complete it will take years, especially since so many of the pieces are still in manuscript or are only printed in very rare books. Some idea of the wealth of materials is shown by the fact that almost none of the published examples duplicate each other. Interested readers should study Dr. Jha's essay, a comparison of Sanskrit and Western materials, given as Appendix II at the end of this book.

The citrakavyas remain all but unknown in the West, as our own pattern poetry is in India. There appears never to have been any influence, and no forms duplicate from one culture to the other. But as for parallelism, that there is. Just as our own shapes have traditions, so do the bandhas. The forms are repeated over and over, just as, in German pattern poetry, there are endless chalices, crosses, and hearts. The nature of the relation between bandha and text is something which would be of great interest to us in the West, and let us hope that it will, in due course, be studied.

§ Other Languages Of India

Hîralal J. Kapadia's "Gujarati illustrations of letter diagrams" (1957) gives three citrakavyas from before 1900, which are therefore of interest to us. From Dalpat's Dalapata-kavya (1879), he gives a square with diagonal cross and an umbrella (see Figs. 3.13 and 3.14) on page 68. From Ardeshahr Khabardar's Kav yarasika (n.d.), he gives an encased dagger with a broad base and a square with diagonal and vertical crosses on page 69. His other examples are all from the twentieth century.

Kapadia (1954, 66) mentions that citrakavyas exist in Hindi, and he mentions but does not illustrate two authors and works Bhaiya Bhagavatidasa's Brahmavilasa (Vikrama Samvat*, 1755), and a work by Pravinasimhaji*, Thakor of Rajkot, the Pravinasagara*(n.d.).

Pattern poems are said to exist in Malayalam, but we have not seen them.

In Marathi* there are citrakavyas by at least four authors. We have received examples of works by two, sent to us by Mr. R. K. Joshi of the Indian Institute of Technology of Bombay. By Dasopant (1551-1615), from the "Dasopantanchi pasodi", collected in Dasopant (1950), there is an extremely complex conch shell. Mr. Joshi writes that the original work was written on a piece of cloth four feet by forty feet, and that it included 1600 couplets on Vedanta. Also there are at least thirty-six citrakavyas by Vitthala* (1609 82), collected in his "Rukmini-swayamvara*," in Vitthala (1924), from which Mr. Joshi kindly sent us a snake and an umbrella in the devanagari (ke) script. According to Kapadia (1954, 66), citrakavyas were also composed in Marathi by Palande* and Godbole.

In Tamil, there are many citrakavyas, and, according to Kamil Zvelebil's A History of Tamil Literature (1974, 53 and 217, fn. 62), most of them were collected in the eighteenth century in the Cittirikavivilakkam*of Vi Ko (dates unknown), reprinted in Curiyanarana (=Suryanarayana) Shastriar's Cittra* kavi in 1939. A poetics with examples by Shastriar, it contains the following citrakavyas (by bandha): two gomucitras (cow track or zig-zag: see previous section) on pages 7 and 11; three necklaces on page 13; a pair of snakes on page 17 (see Fig. 3.15); three four-spoke wheels on pages 27, 29, and 31; a six-spoke wheel on page 32; an eight-spoke wheel on page 35; two spirals on pages

Page 162

Figs. 3.13 and 3.14. 
A diagonal cross (or modified swastika) and an umbrella in Gujarati. from the 
Dalapata-kavya (1879) of Dalpat. See page 161, above. From Hiralal R. Kapadia *, "Gujarati 
illustrations of letter diagrams." Bulletin of the Chunilal Gandhi Vidyabhavan 4 (August, 1957, 68).

37 and 39; a four-diamond construction on page 43; a drum on page 54; a set of concentric circles on page 62; three scorpions on page 66; and a sort of chessboard on page 70. This book is not known to exist in any library in the United States, although we have obtained a copy.

As for Vi Ko's work, it is out of print and rare, but Madhavan (1983) is said to be a voluminous study of old and modern Tamil citrakavyas.

There is also a work by Abdul Katoor Sahib Pulavar, presumably a modern editor of older pieces, the Cittitra* kavi malai ("Pictorial garland of poems"), published at Madras without a year, which contains pieces in what are, to us, unusual bandhas: a temple, a spear-shaped "velayutham pantham" (weapon of a Hindu god), "mailvagonam pantham" (a peacock), "iratna naga pantham" (two intertwined serpents), "thiruvadip pantham'' (a sort of mandala with two footprints), "thirukai pantham" (a similar piece with a single handprint), a dentate piece which could be a variant of the sanskrit cow urination bandha (gomutrika), a chariot of the gods such as those carried during temple festivals, and three highly complex lotuses.

No doubt there are other citrakavyas in other languages in India as well, perhaps also from Nepal and Tibet. Identifying and analyzing these will probably have to wait for Kalanath Jha to complete his task of archivizing them.

§ Burmese

Although Burmese literature is not an Indian one, it has come under influence from India from time to time. Burmese visual poetry is very much like Indian citrkavyas in that it employs stock forms which may or may not relate to the contents, and each of these has its own traditions. The main work on the subject is a work by U Thein (Hbo of Hmawbi, ="Mawbi Sayam Thein"), Porana-dipani kyan. [A treatise upon the lexical, orthographic and stylistic peculiarities of the older Burmese literature] (3rd ed. Rangoon: Myama Pidakat Press, 1930, vol. 1-but no other volumes are known, and the only copy of this rare book in the

entire West, so far as we know, is at London Univer-

Page 163

Fig. 3.15. 
Another pair of snakes (see Fig. 3.12, 
above), these in Tamil from Shastri[ar] (1939, 17). 
Tamil citrakavyas are said to be quite derivative 
from the Sanskrit ones. We do not find this to 
be the case; though they are admittedly in the 
same bhandas as the Sanskrit, they usually 
have a distinct style of their own.

sity in the School of Oriental and African Studies). According to Bowler (1970), who prints the sevenpetal lotus (below) as her figure 13, such pieces are called by some term which translates as "jewelwriting," but we doubt this, for reasons we shall shortly come to.

Thein's work includes the following seven anonymous examples, probably from the eighteenth or nineteenth centuries:

1. a seven-petal lotus on page 186, on which Kalanath Jha observed, in a letter of 7 October 1985, "The Indian lotus design has as many as fourteen varieties, with four, six, eight, twelve, fourteen, sixteen, twenty, twenty four, twenty eight, thirty two, forty eight, ninety six, [one] hundred or [one] thousand petals, but never seven petals" (the poem tells of a spaceship(?) circling the earth, each line starting with a "sa" sound);

2. to 4. lily buds (they look like banana leaves, a standard bandha in Indian citrakavyas) on pages 187-9 (see Figs. 3.16 to 3.18) (the first one uses the word "inan" [-"miss," "unforgetable"] in each line, and is a love letter to a prince; the second, similarly constructed, uses the word "nhyo" [ = tired, collapsed]; the third has an extremely complicated rhyme structurethese repeated words are at the base of the lily buds, and the lines branch out from them);

5. a twelve-petal lotus blossom(?) on page 201; this blossom has pointed edges on its petals and comprises a sort of fire flower (the word in common at the intersections of the lines means "power," and the poem is a sort of mantra which translates: "flaming power, lightning power, blossoming power, smelling power, unchallengable power, top-ranking power, power-like master of the universe, strengthening power, commanding power, famous and overwhelming power, ultimate powerful, power-holder"it has a caption that translates "method of twelve-month circle written style," indicating that the piece is also an evocation of the attributes of the months of a year);

6. a cross shape appears on page 234 which, in India, would be a butter church handle bandha, but has simply the caption "four-way circular writing/reading style" (in the center is the word "sat" (="sleep") and also a word for "circle". A rough translation of the four parts is: ''brand new sleeping bed with all flowers spread out on it./ Sleeping partner, very beautiful, like a goddess, enjoys going to bed./ She turns around in a circle and says 'my beloved.'/ Hugging each other's necks, enjoying the sleeping bed, the couple makes love"); and

7. a four-spoke wheel on page 235; one reads from the center out each spoke, and then around the circumference. Wherever there is an intersection, the word there, "three," is part of each line. The poem forms a sort of Buddhist cosmology of trios of things"The three greatest friends of mankind: Buddha, Buddha's sayings, monks;/ the three belongings of mankind are worshipped in three types of mankind: man, god and supreme god

Page 164

. . ." Ultimately these are related to the Shwe Si Gon Pagoda, Nirvana and a Thazin orchid, this last one of the rarest and most highly prized varieties.

The work also contains examples of the "doofigures" (="stone-figures") style, which is a very elaborate anagram form of text construction. Since the term "doo-figures" is so close to "jewel-figures,'' since Bowler's information on these pieces is very incomplete, and since there seems to be no reason why the visual poems should be associated with jewels, we wonder whether Bowler did not mistakenly apply the term "jewel-writing" to the visual poems, in which case we would like to know the generic term for Burmese visual poetry. Does it perhaps resemble "citrakavya?"

For the above translations we are indebted to Mr. Ngoe Soe, currently of Rutgers University in New Jersey.

Figs. 3.16 to 3.18. 
These are three Burmese lily bud 
poems, probably early Nineteenth-
Century. See page 163, above. From U 
Thein, Porana-dipani kyan (1930, 187 9).

Page 165

Islamic Literatures

§ Persian

In the Islamic literatures, the works closest to pattern poetry are found in Persian literature. Paul Horn, in his Geschichte der persischen Literatur (1901, 1: 54), says that shaped texts exist, and what he describes sound very much like pattern poems. He cites the names "Bushâk," "Kârî" and ''Schâjek," but visual poems by these poets remain unreported. The names sound more Turkish than Persian.

However, in his Grammatik, Poetik und Rhetorik der Perser (1874), the poet Friedrich Rückert (1788 1866) gives six examples of Persian pieces from Ghazi, Haft Qulzum ("Seven Seas," A.D. 1820-7), a work written for Ghazi ud-Din Huldar Ali, King of Oudh (r. 1819-27). The pieces are sometimes erroneously dated as "13th Century," but this is based on their A.H. dates. In the book the works appear in volume seven, but Rückert prints them from a manuscript in the British Museum, now the British Library. In the cases of the circles, we are not convinced that these are not rhyming schemes rather than actual poems. Ghazi (1827, 7:89) also has a tree which is evidently a version of an Indian tantric diagram.

1. a six-pointed star (see Fig. 3.19) on plate 1, discussed on page 153. The poem also appears, with a German translation, in Grümmer (1985, 161-2);

2. a complex tree on plate 2, discussed on pages 154-6 and reprinted in Dencker (1972) 31, Rypson "Poesia visual" (1980) 53-5 and "Poezja wizualna" (1980) page 40;

3. a simple tree on plate 3, discussed on pages 159-60;

4. a simple circle on plate 4, discussed on page 184;

5. a more complex circle on plate 6, discussed on page 372. The poem also appears with a German translation in Grümmer (1985, 160); and

6. an extremely complex circle on plate 6, also discussed on page 372.

All these poems are discussed in Korn's "Puttenham and the oriental pattern poem," Comparative literature 6 n. 4 (1954) 289-303. However, they are not discussed anywhere from an iconographic point of view, only from a historical one. analyzing these pieces beyond this will have to

Fig. 3.19. 
A Persian star from the Haft Qulzum (1821 
A.D.). Rückert, Grammatik, Poetik und Rhetorik 
der Perser (1874, plate 1).

be done by actual Persian scholars.

An archer hunting from horseback by Taaliq (sixteenth century?), drawn with calligraphic letter distortions, appears in Peignot (1978, 77), but, though clearly a visual text or poem, it is not a pattern poem in our sense.

The Persian pattern poem certainly needs further research and analysis, and perhaps it will happen as travel to that unhappy land becomes possible again.

§ Turkish

The only known pattern poem in Turkish is the highly comlex "circular ghazal" (see Fig. 3.20) by Shahin Ghiray (Sahin Girai, ca. 1747-87), the last sultan of independent Crimea. It is written in Turkish but in the Persian letter style of Arabic, and it is reprinted as the frontis piece of Gibb (1882) and Higgins (1977); it is also the subject of J. A. Redhouse, "a Turkish circular ode by Shahin Ghiray," (1861) and is discussed in A. J. Korn's "Puttenham and the oriental pattern poem"

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(1954), already mentioned; it is reprinted in Dencker (1972, 53). It is indeed circular, but with the text radiating out in curvilinear lines from a center to the margin, where it reverses and reads inwards towards the center. All the lines begin, therefore, at the center, but with one letter in common there, and where they cross over each other, they share a common letter.

Of course, there are many tughras (tugras), kufic inscriptions, and special monograms in Turkish which are certainly visual and which sometimes look like pattern poetry. But these are based on visual distortion of letter forms, not on their arrangement. Most of them are essentially calligraphic.

As for other Turkic languages than Turkish

Fig. 3.20. 
The circular ghazal of Sahin Girai (ca. 
1747 87), last khan of independent Crimea. The 
text is an alliterative love lyric in which the center 
letter is the first and last letter of each distich, those 
in the radii are the penultimates of each distich and, 
read inversely, follow the initial in each succeeding 
distich. The words in the intersections are common to 
each intersecting verse. Thus the ode begins and ends 
at the center, through the radius which points directly 
upwards. From  Dick Higgins, George Herbert s
 pattern poem: in their tradition (West Glover, VT: 
Unpublished Editions, 1977, frontis). Copyright © 
1977 by Richard C. Higgins. Printed by permission.

itself, no pattern poems have been reported in these, although the highly cultured courts of Central Asia are the sort of place one might expect to find them. Furthermore, Puttenham (1589; 1936; 1969, 93-4) cites "Tartary" as the land of the origin of the pattern poem. Might he have had access to pieces which we do not? Interestingly, Sahin Girai was a Tatar, the turkic people for whom "Tartary" was named. It might well be that he was working in a tradition which will reveal itself some day.

§ Arabic And Other Islamic Literatures

Arabic visual poetry has tended to be calligraphic, based on the systematic distortion of letter forms for decorative or expressive effect, which is, as we have already stressed, a very different matter from the placement of letters, words or lines in a visual array. An Arabic letter can be fitted into virtually any overall shape, and this has led to marvelous works, of which a selection is in Peignot (1978, 70-9) (see Jha's example in Fig. II-10).The tradition is, moreover, still alive. The artist Ahmad al-Ansari of Kuwait has sent us three pieces by Abbas Mahmud Al-Aqqad (1889-1964), an Egyptian, from the newspaper Al-Siyasah for 23 November 1983, of which one is a near-pattern poem, a circular design with six clusters of Koranic texts on what look like flower pods. Such pieces are only erroneously called "tughras," since that term should be reserved for pieces on monogrammic texts.

There are also magical talismans which resemble pattern poems, such as that in Skinner (1980, 43) dating from the eighteenth century, attributed to "Idris," and in the Bibliothèque Nationale in Paris, "Ms. Arabe 2631, fol. 64v" More such pieces apper in Cobbing and Mayer (1978, pl. 2) and in Massin (1970, 174-5). The style is extremely widespread, today as well as in the past, and pieces are found from Morocco in the West to Malaya (see Fig. II. 10) in the East.

Kufic inscriptions are pieces in which the letters are distorted from their usual normative forms into special shapes; for example, those that are rendered rectolinear are called "square kufic." See our example in Fig. 3.21. They are more like lapicary inscriptions (see Chapter four) than pattern poems, and, indeed, they are frequently used as architectural ornaments, being found, for example, on many or

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Fig. 3.21. 
A kufic text with the name of Allah and the companions of the prophet 
Mohammed. Usually such texts are rectangular, not octagonal. This is the closest thing 
one finds in Arabic to the western labyrinths. See page 166, above. From Jérôme 
Peignot, Du Caligramme (1978, 71). Reprinted by permission.

most of the Seljuq arches and kümbets from Bursa and Konya in Turkey to Bukhara and Samarkand in Uzbekistan (USSR). Kufic inscriptions are one of the major bases of modern Islamic art.

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Languages And Literatures In Which No Pattern Poems Have Been Reported Or Published

Of course, a complete list of languages and literatures in which no pattern poems have been reported would be a rather pointless task, since it would consist, for the most part, of blanks. But in many cases it seems likely that pattern poems will be found, while in others the reader might question why none are known. Any answers we give to such a question are our own considered speculation, based on the experience of collecting these pieces, but we hope they are speculations which will in due course be proven wrong.

African literatures have long traditions, but they are oral. Before 1900, the only two which were written were Amharic, in Ethiopia, and Hausa in the southern Saraha, especially Nigeria. There are, however, pattern poems that may be from Africa. There is a tradition that P. Optatianus Porphyrius, whose works are described in Chapter Two in our Latin section, came from Africa. Furthermore, the Phaistos Disk, known from Crete and described in our Greek section in Chapter Two, is also possibly of African manufacture, since it is in Minoan A and no ancestry is known for such writing. This possibility is discussed in Diringer (1968, 1: 44).

No pattern poems are known in Aramaic, although an incantation bowl is included in Rothenberg (1978, 508) which is very close to being one (see Fig. 4.6).For numerous examples of these bowls, see Montgomery (1913).

No pattern poems as such are known in Armenian. However, the Russian symbolist poet Valerij IAkovlevich Briusov (1873 1924) collected a poem in his Armianskaiia sriednekovaiia lirika, on page 89 of the 1956 edition (retitled Armianskaiia poeziia v perevodakh), which is an anonymous piece in Russian translation that appears to be in the form of an altar.

A Babylonian inscription, probably from the seventh century B.C., is included in Peignot (1978, 4). Four spiral texts on "demon-catching bowls" are described and reproduced in Budge (1930; 1978, 283 90) from pieces in the British Museum, but nothing else akin to pattern poetry is known from Babylonia.

The courtly literature of Cambodia probably has pattern poetry, since such pieces are most often found where a courtly tradition exists, even in the absence of a large middle class; but very little Cambodian (Khmer) language material is available apart from modern works.

Although ancient Egyptian is a highly visual language, it is so enmeshed in tradition that any degree of formal experimentation is quite rare. Nevertheless, an intriguing stela of the XXth Dynasty (ended 1090 B.C.) with a near-labyrinth "crossword" hymn is described in Stewart's article (1971) in our supplementary bibliography (see Fig. 3.22 for an illustration of a portion of the stela). Two more such pieces are described in Clèrés article (1938).

From Ethiopia, one Coptic piece is known which is a near-pattern poem, a cross with circles, printed in Bowler (1970, fig. 25), where it is described as being a "medical and magical text." It is said to be in the British Museum, but no more information is given concerning it. We have heard of the existence of other such texts, but have not found them. No pattern poems are known in Amharic or the other Ethiopian languages, as already noted.

Indonesian literatures, Javanese and the rest, are very unvisual. Even though Indonesia has the world's largest muslim population and though Arabic is widely studied by muslims, tugras are unknown. It seems unlikely that any pattern poems or pieces closely analogous to them will be found in Indonesia.

Lao (= Laotian), like Cambodian, may well have pattern poems. However, Laos maintained a simpler court than Cambodia throughout its history, and finding any large number of pieces seems unlikely.

Of all literatures, Mongolian and its related literatures are perhaps the least visual. Professor John Richard Krueger of the University of Indiana wrote us, in a letter of 19 May 1983, that where poetry is included in a text, it is sometimes not even recognized as such because it is visually so enmeshed in the prose, and that this was a point he made in his PhD dissertation (listed with our other dissertations). However, Krueger explains, when a group wanted to complain to their leader about something, they would sign in a "dugilang," a sort of circular round robin, so that none could be identified as the leader of the dissenting group. This is

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Fig. 3.22. 
This is the upper portion of a transcription of a stela of the XXth Egyptian Dynasty 
(ended 1090 B.C.) with a near-labyrinth crossword hymn. See page 168, above. From H. M. 
Steward, "A crossword hymn to Mut," Journal of Egyptian Archaeology 57 (1971, plate xxv). 
Reprinted by permission.

the closest to a visual text that one is likely to find.

In the Native American (Indian and Inuit) languages, we have heard of visual poems in the Cherokee syllabary; but these have not surfaced. Nor has anything been reported in the languages of Mexico and Guatemala, where a strong literary tradition existed. As for the other North American languages, there was no alphabet as such, and though the inscriptions are certainly visual, writing was information-oriented, poetry was oral, and pattern poems therefore seem extremely unlikely.

Tagalog might well have some visual poetry, though none has been reported, but it would most likely be calligraphic, reflecting the Muslim presence.

Thai (Siamese) has a long courtly literary tradition, and, since some pattern poems are known in Burmese, one might expect to find some in Thai as well, but they have not yet surfaced.

There are only near-pattern poems known from Tibetan literature. For example, there is a scorpion talisman in Kaldron 9 (1979). charm, a demon with a drum, appears in Bowler (1970, fig. 14), along with a "Yañtra of Mañjusri," reprinted from Waddell (1934, 144), but both are basically drawings with the text filling up their insides to provide shading for their subjects.

Vietnamese has visual poems which reflect the hui-wen tradition of China, nearby. They are classed among the "thuan ngich doc" ("downstream and upstream writing"), as pointed out in Dr. Franke's article in our appendix. So far as we can find out, none have ever been published in the West, and we have no bibliography on works that are published in Vietnam. However, we have received a Tang dynasty poem in this genre from Trán Quang Hai, now of Limeil-Brevame, France. It is a long palindrome and is not visual. Evidently the genre includes many different kinds of work.

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Figs. 4.1 and 4.2. 
Two Byzantine acrostics. The one with an X intextus is by Loukas Chrysoberges 
or Chrysoverges, Patriarch of Constantinople from 1157 to 1169/70. The 
acromesotelestic is by Zacharias Skordylios (Sixteenth-Century). See page 172, below. 
Chrysoberges' text is from  O. Lampsides, "Diometa infanton etichoi Byzantina 
echimatika poimata." Theologia 53 n. 2 (1982, 1148). The text by Skordylios is from 
Theodoros Photeinos, "Ermodoroe  Zakinthoe." Ellenotsnétsoi (Hellenomnenon) 
1 (1843, 314).

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CHAPTER FOUR
ANALOGUES OF PATTERN POEMS

Acrostics, Telestics And Mesostics

Of The Various Forms which are close to pattern poetry but not really part of it, the large acrostic family is one of the most conspicuous, partly because one finds so many examples of such pieces, and partly because they comprise such a large group of similar forms.

Acrostics are texts, not necessarily poems, in which the initial letters, read vertically, form a word or inscription.

Telestics are texts in which the last letters of the lines, read vertically, form a word or inscription.

Mesostics are texts in which there is some kind of alignment of letters in the interior of a text, so that the aligned letters form a word or inscription, sometimes called an "intextus" or "intext."

The above terms can be combined, so that when one finds a text which is both an acrostic and a telestic, it is sometimes referred to as an acrotelestic. Similarly, one meets occasionally with such words as "acromesostics," "acromesotelestics," and "mesotelestics." Not all acrostics, mesostics, or telestics are visual poems in any meaningful sense; and because they are not really pattern poems, we have made no attempt to document any large number of them, though we note their presence in passing. Some large study should be made of these forms, but a small one will suffice for our purposes.

One variety of mesostics which we should note here is the "carmen cancellatum," in which the basic text is a field, almost always a rectangle, and a shape of some kind "cancels out" letters from the background field in such a way as to form an intextus. This form was brought to perfection by Hrabanus Maurus (784-856), in whose De laudibus sanctae crucis (ca. 845) there appears a figure of Christ on the cross, in which Christ's halo cancels out the inscription "Rex regum et dns. dominorum" (King of kings and lord of lords). This work is described fully in our medieval Latin section in Chapter Two.

The history of this family is obscure, but so far as we can tell, the earliest Greek acrostic which can be fully documented is by Aratus (third century B.C.), described in J-M. Jacques's "Sur un acrostiche d'Aratos" (1960). A possibly earlier one is in "The art of Eudoxus," an illustrated papyrus in the Louvre in Paris, described in W. Brunet de Presle (1865, vol. 18, pt. 2, pp. 25-76 and pl. i-x), and in Brown (1963, 74ff). This is a matter of some controversy, best summed up in William Levitan's "Plexed artistry: Aratean acrostics" (1979). Bibliography on Greek acrostics will be found in Gardthausen (1913, 2: 62-4) and in Krumbacher's article (1903) and Marcus's (1947), with some information there on Latin and Hebrew acrostics as well.

Some Egyptian acrostics are documented in section four of Chapter Three, above.

The first known Latin acrostic is by Quintus Ennius (239-169 B.C.), described in the De divinatione (date uncertain) of the Cicero (106-43 B.C.), in Cicero (1921, bk. 2 11. 111-2, vol. 20, pp. 496 7).

The first mesostics appear to be those of Publilius Optatianus Porfyrius (fl. A.D. 325), known as "Optatian" in English, which are a sort of pattern poetry and are therefore described in our Latin section in Chapter Two.

We are unsure who wrote the first acrotelestics, but the earliest that we have found are from Visigothic Spain (fifth century), in Hübner's supplement (1900, nos. 385-6, vol. 2, p. 71).

As for the first carmina cancellata, Optatian's

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"Carmen XIX," on page 73 of volume 1 of Polara's edition (1973), is arguably the earliest example; it depicts the incomplete image of a trireme cancelled out from the background.

Two Byzantine acrostics by Theodoros Studites (tenth century) are described in Speck's article (1964, 38 9), in Kominis's article (1959, 155-7), and in Kominis (1966, 92 3). Another, by Giorgios Pachymeres (1242-ca. 1310) appears in Lampsides's article (1982, 1146), along with one on page 1148 (see Fig. 4.1) by Loukas Chrysoberges (or "Chrysoverges"), who was Patriarch at Constantinople from 1157 to 1169/⁷⁰ (per Lampsides [1982, p. 1147, fn. 2]). Two more pieces, slightly later, by Zacharias Skordylios (sixteenth century) are in Photeinos' article (1843, 314 5) (see Fig. 4.2), discussed in our Greek diaspora section (post-1453) in Chapter Two.

Acrostics are very common in the Carolingian renaissance, amounting almost to a standard chracteristic of the poetry of the time. A great many of these appear in the MGH, poetae latini aevi carolini(1884-91, 1 5), but also in such works as the Evangelienbuch (ca. 868) of Otfried (n.d.), a pupil of Hrabanus Maurus (see our Medieval Latin section in Chapter Two), in Otfried (1957). In this work, both the praefatio and the concluding epistle are lengthy acrostics.

Among the notable acrostics from the late middle ages are those of King Alfonso el Sabio of Castille (1252 84); these are cited in El piston 9 (1864, 2) as the earliest acrostics in Spanish literature, though this is not established as a fact. This journal, which was edited by José González Estrada (ca. 1830-83), produced twenty-four issues in 1864, presenting a view of literature which centered around visual poetry in general and the acrostic in particular, including a highly original, even eccentric, classification system of the various forms. It is described in detail among González Estrada's listings in the Spanish section of Chapter Two.

Moving to the renaissance, the best account of acrostics and mesostics is in Tabourot (1588; 1969, 72, 96 8, and 104 7).

The first acrostic by an Englishman appears to be the Latin poem by Walter Haddon (1516-72) in his Poematum Gualteri Haddoni . . . Libri Duo (1576), "De Eduardo Principe" at F5v, a charming poem in honor of then-prince Edward VI (1537-53). The earliest we know of in English is by King James VI of Scotland (later King James I of England, 1566-1627) in his Essayes of a prentise (1585), in Craigie's edition of his works (1955, 1: 41). The twenty-six "Hymns to Astrea," acrostics all, by Sir John Davies (1569-1626), are one of the rare instances in which acrostics are not just charming but superb poetry.

A good discussion of Hebrew acrostics appears in Zunz (1920, 105-7), but no examples are given.

A generous selection of acrostics in Latin from the Portuguese baroque is in Hatherly (1983, figs. 33-46). For oriental analogs of acrostics, see Wang (1966), Yates's article (1836), and Jha (1975). A typical Hungarian acrostic, by Langi Mihály (seventeenth century), appears in Aczél (1984).

The acrostic was used primarily for occasional verse, as in the piece by Charles Lamb (1775-1834) quoted in Walsh (1925, 10), not for "serious literature"; its popularity for personal inscriptions is attested by such collections as Dick's original album verses and acrostics (1879), probably by William Brisbane Dick (1827--1901), which is a collection of acrostics on popular names of women, intended for copying by buyers of the book (for a sample, see Fig. 4.3). In New England, similarly, acrostic graveyard inscriptions were common in the eighteenth and nineteen centuries. For example, there are four in the Dunkke lot at Vernon, Vermont. In such pieces as those of Acuñia de Figueroa, in our Latin American section, the poet used the form for pieces copied into the poetry albums of friends.

At their best, such pieces can have a lovely, intimate quality, like looking over the poet's shoulder, while at the same time standing out as poetry rather than simply as autograph materials. An example of this is the terminal acrostic in Through the Looking Glass (1871) by Charles Dodgson (Lewis Carroll), (1832-98), "A boat beneath a sunny sky/ Lingering onward dreamily,/ In an evening of July . . ." (my italics), where the initial letters spell out the name of the work's dedicatee, the famous Alice; it is first rate Victorian poetry.

For those who wish to go more deeply into the matter, additional bibliography will be found in Pozzi (1981, 355-6), while there is also additional information in Walsh (1925, 10).

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Fig. 4.3. 
These are typical acrostic verses of the 
Nineteenth-Century, probably by William Brisbane 
Dick (1827-1901), from Dick's original album 
verses and acrostics (1879, 30 I). See page 
172, above.

Lapidary Inscriptions

Lapidary inscriptions are not just texts which are carved into stone, but they include texts which are made as if they were to be so carved, as in our Fig. 4.4 from the Hypnerotomachia Poliphili (1499) of Francesco Colonna (d. 1522), in the 1964 edition, page 251. Stylistically, as John Sparrow (1969) and as Elizabeth Cook point out in her "Figured poetry" (1979, 6-7), such pieces as this impressed themselves powerfully upon the renaissance and baroque sensibility, and many Polish, German, Latin, and other pattern poems reflect this. Cook cites examples from a late twelfth-or early thirteenth-century manuscript (pl. 1b, and two rendered as type, pl. 1c and 1d), one of these from a 1670 edition of the Cannochiale Aristotelico of Emanuele Tesauro (1591-1675), an important work in the history of literary style.

A good sixteenth-century discussion, whose very length bears out Cook's opinion of the importance of labidary inscriptions, is the one by Etienne Tabourot (1547-90), in Les bigarrures du seigneur d'accords (1583; 1969, 39 48). Additional examples appear in Hübner (1900), Oudin (1845), Ernst's "Europäische Figurengedichte" (1982, figs. 19 and 21, pp. 339 and 342). A sixteenth-century collection of such pieces is Apianus and Amantius (1534), while a similar one from the following century is Verien (1685).

Fig. 4.4. 
This is a typical example of lapidary inscription, 
from Colonna (1499; 1964, 251), reproduced in Schenck 
(1973, 338). Reprinted by permission of Georg Olms 
Verlag.

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Leonine Verse

Leonine verse, while hard to define, is easy to recognize from a simple example:

wish well love well
me and i'll you
treat ill serve still.

Very little scholarship exists on this form, though it is not uncommon up through the baroque. The earliest example is said to be by Sextus Propertius (fl. 30 15 B.C.), while the form takes its name from Pope Leo I ("Leo the Great," pope from 440 461) who used it in his epistles, although it is also said to be named for the resemblance of the lines to the presumed run of a lion (leo is Latin for "lion"), whose hind legs were believed to fall outside his front ones when in motion. The form was revived in the eleventh century by the Papal Curia, per Curtius (1953; 1967, 151), becoming extremely popular through the baroque. It is also known as cursus leoninus ("lion-like track"). Though leonine verse is not really a form of visual poetry, let alone pattern poetry, it was frequently made by pattern poets and should be, we feel, considered a close analogue of it. A good medieval example of the form is in the Liber de distinccione metrorum (1363; 1967, 143, n. 19; 145, no. 21; and 148, n. 23) of Iacobus Nicholai de Dacia (=Jacob Nielsen?, fl. 1363 79).

However, the question arises with this form: What is its use? Although, from the above, it is clear that whole poems in leonine verse are not uncommon, what one finds most frequently of all is a few leonine stanzas within a long poem. For example, in the Turrs sacra dilingana . . . (1567) of Hannardus van Gameren (fl. 1540 70?), a Flemish author of long religious poems, on page D5v, the author inserts just one leonine couplet into his interminable hexameters. This is a technique one also sees in Spelta and in others who wrote lengthy poems. What we can suggest is, therefore, that the leonine couplet is inserted, following one of the principles of good rhetoric that calls for occasional variation in order to provide variety (or, in the case of Hannardus van Gameren, relief), to avoid a mechanical feeling that could come from an excess of repetition. Leonine verse lends itself well to this, since it is possible to add a leonine couplet without departing radically from the surrounding hexameters. It provides a break in pace without any great shock.

Analogous, in turn, to leonine verse are other forms of multiple option texts, in which, by choosing the right common words in a line, the reader obtains interior rhymes; for example, in Lancino Curzio's Epigrammaton (1521) there are some "versus quadrati," which are rectangular arrays of words including multiple readings, depending on whether one reads up, down, or sideways. Of course, these are not really leonine verses, which always have two outside lines and an inside one.

Leonine verse is found fully developed in Scaliger (1563), in Willis (1573), in Tabourot (1588; 1969, 104 7), and in Canel (1867, 1: 207 8), with a seventeenth-century example by Jacques Pochet (n.d.) added there. Its appearance in Slavic literatures is discussed in Tschiewskij (1958, 46), with examples, and more Slavic examples appear in Wasniowski (1644, 71 2), Herka (1732) and Velichkovskij (1972, 77). A Latin example from Portugal by Gama Lobo (1658 1742) appears in the Caesareas conclusiones deductas . . . (1726, 3 [unfolioed]). Morgan (1872, 101) takes up the form, and modern discussions appear in Weis (1951, 97 8) and Liede (1963, 2: 170-1). Liede also includes some bibliography, to which we refer the reader who wishes to go more deeply into the matter.

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Magical Inscriptions And Formulae

Obtaining acurate information concerning magical inscriptions, incantations, and formulae is, of course, more or less inherently near-impossible. However, enough has made its way into reasonably reliable texts to allow us to point towards certain pieces as having some relationship with pattern poetry. This should not be dismissed out of hand, since pattern poems do have a traditional association with mystery; a lay theory which one hears from time to time, which is quite unsupported by facts, is that pattern poetry evolved out of cabbalism. There is no direct evidence for thisin fact, there is evidence supporting not one but several origins for pattern poetry. But it can be said that pattern poetry reappeared in the renaissance more or less concurrently with the spread of cabbalism, which we shall discuss momentarily in more detail. Whether cabbalism was among its sources, or whether the spread of cabbalism simply conditioned the minds of readers to accept pattern poetry with its resemblances to cabbalism, we cannot, of course, do more than speculate upon. As for ancient times, that is another matter which cannot be documented with any great degree of reliability. One of the best known of the ancient magical texts is ''the Enigma of Sator," which we discuss in our classical Latin section in Chapter Two (see Fig. 2.5).It is a fourth-century piece which is so close to pattern poetry that, although it was probably never intended to be a poem, it has often been treated as one; it has fascinated artists over the centuries, it is included in many of the works on pattern poetry, and it really has a literary value. There exists, incidentally, a diabolist variant of the "Enigma of Sator" in (1981, 45), difficult to decipher but clearly a parody or imitation:

S A T A N
A D A M A
T A B A T
A M A D A
N A T A S

Another such piece is the "abraxas" charm, from which we get the familiar "abracadabra" of popular magicians and entertainers. The historic triangular form of the abraxas is attributed to Serenus Sammonicus (second-century) and is in no known language, although it has been suggested that it comes from the Hebrew "abreghodhabra" (hurl your thunderbolt even unto death) in Cirlot (1962, 2), where it is also suggested that it derives from the name of a sun god in Mitharaism, one of the religions of Sammonicus's day (see Fig. 4.5).It exists in both long and short versions, given in Higgins (1977, figs. 18 and 19), is discussed in Buisson (1960, 146 7), in Golowin (1981, 19, with a variant form on p. 21), Hatherly (1983, 244), Liede (1963, 2: 204), and Tabourot (1588; 1969, 180). An excellent account of it is given in Budge (1930; 1978, 220 1), where it is said to come from the Chaldaic "Abbâdâ kê dâbrâ," meaning "perish like the word." Since it was intended to be eaten, preferably line by line, this makes better sense than the other suggested origins for the incantation. A Swedish variant is reported by Louise Hagberg in "Ordets makt" (1932, 75-88), who reports that in Sweden it was also eaten. Other versions appear in Audolent (1904, xcv, 208 and 331), Preisendanz (1928 31, 1: 4-5, 30, 86, 160-1; 2: 11, 32, 41 2, 53, 81, 138, 140 1, 159, 164-6, 177, 179, 189, and pl. 2 and 4). Such texts are known as "apocope" to the linguist, and a generous selection of early and modern examples appears in Borgmann (1965, 115 21).

The general relationship between such magical texts and poetry is oblique, in that they often seem inadvertently to achieve an aesthetic end, although that clearly is not their purpose. Perhaps as part of the process of achieving magical efficacy to their believers, they appeal to the aesthetic as well. But appeal they do, and many is the text which treats them as poety and not just as a religious, talismanic, or folkloric entity, as does Budge (1930; 1978), for example. A different approach is found in Charles Doria's "visual poems from Greek magical papyri" (1977, 2 5), which treats these pieces as literature; it in turn draws heavily on Dornseiff (1922), another source of such texts. The best discussion we know of them is in Liede (1963, 2: 267 78). to treat such pieces as literature may be taken as an example of metataxis, the shift in social function of an object; a bow, formerly a weapon or means of obtaining good, is enjoyed as a toy or sport, for which see Greenway (1964, 184 5) in our supplementary bibliography.

Even the Hellenistic Greek pattern poems may once have served a magical function or, at least, a

Page 176

Fig. 4.5. 
The "Abraxas" attributed to 
Serenus Sammonicus (2nd Century 
A.D.). Compare this to the "Tabulae 
ilicae" in Figs. 5-i-2 to 5-i-4. From 
Dick Higgins, George Herbert's 
pattern poems: in their tradition 
(1977, fig. 17). Copyright © 
Richard C. Higgins. Reprinted by 
permission.

talismanic one. After all, though we read the Greek altar poems as secular literature, they were once religious expressions.

The spread of pattern poetry in the early sixteenth century coincides with the spread of cabbilism, especially of christian cabbalism, as in the De arte cabbalistica of Johannes Reuchlin (1455 1522). This relationship is most thoroughly explored in Hatherly (1983, 17-65), a work largely concerned with labyrinths, and Hatherly gives numerous examples both of labyrinths and of cabbalistic texts which resemble them. But that labyrinths derive from cabbalism, as is often suggested, is a moot point; the more carmina cancellata and quadrata we find from earlier years, the less likely this derivation appears.

Fig. 4.6. 
A Mandean Aramaic incantation bowl from 
Nippur (between 3rd and 6th Century A.D.) from 
James Alan Montgomery, Aramaic incantation texts
 from Nippur ("Publications of the University of 
Pennsylvania Museum, Babylonian Section," 3. 
Philadelphia: University Museum, 1913, plate 21 
and text 20). Courtesy of the Jewish Division, the 
New York Public Library, Astor, Lenox and Tilden 
Foundations (*PRM).

Another kind of magical piece which often suggests pattern poetry are the magical incantation bowls from Nippur ( = Nuffar, in modern Iraq), usually written in Mandean Aramaic (= Mandaic) though some are in Syriac. These date from the third to sixth centuries, were placed in graves, and were used to ward off ghosts and demons. The largest group was excavated at Nippur in 1888 and is now in the Museum of the University of Pennsylvania, but other important holdings are in Washington, Paris, and Berlin. The standard work on these pieces is James Alan Montgomery's Aramaic Incantation Texts from Nippur (1913). One is reprinted, with commentary (see Fig. 4.6),in Rothenberg (1978, 508-9) from Montgomery (pl. 21 and text 20).

Page 177

Additional magical pieces which somehow suggest pattern poetry are the Coptic "Davithea Incantation" and "Variations on a Hebrew Amulet" in Rothenberg (1978, 22-7 and 436-7), both with commentary, and the numerous Chinese talismans and charms in Doré (1911 and 1913), along with the Tibetan pieces mentioned in Chapter Three. Golowin (1981) is an anthology of such pieces. Some Egyptian ones appear in Budge (1933).

An element in pattern poetry of the sixteenth and seventeenth centuries which is, if not precisely magical, at least somewhat mystical, is its use of number symbolism. When numbers appear at all, they are apt to have a hidden significance. Some times this is simply a code, as in the "chronostica," in which the roman numerals for a date are embedded in a text or inscription and, usually, printed as capital letters while the rest remains in lower case. We note this when it occurs in the pieces discussed in Chapter Two; for example, in the anonymous Swedish chalice of 1652. The process is discussed in Ulrich Ernst's "Kontinuität und Transformation der mittelalterlichen Zahlensymbolik in der Renaissance" (1983, 320), which also documents the various more complex forms of number symbolism, from Theon of Smyrna (second century) through the middle ages to the baroque, their relations with cabbalism, and so on.

Mathematical Arrays And Poems

Perhaps it is not surprising that, today, when some poets are using permutational and geometrical structures in their works, such as in much computer poetry, that on occasion the poets should drop the words altogether and use number structures, or at least relegate words to the extreme background.

In the twentieth century, many poets have made such "mathematical poems," Ernst Robson and Bern Porter in the United States, or Ladislav Nebeský in Czechoslovakia, for example. Robson and Wimp (1979) is a rather conservative anthology of modern pieces in this vein. The process of moving conceptually from verbal poetry into mathematics is seen in the work of Richard Kostelanetz (1940- ), whose In the begnning (1971) and Accounting (1973) use the same structure, the former with words and the latter with numbers. Kostelanetz's Numbers: Poems and Stories (1970) is a selection of the poet's mathematical poems, while his Reincarnations (1981) is a progressive fracturing of a photograph, mathematical in conception but non-numerical and visual, and his Exhaustive Parallel Intervals (1979) is a collection of number pieces combining numerical-algebraic materials with geometrical positioning implying matrix theory.

We also, occasionally, find mathematics taken as poetry in popular literature in, for example, "Heath's number symphonies" (for an excerpt, see Fig. 4.7),in Meyer (1938, 126 30), or in Tuwim (1950, 101-3), and in Borgmann (1965, 193-216 and 241 3), where the pieces cannot be dated with any certainty though they appear to be from the nineteenth century.

While modern pieces using mathematics draw upon the prestige of mathematics, to the renaissance and early baroque, mathematics was viewed as almost akin to an occult subject. Far from having prestige, it was quite suspect, and was associated with cabbilism and enveloped in an aura of mystery. Thus, it is not surprising that some of the pattern poets should explore one or another mathematical form or structure as a part of their poetic quest. On the one hand, Niccolò Machiavelli (1469 1527) wrote no pattern poems, but some of the diagrams

Page 178

Fig. 4.7. 
From  "Heath's number syphonies." See 
page 177, above. From Jerome B. Meyer, More 
fun for the family (1938, 128).

in his The art of war have been treated as if they were, for example in Peignot (1978, 51). In particular, the Portuguese made a specialty of including a mathematical aspect to their labyrinths; one finds a number of such pieces in Ana Hatherly's "Labirintos Portugueses dos seculos XVII e XVIII" (1980, figs. 5 8, 10) and in Hatherly (1983, 81 120 and 161-216).

Even in the renaissance, the mathematical aesthetic was not new, of course. The Greeks were not blind to it, as testified by the section of mathematical poems in The Greek Anthology, for which see Paton's edition (1918, 5: 24-9), mostly from the period of Constantine the Great (ca. 280 337).

By the end of the seventeenth century, however, mathematics had developed its modern image as "the queen of the sciences. By then it was no longer considered dangerous, and one finds such a discussion of mathematics as poetry as the Arithmeticae curiosae (1689) of Adalber Tylkowski (dates unknown), a Polish Jesuit priest and author of books on scholastic philosophy as well as textbooks. He constantly blends recreational mathematics and poetics in this work, discussing different permutation methods, magic squares, the "labyrinthus arithmeticus" ( a term that is, perhaps, unique to him, and it is hard to see what he means by it), and he also prints a labyrinthus cubicus on "Sit Deo Gloria'' on page 451, in his chapter "De alis quodam numerorum dispositione" ("on other ways of using numbers"). He suggests the use of palindromes as suitable for use in labyrinthi cubici. For him, virtually any rational means of formulizing words or numbers seems to be potentially poetry. (Cf. Duke August II in the Neo-Latin section of Chapter Two, and there is also an account of mathematical poetry in the Metametrica (1663) of Juan Caramuel de Lobkowitz (1606 82) in sec. CCXLIV, a work with magnificent labyrinths, rebuses and pattern poems. Thus, even though such mathematical pieces are not pattern poetry, some mention of them seems called for in any systematic discussion.

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Musical Analogues Of Pattern Poetry

Perhaps the most strikingly analogous works to pattern poetry in the other intermedia are the musical onespattern notations as it were. While not enormously high in number, there are a small number of pieces which are, on the one hand, true musical notations intended for performance and, on the other, clearly graphically oriented; their graphic element, that is to say, is not primarily ornamental but is inherent in the musical concept of the work. Besides these pieces, to which we shall come in a moment, there are many pieces which have one or another visual aspect, usually mimetic, as described in Alfred Einstein's "Augenmusik im Madrigal" (1912). There are also notations which, because they do not resemble our conventional modern ones, seem more exotic than they are. For example, there are the notations in the "Codex Colbertinus" in the Bibliothèque Nationale in Paris, which seem like some contemporary (to us) notations by Karlheinz Stockhauser or the ''time notations" of Earle Brown (in which the duration of the note is indicated by a correspondingly long horizontal in the notation); but the unconventionality of the notation is quite possibly due to the older work having been written down at a time when notations, as such, were not yet standardized.

However, some notations are indeed a conceptual fusion of music and graphic, and have a place in our discussion. The "Codex Chantilly" in the Musée Condé at Chantilly in France, "ms. 564 (formerly 1047)," is a work of the fourteenth century, famous for the complexity of its musical notations. it includes, among others, the three pieces by Senleches and Cordier described below. The first half of it has been transcribed and published in von Fischer (1984), with other volumes presumably to follow.

The earliest known graphic notation of our sort is "La harpe de melodie" by Jacob de Senleches or Senleche (=Jacomi Senlechos, Jacome de Santluche, Jacopinus Selesses (fl. 1378-95). One version of it appears in the "Codex Chantilly." It is not graphic, but one that is appears in a manuscript in the Newberry Library in Chicago, "US-Cn 54.1," in which the piece is given in a unique harp-shaped notation, on page 10r. See Fig. 4.8. The piece also appears in Seebass's article (1983) 412.

Baude Cordier is the composer of two graphic works, among others; most of his surviving works appear in the "Codex Chantilly," mentioned above, of which he may even have been the editor. Very little is known about him, and it has been suggested that he may be identical with Baude Fresnel, who died in 1397, although this theory produces as many difficulties as it solves. The codex includes his "Belle bonne sage . . ." (see Fig. 4.9), which is heartshaped, and "Tout par compas . . ." (see Fig. 4.10), which is the earliest known circular notation. "Belle bonne sage . . .," on page 11v, is transcribed in Riemann (1923, vol. 1, pt. 1, pp. 354 6), and in Fischer (1984, 9 10, with a discussion of it on pp. 9-10 and 145). Extremely popular as a graphic entity, we have seen it used as a Valentine's card and in other such contexts as the image in a poster of a concert on 23 February 1985, given by the Hilliard Ensemble of London at Berkeley, California.

"Tout par compas" is a canon, with the notation circular and, in the manuscript, with four texts surrounding it, which may or may not be intended as lyrics. In the "Codex Chantilly," it appears on folio 12r. It is transcribed in Riemann (1923, vol. 1, pt. 1, pp. 350-4), published and transcribed in Aubry (1905, pl. xxii and pp. 21-2), is the subject of Higgins's "Baude Cordier's Circular Canon" (1977), reproduced in Higgins (1977, fig. 27) and in Peignot (1978, 48), is discussed in detail and transcribed (differently from in earlier transcriptions) in J. Bergsagel, "Cordier's Circular Canon" (1972). In von Fischer (1984), it appears on pages 11 12, and is discussed on pages 3 6 and 145 6. It has also been recorded by the Ensemble Ricercare de Zurich on Harmonia Mundi records, HMU 592 (ca. 1973).

Besides Baude Cordier's, at least seven other circular notations are known. Three are:

1. "Connection" (see Fig. 4.11) by William Billings (1746 1800), on the front cover of his New England Psalm Singer (1770);

2. "Perpetuum mobile, oder immerwehrende Gnadenlohn" (ca. 1691) by the Württemberg composer Johann Georg Keyrleber (= Keirleber, 1639-91?), misdated in Dencker (1972, 51), and discussed in Zobel von Zabeltitz's "Figurengedichte" (1926, 186); and, very closely related,

3. "Das erste Gebot" (see Fig. 4.12),the first of Die heilige zehn Gebote (1784) of Franz Josef Haydn (1732-1809), of which the manuscript is

Page 180

Fig. 4.8. 
"La harpe de melodie," by Jacob de Senleches 
(fl. 1378-95). This is the earliest known graphic 
notation, from the "codex US-Cn 54.1" in the 
Newberry Library in Chicago.

Figs. 4.9 and 4.10. 
"Tout par compas" and "Belle bonne sage" 
by Baude Cordier (fl. 1400), the earliest 
known circular and heart-shaped musical 
pieces, from the ''Codex Chantilly," "Ms. 564 
[formerly 1047]") 12r and 11v. See page 
179, above. Reprinted by permission 
of the Musee Condé (Chantilly, France).

Page 181

Fig. 4.11. 
"Connection" by William Billings (1746-
1800), from the New England psalm-singer (1770, 
front cover). See page 179, above. Courtesy: the 
Music Division, Lincoln Center, New York Public 
Library, Astor. Lenox and Tilden Foundations.

Fig. 4.12. 
"Das erste Gebot" from Die heilige zehn 
Gebote (1784) of Franz Josef Haydn (1732 1809), 
number 123 in the Mary Flagler Cary Music 
Collection of the Pierpont Morgan Library, New 
York. We know of no published version which 
recognizes Haydn's form. See page 179, above. 
Courtesy: Pierpont Morgan Library.

Fig. 4.13. 
A cruciform motet by Ghiseline 
Danckerts (1510-65) from pietro Cerone, El 
melopeo y maestro (1613, 2: 1096). See page 
182, below.

Page 182

number 123 in the Mary Flagler Cary Music Collection of the Pierpont Morgan Library in New York. It is a canon, described and transcribed in Hoboken (1971, 302 8) and in a performance version in Haydn (1942) among other places. However, it is a semicircle, not employing the full circle, and does not imply endlessness. We have noticed that it is a palindrome (a cancrizan), however, although the transcriptions do not take note of this.

Returning to the heart shapes, there is an entire heart-shaped album in the Bibliothèque Nationale in Paris, known as the "Chansonnier cordiforme (Rothschild 1973)," the subject of Kottick (1967). The actual chansons are not, however, heart-shaped but are normal notations on heart-shaped pages.

Ghiselinor Ghiseline Danckerts (1510 65) was a Dutch composer who worked at the Sistine Chapel in the Vatican for most of his later life. He composed a number of graphic notations which are printed in El melopeo y maestro (1613) by Pietro ["Pedro"] Cerone: three crosses in volume 2, pages 1096 (see Fig. 4.13),1130, and 1138-9; and two chessboard notations on pages 1098 9 and 1129 (see also our discussion of chessboard poems in Chapter Five they are related). One of these first appeared in some, but not all, copies of the expanded edition of Juan Bermudo's El libro llamado declaracio de instrumentos (1555), so it is quite conceivable that Cerone may have seen it there and sought out the other notations for his book, which is a massive work on musicianship as well as composition. Bermudo and Cerone are occasionally wrongly cited as the composers of Danckert's pieces. The piece also appears in Cardini et al. (1980, 120), where it is juxtaposed with a modern chessboard notation by John Cage (1912 ). Interesting to note, the Cerone work also includes an account of composition by aleatoric means, using dice (2: 1124 7), and a hand-colored chart appears on pages 1132 3, explained on pages 1131 and 1134, discussing musical chaos all ideas associated with Cage. But, then, had not Boethius (late fifth and early sixth centuries), in his De musica (1867; 1966, 187), already proposed, over a thousand years before this, a "musica speculativa," that is, a music which was not so much intended for performing as for investigating the nature of things? Presumably the idea was not new with Boethius either, but let us return to our main discussion.

There are a great many puzzle poems and rebuses which use music in one way or another, in Caramuel's Metametrica (1663) and elsewhere, but these are not, per se, music. A typical such piece is the musical cross over a globe that is made of two concentric circles, probably dating from 1630 and written by Daniel von Faber, in the PAN Library at Gdansk, being investigated by Piotr Rypson of Warszawa.

A collection of other graphic notations, many of them more intended as decoration rather than for practical performance, will be found in Cardini et al. (1980, 40-62 and 116-27), for those who wish to explore this area more deeply. These are similar to "Die Katzensymphonie" (The Cats' Symphony, 1868, see Fig. 4.14),of Moritz von Schwind (1804 71), now in the Staatliche Kunsthalle at Karlsruhe in the Federal Republic of Germany. This piece, drawn in pencil and ink on music paper (but not orchestrated) has charm but does not appear to have been intended for performance at all. It may be a satire or lampoon on the famous violinist Joseph Joachim (1831 1904), to whom it is dedicated.

Fig. 4.14. 
Moritz von Schwind (1804-
71), "Die Katzensymphonie" (The Cats' 
Symphony, 1868). Courtesy Staatliche 
Kunsthaale (Karlsruhe, BRD).

Page 183

Proteus Poems

The proteus poem takes its name from the mythical Proteus, who is always changing his shape; he appears in the Odyssey of Homer (ninth century B.C.?), in the Metamorphoses of Ovid (43 B.C.-ca. a.d. 17), VIII, 11. 731-7 and elsewhere. In this form, the lines employ the same words, but the order is constantly varied or permuted line to line. For example, the first four lines of such a poem might go: "Love me you witch/ me love you witch/ me you love witch/ me you love witch . . ." and so on. Although clearly not a visual form, its logic seems to partake more of geometrical thinking than of normative, linear reasoning, and proteus poems have been made by many of the same poets who made pattern poems, so that some brief discussion of the form seems desirable.

That proteus poems were composed in antiquity seems likely, but none have survived. The closest we have is Optatian's "Carmen XXV" (ca. 325), in Polara's edition (1973, 1: 99-102), a permutation poem which, however, takes off in other directions.

The earliest surviving proteus poem appears in the Poetices 1561) of Julius Caesar Scaliger (1484-1558, pages 73-4, and the poem is called "Proteus," though whether it named or was named for the genre is a subject still open to discussion. In the poem there appear many permutations of the line "Perfide sperasti divos fallere Proteu . . .," and it is reprinted and discussed in such places as Tabourot (1588; 1969, 113), Caramuel (1663, secs. 335 and 400-15), and in such modern discussions as Wagenknecht's "Proteus und Permutation" (1975, 1-2), Liede (1963, 2: 160-8), Hocke (1969, 23-4), Pozzi (1981, 249 and 252), and Canel (1867, 290-5).

Caramuel's Metametrica (1663) has a proteus poem in section 335 and another on plate 17, as Pozzi notes (see above). But perhaps the most startling proteus poem of all is by P. Bernard Bauhuysen (1575-1629), also known as "Van Banhuis" or "Bauhus," based on "Tot tibi sunt dotes, Virgo, quot sidera coelo . . ." The entire work was published by Enrique Dupuy (=Erycius Puteanus, 1574-1646) in his Pietatus thaumata in Bernardi Bauhusii . . . (1617, 13-50), where it describes the poem as containing "more possible permutations than there are stars in the heavens.'' This was probably true before the invention of the telescope, but it is, in any case, quite a long poem for a non-epic. Praz (1962) discusses the work, as does Pozzi (1981, 267 8).

Pietro Francesco Passerini (1612-95), discussed in our section on sound poetry below, has a proteus poem on page 25 which offers 22,476 possible permutations on the name of Caramuel, discussed in Hatherly (1983 182) and in Pozzi (1981, 267 8).

As noted by Tschiewski (1958, 42), proteus poems were rather popular among the slavic poets. He cites an example from the Ukrainian Ivan Velichlkovskij (fl. 1687) from the Tvorii (1972, 83) (see Fig. 4.15); another example appears in Dovhalevskij (1736; 1973, 106). The form is also known in French and German, and some modern examples are discussed in Wagenknecht's article (1975, 5-8).

An English example, from folk literature, is reported in Morgan (1872, 105-6), where he says that the Cunwallow Churchyard in Cornwall has, as a momento mori, the text: "Shall we all die/-we shall all die/all die we shall/die all we shall . . ."

Fig. 4.15. 
A Ukrainian proteus poem by Ivan 
Velichkovskii (fl. 1687).

Page 184

Rebuses And Other Puzzle Poems

Clearly most rebuses, when solved, lose their visual character, and only a few are poems at all. Nor are most puzzle poemsconundrums, for instanceusually visual. Nevertheless, some few are, and the genre should be discussed as an analogue of the pattern poem.

By a puzzle poem, one usually means a piece in which the poet invites the reader to play a game, to solve the problem of what the poem means not by learned allusions or such-like, but by taking only the evidence given in the poem and working through it so as to give pleasure. "L'homme dupé" by Jean Marot (ca. 1450-1526), already mentioned in our French section in Chapter Two, is such a piece, and Canel (1867, 1: 400 7), cites a dozen more that are less visual as well as printing Marot's piece. "Love knots," discussed in our English section, are also, in a sense, puzzle poems; one must figure them out to enjoy them as more than visual hieroglyphics. It could also be argued that the concept of a game or puzzle underlies many of the calligraphic labyrinths, and Caramuel's Metametrica (1663), so often cited in this chapter, gives many such pieces in sections 407 9, 438, and elsewhere.

Just how serious a puzzle poem can be is shown by the puzzle poem employing numbers, in Ernst's "Europäische Figurengedichte" (1928, fig. 22, p. 342), by the printer Sara Wang and dated 1620. It is a theological meditation and, in the renaissance and baroque . . ., the popularity of cabbalistic thinking, as discussed in section iv above, would incline a reader already familiar with such processes of thought and materials to view a piece symbolically and metaphorically, as a potential key to the great philosophical or religious questions of the day. The metaphorical approach to mathematics, at times approaching the occult, has been termed "mathesis" by, among others, Frances Yates in her Giordano Bruno and the hermetic tradition (1969, 296 8). It is in this context that the puzzle poem should be viewed.

As for rebuses, they were both new and popular in the renaissance and baroque. Even Giordano Bruno (1548 1600), a man not noted for his sense of playfulness, discusses them in his De imaginum, signorum et idearum compositione (1591), in the Opere Latine (1879; 1962, vol. 2, pt. 3, p. 114).

The origin of the term "rebus" is obscure; the most scholarly work on the subject, Eva Schenck's Das Bilderrätsel (1973), devotes a short chapter to the subject on pages 55-6, reaching no firm conclusions. Schenck's work covers much of the same ground as Rosenfeld's Das deutsche Bildgedicht (1935), which is, in any case, not only an older work but also covers only German material and other materials than rebuses. The earliest works on rebuses, Ménage (1650, 556) and Cherrier (1722) offer only dubious folk etymologies. Schenck's bibliography is the best starting point for anyone who wishes to pursue the matter. The other works, Feran (1977) and Santarcangeli (1967) are essentially popular treatments. Schenck does not, however, take up Neo-Latin materials or other languages than French, German, Dutch, and English in which rebuses exist.

A delightful article by Ruth and Joseph Low, "Non verbis sed rebus/Not by words but by things," Lithopinion 7 (1967, 28-40), gives a representative selection of Rebuses by Leonardo da Vinci (1452 1519), A. Baiardo (fl. 1530), G. B. Palatino (1545), an unknown German artist (1637), M. Mattsperger, the obscure artist of a "Hieroglyphic Bible" (1818), Don Manuel Valdez (Mexican, 1780), ananonymous German from 1830, Benjamin Franklin (1706 - 90)from a work of 1818 that uses his textsan anonymous advertisement from Tom's River, New York State (1880), an American edition of Mother Goose (1830), a French satyrist (1854), an anonymous letter from an American to his son Oliver (nineteenth century), W. M. Perkins of Philadelphia (1852), a game published by the Milton Bradley Company (American, 1870) and a valentine published by Jonathan King of London (1875). This list is fairly typical of the kind of pieces one finds in rebus collectionspoorly identified and seldom poems, but of considerable aesthetic and linguistic interest beyond their purely social value.

An excellent Dutch article on the rebus is C. P. Burger's "De rebus van onze oude rederijkers" (1925), which has exceptionally solid documentation. A similar piece on Flemish rebuses is Paul de Keyser's "De oplossing van het raadselcachtig rebusblazoen can het Oudheidkundig Museum van de Bijloke te Ghent" (1946-7, 35 66).

The earliest use we know of the term "rebus" is in Geoffrey Tory's Champfleury (1521), where it is

Page 185

spelled "resbuz." The popularity of the form is attested by the existence of such an anonymous manuscript as the "Rebus de Picardie illuminés" (Paris: Bibliothèque Nationale, "Inv. No. 3420 Ms. Fr. [1600]"), which includes 166 rebuses, described in Schenck (1973, 24 5).

Few of the early rebuses are pattern poems or even poems, but there are four by M. Giovanbattista Palatino (sixteenth century), whom we have already mentioned in connection with the Lows' article above, in his Cifre quadrate et sonetto figurato (1545). A representative one of these appears, with its solution (see Fig. 4.16), in Schenck (1973, 297), and without the solution in Feran's I rebus (1977, 15), Cobbing and Mayer (1978, pl. 2), and in the Low article (1967, 30). Another fine Italian rebus or set of them appears in a broadside by Giuseppe Marta Mitelli, "Vitarola nova per pasar al tempo" (1693,

Fig. 4.16. 
An early rebus and its solution, 
by M. Giovanbattista Palatino (Sixteenth-
Century) from  the Cifre quadrate et 
sonetto figurato (1545).

see Fig. 4.17) from Schenck (1973, fig. 83). Two more rebuses we should mention, in English, appear in Mennes (1874, 1: 300 [see Fig. 4.18] and 303 4), discussed in our English section in Chapter Two.

From other literatures, four early Ukrainian rebus poems appear in Dovhalevskij (1736; 1973, 253 5 and 258), a Polish one in Podkostelski (1636), and some Swedish ones in the Magasin för konst nyheter och moder 2 (1924 5, 3 and 42). The poetics of the rebus are discussed in Tabourot (1588; 1969, 34 8), Canel (1867, 1:400 1), and in Schenck (1973, 57 65).

Juan Caramuel de Lobkowitz (1606 82) also takes up the rebus in the Metametrica (1663), and

Fig. 4.17. 
Giuseppe Maria Mitelli, "Vintarda nova 
per pasar al tempo" [broadside]. Milano: Castello 
Sforzeso slg. Achille Bentarelli, 1693. From Eva M. 
Schenck, Das Bilderrätsel (1973, 189, fig. 300). 
Copyright © 1973 by Olms Verlag. Reprinted by 
permission of the publisher.

Page 186

Fig. 4.18. 
The first half of an anonymous 
English rebus with other sorts of word 
play added. The solution reads, in part, 
"If you ( = U) to I, as I to you am true,/ 
I over you must lye, and you under I . . ." 
See page 185, above. From Sir John Mennes 
and James Smith, eds., Facetiae. Musarum 
delicae; or The muses' recreation (1658; 
1874, 1: 300). Courtesy of the General 
Research Division, New York Public 
Library, Astor, Lenox and Tilden 
Foundations (8-NCI).

his last plate there (unnumbered) in a wordless, musical rebus; his involvement with the rebus is discussed in Pozzi (1981, 246), who also discusses a rebus by Nicolò di Lucca "Barsotti" on his page 274, while a lovely Dutch heart-shaped rebus is printed in color facing page 126 and discussed on page 127.

One final rebus in the pattern poetry literature is a Dutch piece of 1590 attributed to the geographer Abraham Ortelius; it appears in Schenck (1973, 307), is discussed on her page 91, and is reprinted and discussed in Ernst's "Europäische Figurengedichte" (1982, fig. 20, Its solution is in Schenck (1973, 191-2), "Hoochlijk salmen prijzen, kronen ende vereeren des werelts wegwijzer die den mensche veel kan leeren" (One should prize highly, crown and honor the guide of the world, who can teach men much), scarcely a poetic sentiment, let alone a poem, but the ludic element involved in solving the wordless puzzle, coupled with the charm of the engraved pyramid, make up enough of a poetic, aesthetic element to transform the piece into an art experience, and to make it a fitting end to our discussion of the rebus as analogue to pattern poetry.

A totally different sort of puzzle poem is the pair of verses by Eduard Mörike (1804-75) whose words are given only in the form of the then-standard naval flag signals. Mörike was a famous German lyric poet, and this piece is not at all typical of him. The poem appears in color in Thalmayr (1985, 330-7 and 472).

Page 187

Shaped Prose

Shaped prose, that is, prose texts (or preexisting texts) in which the letters are arranged or deformed in order to form visual images, has existed in most literatures side by side with pattern poetry. In fact, it can be extremely problematic to tell the difference, since this difference was often not indigenous to the literature in its time and place. One work in medieval Latin which defines the subgenre of shaped prose lyrics for music is the "Agnus dei" from Priim, Germany (ca. 990-5), "Bibliothèque Nationale [Paris] 'Latin 9448,' " printed in Gunila Iversen's Tropes de l'agnus dei (1980) and discussed in von den Steinen (1948, 210), Rönnau (1967, 43), and RISM (n.d., 140-2).

But there are some works which truly show the artistic potential of shaped prose, and which we should therefore mention here. One is the "La Cava Bible" by Danila (ninth century), a Spanish work now in the Biblioteca della Badia at la Cava de Treni near Salerno in Italy. At folio 220v there is a spectacular cruciform rendering in red and white on a blue background, drawn in Visigothic miniscule, of St. Jerome's prologue to the New Testament; it is reproduced in color in Williams (1977, pl. 1).

Another such work is the Liber figurali of Joachim de Fiore (1132 1202), which exists in two manuscript versions, the "Codex Corpus Christi College 225A" at Oxford, and the "Codice Reggiano" manuscript at Reggio Emilia in Italy, this last the more visually striking of the two. In the 1953 edition of the Liberfigurali, the cruciform and other pages are reproduced in volume 2, plate V, VI, XIb, and XIII, with corresponding transcriptions.

Slightly earlier than this is the Byzantine "Lectionary of the Gospels and Menology" in the Morgan Library in New York, "M. 692" (first half of the twelfth century). All its texts are cruciform, but these are not terribly striking or well rendered, compared with Joachim's work.

From the late thirteenth century is the anonymous manuscript in München, at the Bayerische Staatsbibliothek, "clm 7960," in which folio 3v has six similar urns or jars (see Figs. 4.19 and 4.20) and one archway. One of the urns is reproduced in Cook's article (1979, pl. 1b) and discussed on her page 5. The texts are meditations on John 2:6 in the New Testament, "Erant autem ibi lapidae hydrae sex positae secundum purificationem Iudaeorum." The best discussion of the piece is, however, is Leclercq's article (1976, 231 43).

Frequently, shaped prose was used to begin or to conclude sections of printed works. An example of shaped prose used to begin a work is found on the title page of the Tractato dell'amore di Gesu (1492) of Girolamo Maria Francesco Matteo Savonarola (1452-98), reproduced in D'Ors (1977, 62).

Another cruciform title page from a religious tract is that on the . . . Ricoldi ordinis praedicatorum contra sectam Mahumeticam . . . libellus (1511) by Ricoldo da Monte Croce (1242-1320), a truly nasty text against both Mohamedans and Jews. The cross is, however, quite beautiful, with an ingenious criss-cross arrangement of the words, beautifully printed by H. Stephanus, who was a member of the famous Estienne family of printers. The cross appears, also, to be set on a hill as a base, in which case it puns on the name of the author which means "Mount Cross."

A large body of work in Hebrew that is known as "micrography" or "masoretic drawings" and dating from the twelfth to the fifteenth centuries is described in our Hebrew section in Chapter Two (see Fig. 4.21).See also the various works of Leila Avrin and Collette Sirat for fuller discussions; micrography is a highly complex subject in its own right, too complex to treat adequately here. We will note, however, that it is not without relations and parallels to non-Jewish artsee our Chinese Fig. 3.1, which resembles micrography. this is a point which is seldom stressed in accounts of micrography.

Also similar to micrography is the tenthcentury byzantine Acts of the Apostles, in which cruciform prose appears, discussed in our Byzantine Greek section, while there are also similar calligraphic pieces by Jacques Cellier of Rouen from sixteenth-century France, discussed in our French section in chapter Two.

Some Hebrew pieces which are not micrography but are other sorts of shaped prose are the undated medieval "Prayer for a king" in Rothenberg (1978, 415-6, with commentary), and the piece by Hirsch Ilya Schlemowitz (fl. 1870), "Scroll of Esther as a bear," in Rothenberg (1978, 418). Other pieces in this vein appear in Sirat and Avrin (1981).

A series of striking shaped-prose pieces appears in the Hypnerotomachia Poliphili of Francesco Col-

Page 188

Figs. 4.19 and 4.20. 
Two of six urns with shaped prose texts that are meditations on John ii, 6. See page 187, 
above. Bayerische Staatsbibliothek (München) "clm 7960"3v. Printed by permission.

onna (d. 1527), a hauntingly beautiful emblem book romance first printed by Aldus Manutius in 1497, and of which the best modern edition is that edited by Giovanni Pozzi and L. A. Ciapponi (1964). Striking examples of the relationship of shape and text are the forms of the fountain, basket, brazier, three vases, and tripod in (1964, 107, 249, 278, 294, 297, 324, and 342), discussed in Pozzi (1981, 194 5).

Another fine set of Italian renaissance shaped prose pieces are those by Lorenzo Pignoria (1571 1631) discussed in Chapter Two in our NeoLatin section.

A fine shaped prose pyramid in ironic honor of Andrew Turncoat, who changed sides during the British Revolution of the 1640s, is given as our Fig. 4.22, from Mennes (1874, 2: 268).

A pyramid in honor of Georg-Wilhelm (1619 40), Elector of Brandenburg, by Valentin Thilo of Königsberg (now Kaliningrad) appears on the verso of the title page of his Pyramis literaria aeternae . . . (1642). See Fig. 4.23.

There are, of course, numerous examples of shaped prose that are less art than light entertainment or social documents; pieces of this sort were particularly popular in the eighteenth and nineteenth centuries. The Mori Collection of Broadsides ("Einblattdrucke") at the Gutenberg Museum in Mainz includes a number of occasional pieces such as a 1741 piece from Erfurt in Saxony celebrating the attainment by Prince Ernst August of his majority. It appears to be in the form of a beer stein with

Page 189

Fig. 4.21. 
An example of micrography. From a German bible executed by Shneour or Senior, 
son of Hayyin, for R. Jacob, son of R. Isaac (1304 C.E.). From Jérôme Peignot, Du 
caligramme (1978) 81. Reprinted by permission.

pyramids on each side, with a gratulatory panegyric text surrounding it and following its shape. Another German piece in this vein is a heart of 1841 that hangs in the Musée d'Alsace in Strassbourg.

A French piece satirizing the pear-like shape of King Louis Philippe of France (reigned 1830 48, see Fig 4.24) appears in Broby-Johansen's "Grafiske glimt" in Dansk Graphik 38 (1979) from La Charivari 58 (27 February 1834). There is also a Swedish "Tour Eiffel" in the weekly Idun Aftonbladet from 1889 (we do not have the exact date), sent to us by Leif Eriksson of Bjarred, Sweden.

There are innumerable portraits in shaped prose, such as one of Abraham Lincoln (1809 65) made up of the words of his "Gettysburg Address," a poster of Queen Victoria of Britain (1819 1901) made up of the names of the official guests at her Diamond Jubilee (1898), Martin Luther (1483 1546) made up of Lutheran prayers, and so on. A selection of such things appears in Peignot (1978) and another in Cobbing and Mayer (1976; 1978).

In Islamic literature, where the distinction between poetry and prose is extremely fluid, much of the visual impulse in literature goes into shaped prose, with the letter forms being distorted to form new shapes animals, abstract designs, flowers, and so forth. Examples of this appear in Massin (1970) and Peignot (1978). Often the text is simply a Koranic quotation or someone's name; rarely is it

Page 190

poetry. See also section iii of Chapter Three, above.

In American folk literature, the Pennsylvania Dutch made many works in the eighteenth and nineteenth centuries in shaped-prose lettering, known generically as "Fraktur," the German word for black-letter alphabets, sometimes with the modified spelling "Fractur." These pieces were written to celebrate births, marriages, and deaths, and were framed and hung in parlors and kitchens. The largest collection of these pieces is in the Free Library in Philadelphia. None are known to be pattern poetry, but, in looking at them, their background in the calligraphic labyrinth is clear, as is their closeness to similar pieces from the Alsace region of France or from southern Germany.

Apart from its intrinsic interest, which lies outside the scope of this study, shaped prose is of interest to the student of pattern poetry because of the parallels to it"How does this piece work with its shape compared with that? Does the poetry add some dimension which the prose does not (or vice versa)?" the viewer or reader asks. The same stock forms that appear in shaped prose, moreover, are used in pattern poetry, in many cases. For example, the many shaped-prose crosses of the middle ages antedate most (though not all) of cruciform pattern poetry,and provide a matrix of tradition for such poems in the renaissance and baroque periods. Furthermore, the decline in prestige of shaped prose from its high seriousness in the late medieval, renaissance, and baroque periods to the entertainment and satire in the nineteenth century exactly parallels the decline of the pattern poem during those later years.

Fig. 4.22. 
An anonymous shaped prose 
monument to Andrew Turncoat. See page 
188, above. From SirJohn Mennes and 
James Smith, eds., Facetiae. Musarum 
delicae; or, The muses' recreation (1658); 
1874, 2: 268). courtesy of the General 
Research Division, New York Public 
Library, Astor, Lenox and Tilden 
Foundations (8-NCI).

Fig. 4.23. 
Pyramid by Valentin Thilo (Seventeenth-
Century) honoring Georg-Wilhelm 
(1619-40), Elector of brandenburg. From 
Thilo's Pyramis literaria aeternae Divi 
Georgii Wilhelmi Morchiens 
Brandenburgiensis (1642, 4). 
Courtesy Piotr Rypson

Page 191

Fig. 4.24. 
Shaped prose charicature of King Louis Philippe 
of France (r. 1830-48) from Le Charivari 27. February, 
1834, with a picture of Louis-Philippe for comparison. 
See page 189, above. Reprinted from R. Broby-
Johansen, "Grafiske glimt." Dansk Grafik 39 (1929, 
no page number).

Sound Poetry

It is not surprising that sound poetry from before 1900 is less commonly found than early visual poetry. Sound poetry, in order to become an art form, tends to need the option of not simply a sophisticated audience but also the various possibilities of at least potential recording; before 1900 the rarity of graphic printed techniques needed to realize complex notationsoffset printing and camera workcombined with the lack of recording processes such as phonographs and tape recorders, meant that the potential sound poet would have to depend on more-or-less improvised notations. In our discussion, we will not deal with ethnopietic sound poetrieschants and the various similar options that were and are available to people operating under the most nontechnological conditions. I have discussed these ethnopoetic materials in my article "Points towards a taxonomy of sound poetry" (1981), and Eugene Jolas's "From 'Jabberwocky' to 'Lettrism' " (1948) also covers some of this ground. Our discussion will deal, rather, with sound poetry as a conscious art form, distinct, for instance, from nonsense poetry. It is the intermedia form parallel to visual poetry, which lies between visual art and poetry; sound poetry lies between music and poetry, and depends upon the acoustic element for its formal and aesthetic sense.

In this way, it is somewhat different from some kinds of nonsense poetry, since this category includes materials which have no correspondence with the normative world, which is not true of all sound poetry. That is, there may be considerable sense or logic in the acoustic structuring of a sound poem, while much of nonsense verse deliberately rejects logic or sense except in its own universein fact, it tropes upon the conceived contrast between what we know and what we are hearing. But this is a semantic element. In nonsense verse, the ludic spirit is inherent in this contrast, as in, for example, Noam Chomsky's famous example of an "illegal statement""colorless green ideas sleep furiously"in which each idea that is introduced is, in some way, at odds with what went before it. The Chomsky remark may have some poetic value of its own, but that value is semantic, dependent upon meaning of some kind.

On the other hand, in sound poetry, the sound

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generates its own sense through its patterns and by their reference to our experience. The most obvious area of this sort is in onomatopoetic lyrics to songs, such as the animal imitations in Le Mariage Forcé (1671) by Marc-Antoine Charpentier (ca. 1635-1704), or the Marinetti-like imitation of battle sounds in an early chanson, in "La guerre: la bataille de Marignan" (ca. 1549) by Clement Jannequin (ca. 1500-ca. 1555). Such musical works extend the onomatopoeia of the lyrics, but they are not really sound poetry until they can exist as autonomous pieces, apart from the music that goes with them.

But in the literature of the sixteenth and seventeenth centuries, especially, it appears that, in the great cultural fermentation which took place at this time, with the sense that the old arts were dead or dying and so long live the new ones, at least some speculation was devoted to the making of new forms which we would call sound poetry. The pieces were often made by the same poets who did visual poetry, thus the relevance of my earlier theoretical digression that points out the analogy between sound poetry and visual. For example, there are sound poetry passages in the Pegnesisches Schäfergedicht (1644), composed as a collaboration between Georg Philipp Harsdörffer (1607-58), Sigmund von Birken (1626-81), and Johann Klaj [Klajus] (1616-56), such as the passage by Klaj: "Die kekke Lachengekekk koaxet/ krekkt/ und quakkt," which also evokes an onomatopoetic passage in The frogs of Aristophanes (fourth century B.C.): "Brekk kekk koax koak . . ." The best discussion of such Greek texts is in Stanford (1967, 102 3. but basically, what is going on in the Pegnesisches Schäfergedicht is that the poets are meeting in some nondefined rural situation, in a pastoral setting, and there they share the fruits of their poetical experience; they perform their poems for each other, they offer each other poèmes d'occasion which are visual piecesgarlands, cups, and the likeand they make poems relating to the rural environment in which the action of the poem cycle takes place. This is not very far from the world described in Ruth Katz's essay "On 'nonsense' syllables as oral group notation" (1974), which correctly points out the function of nonsense passages in musical rituals of all kinds. But its purpose is ultimately different, since it is self-consciously concerned with exploring new artistic means. The world of magical incantations and such-like is, again, yet another similar but different area, as discussed in Alfred Liede's Dichtung als Spiel (1963, 1: 256-78), since the purpose of the magic is not to provide an aesthetic experience but to cause something to happen, in which the aesthetic element may be a part but is not the major purpose of the performance of the magical event. Yet let us not assume that the appearance of sound poetry is unique to renaissance and baroque Europe. In India, for example, such interludes constitute a recognized genre in Sanskrit literature, the ''yamakas," which can be roughly translated as "chimes," as discussed in Jha (1975, 45-52); there is, however, virtually nothing on this subject available in the West except a description of them in Liede (1963, 2: 94-103), which is mostly about tautograms. The only printed example we know is in Tuwim (1950, 5), which is rare. Liede (1963) also has a long section on sound poetry (2: 221-55), but most of it is modern.

In all these pieces, of course, one thing they have in common is that all are notated, with rather little responsibility being given to the performer, as in modern sound poetry. The earliest example we have found is by Quintus Ennius (239-168 B.C.), in the Annals (ca. 201-168), fragment 109, printed in Warmington's Remains of Old Latin (1967, 1: 36)"O Tite tute, tati tibi tanta tyranne tulisti!" By stretching the grammar, one can translate this as: "You to yourself, Titus Tatius the tyrant, you took these terrible troubles!" but the point of the outburst is not its sense semantically but its madcap sound. The vowels vary, but the consonants do not; this is the very essence of a "tautogram," as these alliterative sound poems are called. The genre is rather rare in classical and medieval literature, though, for example, there is a long tautogram in iambic hexameters by Hugobald the Benedictine (ninth century) which appears, inter allia, in Juan Caramuel's Metametrica (1663, sec. cxciii, pp. 106-7), and in which all the words begin with "C" and in which musical sense is high while semantic is minimal. Iacobus Nicholai de Dacia (late fourteenth century) has other examples of this, such as the one below, in his Liber de distinccione metrorum (1967, 150), a series of very playful meditations upon death:

Mors terit, hunc ferit/ hunc grauat/ hunc
cauat, hunc populatur;
Hic ruit/ hic luit, hic tacet/ hic iacet, hic
lacrimatur;

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Hunc rigat,hunc ligat/ hunc secat/ hunc
necat vlcere diro;
Hunc tegit, hunc regit/ hunc vocat/ hunc
locat ordine miro;
Hunc tremit/ hic gemit/ hic olet/ hic dolet,
iste sensecit;
Hic latet/ his patet/ hic meat/ hic screat,
ille putrescit;
Hic abit/ hic stabit/ hic riget/ hic piget vltro
manere;
Hic strepit/ hic crepit/ hic cauet/ hic pauet
ista videre;
Hunc vorat/ hunc forat/ hunc petit/ hunc
metit ense cruoris;
Hunc capit/ hunc rapit/ hunc plicate/ hunc
fricat vngue furoris.

Another example of this, by the Portuguese poet Manuel de Faria e Sousa (1590-1649), who worked in Spain (then united with Portugal), appears in the "Century II," printed in Askins's article (1983, 245 77);

Procuras, Pecador, Pan provechoso?
Para perpetuarte Paz procuras?
Pretended por Pastor primas pasturas?
Pides para passar Panal precioso . . .

On the one hand, here, we have the alliterative, and on the other hand the interplay between the Ps, Rs, Ts, and Es. But it is in the baroque that such pieces become almost innumerable. Short bibliographies of such pieces appear in Canel's Recherches sur les jeux d'esprit . . . (1867, 2: 141 4), and in Tuwim (1950, 153 63). While individual works such as Goldonowski (1628) or Pszczenski (1757), to cite two Polish examples, contain isolated examples of the genre, the largest actual collection and discussion of these pieces that we know appears in a work already mentioned, the Metametrica (1663) of Juan Caramuel de Lobkowitz (1606-82). Caramuel is best remembered as the Cistercian monk who was in charge of buildings belonging to his order, of evaluating their condition and repair, in which capacity he travelled throughout the Roman Catholic areas of Europe; one of the great experts on church architecture of his time, his books on this subject are still consulted occasionally. However, the Metametrica and its sequel are utterly different from these; the Metametrica is both a poetics and ananthology of interesting language art pieces. It starts with a traditional description of language and a normative Latin grammar, but almost at once begins to go deeper and deeper into speculations on language and linguistic art, proposes a new language that is monosyllabic like Chinese but which uses a simple grammar like that of English, and makes proposals for all manner of new poetries, visual, of course, but also sound poetry, which concerns us, but even going so far afield as proposing cylindrical poems which would have no ends, spherical and cubical ones, as already noted in Chapter Two, where his visual poems are discussed. He even includes a simple tautogram of his own "Lex, rex, rex spes, spes ius . . ." in Caramuel (1663, sec. 518), discussed in Pozzi (1981, 90). During his time at Rome he was a part of a circle which may also have included André Bayam, a Portuguese monk from Goa in India, who made a book of heart-shaped poems and one of whose books, the Panegyricus sine verbis de S. Philippi Nerii laudibus (1629) gives the instruction for an elaborate verbless performance. The circle definitely included Francesco Passerini (1612 95), who included a chessboard-like poem of Caramuel's, "Ama Fama," in his Schedarium liberale . . . (1659, 177), along with a nonverbal poetic maze. More work has to be done on this circle, clearly. The only available discussion is in Pozzi (1981, 260 75). Another collection of pieces of this sort is in the anonymous Das ABC cum notis variorum . . . (1703, 2: 210), and elsewhere in Europe similar pieces were being done, for example by Hermannus de Santa Barbara) no date, but seventeenth century) in his Carmelo-Parnassus (1687), which starts with a long tautogram on pages 1-14: "Salvae scriba sacer supremae, slusiae sedis . . .," and by Andre Bayam, already mentioned, in his Elogia epigramata . . . (1641, 27).

At the other conceptual extreme, using extremely informal structures but with nonsemantic language, there are such pieces as the following by Luis Gongora y Argote (1561 1627), from Gongora (1921?, 2: 242 3):

A lo mismo

Algualete, hejo
Del Señor Alà
Ha, ha, ha.
Haz, vuesa merc *
Zalema i Zalà,
Ha, ha, ha.

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Bailà, Mahamu, bailà
Falala lailà
Taña el zambra la jauenà
Falala lailà
Que el amor del nenio me matà,
Me Maità
Falala lailà

1. Aungue entre el mulae il vaquilio
Nacer en este pajar.
O estrelias mentir, o estar
Califa, vos chequetilio.
2. Choton, no loiga el cochilio
De quel Herodo, marfuz,
Que maniana hasta el cruz
En sangre estaras vermejo,
Algualefe, hejo
Del Señor Alà,
Ha ha ha.

1. Se del terano nemego
Oies, vozanzed, el rabia,
Roncon tener io en Arabia
Con el pasa e con el hego.
2. Io ester xeque. Se commengo,
Andar, monteca, seniora,
Mel vos e serua madora
Comeras senior el vejo.
Alguelete, hejo
Sel Señor Alà,
Ha, ha, ha.

This poem, composed around 1615, is not specifically a tautogram, like the Latin pieces we discussed, but is rather some sort of a sound-based improvisation. It seems to evoke an Arabic millieu, not just by the references to "Señor Alà," or the arabian reference, but in its "al-" this-and-that and its other exotic sounds. It seems to attempt to evoke as much as possible without depending overly on the sense of the words. it also prefigures one of the best-known early pieces of our own century, "Le t'aime (kikakoku)" by Paul Scheerbart (1863 1915), from the Roman de chemin defer (1900), but to go into that is to get ahead of our story. What both pieces have is a sort of glossalalia or talking in tongues. The speaker seems inspired, and, by releasing himself from the need to mean anything substantive, the language starts to live a life of its own. This is true on the intuitive level of those few surviving pieces of the American Shakers, a community which rejected art as a godless distraction from the spiritual life, but which individual Shakers continued to do, albeit feeling guilty for their own frivolity. There are, in fact, descriptions and even a few Shaker pieces which seem like sound poems, for example, in Andrews (1940; 1967, 72), things which Shakers performed for themselves at quiet times of the day in private, not just as public rituals. There were, moreover, rituals among the Irvingites in the mid-nineteenth century which sound as if they must have been similar, but these have not survived.

Finally, there is a sort of hybrid sound poetry which is neither formally tautogram nor improvisation, but which treads the fine line between sound poetry and the semantic, a sort of highly refined nonsense poetry, written, as it were, in a sort of invented dialect. This is the case with an interesting genre of material which has come down from late medieval France, the "fatras." Here is an anonyous fatras, from a manuscript in the Bibliothèque Nationale in Paris, "Nouv. Acq. No. 4237," ff. 29r and 29v, quoted in Porter (1960, 160):

Item autre taille de fatras entés

Or gardés mieulx vos gelines
Que Rembourc ne fist son coc.

Fatras

Or gardes mieul vos gelines
Que trois grues orphelines
N'ont fait l'asne de l'Escot,
Qui a encusé par signes
Le premier cop de matines
Qui s'endormait en un noc
Et quant il fu mat d'un rot
Il abati ses voisines,
Puis leur vendy par racroc
Son chat plus de trois poitevines
Que Rembourc ne fist son coc.

Again, what is striking here is not the nonsense but the sense. The same is true of such pieces as the sections in an invented German by Andreas Gryphius (1616 64), in Die gelibte Dornrose. Schertz-Spil (1647; 1878), or the similar passages in made-over French in the "tragi-comedy" Oriselle (first performed in 1631 and published in 1633) by a certain C. Chabrol, of whom not even a first name is known for certain. Turning to more familiar ground, this area of the made-up language was cer-

Page 195

tainly common enoughit was done in the nineteenth century by Goethe (1749 1832), and, at the end of our period, on a larger scale by Stefan Georg (1868 1933), who invented a hybrid romance language named "lingua romana" and wrote a few pieces in it.

But the sound poem in the nineteenth century is not so intriguing as the fatras, the Spanish piece, or the tautograms. There are djinns and trains of Victor Hugo (1802 85), the "Chanson du rayon de lune" of Guy de Maupassant (1850 93), in Maupassant (1908, 7: 97 9), or that school child favorite by Robert Southey (1774 1823), "The cataract of Lodore," in which an enormous chain of participles describing how water might behave is used to evoke the water's passage. To quote but a fragment from Southey (1884, 2: 69 73):

. . . The cataract strong
Then plunges along,
Striking and raging
As if a war waging
Its caverns and rocks among;
Rising and leaping,
Sinking and creeping,
Swelling and seeping,
Showering and springing,
Flying and flinging,
Writhing and wringing,
Eddying and whisking,
Spouting and frisking,
Turning and twisting
Around and around
With endless rebound;
Smiting and fighting,
A sight to delight in;
Confounding, astounding,
Dizzying and deafening the ear with its sound.

This may not be first-rate poetry, but it is not altogether far from its earlier heritage in the tautogram. One thing we shall never know, of course, is the style of performance which was intended to go with the pieces, especially the tautograms. These seem designed for performance, not merely for reading to oneself. But how was it done? The old books of poetics do not go into any great depth on tautograms, even when they mention them. Was one to perform in a subdued manner? A formal one? A personal one? What was considered appropriate? What were the styles of performance that were used for them? It would be wonderful to think that there might have survived, in some attic, a description of a performance by Caramuel or Bayam, unlikely though this be. It is the missing element in our coming to understand these old pieces. One can hope for such a discovery, because until then it is as if we were confronted by only a part of the thing, like the shell of a sea creature after the animal has gone.

Page 196

Fig. 5.1. 
One of the many kinds of calligraphic labyrinth; this one is from the 
genealogy book of the Tucher family (1589), from Schrift und Bild (1963, 
page v flwg. text). See page 197, below. 

Page 197

CHAPTER FIVE
THE LIFE AND DEATH OF FORMS

Labyrinths

Within pattern poetry there are a number of subgenres or subforms, of which the labyrinth is one of the most prominent. In labyrinths, the shape is abstract, geometrical, usually rectangular though sometimes circular, and the text is to be read in a number of different ways. One puzzles them out, as it were; it is therefore no coincidence that the term "labyrinth" is also applied to mazes and to other forms of puzzle.

There are five main varieties of labyrinth verse, which we shall list now but discuss in detail later.

1. There are calligraphic labyrinths, in which the text is lettered calligraphically in a serpentine fashion. Such pieces were particularly popular in the renaissance and early baroque periods (see Fig. 5.1).

2. "Carmina quadrata" or "versus quadrati," confusingly, are terms one sees used in the renaissance period for pieces which have their words presented on a rectangle or square; but the term is also applied to the early rectangular carmina cancellata of Optatian (fl. 325) and Venantius Fortunatus (ca. 540-600), discussed in our Latin section in Chapter Two. Whoever first applied this term to the earlier pieces did not know that the term had already been used for the later ones, which were less known. This is an unfortunate part of the terminology in pattern poetry, which we attempt to resolve by avoiding the term "carmina quadrata" wherever possible.

3. Labyrinthi de versis, which are not visual poems but linear ones in which the text is intended to be read in several different ways, are not uncommon in the baroque period. We do not discuss them in this work because they are in no way pattern poems. But they are discussed in Hatherly's "Camoes e la tradizione del programma" (1980), for example.

4. Labyrinthi cubici are rectangular labyrinths in which each line is the same as the preceding one, except that one letter has been added at the start or end, and another letter has been removed at the other end. The following would make an example, albeit a very crude one:

Hatherly (1983) anthologizes a good many Portuguese texts of this sort, as well as relating the subgenre to caballistic texts on her pages 17 to 65, of which more presently.

5. Rectangular and cubical labyrinths are similar arrays to labyrinthi cubici except that they do not follow the line by line evolution, but present their evolutions in other ways revolved around a central cross, for instance, or moving to the center and then reversing themselves, or reversing themselves up to a central point and then running forwards. To us, this distinction does not seem very important and, other than noting that it appears in the literature, we ignore it.

Within this fifth class there are also "chessboard poems," in which one reads the text over a rectangular array in a manner similar to moves on a chessboard; the words make sense one way when read continuously, another sense when read black-square to black-square on the diagonals, when read vertically, and so on. Three anonymous examples will be found in Canel (1867, 2: 13, with

Page 198

a similar piece on p. 5 which has a "board" of only six squares to a line instead of the customary eight). The earliest example known is not printed as a chessboard in the current edition of its poet, Anthonis de Roovere (d. 1482) in De gedichten van Anthonis de Roovere (1955, 207 8), but another well-known Dutch piece of this sort is by Matthijs de Castelein (1485 1550, see Fig. 2.72) in De const van rhetoriken (Ghent edition, 1555), reproduced in the Moderne encyclopedie der wereld literatuur (1965, 3: 48). A near-chessboard poem by Luis Nunes Tinoco (n.d.) appears in Hatherly (1983, fig. 27), described more fully in our Portuguese section of Chapter Two, and similar pieces by Juan Caramuel de Lobkowitz (1606 82) and Francesco Passerini (1612) are described in our Neo-Latin section. Accame (1977, 120) includes an analogous chessboard-shaped musical notation by Ghiselin Danckerts (1510 65) that also appears in Cerone (1613, 2: 1129); Accame places Danckerts's piece side by side with a recent composition by John Cage (1912- ), suggesting the universality of the subgenre.

The literature on labyrinths is plentiful but obscure. A fine nineteenth-century discussion of labyrinths is found in Carbonero y Sol y Merás (1890, 211 6). One fine modern discussion is Ana Hatherly's A experiência do prodígio (1983), which deals specifically with the Portuguese baroque pieces, of which there are many. Hermann Kern's monumental Labyrinthe (2nd edition, 1983) is a work which deals with all kinds of labyrinths and mazes and their traditions and functions, but it also takes up verbal labyrinths. Paolo Santarcangeli's II libro dei labirinti (1967) is not a scholarly work and is not very useful for those who wish to explore this area. An earlier work is Deeds (1935), now out of date.

While the labyrinthi cubici clearly resemble such caballistic texts as those given by Hatherly (1983, 47 9), there is no certainty that the caballa is their origin. This is not to deny that they are similar, but there is not enough documentation of any kind to point definitively towards any one origin for labyrinths. All that one can safely say is that the similarity between caballistic texts and labyrinths is great, that their appearance in literature coincides with the spread of Jewish caballism into the Christian community in the sixteenth century, and that this may well have predisposed readers and poets to look favorably on labyrinthi cubici and other labyrinths as meaningful works. In fact, other forms of writing, for example some of the codes of the time, as found in Della Porta's Steganografie (1602), also have some resemblance to labyrinths, such as the code studies of Johannes Trithemius (14621516) in the Steganographiae (1635, 108).

The Cryptomenytices et cryptographiae (1624) by "Gustavus Selenus," actually Duke August II of Lüneburg-Braunschweig (1579 1676), is a work wholly devoted to cryptography, sacred scripts, and so on. In the book, he refers to Trithemius, Walchius, Hugo, Cardano, Della Porta, and Dupuy (this last mentioned in our section on proteus poems in Chapter Four). He also includes three labyrinthi cubici by "Johann Honthemius Ubius," already discussed in the Neo-Latin section of Chapter Two which appear in the "Praefatio" (preface), on pages C4r, C4v, and C5r, respectively, on "Occulta inquiris, caelos caelanda perite, Artificis res est utraque, crede, provi," ''Magne SeLene probIs Das [sic], o VIrILapsVs ab aXe" and "O bene! tV MVLtos VIVe SeLene DIes," these last two chronograms. They appear to have been composed for the occasion. Honthemius calls the pieces "Distichon Daedalicum, seu Cubus." Then, in the main body of his text, August II includes a work by Optatian, "Carmen XXI," on page 139 (see the Classical Latin section of Chapter Two) and one by Hrabanus Maurus on page 140, poem number 2 (see the Medieval Latin section of Chapter Two), showing his familiarity with the tradition of the Labyrinth. Both these pieces include the names of their authors hidden in their texts and they are thus particularly suited for a work on cryptography. He also includes the blank labyrinth structures that we find in Sutor (Schuster, 1740) which are usually attributed to this last author, on pages 82, 174, and 176. Actually these are by Daniel Klesel (1631 87).

At least one occurrence of something very close to labyrinthi cubici is known from classical antiquity, the tabulae iliacae. These are small marble sculptures with bas relief carvings of scenes from Homer's Iliad on one side, and with Greek texts on the back. Six such pieces are attributed to one Theodoros, who is believed to have worked at Rome, where the pieces were first discovered, and whose dates are somewhere between 50 B.C. and A.D. 50.

Page 199

Fig. 5.2 and 5.3. 
These are the New York (New York: 
Metropolitan Museum of Art, Fletcher Fund, 1924 
[24.97.11]) and "Veronensis I" (Paris: bibliothque *
 Nationale, Cabinet des medailles, "inv. 3318") tabulae 
iliacae (ca. 50 B.C.-50 A.D.) by Theodoros, a Greek 
working at Rome. Fig. 5-4 below gives a schematic 
reading diagram of them. Photos: by permission 
of the Metropolitan Museum of Art and 
Bibliothque Nationale, Paris.

They are described in Sadurska (1975) most fully (see Fig. 5.4), but also in Richter (1954, 235 6, and pl. clxi, n. 236), in Bulas's "New illustrations to the Iliad" (1950), and in Bulas (1929).

One fine tabula iliaca is at the Metropolitan Museum of Art in New York (No. 24.97.11, see Fig. 5.2), described where mentioned in Richter.

The second is known as "Veronensis I" at the Bibliothèque Nationale in Paris (Cabinet des medailles, inv. 3318, see Fig. 5.3), reproduced in Sadurska (1975, pl. 3c).

Two more are the pair of "Shields of Achilles" at the Museo Capitolino in Roma (Salle delle Colombe 83a and 83b) described in Jones (1912, 165-7) and Sadurska (1975, 46 and pl. 4 and 5). On one of these, Theodoros is identified by name, and the style of all these pieces is so similar that they are all believed to be from his hand. One of these "shields" is discussed in Gardthausen (1913, 2: 64-5), a work which also includes some early pattern poetry, so they should have been more commented upon before now in this literature.

One tabula iliaca disappeared from the private collection of Charles A. Thierry (1830-1907) in France, but not before it had been documented.

Finally, a tubula iliaca is now in the German Democratic Republic; it is known as "Ber. Tabula Iliaca 'Dressel,' " and was formerly in the Staatliche Museen in Berlin (Antike Sammlung [Inv. 1813]). It is reproduced in Sadurska (1964, fig. 15). None of these pieces is whole, nor is the function of the texts understood. They are, however, systematic replacements, letter by letter and line by line, of a text, exactly as in labyrinthi cubici. However, they appear to be intended as magical more than as simply poetic. There also appears to be some connection between these pieces as labyrinths in general. Daedalus was the legendary architect of the Labyrinth in Crete; he is mentioned in the Iliad (xviii, 227) in connection with the making of Achilles' shield; the same book speaks of the dance led by Theseus and Ariadne being carved out by Daedalus (11. 439ff). As Piotr Rypson of Warszawa observed in a letter to me of 6 October 1983, Crete and Troy were often associated during the middle ages and the renaissance period, and the association of Daedalus with the labyrinth poem is fairly common, as in several poems by Bartholomaeus Rothmann in the Gdaiisk Trove, discussed in our Polish section of Chapter Two. Rothmann's pieces,

Page 200

Fig. 5.4. 
Schematic diagrams of the texts on the back of 
the tabulae iliacae in Figs. 5.2 and 5.3, by Dick 
Higgins after Sadurska (1964). See page 
199, above.

dating from 1642, are described as having been made "with the help of the Daedalic art," and we have already noted the allusion to Daedalus in Honthemius's pieces in "Selenus's" (Duke Augustus II's) book, discussed above.

Another ancient variety of text which we should perhaps mention here, before continuing our discussion of labyrinths, and which has in common with it the frequent cross-word layout, yielding multiple possibilities of readings, is the Egyptian stela of the XX Dynasty (ca. 1700 B.C.), British Museum registration number 194, described and translated in H. M. Steward, "A crossword hymn to Mut,"Journal of Egyptian archaeology 57 (1971, 87 104, pl. xxv-xxvii), already mentioned in Chapter three (see Fig. 3.22). Its significance is hard to determine, but it does suggest that the labyrinthine goal of the multiple choice text was probably occasionally met with even before the tabulae iliacae, and that the survival of these and not other such pieces is more or less accidental.

Returning to our main argument, however, there is really no need to depend on a connection with caballism to explain the arrival of rectangular and circular labyrinths in the renaissance and baroque periods, however similar some of the pieces may be. Not that the similarity need be minimized, either; but the two are like currents of a common stream. In the first place, there are some late medieval pieces, notably the anonymous Spanish works and those of Florentius, described in our Medieval Latin section, which are indeed bona fide labyrinths. While no labyrinths are known from the fifteenth centuryunless the one in Piccolomini (1614), discussed in our Neo-Latin section (see Fig. 2.25) is authenticthey appear in France by the time of Estorg de Beaulieu (1495-1552) with the rectangular piece on the last page of his Les divers rapportz (1537), already mentioned in our French section (see Fig. 2.39), and soon they are found in Italian and German as well. A Swedish wedding labyrinth on the word "helig" for the 1651 wedding of Arasmo Johann Huss with Fröcken Bäferföld is discussed in Gran's dissertation (1981, 69). They are common in Spanish and Portuguese in the seventeenth and eighteenth centuries, are found in Ukrainian in Dovhalevskij (1736; 1973, 290-1, 293-4) and in Serbian in Orfelín (1757), printed in Pavic (1970, fcg. p. 169), before dying out in the nineteenth century. This should indicate how

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widespread they are, and the most that we can say, in relating them with caballistic texts, is that a taste for caballism accompanied the great flourishing of labyrinths.

We have mentioned circular labyrinths. Examples of these would be the permutational wheels of the Jesuit polymath Athanasius Kircher (1601 -80) in his Oedipus Aegypticus (1652), reprinted in Pozzi (1981, 303) and in Caramuel's Metametrica (1663), discussed in our Neo-Latin section of Chapter Two, plate xxv and the unnumbered piece to Maria Stella, in Peignot (1978, 65) and Pozzi (1981, 273).

As for calligraphic labyrinths, there are excellent examples of these by Johann Neudörffer the elder (1497 1563), Urban Wyss (d. 1561), and Johann Caspar Hiltensperger (1710-54) in Kern (1983, 310 1, with another by Wolfgang Fugger (n.d., but sixteenth century) and those of Weiss and Hiltensperger also in Peignot (1978, 52, 53, and 55; other examples are in the catalog Schrift und Bild (1963) and in Kern (1983). The "lovers' knots" of Swedish, English, and American pattern poetry also resemble these calligraphic pieces at times. They are discussed in Chapter Two, sections viii and x.

Simultaneous with the calligraphic labyrinth one finds a similar but different kind of piecethe maze text. Mazes and labyrinths are synonymous in our colloquial speech, and it is not surprising that such pieces should evolve parallel to each other. In the calligraphic labyrinth it is truly difficult to read the text, so florid is the penmanship. And in the maze text, one starts here and works one's way to there, perhaps getting lost and perhaps having to start again, eventually reaching a goal of some kind. Examples of these maze texts by Johann Georg Lipp (fl. 1654), Johann Agricola (ca. 1530 90), Hans Rudolph Seyrl (fl. 1663), Eberhard Kieser (1585 1631), Matthias Quad (1557 1609), Jacob Koch (fl. 1742 58), Albrecht Wagner (fl. 1758), and Belion (1769) appear in Kern (1983, 312 8). But these pieces are not really pattern poems in that they are usually either prose texts, or consist of linear, nonvisual verses which are manipulated visually without being altered; only rarely do they interact with their forms, as in some of the pieces by Johann Kankel (see Fig. 2.69).

As for the poetics of the labyrinth, this is rather inchoate in the works of the time. Tylkowski's Arithmeticae curiosae (1689, 451) recommends the use of palindromes in making labyrinthi cubici, but virtually nobody did this (except Sam Loyd in nineteenth-century England: see Chapter Two). Instead the poets of the time preferred to make their rectangular labyrinths out of phrases that make no sense when reversed, perhaps in order to stress the act of reading letter by letter rather than line by line. In his Europäische Helicon (1704, 130 1) (which includes an unfolioed fold-out sheet)Johann Christoph Männling [or Maennling] (1658 1723) includes four labyrinths by "Herr Klesel," presumably Daniel Klesel, both poets already mentioned in the German section of Chapter Two. Maennling analyzes the labyrinthus cubicus from a purely formal point of view, and he refers to a "numerus cubicus," which is the following magic square:

5 6 1
0 4 8
7 2 3

For him, the enjoyment of a labyrinthus cubicus is, evidently, of the same order as the poetic enjoyment of such a numerical piece. The first three of Klesel's examples use "Gott ist MEINE Trost" (God is MY comfort) in different arrays, while the fourth uses "Der Koenig lebe wohl" (May the king live well). Since the spirit of Maennling's time was already rather mechanical and less mystical than the early part of the century, it is not surprising that Maennling's approach should be similarly inclined against a mystical approach to the labyrinth. Thus, it is not fair to use Maennling as an example of an approach to the labyrinth that is, as such, alternative to cabbalism or the "Daedelian" references and tradition. All that Maennling shows is that the labyrinth, which by his time was becoming less common throughout Europe, was now being viewed in purely formal terms and that the other traditions were being forgotten or deliberately ignored.

The labyrinth, calligraphic or lettristic, lived its life, then, more or less simultaneously with the pattern poem as such; it began as a rarity, and the first examples are very likely still unknown. We have not made anything like a convincing connection between labyrinths and carmina cancellata or the few pieces, such as the anonymous "Silo" cubus (see Fig. 5.8 and the discussion in our medieval Latin section of Chapter Two) which seem like proto-labyrinths. We have not dated Piccolomini's piece or proved its authenticity, and we have only a few scattered instances from labyrinths from the sixteenth century.

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Then, a tradition developed with a sort of metaphorical roar, subgenres emerged, and the form became extremely common up through the seventeenth century. There was never much consensus about it, its origins or purposes; there was only the general sense that it evoked the labyrinth of Daedalus and that it could be related to cabbalism. Neither was there much agreement about the terminology of labyrinths. Some call them "cubi" and others "labyrinths," depending on their temperaments. The form waned in the eighteenth century, concurrent with the rise of neoclassic poetry and the Aristotelian attitudes which this implied. After 1750, labyrinths became extremely rare. Belion's piece from the late 1760s (the dates of poet and work are not known), in Kern (1983, 318), mentioned above, looks as if it might, in its day, been trying to achieve an effect of deliberate archaism, with its old-fashioned typography. It is a "labyrinthe spirituel," and, just as a modern church might feel drawn to uncial typefaces for its church announcements, Belion's use of uneven faces, an exaggeratedly slanted italic A in ''Labyrinthe," and so on, suggest that Belion may well have been trying to achieve this effect. For the entire nineteenth century, the only labyrinths we know are Sam Loyd's and the anonymous "Cubic triolet" in Wells (1906, 31), discussed in our English section of Chapter Two, unless one counts the other anonymous piece, also quite slight, in Smith (1914; 1965, 172), discussed in our Chinese section of Chapter Three. Clearly the genre was all but forgotten except by a few antiquarians and collectors of literary curiosities, such as Canel (1967) and Carbonero y Sol y Merás (1890).

In this way, the fortunes and prestige of the labyrinth mirror in microcosm the fortunes and prestige of pattern poetry as a whole in macrocosm, and provide a fine model for the understanding of this history. If the earlier sevententh century has a mystical sideeven John Milton (1608 74) is not immune to it, to wit the astrological passage in "Il penseroso"this fades with the century,and the eighteenth century relegates such things to the realm of superstition rather than serious inquiry, where it has been, for the most part, ever since. If pattern poetry (and the labyrinth) are associated with mysticism, then away they must go with mysticism, and during the eighteenth century they are gradually forgotten.

Manuscripts

Normally, in poetry, a manuscript is the ultimate authority when one wishes to determine the poet's intention for the correct text of a given line or passage. But in pattern poetry, the manuscript has even more significance for a piece, in that it is the final authority concerning the poet's intention for the identity of a piece as a pattern poem. That is, when we read a sonnet in printed version or manuscript, we know that it is a sonnet, and our concern with the manuscript revolves around the correct text as the poet worked on the piece; beyond that, the changed lines, earlier drafts, and so on, shed great insight as to the correct reading of the poem, the poet's working methods, and so forth. But there is no question that the sonnet is a sonnet.

On the other hand, pattern poetry is filled with works which may or may not have been intended as pattern poetry. A quick glance through the English section of Chapter Two will show what I mean. Margaret Church's dissertaion (1945) cites a number of pieces as pattern poems, and I have taken issue with her citations in some cases, asserting that the poems are, from a visual point of view, too vague to call, clearly and unequivocally, pattern poems. However, we are simply two people who are offering our best judgements, even guesses. Why? Because we do not usually have access to a text as it left the author's hand, which would establish, once and for all, whether or not a given piece was intended to be a pattern poem, or whether it is simply the printer's eye which makes it, possibly, resemble one in some way. Particularly with the English pieces of the seventeenth century, the manuscripts are apt to be either lost or unavailable, in undocumented private collections and so on. Thus, without manuscripts we can only guess.

Furthermore, just to stay with the English materials for a moment, some of the pattern poems have only been published in formats or with typographic designs which do not do them justice. In the absence of a manuscript, we can only say that this appears to be the case. But in the case of those few manuscripts which we do have, when we compare the manuscript and printed versions, we can say definitely that the design of the type reduces the aesthetic impact of the piece in a given case, which, with a visual poem, is a significant portion of its

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potential appeal. This is notably true of the three pattern poems by Joseph Beaumont (1616-99), of which the manuscripts are at Wellesley College, and which were first published in the early twentieth century in a rather insensitive and overly rectolinear design (see Figs 5.5 and 5.6). The same is also true of the pieces by Thomas Stanley (1625 78).

The problem is sometimes averted by an editor including a facsimile of the manuscript in his work. This was done in the case of the Flemish pieces by Eduaerd de Deene, by the Dane Peder Jensen Roskilde (seventeenth century) and by Catharina Regina von Greiffenberg (1633-94) in the various places where their works have been published.

In some cases the manuscript long postdates the original work, for example, with the pieces by Optatian (fl. a.d. 325), where all we have is medieval manuscripts. These, however, serve as our ultimate authorities for the original pieces; they are clearly closer to Optatian's time than any printed edition, and so such manuscripts must be referred to for authenticity.

One thing that we discover when we compare any typeset version of certain works with the manuscript originals is that the typeset form lacks the authority of the original. This is true of some of the Sanskrit citrakavyas and of such medieval pieces as the anonymous Byzantine works, discussed in our Greek section of Chapter Two, the archer in the "Laurenziana Cod. Plut. XXXII,52" (fourteenth century) at folio 119v and Thomas of Damascus's carmen quadratum of 862-3 in the "Cod. Leninopol. 216" (ninth century). It also comes as quite a shock to a reader who knows the De laudibus sanctae crucis of Hrabanus Maurus (784-856) only from the nineteenth century printed editions, who then encounters the original manuscript or its facsimiles. Perhaps it could be said that the carmina cancellata are truly unsuitable for normal typeset renditions, even if one does not wish to go to the extreme position of such a view, such as that all works which antedate the introduction of printing should be judged only in manuscript versions. This last would pose problems in such pieces as the Brazilian works from before 1808, when printing was first allowed by the Portuguese in that country; the Brazilian manuscripts are hand-drawn imitations of printed texts rather than works conceived with a calligraphic orientation. Perhaps one way to think of such pieces is as dummy designs for works intended to be printed at a later date. The same is true of such folk-art pieces as the American Shaker pieces of Mary Hazard (nineteenth century) and the anonymous "Love Knot" (1856), both discussed in our American section. The same thing holds true of the pieces by Vigilán (tenth century) in the "Codex Vigilano" (Escorial d.I, 2) described by Antolfn (1910) and listed in our Medieval Latin section. The published versions are very elegant, but they have a brilliant mechanistic look to them, like well-polished steel, and that is surely not what Vigilán had in mind. His poems are sacred meditations, not evocations of the brilliance of early gothic breastplates.

Only a few pieces are known only from manuscript, as are the Irish pieces by Cathan O'Duinin (eighteenth century) and "The book of Armagh" (ninth century), "TCD Ms 52." When and if these are ever printed, the ideal format would be to have a holograph of the manuscript face the printed rendering, if the economics of the edition would justify this.

Even a late manuscript of an early work can be of interest, such as the King Silo piece, discussed in our Medieval Latin section, which also appears in "Ms. 338" of the Biblioteca Geral da Universidade de Coimbra (see Fig. 5.8), an eighteenth-century rendering. What we can see in this is a glimpse of how an eighteenth-century Portuguese person felt about this medieval workit is charming, but much altered, aesthetically, from the look of a medieval piece of any kind, since it has no uncials but only an eighteenth-century approximation of a classical appearance, as if the work dated from classical antiquity.

If we had more manuscripts of early pattern poems, we could compare the printed and handwritten versions, not just for the poetic insight that they afford but also to understand the visual sense inherent in the typographic design of the time of publication; this, alas, is almost never the case.

All in all, then, the role of manuscripts in pattern poetry is extremely great, in terms of discovering the poet's intention and, also, for the great visual impact which the manuscript sometimes has and which the printed version occasionally lacks. For example, see Figs. 5.9 and 2.84, Lewis Carroll's "We lived beneath the mat" in manuscript and typeset, the first version of "The Mouse's Tale," from Alice's Adventures Underground, the early version of Alice in Wonderland. This version has the right

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shape but only in the manuscript. The version he finally used is, perhaps, an inferior piece, and it works less well from a narrative point of view, in terms of the rest of the story. But if we compare the two versions of "We lived beneath the mat . . .," we see that the typeset version is inexorably more uneven, less like a mouse's tail; the manuscript version has the right shape because Carroll wrote the piece on a slant. Set in type it loses the characteristic mouse tail shape. The version he used does not. Its shape is right, both in manuscript and in typeset ver-

Figs. 5.5 to 5.7. 
Joseph Beaumont (1616-99), "Good 
Fryday" and "Easter," manuscript and 
corresponding typeset versions. Manuscript 
from the English Poetry Collection, Wellesley 
College (Wellesley, MA). Typeset version 
from Beaumont (1916, 153 4). Courtesy of 
the General Research Division, New York 
Public Library, Astor, Lenox and Tilden 
Foundations (NCL). 

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sion. That is the one the author chose, even though it works less well in the narrative. Thus by comparing the manuscript and typeset versions, we can see that Lewis Carroll's priority was visual here, more than simply to tell the story.

What we cannot concern ourselves with, here, is the other question in typeset versionsof a set of five or six typeset versions, which is the best? On that there is no consensus as yet; we can offer no rules. Presumably some pattern poems were conceived with a certain typeset look about them, while others were imagined in manuscript form. The question of which printed version lacks authenticity or impact, of whether some printed renderings occupy a conceptual role comparable to that of manuscripts in traditional poetry, this question we leave to others to decide for themselves, and for time and further examinations to tell.

 Fig. 5.8. 
An Eighteenth-Century Portuguese 
manuscript version of the anonymous Latin 
text associated with King Silo of Asturias 
(774-83), from the Biblioteca Geral da 
Universidade de Coimbra, "Ms. 338." 
See page 203, above. From Ana Hatherly, 
A experiência do prodigio (1983, fig. 13). 
Reprinted by permission.

Figs. 5.9. 
The earlier version of "The mouse's tale" 
by Charles Dodgson (Lewis Carroll), in manuscript 
from Alice's adventures underground, which later 
became Alice's adventures in Wonderland. Although 
this earlier version suits the main text better, it 
could not be typeset appropriately, and so Dodgson-
Carroll wrote the different, more familiar version 
with its shorter lines. For a modern, typeset version 
see Fig. 2.84. See also pages 109 10 of Chapter 
Two, English section, above, and 203, above.

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Hypotheses Towards A Theory

Now that we have reached the end of our examination of as many known pattern poems as we could locate, traced a history of them, seen them in the context of the Western and oriental languages, compared them to analogous pieces in analogous forms, and seen the special form, the labyrinth, which is a subgenre of them, and have looked at the special role which the form of presentation of the work plays especially in manuscript, we can begin to see that the pattern poem is a highly diverse genre, and that what is true, even within just the European pieces and leaving out the oriental ones, for one group will not necessarily be true of the rest. Nevertheless, we can now attempt to offer some kind of definition of the form.

Our definition will have to be rather flexible, of course. A pattern poem is a poem, first and foremost. This differentiated it from, for example, shaped prose. Of course, the distinction between poetry and prose is relevant only to the purposes to which the distinction will be put. Classical times made the distinction, but the middle ages tended to play it down. The use of the distinction is to organize the assumed music of the piece. Prose contains information, and its music is apt to be based on its subject matter. Poetry, on the other hand, has a music which is normally independent to a great extent of its subject matter. The language is used to reveal a formal matrix and to interact with it. This is true of virtually all poetry, whether modern or old, at least in the Western context. The formal matrix may be preconceived or traditional, or it may be unique to a particular poem. That does not matter. But it is an active and revealing quality which poetry has, with regard to its form. And thus the pattern poem, if it is poetry in this sense, reveals its form and interacts with it, taking on one or another special quality according to the visual form which it has. For pattern poetry is intermedialit deals with both a linguistic or literary medium and with a visual one. It may mix media, in which case one can separate the two, or it may represent a conceptual fusion, in which case it is truly intermedial. But this distinction need not be taken too far, for our purposes mixed- and inter-media are both in some sense intermedial. One might remark also about the other analogous forms in Chapter Four that these also are, for the most part, intermedial in one way or anothersound poems are between text and music, shaped notations are between music and the visual elements, and so on. But these need not concern us here.

But to work up our definition, we must therefore say that pattern poems are visual poems, intermedial texts between literature and visual art. The visual form need not, though it usually is, be mimetic. Labyrinths are seldom mimetic, though the forms have their own traditions. But the rest of pattern poetry usually has a mimetic shape which signals something about the piece itself. The shape contains part of the meaning of the piece, then, beyond its purely formal interaction with the words long lines, bent lines, ambiguous lines, short lines, and so on. If we see a cross-shaped poem in the German baroque, we know at once that it is likely to be a memorial for someone and not, say, a wedding poem, which would likely be heart- or chalice-shaped. But, given these conventions, one might also suggest that pattern poems are intermedial in another sensethey lie between the pure art and the social art or function. Their significance is often a direct function of their shape, and their texts are sometimes less important than these forms in terms of the presumed intention of the artist. This is, of course, more true of some kinds of pattern poetry in some periods than of others.

We do not know what the forms meant to antiquitythe Greek and Latin pieces are so rare that, for the most part, we cannot make many generalizations about the pieces or about the forms. It seems obvious that if seven or so pieces have survived, there must have been more at one time. What shape were they? They seem to point towards the use of stock formswe have, after all, two Greek altars. Laevius's phoenix must have had some emblematic signigicance or he would not have made it phoenixshaped, but would perhaps, have shaped it like some other kind of bird. Were there once other phoenixshaped poems? For what were they used? Thus, the visual shape was called on to exemplify some kind of meaning, though we do not know what it was. It may have been magical or mystical. There is speculation that Simmias's axe was intended to be engraved upon an axe. But we will never know this for sure, nor will we know precisely what the

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significance of axes in general was to Simmias's contemporaries. All we can offer is an informed guess based on surviving texts, and it would appear that even in antiquity the forms of pattern poetry were stock, standard conveyors of meaning, as in the baroque period.

But this element seems to disappear in the mediaeval Latin pieces. Here the shapes are, for the most part, squares with their embedded or woven intexti providing all the visual element. They suggest something almost as much akin to the emblem tradition, in which text and visual elements are separated, with the two of them commenting on each other. The medieval pieces do not have the same degree of shaping as the classical or later ones. The forms do not repeat in the same waythere is only one piece, for example, with a lamda, though there are obviously a good many crosses. The allusion seems therefore to be more to a tradition of faintly-remembered visual poetry than to specific subgenres of cross-poems, altar-poems, wing-poems, or star-poems.

In the renaissance period we start with a reawakening to the knowledge of the classical pattern poems from the Greeksor do we? For example, Curzio's Neo-Latin bird (not the wings we have reproduced) is not a phoenix, no Greek bird poem is known, and, as for his Priapic piece, there is nothing like it elsewhere. The case is not clear. It is as if the early sixteenth-century pieces awake to an awareness of the forms without wishing to imitate them exactly, but to make new ones, except, of course, for the English, whose sense of tradition is statistically different from the pieces on the continent. The English repeat the Greek forms, the others extend them. Thus, we cannot quite say that there is a simple re-beginning, with poems starting by imitating Greek models, tempting though this might be, and going on to develop new ones. All we can say is that the Greek models are imitatedwhile, side by side, the new forms are developed. The columns and crosses are unknown to the Greeks and, if we assume the tradition of Hincmar's poem was known, they must represent a medieval addition to the stock. But the other forms recommended by Puttenham and others are newyet found commonly across western Europestars, suns, hearts, chalices, globes, wheels and, of course labyrinths. Some are more common in one literature than anotherthe Portuguese labyrinths are far more plentiful than the Swedish ones, and this is not likely simply because Hatherly collected them; rather, she collected them because they were there to collect and in striking quantities. Gran did not collect them in Sweden to any great extent because there are rather few of them. However, hearts, chalices, monuments, and diamonds ("fuzies," Puttenham called them) are very common everywhere, are very widespread.

Some authors, notably Ulrich Ernst, have argued for a great deal of continuity in pattern poetry. My view is that there is rather little continuity, that the poets have usually had a very small sense, other than a general one, of what their predecessors had done (though they usually know the Greek pieces and a few by their contempories), and that this accounts for much of the variety in pattern poetry over the years. Both views are speculative, and we will need more materials to make obtain anything like convincing support for either view. I must prove that the poets did not know, and Ernst must show that they did know, most of what their predecessors achieved.

Nor can we point to an exact moment when the social function of these pieces was fixed; nor is the fixing absolutely rigid. There are a few memorial hearts as well as wedding ones, but they are rare. What we can say, legitimately, is that by the early seventeenth century, the characteristic use of these forms had been determined, and, especially in Germany, their frequency reaches almost astronomical proportions. While pattern poetry as a whole seems to be a single form in literatures where it is rare, as in Russian literature, for instance, in places where it is very common, such as German literature, it seems to be true that is, rather, a whole class of formsheart forms, chalice forms, cross forms, and so on, each with its own traditions. This is what one feels when one reads Morhofs theoretical passage, for instance. And it seems born out by a further speculation I will offer: There are many pattern poems in German which have all the suggestions of being occasional verse but which have no dedicatees or dates, being printed simply on broadsides, sometimes signed by a presumed author and sometimes not. Might it be that such poems were bought from a poet by a printer, then resold to the people who came to the printer to have announcements printed up? To me this seems not improbable. But its implication is that the piece is a

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social work, not a work of pure art, that the social significance of the poem is greater than its literary one. More I cannot say, but a social analysis, perhaps employing semiotics, would be an interesting area to explore some day.

Few indeed are the literary forms which have, to the extent of pattern poetry, their own autonomous traditions and associationswhether with Daedalus, as in the case of the labyrinths, or with classical literatures, as in baroque pattern poetry. The association with Daedalus is, more or less, automatic. In this, pattern poetry is different from, let us say, the sonnet, which might be about virtually any subject. A cruciform work might be associated with death, since its visual shape is associated with death. But, for example, there is nothing particularly Daedelian or neoclassic about a rectangle; it is only the tradition of the labyrinth which makes the association. Similarly, we have noted in Chapter Two how almost all the English pattern poetry uses shapes and forms derived from the Hellenistic Greek models (unlike, say, German pattern poetry). While this can be taken as a sort of formal conservatism, it also is an instance of evoking these works from the past more or less automatically. There is nothing very neoclassic about the wing shape as such. But a Greek used the wing form, and so, if an English poet does the same, he evokes the Greek, at least to another Englishman who is familiar with the literature. In this way its meanings and associations are encoded in its shape. That one does not need to know Greek literature in any great depth to make this association is quite obvious, of course, and in the case of lesser poets, unlike Herbert, who use a Greek shapeas in Bosworth, for instanceit is somewhat superficial as a way of obtaining a classical mood. Perhaps it is for this reason, as opposed to a hostility towards the visual impulse in poetry as such, that pattern poetry attracted the scorn of some of the more learned (and usually acute) critics in its day, such as Gabriel Harvey and Joseph Addison, quoted in Chapter One. These critics may have been unwilling to endure the automatic and instantaneous association that the forms implied, at least to those who knew their traditions, as already stressed.

There seems to be no correspondence between the appearance of pattern poetry and the degree of decadence of its literary matrix. Perhaps the Greek pieces, done as they were by late, bucolic poets, are not from the prime of Greek poetry. Perhaps the same holds true of Optatian's Latin pieces. But what of Laevius? He is from the same period as Ovid and the Augustans, from the golden age of Latin verse. What of Hrabanus Maurus? He is from the Carolingian renaissance. And what of the seventeenth-century pattern poets? That century is hardly effete or decadent as such, for all the revelling of baroque poets in special effects and stylistic mannerisms. Rather, a case could be made for the opposite, that when poetry turned in upon itself and focussed only upon its semantic elements, as occurred in the late seventeenth century, the ability to make pattern poetry or to appreciate it faded and was lost, and that this constitutes a form of decadence within most of our modern literature since the mid-eighteenth century. Of course, one would not like to make such a casebut it seems no less absurd than the view which one occasionally finds in the literature on pattern poetry that it is, in some way, a sign of the decadence of a literature. It should be obvious that any formal means which heightens the aesthetic or emotional impact of a poetic text, or that enriches its meaning, is appropriate, at least to that poem.

It is also interesting to note that in the oriental analogues to pattern poetry, that stock shapes are used there as well, as Dr. Jha points out in our appendix, and in Chinese hui-wen the same is also true, though less so since the shapes are usually abstractovals, grids or circles, and so on.

The best of pattern poetry must be appreciated, then, with some recognition of its intermedial nature. The poem is neither purely literary nor visual but a conceptual blend of both, and one must therefore balance social revelation against the literary one, or the visual against the text, and see how the one suits the other. One-dimensional criteria cannot really suffice, except perhaps in some few cases, such as Herbert's "Easter Wings," which are so strong that the work is masterful by almost any criterion. Even so, a visually-oriented critic like the contemporary French type designer Robert Massin, in Massin (1970, 186), attacks the piece as naive because it seems to him visually inadequate, thus showing that not only the one-track literary critic but the one-track art critic can miss something in a masterpiece. If our object is to appreciate the pieces, we must, then, develop new criteria for doing so. We must take hermeneutic criteria along with the others for the visual forms,

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and we must ask ourselves what uses a pyramid could be put to in a poem, as Ulrich Ernst has done in his "Europäische Figurengedichte in Pyramidenform" (1982), and not treat each pyramid as a unique and isolated conceit, as an eccentricity on the part of the poet.

It is, of course, to enable this to be done that I have made the present work, with its listing of all these pieces, so that the first steps can be taken towards such a hermeneutic consideration of all the forms and the processes of interrelation with them. Only then can these hypotheses be testedwithin the subgenres of pieces, within the national literatures, within the different historical periods and cultures. Until then, the best that we can offer is only tentative, a definition along common sense grounds of what a pattern poem is an intermedial poem that is literary, visual, and sometimes social in its conception, usually mimetic in its visual image, in which all of these elements are conveyors of meaning, and usually (for this book) composed before A.D. 1900.

Modern visual poetry raises other, equally interesting problems. For example, the modern visual poem is assumed to be in a unique form and shapethe words or message suggest that it should acquire something in its form which does not duplicate that of any previous form, and to do so would be an indicator of imitativeness, which again, by modern criteria, would be a fault in the work, though not in many earlier times. We prize originality for its own sake, where many earlier periods did not, but looked instead for the effectiveness with which a given work awoke the resonances of its tradition in the eye and mind of the reader. On the other hand, pattern poems, as we have seen, tap into a formal tradition by their deliberately using a specific set of forms, each of which generates its tradition, and thus each member of the set of pieces belonging to such a form develops its own resonance with that form.

But, as we saw in the first chapter, 1900 makes a good cut-off date for pattern poetry, although clearly some twentieth-century pieces have more to do with the traditions of pattern poetry than with the other visual poetries of our own times, such as concrete poetry or poesia visiva.

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Fig. I.1. 
Wang (1976) plate 19. Based on Hui-wen lei-chü 
hsü-pien chapter 1 page 5b. See page 212, below.

Page 211

APPENDIX I
CHINESE PATTERNED TEXTS

by HERBERT FRANKE

The arrangement of a text in a shaped pattern is not unknown in Chinese literature. It belongs to the range of literary play-forms in which the educated elite indulged, particularly since the Sung dynasty (A.D. 960-1279). Such shaped texts were frequently devised as literary puzzles, because it was left to the ingenuity of the reader where to begin the reading and in which direction to proceed. The peculiarity of the Chinese script, where a character is a word, and of the syntactic structure of literary Chicese, where grammatical morphemes are relatively rare, has from early on linked shaped texts with palindromes (Chin. hui-wen). In a language like literary Chinese, it is much easier to compose intelligent palindromes than in Indo-European languages, for example. It is therefore significant that in another East Asian language which is largely monosyllabic like Chinese, namely Vietnamese, we find palindromes too (in Vietnamese they are called thuan ngich doc, "downstream and upstream reading"). Palindromes were recognized early as a legitimate art form in Chinese literary criticism. Already the Wen-hsin tiao-lung, a critical discussion of literary genres by Liu Hsieh (ca. A.D. 465-522), mentions palindromes as a genre by itself (Shih[1970] 45). A similar work of literary criticism, the Ts'ang-lang shih-hua by Yen Yü (fl. ca. 1200), lists palindromes along with shaped poetry (Debon [1962] 80 1) and other literary puzzles.

Shaped texts in Chinese can be poetry or prose. The text might be composed in order to be arranged in a pattern, or a preexisting text can be shaped ex post. The pattern itself is either geometrical or abstract; circular arrangements are quite frequent. It can also be arranged so that the resulting shape is the visual representation of an object, animal or plant, and so forth. Each Chinese shaped text belongs to one or more of the categories listed above.

The first Chinese author who systematically collected palindromes and shaped poetry seems to have been Sang Shih-ch'ang, the author of the Hui-wen lei-chü ("A collection of palindromes according to categories"). Unfortunately not much is known about him. His father, Sang Chuang, came originally from Kao-yu in modern Anhui, but as a result of the Jurchen invasions of Northern China,moved around 1131 to T'ien-t'ai in Chekiang province. He was married to the sister of the famous writer Lu Yu, an educated lady who lived 1112 1185, surviving her husband Sang Chuang by many years. The Sangs had four daughters and three sons; Sang Shihch'ang was the second son from this marriage, so that the date of his birth can roughly be estimated as circa 1140. The Sang family seems to have lived in straightened circumstances, because the necrolog for Sang Shih-ch'ang's motherwritten by his maternal uncle Lu Yuinforms us that Mrs. Sang tried to insist on a good education for Sang Shih-ch'ang and did not let their poverty distract him from the pursuit of study with renowned masters. In addition to the Hui-wen lei-chii, Sang Shih-ch'ang also wrote a treatise on the famous calligraphy by Wang Hsi-chih (303 79), the "Orchid pavilion preface" (Lan-t'ing hsü). This treatise is preserved and has been many times reprinted, either under the title Lan-t'ing po-i ("Comprehensive discussion of the Lan-t'ing") or Lan-t'ing k'ao ("Investigation of the Lan-t'ing").

It seems that the Hui-wen lei-chü was already printed in Sang's lifetime, but no copy of the original edition has survived. In the sixteenth century, the work was reprinted by the anthologist

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Chang Chih-hsiang (1507-87), but of this edition also no copy could be traced in the bibliographies. Only the reprint of circa 1692 by Chu Hsiang-hsien (for whom see below) is still extant, but even this edition is quite rare. It includes Sang Shih-ch'ang's original, undated preface and several other prefatory materials. The work consists of four chapters: Chapters one and two deal with shaped poetry, whereas chapters three and four are an anthology of palindromes. Chu's edition has a fifth, unnumbered chapter, Chih-chin hui-wen t'u (''The palindrome on woven brocade with illustrations"). This chapter consists of the poem block attributed to Su Hui (for whom see below) and explanations of how to read this block. There follow nine woodcut illustrations based on the paintings of Chin Shih, a seventeenth-century painter, which illustrate scenes from the story of Su Hui. Each woodcut is accompanied by a poem from Chu Hsiang-hsien's brush in a variety of calligraphic styles.

This poem block (see Fig. 3.1), in Chinese Hsüan-chi t'u, is one of the most famous literary tours de force in Chinese civilization. It is an arrangement of 29 x 29 = 841 characters in a square which can be read in various ways, "backwards and forwards, up and down, in squares, whorls, diagonally and in a dozen other combinations" (Lin [1965] 308). The Hsüan-chi t'u is attributed to Su Hui, the wife of the official Tou T'ao (fourth century A.D.). Tou had taken a sing-song girl as a concubine. Su Hui became understandably jealous, particularly after her husband had taken the concubine to accompany him to a distant office. Su Hui then wove a piece of brocade on which the 841 characters were represented in order to give expression to her sorrow and love, and sent it to her husband. Tou T'ao was so impressed by this piece of female ingenuity that he was reconciled with his wife. Ever since the poem block has been regarded in China as a sublime piece of female skill, as C. T. Hsia has shown recently (Hsia [1977] 288-9). Most major literary critics in traditional China at least mention the poem block (e.g., see Debon [1962] 80, 169). The story of Su Hui and her ingenious piece of poetry is also the subject of a novel in colloquial Chinese, the Hui-wen chuan ("The story of the palindrome"), and there exist several theater plays with the same subject. A hand-scroll attributed to the Ming painter Ch'iu Ying (ca. 1494 ca. 1552) in the New York Metropolitan Museum of Art illustrates the story of Su Hui.

Another shaped poem written by a woman is the "Poem written on a round plate," (Chinese, p'an-chung shih), attributed to the wife of Su Po-yü (second century A.D.). This poem is arranged in seven concentric circles around the character shan ("mountain") in the center, just as the character hsin ("heart") is in the middle of Su Hui's poem block. In the Hui-wen lei-chü, the poem in the plate appears in chapter 2, pages 1b 2a. It is also reproduced in Debon (1962, 170). The Hui-wen lei-chü has, apart from the poem block, altogether seventeen shaped poems. The shapes are abstract, mostly in circles, but there are also three in other forms (squares or lattice shapes). The fact that they are all riddles is shown by the explanations of how to read the poems. Indeed, poems with a "hidden beginning" (ts'ang-t'ou) are at the basis of the anacyclic compositions.

It should be added that the poem block (Hsüan-chi t'u) has also been imitated in Japan, although the Japanese language makes it much more difficult to construct a shaped text. For an impressive example, see the catalog of a recent exhibition in Köln (Sho [1975] 142 5). It was composed by the Japanese emperor Go-Mizuno-o in 1648 and can be read in different ways so that the block yields sixteen different poems. The number of poems to be extracted according to the way of reading in the original Chinese poem block of Su Hui is much greater. It is possible to produce hundreds of readings of poems in various prosodic meters (for examples, see also Wang [1976, pp. 11ff.]; for illustrations of the Hsüan-chi t'u, see plates 1 10 there). The Hsüan-chi t'u plays also a certain role in the novel Ching-hua yüan; for a translation see Flowers in the mirror (Lin [1965] 242 3), and for the original Chinese version of the novel, Li Ju-chen (1979, 290-301).

Chu Hsiang-hsien, the editor of Sang Shih-ch'ang's Hui-wen lei-chü, is an elusive person. He was a native of Su-chou and the author of a treatise on seals, the Yin-tien ("Compendium of seals") in eight chapters, published in circa 1722. He seems to have been a publisher too, because he had the blocks for the xylograph reprint of the Hui-wen lei-chü carved privately. We can cull some information on him from the various prefaces to his compilation, Hui-wen lei-chü hsü-pien ("a continuation of the Hui-wen lei-chü"). Chu had a brother by the

Page 213

name of Chu Kuang who was an official serving in the southwestern provinces of China. One of the prefaces to the continuation is dated twelfth month of the year 1692 (in European chronology, January 6 to February 5, 1693). The Hui-wen lei chü hsü-pien must therefore have been published privately some time after 1693. The book itself is relatively rare but very important because it includes a great number of shaped poems. The Hsü-pien consists of ten chapters, of which chapters one to seven are an anthology of shaped texts; chapters eight to ten are an anthology of palindromes by authors not represented in Sang Shih-ch'ang's Hui-wen lei-chü. Chu Hsiang-hsien's collection is partly based on an earlier work. Chapters three to six are a reedition of the Hsüan-chi ts'ui-chin ("Fragmented brocades of the Hsüan-chi) by the late seventeenth-century author Wan Shu. This work had originally two chapters with thirty shaped poems in each chapter, which Chu Hsiang-hsien in his version has spread over four chapters of his own anthology. Chapter seven of Chu's anthology consists of additions to Wan Shu's work, whereas chapters one and two are independently collected shaped poems.

Fig. 1.2. 
Wang (1976) plate 22. 
Based on Hui-wen lei-chü 
chapter 2 page 10b. See 
page 215, below.

Fig. 1.3. 
Hui-wen lei-chü hsü-pien chapter 6 page 
9b. See page 216, below.

Fig. 1.4. 
Hui-wen lei-chü hsü-pien chapter 6 page 9b. 
See page 216, below.

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There can be no doubt that Chu Hsiang-hsien's Hui-wen lei-chü hsü-pien is the most comprehensive anthology of shaped poetry in Chinese. The works by the twentieth-century author Wang Chung-huo (Wang [1966] and [1976]) on palindromes largely relies on Chu Hsiang-hsien's work; they are, for the sinologist, useful because they include many punctuated readings of the literary puzzles in Chu Hsiang-hsien's and Sang Shih-ch'ang's books. A thorough analysis of the materials in the Hui-wen lei-chü hsü-pien would require much space and further research into the provenance of the individual shaped poems. We shall therefore give in our survey a few results only. The total number of shaped pieces (poetry and prose) in Chu's anthology is 108. In not a few cases, earlier poems have been put into shapes. These include poems by the famous author Tu Fu (712-70), by the Ming emperor Hsüan-tsung (1399-1435, r. 1425-35) and by the Ming literatus-painter T'ang Yin (1470-1523). In other cases, the names of original authors are given but no identification was possible. Chu Hsiang-hsien himself contributed some pieces, and so did several of his learned friends.

Regarding the shapes of the texts, we can-distinguish three types. Type 1 is poems derived from the Hsiian-chi t'u poem block. Type 2 is geometric arrangements, mostly cyclical. Type 3 is poems shaped into representations of objects. Within this group we can again differentiate between poems which show a contentual relation to the

Figs. 1.5a and 1.5b. 
Wang (1976) plate 12. After Hui-wen 
lei-chü hsü-pien chapter 6 page 11b. See 
page 216, below.

Page 215

shaped figure, and those which do not. As far as prosody is concerned, we find poems with four, five, six, or seven words per line, and also songs (tz'u). Song prosody is particularly difficult because of the complicated verse structures. In each case Chu Hsiang-hsien has added rules for the correct reading of the shaped text; he thus provides the solutions for the literary puzzles.

We might perhaps ask what the motives were for this purposely difficult genre. The answer is that such poems were intended to show off skill in mastering the complicated prosodic patterns of Chinese versification. At the same time, the readers were tested for ingenuity and perceptiveness. In other words, patterned poems were a literary playform of the homo ludens among the literati. It should also be noted that the content of these poems remains within the poetic traditions and conventions. The poems never try to open up unusual or nontraditional subject matter, nor do we find formal innovations or new prosodic patterns. Shaping poems did not mean much more than rearranging a normal poem into a shape where it had to be "deciphered" in order to reappear as a regular poem. It is by no means easy to understand a patterned poem in Chinese, because one has first to find out where to start reading and in what direction. Without the comments explaining the method of reading, one would have to rely on a trial-and-error method. All this is difficult enough, but some authors were not content with the degree of difficulty and added more puzzles, for example, by indicating the technique of "dissected characters." this means that in some poems one has to start reading or to use only a part of the character concerned. In the following, we shall give some examples of poems including in Sang's and Chu's anthologies. The simplest form are poems arranged in a circular shape.

The first example of a circular poem is deceptively simple (see Fig. I-1). The circle consists of sixteen characters only, but these characters can be used for a poem of twenty-eight words (four lines with seven words each). The trick consists, apart from finding out where to start reading, in repeating for each line the last three words of the preceding line. The poem is a winter poem from a series of four describing the four seasons. A free translation follows:

Everywhere white snow dances around the
veranda.
When snow dances around the veranda, its
ornaments are adorned like jade.
The veranda ornaments like jade make the
silver park pure.
The park with silver adornments is pure, and
light is the fragrance of the
plum trees.

This anonymous poem uses conventional clichés for the winter: the white fragrant flowers of the plum blossom already when it still snows. Silver and jade evoke purity. The important point is, however, that the poem is at the same time a palindrome and can be read backwards; the general sense remains more or less the same. Not only the last words of lines one, two, and four rhyme, but also the first words of lines four, three, and one.

A more complicated example is based on a poem attributed to the T'ang poet Po Chü-i (772 846). It is arranged in an oval shape and combines "hidden beginning" with "dissected characters." There are altogether 48 characters from which a poem of eight lines with seven words each can be formed. The missing eight characters (8 x 7 = 56 48 = 8) are supplied by dissection of the last characters of each line; the lower part of this character is a character by itself and serves as the first word of the following line (for the text see Fig. 1.2).The title of the poem is "Wandering in the palace of purple mist," and the content has a distinctly Taoist flavor, praising the quietness of a deserted palace garden and the absence of worldly ambitions and cares.

After water has washed away dust and dirt
I can sample the taste of the Tao.
It is sweeter than fame and riches.
These two are now forgotten.
In my heart I think of the guests from the Six
Caves and the Cinnabar Clouds
(i.e., the Taoist paradise).
I recite texts from the Purple Palace of the
Three Pure Ones (Taoist gods).
Over ten miles I gathered lotus, singing until
dawn.
One round wheel: the clear moon.
A breeze from the cassia tree brings fragrance.
When the sun rises again, noble gentlemen
will return and look for me.
They will find me in the middle of the hills
With a drink of good wine.

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Circular shapes for poetry are, of course, the most simple. We find also other more or less geometrical arrangements, for example, lattice work like that used for windows, or a honeycomb pattern. Many of the shapes in Chu's collection do, however, represent objects (but not human figures). The variety of objects is great: fruits, flowers, cloud patterns, and buildings (for example, a Buddhist pagoda). Sometimes there is no connection between the content and the shaped form. In other cases, the relationship between content and shape is obvious. a poem shaped like a lamp describes the lantern festival of the first full moon in the new year. A poem of the mallow flower is shaped like the flower. The title of the arrangement is "Heart of the mallow," and, indeed, the character k'uei ("Mallow) forms the "heart," that is, the middle of the shape (see Fig. 1.3). A pattern titled "Three-fold play of the plum blossom" consists of three ornaments shaped like the flower; the resulting verses are a poetic description of the flowering plum (see Fig. I.4). The contours of a memorial stele are used for shaping five poems in praise of beautiful women of the past whose names are skillfully interspersed in the pattern. The title is ''Memorial stele for many beauties" (see Figs I.5a and I.5b).

In some cases the poems are birthday congratulations and the objects represented are therefore symbols of long life, such as chrysanthemums, peaches, or pine trees. A poem on old age expresses the ideas associated with long life by arranging the characters of the poem so that they form the character shou ("longevity," see Fig. I.6). Some irony is expressed by a poem on a poor scholar's idyllic dwelling, or, rather, two poems, because the 180 characters can be used for one seven-word poem (126 characters) and one five-word poem (90 characters). Also, in this case, some characters must be repeated. The 180 basic characters are arranged on 18 coins together, which, in turn, are inserted in two concentric circles within the contours of a big coin (see Fig. I.7).The pattern has the title of "Mother-and-child coin."

In order to give an idea of this kind of poetry a relatively uncomplicated example has been selected. It is a poem of four lines with seven words each. The twenty-eight characters are arranged so that they form the outline of a peach (see Fig. I.8). This peach is the so-called peach of the immortals (p'an-t'ao), a mythical fruit growing in the Taoist paradise which, when eaten, gives immortality. These peaches ripen only three times in ten thousand years. The reading of the poem has to start with the character ken ("root") near the fruit-stem of the picture. A rough translation follows:

Their roots are here at the origin of the
immortals.
They are universally [beneficient like] dew
and rain.
They ripen three times.
They flower for ten thousand years.
On the day of a reunion with wine-cups
and a banquet
One comes to sample and to gather them.
At the time when the flowers open fully,
They compete with rose-colored clouds.

This poem is a palindrome. The meaning, if it is read backwards, is more or less the same, only the syntax and the sequence of images is, of course, different. In a "normal" reading, the last words of lines two and four rhyme with each other; correspondingly, when read backwards, the first words of lines one and three in the "normal" reading become the rhyming last words of the anacyclic reading: hua ("to flower") and hsia ("rose-colored clouds") are rhyming words, and so are tsun ("wine-cup") and ken ("root"). It should be added that the words ken and tsun have a different modern pronunciation, but they both belong in the same rhyming category in ancient Chinese.

As a rule, the poems included in Sang's and Chu's anthologies are undistinguished and conventional. Their authors are either anonymous or belong to the poetae minores. One observation could be made at this point. Some poems deal with the theme of female chaste love. This might be a reminiscence of the poem-block developed by the Lady Su Hui, who is considered in Chinese tradition as a paragon of female erudition and cleverness.

Several of the shaped poems from Sang's and Chu's collections have been used as decorations of ink-slabs. Some examples can be found in T'ao (1929), chapter Chung-chou tsang mo-lu, page 5b, and in Togari (1953) page 44 (poem shaped like a peach stone), and page 86, (sunflower). See also Franke (1962), plate V, illustration number 16 (abstract star pattern).

Among the prose texts patterned into a representational shape, some pieces collected by

Page 217

Henri Doré have been more than once reprinted. The ox being formed from a text discouraging the eating of beef is in Doré (1912, 3: 308); the shape of a Buddhist monk in Doré (1912 4: 366) is equally well known in Western literature. This is also true for the wine jar formed by a poem against wine drinking in Smith (1965, 173), originally published in 1914. It is farily certain that many more such examples could be found if the popular literature of the eighteenth and nineteenth centuries were searched for shaped texts.

A beautifully executed specimen of shaped prose is preserved in Japan. It is the Chinese version of the Buddhist sutra Tsui-sheng-wang ching, commonly called the Golden Light Sutra. Its text consists of ten chapters, and in medieval Japan each of the chapters was shaped into a pagoda, surrounded by pictorial scenes illustrating episodes in the sutra text. For reproductions, see Brinker (1979, pl. 6)

Fig. 1.6. 
Hui-wen lei-chü hsü-pien chapter 5 
page 3b. See page 216, above.

and, in colors, Hobogirin 4 (1967, xxvii). The ten scrolls of this painting can be dated about 1150; the original is now in the temple Chusonji in Hiraizumi, prefecture Iwata, Japan, and is classed as "important cultural property."

A typically Chinese (and Japanese) device is the fanciful calligraphy where one or several characters are written in a way which makes the characters appear as a painting. A well-known example is the calligraphy of the character k'uei, the name of the patron deity of literature. The resulting grotesque shape is hardly recognizable as the character k'uei, but at the same time it is a dynamic and impressive creation. This calligraphy is due to Ma Te-chao (nineteenth century) and has been frequently reproduced (e.g., in Bowler [1970] pl. 7 and p. 120; or in Brinker [1979] pl. IV and pp. 63 4). Bowler (loc. cit.) has also another calligraphic piece of this type where a whole sentence is written in flowing brush strokes in order to produce a painting of the god of longevity. Many more examples of this type of calligraphy could be adduced; they are usually to be found on inscription stelae and were reproduced in China by rubbings. A particularly striking example of this intermediate art form which combines calligraphy and visual representation is the Ju-nyoze ("The ten like this") attributed to the Japanese Bud-

Fig. I.7. 
Hui-wen lei-chü hsü-pien chapter 
3 page 7b. See page 216, above.

Page 218

Fig. I.8. 
Hui-wen lei-chü hsü-pien chapter 7 page 10b. See page 216, above.

Page 219

dhist monk Kuai (744 835). This calligraphy consists of ten Buddhist sayings in Chinese, all beginning with the words "like this" (in Sino-Japanese, nyoze). In this calligraphy, some characters are fancifully changed by replacing purely graphemic elements with representations of persons, trees, or animals (see Brinker [1979] 63 and pl. III). Such playful art forms are, however, not so much shaped poetry in the accepted sense as they are fanciful calligraphic works.

Taoist talismans have sometimes been regarded as a subgroup of shaped texts. Examples are to be found chiefly in Doré (1911), but even today such talismans can be seen in the folk-calendars and almanacs printed in Hong Kong, Taiwan, and Southeast Asia. It would, however, be misleading to consider these strange compositions as real texts. Only in exceptional cases have the characters any linguistic meaning so that they can be read as a text (as, for instance, in Doré's illustration no. 116, where the only pictorial element in a Taoist imprecation are the six stars of the dipper constellation which appear instead of its name). The overwhelming majority of the talismans are artificial characters which have a symbolic meaning but cannot be "read" because they have no pronunciation. They can therefore not be regarded as coming under the same category as shaped texts.

There exists a curious piece of poetry attributed to the great scholar and artist Su Shih (1036 1101). Su Shih is said to have tested the literary skill on an envoy coming to China from the Khitan empire of Liao in the north by presenting him with a puzzle poem (see Su Shih, Wen-ta lu, pp. 5b 6a). This poem distorts standard characters, but the distortion is indispensible for the understanding of the text. For example, the character shan ("mountain") is written very small and has to be read as "small mountain." The character t'ing ("pavilion") is written in an elongated shape and is to be read as changt'ing ("high pavilion"). There exists also a structuralist interpretation of Su Shih's poem (Chang Yühung [1977] 47).

In closing it must be said that the shaping of texts is still today a favorite play-form of some Chinese literati. Even in the People's Republic of China one can find examples. When I visited the Wild Goose Pagoda in Hsi-an in 1977, I discovered on the walls of the pagoda a graffiti poem in praise of Mao Tse-tung and the Chinese revolution, shaped like a pagoda with seven stories.

BAYERISCHE AKADEMIE DER WISSENSCHAFTEN
MüNCHEN, FEDERAL REPUBLIC OF GERMANY

Page 220

Fig. II1. 
Lotus bandha. This is a purely indian design, one of the hundred and one such 
developed designs or bandhas in Sanskrit and Prakrit, but it has some parallels elsewhere 
too, mostly near to the Indian sub-continent [i.e., in Burma, -dh]. Lotus designs are of 
varied types, eight-petalled, sixteen petalled, etc. This one is eight-petalled, cited by 
Narendraprabhra Suri, a Jain writer probably of the Fourteenth-Century A.D., in his 
commentary on his own Alankaramahodadhi (Taranga Vii, verse 21). Its construction 
differs from some other eight-petalled lotus designs. The verse consisting of this design 
also occurs in the Saraswatikanthbharana of Bhoja (Eleventh-Century) and was 
originally by an unknown poet.

Page 221

APPENDIX II
SANSKRIT CITRAKAVYAS AND THE WESTERN PATTERN POEM

by DR. KALANATH JHA

Until recently, at least in India, it was believed that Citrakavya, or the literature of this sort, was found only there (Kapadia * [1954] 60). Perhaps the credit of unravelling the fact that this is written widely even outside India goes to my colleague Mr. Dick Higgins of Barrytown, New York, U.S.A. In the West, this literature generally goes by the broad names of "visual poetry" or "pattern poetry," "technopeignia" or "poesia visiva," though the titles cannote somewhat different things. Ordinarily, visual poetry is understood to be the broader circle, encompassing pattern poetry within it. However, I believe the other way round, and some scholars like Dick Higgins (in 1977) seem to be with me. The argument is simple but compelling: Visual poetry is the poetry with only visual patterns, whereas pattern poetry might also denote poetry with even aural or other patterns such as sound poetry. But as we are concerned here only with written literature and not spoken literature, which sound poetry is, and as citrakavya does not think of sound poetry in the modern sense (except in the pragmatic sense that I have pioneered the idea, cf. Jha, "Sound poetry in Sanskrit literature'') both visual and pattern poetry can be bracketted together here in the matter of their comparative study with our citrakavya, and also sound poetry is not dealt with at any length.

Visual literature has been, more or less, an important branch of literature in general in any country or linguistic unit or group of people since ancient times, as it is also a vehicle for the communication of uniquely visual qualities (cf. Marcus [1979]). Specifically, it is preeminently a verbo-visual system suggesting closeness between word as composition and as representation (cf. Doria [1979] 70). Here we deal not so much with words as with coefficients, exponents, or linguistic tools which have use value rather than signification (cf. Essary [1979] 98). As a matter of fact, visual literature is a construction of concrete elements which become expression in the process of synthesis and arrangement (cf. Rahmings [1979] 98, where the form of the work is part of the content). In other words, whatever expression there is in the work originates with the form.

In citrakavya also, the words and images are used to form a literary polyphony (cf. O'Grady [1979] 155). As such, as I have propounded in Figurative Poetry in Sanskrit Literature (1975) this oriental variety of poetry, which in any form, whether verbal or semantic (which is, generally, not the concern in visual or pattern poetry), reflects the idea of some image or picture. In Sanskrit, "kavya" denotes both verse and prose, and so what is true of poetry is true of prose also. In Western parlance also, we often hear of "shaped prose" covering within it both fiction and essay. Therefore, visual literature may be defined as language structure whose principal means of coherence and or enchantment are visual rather than semantic or syntactical, or as images with or without words that function like a poem or a fiction or an essay (cf.

This paper was first presented at the 6th World Sanskrit Conference in Philadelphia, Pennsylvania, on October 14, 1984.

Page 222

Fig. II.2. 
Sword. This might be a common 
design in both East and West, like some 
uncommon ones such as those cited below 
as specimens. This example is from 
Hemacandra Suri (ca. 1089-1173 C.E.), a 
Jain writer on rhetoric, and it occurs in 
his Alankaracuda-mani *.

Fig. II. 3. 
Mirror. This image is available in 
both Sanskrit, Prakrit and in Western literature 
in somewhat different forms. The piece is by 
Ajitasena*, a Digamber Jain writer of, roughly, 
the Tenth-Century, occurring in his 
Alankaracinta-mani* (see 1829 edition). The image 
has other varieties also.

Kostalanetz's preface to his [1979] 9).

Pattern poems or visual poetry seem to be written mostly in English, French, German, Polish, and Portuguese in modern times, and have been known and written also in Latin, Greek, and Hebrew. George Herbert, François Rabelais, Philipp von Zesen, Andrzej Goldonowski, and Joseph Pereira Veloso are some old names in this genre, while emmett Williams, Eugen Gomringer, Dick Higgins, Ian Hamilton Finlay, Haroldo de Campos, and Peter Mayer are some important modern writers and theorists. In Sanskrit, Bharavi, Magha, Sri Harsa, Ratnakar, Nitivarman, Parasara Bhatta*, Gunaballavasuri*, Venkateswara*, Gunabhadra*, and Krisnamurti* are some of the large number of writers of this literature of whom, barring the beginning few, most have composed complete works on citrakavya, replete with either chimes (Sanskrit sound poems) or puns or patterns or bandhas of several varieties (cf. Jha [1975] 152 9, and see Figs. II. 1 through II. 7).As for Sanskrit rhetoricians, it is peculiar that almost all have touched the topic, though most of them in a slipshod or cursory manner, taking this variety of poetry to be of the lowest stratum (cf. in Jha [1975], "Chapter IIDevelopment of concepts," 22 44).

It goes without saying that language is related to literature. Hence, it has its own role to play in this genre. Also, visual literature deserves especial notice as, in order for it to be fully effective, the visual perception of language is necessary. It occupies a position of some importance in cartography, diagrammings, signage, video programming, films, and photography in the modern context (cf. Marcus [1979] 15). It is with this in the background that the writer and critic George Steiner has recently predicted the end of traditional book culture in the years to come (cf. Steiner [1970] 197 210). In fact, visual literature begins where language leaves off. In this genre, the verbal aspect becomes transcendent to its visual embodiments (cf. Higgins "The strategy of visual poetry," in Higgins [1983] 29 39). In Western literature, modern visual poetry has been quite distinct and different from the old one: The latter was more mimetic but the former is more expressive and improvised in the manner of an abstract expressionist painting (cf. Higgins [1983] 32). On the other hand, Citrakavya, though written even today, has its self-same age-old rhetorical standards.

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So much, so good. But there is still more similarity between the occidental and oriental counterparts so far as the beginning of this genre is concerned; yet it is strange that while no new horizon ever appeared on the firmament of Citrakavya, the history of visual or pattern poetry in the West is full of ups and downs characterizing the turn of several new horizons.

Traditionally, citrakavya has been a mannerist poetic form, though I have tried to salvage its position to a great extent (cf. "Introduction" to Jha [1975] 16-23). As for the development of this literature in Western literary history, it has appeared four times as an extensive movement: during the Alexandrine period, the Carolingian renaissance, the baroque period, and the present day, with so many recent movements like dadaism, neo-dadaism, concrete poetry and minimal art, and so on (cf. Cook [1979] 141).

It cannot be gainsaid that among these each appeared at the end of one cultural epoch and the beginning of another. According to Geoffrey Cook, visual poetry is a cry by the poet that the content of the past is cancerous and a new skin must be sewn to contain the dreams of the future. Certainly, as death gives rise to birth, even such cultural decadence is followed by a new era and vision. This is also the law of nature. In both East and West, the times of such literary ferment have been the period of mannerist propensities. As such, visual poetry was and is also a sign of fermentof decadence resolving itself into something else, some other kind of literary mannerisms. So do such literary propensities, as also the language structures, go on changing sociologically, and even otherwise. This is why Dick Higgins declares: "The word is not dead; it is merely changing its skin" (in Higgins [1979] 66). In fact, many a visual poet has been an innovator in forms and literary experiments.

Citrakavya is found primarily in Sanskrit and Prakrit, and, secondarily, in the descendant modern literatures of India like Gujarati, Tamil, and so forth, as well as the lingua franca Hindi. In Sanskrit, this is found as early as the Vedas and the Mahabharata in the form of the kutas * or enigmatic verses (cf. Jha [1975] 137-42). The pattern poetry in the modern sense, in clear, full-fledged shapes and designs, appeared first in Bharavi, a poet of the seventh century A.D., though in stray verses (cf. his Kiratarjuniyam*, cantos v and xv). Jain Acaryas

Fig. II. 4. 
Fan. This is a purely Indian design 
by the same author as Fig. II.3, above. It 
also has some variations, but it is an 
uncommon design in both east and west.

Fig. II.5. 
Pair of fishes. This is an Indian 
design by the Jain poet Udaimanikyagani 
(Fourteenth-Century), quoted from his 
Candraprabhasvamistavana, a work with 
only ten verses. This is perhaps the earliest 
illustrated book on citrakavyas in India.

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 Fig. II.6. 
Sarvatobhadra. This is an All-round Moving 
design, as is clear from the figure, a purely Sanskrit 
design but closely similar to the western labyrinths. 
It falls within the Gatacitra variety of Sanskrit 
citrakavyas, showing movement in reading out the 
piece which the arrows indicate in the figure. 
Ardhabhrama is the Halfmoving design, and 
Turangapada is somewhat different. The piece 
incorporates verse 25 of Canto XV of the 
Kiratarjuniyam of Bharavi (Seventh Century 
A.D.), perhaps the earliest exponent of the 
Bandhakavya tradition of Sanskrit or any 
Indian literature.

were, perhaps, the first, about this time, to have written complete works in this style. They were later to adapt Sanskrit overwhelmingly, even instead of the usual Prakrit, in contributing a lot to this branch of literature, of which an account has been given by Professor Hiralal R. Kapadia * in volume 22-4, part ii (1954-6) of the Journal of the University of Bombay. Being a Gujarati, he has also written a faithful resumé of Citrakavya in Guarati literature in the Bulletin of the Cunilal Gandhi Vidyabhavan No. 4 (August 1957).

But, in spite of the early advent of this literature in India, its genesis is not so clearly traceable here as in Western literature. Plato, in Cratylus, associates the shape of the letter "O" with the meaning of the word "round." Another Greek, Simmias of Rhodes (ca. 300 B.C.), in three shaped poems, formed an axe, a pair of wings, and an egg by varying the length of horizontal lines. This was, really, the beginning of the pattern poetry concommitant to the Sanskrit Bandhakavya, a subgenre of Citrakavya. In this variety, the lute by Robert Angot, a French baroque poet, is, perhaps, the most representative (cf. Fig. II.8) as it is a developed design and an uncommon one too, considering the age in which it was done. Syrinx, pyramid, pillar, love-knot (on the pattern of Sanskrit serpent-knots), sword, altar, Easter wings, and so on, are the other patterns preferred by the occidental pattern poets (cf., the examples in Higgins [1977]), while the lotus, wheel, umbrella, banner, and many others are the verbal images in Prakrit and Sanskrit (cf. Kapadia [1954-6]).

In the West, acrostics are poems where the initial and/or the terminal letters of each line read vertically, form words or groups of words. The resemblance of Sanskrit Half-moving Design (Ardhabhrama) or the All-round-moving (Sarvatobhadra) to this is striking to a great extent. Here, in the Carolingian renaissance around the eighth century A.D., the monastic poets developed pure acrostics into a complex system by forming a matrix by carefully spacing the letters in each line and using alternate spellings to make each line equal in length (cf. Josephus Scottus's poem in Fig. II.9).Peculiarly, some acrostics are used by François Villon in numerous poems, often signing his name in the envoi of a ballad (cf. Kostelanetz [1979] 28) in the fashion of Sanskrit lotus design which has the name of the poet inscribed in it (or that of any other favored person) (cf. Kapadia [1955] 135 fig. 34, ref. p. 106, also 123, ref. Maha-virastavana, diagram on pp. 65-6, 125 of Jain Stotrasamuccaya and 125, diagram and fn. 134).

Then, similar to acrostics are mesostics, in somewhat slightly different form, described later, also resembling the Indian Oub-genre. There this form developed mostly in the seventeenth century A.D. in anonymous verses by cavaliers and court poets. One of the poems in such a collection of satire, which is named Le cabinet satyrique (1618), hides a surprise ending and lewd suggestion in the letters of the acrostic (cf. "Anonymous verse" [ca. 1700] in Kostelanetz [1979] 28) and draws a parallel to Sanskrit riddles, pure and interrogative, concealing the import of the speaker (cf. Jha (1975) 71 fn. 1, 74 fn. 2, 75 fn. 1, 76 fn. 2, etc.). In this connection, Stephen Scobie's reference to Ian Hamilton Finlay's use of every variety of pre-constrained linguistic formulae, cliché, proverb, riddles, and so forth, is important (in "'A homage' and 'an alphabet:' two recent works by Ian Hamilton Finlay" in Kostelanetz [1975] 107-13).

The rebus is also a variety of visual literature in

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the Westa more complex device demanding that a poem be deciphered as one reads it. It is generally based on the placement of the words or parts thereof in relation to each other. for example

stand
we

is read, "we understand." In another type of rebus, numerals and letters are used for their homonyms, as "T-4-2" would mean "Tea for two.'' Isidore Isou and members of the modern lettriste movement rely heavily on the rebus as they see it as an advanced form of communication. In this very style is the rondeau, which is nothing less or more than a complex rebus used in every line of the verse (cf. the poem by Jean Marot in Seaman's "Early French visual poetry," in Kostelanetz [1979] 29). There is yet another class requiring oral reading of written letters (cf. the translation of Marot's poem on p. 30 of Seaman's article). There is no clear counterpart, perhaps, of this genre in Sanskrit or Prakrit, though slight similarities might be traceable within the compass of the above-said riddles, as also a large variety of kutas * in Sanskrit (cf. Jha [1975] 70-93) which are actually close to the juggled verses or "vers batalés" of the renaissance period and later middle ages. Jean Bouchet and Jean Meschinot are the two important names in this context (cf. Kostelanetz [1979] 25, 32). It is noteworthy that Western pattern poetry includes puzzle poems as well (cf. Chapters One and Four of the present volume) in the style of the aforesaid Sanskrit riddles, though not every puzzle poem, or, for that matter, even every rebus, is visual.

In Sanskrit Citrakavyas there were alternate periods of general appreciation and abhorrence. Likewise, in occidental poetry, while the rationalists of eighteenth-century Europe rejected pattern poetry as frivolous, the epicureans, on the contrary, were hosts to more visual poetic figures and designs, like goblets and flasks (cf. Peignot [1978], where Apollinaire's pieces are on pp. 97-9). This genre, in fact, resulted from distortions and suppressions of the verse woof by the poets, while preserving the regularity and orderliness of the figured warp. Although Citrakavya stands, generally, for only two categories of the so-called lower order of poetry in Sanskritsabdacitra and arthacitrathe third one, namely, ubhayacitra, though propounded by only a few rhetoricians, has been necessitated and dealt

 Fig. II.7. 
Gomutrika. gomutrika is a Gatacitra variety 
of purely Sanskrit or, for that matter, Indian design, 
showing movement or motion, and resembling western 
leonine verse (see Higgins's section on "leonine verse" 
in Chapter Four, above). The term mens "cowurine 
sprinkling," and it shows the zig-zag sprinkling of urine 
by the cow while moving. The present example is 
the foot-Gomutrika, one of several varieties such as 
verse Gomutrika, etc. Here the two feet each constitute 
two designs in the like manner as the two figures 
show. It is by an unknown poet, and appears in 
Bhoja's Saraswatikanthabharana (Eleventh-Century), 
an important work on Sanskrit poetics.

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Fig. II.8. 
Lute. A western design by Robert Angot 
(ca. 1634). In French, it is the first developed 
western pattern resembling the Sanskrit bandhas. 
About the poet himself, virtually nothing is known. 
Angot's book contains four of the most striking 
visual texts before the caligrammes of Apollinaire 
[see Angot's listings in the French section of 
Chapter Two, above. -dh]. From Dick Higgins, 
George Herbert's pattern poems: in their tradition 
(1977) fig. 26. Copyright © 1977 by Richard C. 
Higgins. Reprinted by permission. 

with here for the sake of comparison of some concepts.

Again, though the general run of rhetoricians have said very little about the Citrakavyas, a few, including the versatile Bhoja, have dilated a little more deeply. George Puttenham, in his Arte of English Poesis (1587), was perhaps the first in the West to give instructions on how to do shaped poetry. Meters also, sometimes, played a vital role both in oriental and occidental visual poetry. The rhythms constitute, to my mind, a particular variety of sound poetry in Sanskrit over and above the complicated types of chime and onomatopoetic sounds (cf. my unpublished article on sound poetry, already mentioned). So far as Western carmina figurata are concerned, not only is the number of letters in each line fixed and immutable, but also some letters in certain positions are obligatory (cf. Caruso and Polara [1969] 114). In modern varieties of sound poetry also, onomatopoeia and subordination of sense to sound and intonations are important factors, though there are nonsense poems and notated sound poetries as well (cf. Higgins, "Points towards a taxonomy of sound poetry" in Higgins [1983] 40-52).

Of the five subdivisions of sabdacitra in Sanskrit, among the varnacitras * (peculiarities pertaining to letters, vowel or consonant), ekaksarabandha* (single-letter verses) or dwyaksarabandha* (doubleletter verses), and so on (as in Bharavi's Kiratarjuniyam, Canto xv, vss. 5, 14, 38, etc.), are quite uncommon in any literature and might be somehow parallel to the alphabet or letter or monogram poems of the West (cf. Doria's "Visual writing forms in antiquity: the versus intexti" in Kostelanetz [1979] 63-92). Sthanacitra, denoting the peculiarity pertaining to the place of origin or pronunciation of letters in the mouth, is not important, and akaracitras and bandhacitras, having no prominent points of distinction, constitute the bandhakavya proper, analogous to the Western pattern poetry in the narrow sense. The gaticitras, or the citra-variety of poetry pertaining to the movement of letters as in chess play (cf. Jha [1975] 60-1, Kapadia* and Jakobi [1896]) comprising turangapadabandha* and sarayantrabandha, and so on, and the various types of gomutrikabandha denoting the cross-cross sprinkling of urine of the moving, urinating cow (see Fig. II. 7),especially the latter, are the oriental counterparts of the occidental

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leonine verse, perhaps relating to the presumed walk of a lion (cf. Chapter Four, section iii of the present work).

The above bandhas or designs relating to the moves in chess play might truly be said to be a parallel genre to the Western chessboard poems (cf. Chapter Five of the present work) constituting almost a subgenre of the Western labyrinth. In the latter, one works one's way to the desired meaning of the verse, much as one would proceed through a

Fig. II.9. 
Josephus Scottus' "De nominibus 
Iesu ad Carolum ragem" (early Ninth-
Century). See the Medieval Latin section 
of Chapter Two, above, and page 
224, above.

maze or labyrinth. Thus, the acrostic-resembling ardhabhrama or sarvatobhadra and the sthanacyuta variety of riddles (cf. Jaa [1975] 93 fn. 1) or the klistanvaya * type of kuta* (cf. Jha [1975] 73 fn. 1) (where the natural position of the words is disturbed and prose-order is difficult to arrive at) bear a major degree of resemblance to the labyrinth. Within the purview of Citrakavya, there are some riddles where concealment of a verb, any of the various cases or case-endings, gender, compound (kriyagupta, karakagupta, etc.) or dropping (or, the other way round, adding) of a half or a full syllable, bindu, visarga or a letter (cf. Jha [1975] 84-92) lends charm to a particular verse as in the Western carmina cancellata (see Chapters One and Two), a variety of mesostic where any letter or letters, if cancelled out according to some interior shape, also form words or groups of words. Hemacandra, in the Kavyanusasana V, I and Viveka, 195, quite oddly, put these under the gudhacitra* and cyutacitra varieties of citrakavya which Bhoja, in Saraswatikanthabharana*(in [1934] 2, v. 109, p. 265), does not corroborate.

Then there are proteus poems, in which the elements are permuted line by line. For instance, the first four lines of such a poem might run like this: "love me you witch/ me love you witch/ me you love witch/ me you witch love . . ." (see the section on proteus poems in Chapter Four of the present work). As a matter of fact, this is in the nature of kramapatha* or ghanapatha* or jatapatha*, a peculiar reading of Vedic texts in ancient India. For example, compare this reading:

"Agnim ide* ide purohitam* yajñasya devam,
devam rtwijam* rtwijam hotaram*,
hotaram ratnadhatamam* ratnadhatamam
hotaram . . ."

for the Rigveda i.i.l.:

"Agnimide* purohitam yajñasya devamrtwijam*
hotaram ratnadhatamam . . ."

Lapidary inscriptions also come up to the pattern poetry level (see Chapter Four, section ii of the present work). In these the letters look as if they had been carved, as if on stone, and give a somewhat visual finish to this (for a modern example, see Arrigo Lora-Totino, "Spazio," in Williams [1968] unpaged).

Page 228

Figs. II. 10 and II. 11. 
Leopard and Wild Beast. The leopard is a calligraphic Arabic design, 
similar to the caligrammes of Apollinaire and also perhaps others. This system 
of poetic design is actually wanting in the Sanskrit-Prakrit genre which is otherwise 
so rich in the matter of pattern poems. The wild beast is similar to the leopard, 
except that it is a Chinese design in Chinese characters, also similar to Apollinaire. 
The leopard [or tiger?] is from Jérôme Peignot, Du caligramme (1978, 76). 
Reprinted by permission.

Magical inscriptions are also sometimes impressive, and might somehow come close to the Tantric Yantras or incantational designs of India (cf. Peter Mayer's introduction to his Alphabetical and Letter Poems [1978] 11). In the West, the Enigma of Sator has been quite a matter for talk in sophisticated circles; it is nothing but a magic word square that has been treated as a pattern poem (cf. Donald Atkinson's "The origin and date of the 'sator' word square" [1951] 1-18). The Abraxas charm is also widely known in some circles (see Fig. 4.5);we get from it the familiar "abracadabra" of popular magicians. Besides, calligraphy has been an effective factor in Western visual poetry. The calligrammes of Apollinaire, already mentioned, are a testimony to this. The calligraphic poems by Paul Reps are important also so far as English Literature is concerned. it is remarkable that this new form of art has been so strikingly prevalent in Arabic, Persian, and Chinese literatures (see Figs. II.10 and II.11, Peignot [1978] 72 9, Higgins [1977] 12, the "Circle ode" by Shahin Ghiray [ca. 1747-87] (see Fig. 3.20),and the "I ching" piece in Kostelanetz [1979] 103, which is more a Chinese visual poem than a calligraphic piece). But, though this was cultivated as an art in ancient India, it never, really, gained either the form or the status of pattern poetry here.

Some forms of Citrakavya, such as aksaramustika * (which has two subvarieties, aksaramudra* and bhutamudra), bindumati, bhasacitras*, pratimala, durvacakayoga, mlecchitavikalpa, sampathya, manasi and akirnamantra*, and so on, of which the first few are the more significant, were literary recreations in ancient India, as are the hui-wen in China. Among these, aksaramudra is a subgenre where the concealment of certain letters with a view to unfolding some purpose, engenders charm. In bhutamudra, concealment is done for effecting brevity. It has several sub-varieties, including one where, from every foot, we get a four-footed verse of murajabandha (percussion design, cf. Jha [1975] 98). In bindumati on the basis of a given verse there arises another verse of the same meaning, of which indications are given through bindu or dots, for example:

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For other details like the given verse and the verse actually accruing (of which the indications in dots are given above as Ts), see Jha [1975] 98. This might be treated as the Indian counterpart of the Western mathematical poem (cf. Pozzi [1981] 42-3 and Mayer [1978] 11; also, compare the designs on Pozzi's p. 43, esp. "tabulae ii-vii," with Indian Tantric designs). Bhasacitra * is made up of a verse or verses appearing to have been composed in more than one language, thereby giving some suspense to the reader. In the West, also, we have macaronic verse, resembling the bilingual or perhaps multilingual citra-varieties of poetry. Other varieties are less important but everywhere either there is some concealment or the unravelling of some concealed purpose, giving a quality of sudden suspense or the enthralment of the spirit, common in both the Eastern and Western pieces of pattern poetry, both old and new, which can be said to be its life-core. Sometimes, a particular piece of pattern poetryespecially a modern oneor of Citrakavya, has to be deciphered to give a numismatic thrill. As a matter of fact, these pattern poems or the Citrakavyas are like art pieces telling to posterity the story of the development of art and culture at a particular point of time. One can also go deeper into the enquiry as to why and how particular pieces were taken and others discarded in a particular age. Thus, they can also reflect the taste and culture of the people of that age. Linguists, too, can have in them their share of excitement, especially as in some such pieces we have a sense of linguistic dissections and juxtapositions. Again, looking at some pieces of modern Western concrete poetry we can say that they represent a certain school of expression in painting and art. Thus, both Citrakavya and pattern poetry are of interest, not only to poets and theoreticians of language and literature, but also to linguists, artists, cryptologists, and cultural and social historians, as well as to comparatists.

BHAGALPUR UNIVERSITY
BHAGALPUR, INDIA

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APPENDIX III
A GLOSSARY OF TERMS

Because pattern poetry requires a special descriptive vocabulary, and because it may be useful to the reader to know some of the terms in various languages which are used for it, we offer the following basic vocabulary with brief definitions. For those who want to go deeper into the subject, a more complex glossary is given in Pozzi (1981, 349 51), and, for those who can read Polish, in Michalowska (1974, 160 91).

A

Abecedarian verse: poetry in which the first word of a line, the subject of the line or all the words of the line are given in alphabetical order.

Acromesostics: poems in which the initial letters of a line and some interior letters line up to form an inscription or intextus (q.v.) See our section on acrostics in Chapter Four.

Acromesotelestics: poems in which both the first and last letters of a line and some interior letters line up to form an intextus or inscription (see above). Often this term means that there is a border around a rectangular poem and the border forms a text.

Acrostics: poems in which the initial letters of the lines line up to form an inscription or intext. See above.

Acrotelestics: poems in which the first and last letters of the lines line up to form an inscription or intextus.

Anacyclic verse: poems in which there is more than one way to read a line or the entire poem; this term is usually used to cover palindromes (q.v.)

Anagram: a word formed from the letters of another word by rearranging them.

B

Bhandas: the stock forms or visual images of Indian citrakavyas (q.v.), each of which has traditions associated with it.

Bildreim: an early German term for pattern poems, used, for example, by Harsdörffer.

C

Caligramme: the term coined by Guillaume Apollinaire (1880 1918) to cover a kind of shaped poem, which he believed he had invented or at least been the first to develop systematically.

Cancrizan: a musical form (from Latin, cancer "crab"), common in the renaissance and baroque periods,in which the composition or part moves up to a central point, then reverses itself and retraces its steps backwards exactly. It is closely analogous to palindromes. In the baroque period the term was occasionally applied to poetry.

Carmen cancellatum: a mesotic with a visual intextus that is "cancelled out" from the background text. Invented by Optatian, this is the most common form of pattern poem in the middle ages.

Carmen figuratum (pl. carmina figurata): the Latin word for pattern poems and, until modern times, the most common of them. Literally it means "figured poem[s]."

Carmen quadratum (pl. carmina quadrata): literally, "square poems." In Optatian's Latin pattern poetry, this is the best term to describe Optatian's rectangular mesostics. In

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renaissance pattern poetry, the term has a different meaning, describing pieces which consist of an array of words loosely grouped into a rectangle, which one then reads according to some interior system; for example, moving over the words chessboard fashion.

Chronogram: a way of indicating the year by capitalizing appropriate letters in an inscription to form Roman numerals which add up to form the year. Chronograms are common from the thirteenth to the eighteenth centuries. The best account and collection of these materials is in the three volumes of Hilton (1882, 1885 and 1895), summarized best in Walsh (1925).

Chronosticon: another term for chronogram (see above).

Citrakavyas (citra-kavyas): kavya is the Sanskrit word for "verse." Citrakavyas are, therefore, the verses in the languages of India which are shaped according to the traditions of the various bandhas (q.v.) See Chapter Three and also Dr. Jha's essay in Appendix II.

Concrete poetry: modern visual poems which are constructed out of arrays of letters such as the alphabet, as opposed to using photographic or conceptual structures that are not visual. The term is especially applied to such works in the 1950s and 1960s.

Cubus: the Latin word for "cube." The term is properly applied to labyrinthi cubici (q.v.) but is occasionally applied to any rectangular poem from the renaissance period.

E

Echo verses: poems in which the last syllable of a line is intended to be repeated to form a second chain of meanings; for example, to answer a question in the line, "Are you going to Capestrano?" "No?"

F

Figurengedichte: The German term for pattern poems (q.v.)

G

Great diagonal: in any rectangle, the longest possible diagonal, the one which goes from any corner to the opposite corner.

H

Hui-wen: Chinese palindromes. In the absence of a special terminology for Chinese shaped poems, these are classified among the hui-wen. See Chapter Three and also Dr. Franke's essay in Appendix I.

I

Intext: anglicized form of intextus (q.v.)

Intextus (pl. intexti): an inscription or text or even interior verse which is contained within another poem; for example, the text that lines up on an acrostic (q.v.) Literally the term means "woven," and the description of an intextus as woven into its overall text is apt.

L

Labyrinth: this term has been applied to many kinds of poetry over the centuries, for which see our section in Chapter Five for the main types of labyrinth. Basically, a labyrinth is a rectangular (or other geometrically shaped) poem which can be read in several ways, and to read which one must discover the method of ingress.

Labyrinthus cubicus (pl. labyrinthi cubici): labyrinth poems in which each successive line adds or subtracts one letter or word from the line above or below, so that the first and last lines give the whole text. There are also compound arrays of these, for example four labyrinthi cubici arrayed as one large rectangle.

Lipogram (from "leipos-" Gr. "to leave,"gramos," drawing or writing): a text which is deliberately contrived so as to omit one or more letters of the alphabet. The technique was very popular in late antiquity and the middle ages. Good information is in Curtius (1952, 283 and 291) and in Walsh (1925, 643 6). A fine French example is in de Court (1725, 259 73), where the author includes five long, fluent letters, each lacking a different vowel. Two entire books in lipogrammatic style are Ritter (1820; 1979) and Wright (1939). Such pieces also exist in Sanskrit, where, per Tuwim (1950, 158), "the author of a Hindu poetic, Dandin, wrote a book, Sasakamaracarita ("The adventures of ten princes") where one character is written without any labial consonant, as it is narrated by a man with his lips bitten by his lover.

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M

Maze: in poetry, a maze is an array of words or lines, usually geometrically spaced, so that one follows the lines to blind endings or through a lattice-like weaving of them until one arrives, in due course, at the end of the poem.

Mesostic: a poem in which some of the letters inside the poem can be aligned to form an intext. See the section on acrostics in Chapter Four.

Mesotelestics: mesostics (see above) in which the last letters of each line can be read as an intext.

Micrography: shaped texts, prose or poetry, in which a preexistent text is arranged to form a visual image. The term usually refers to a genre of Hebrew calligraphy in which passages from the Law or elsewhere in the bible are arranged to make up mythological creatures, geometrical designs, and so forth. See the Hebrew section of Chapter Two.

P

Palindrome: a text which can be read backwards as well as forwards; for example, the line attributed to Napoleon Bonaparte: "Able was I ere I saw Elba."

Pattern poem: the commonest term for visual poems from before 1900 in which the letters, words or lines are arrayed to make up visual images. Some terms which are synonymous with these, in English and other languages, are:

Caligrammas (Spanish)
Caligrammes (French)
Carmina figurata (Latin, Italian)
Figurdigte (Danish, Norwegian)
Figurdikter (Swedish)
Figurengedichte (German)
Figuurdikte (Dutch, Flemish)
K'epes dalok (Hungarian)
Laberintos de figuras (Portuguese)
Poèmes figurés (French)
Poesias de figuras (Spanish)
Shaped poems
Shaped verse
Technopeignias (see below)

Obviously many languages with pattern poems are missing from this list, but this is because there is no consensus in these languages on terminology, in which case an imported term is usually used.

Poesia artificiosa (literally, "artful poetry," not necessarily "artificial poetry"), a Latin term, popular in the baroque period, which was the class that included virtually all the special and exceptional forms of poetry that are the subject of this study, not just pattern poetry itself.

Poesia visiva, an Italian term of the 1960s describing the conceptual visual poetry done especially by Eugenio Miccini and his circle at Firenze, but now applied generally to recent visual poetry which employs photographs, to distinguish it from the more purely letter-oriented concrete poetry (q.v.).

Proteus poems: poems in which a limited set of words is permuted line by line "she loves me/ me she loves/ loves she me . . ." See the section on proteus poems in Chapter Four.

S

Shaped poems: pattern poems which are shaped mimetically, pattern poems exclusive of labyrinths.

Sound poetry: poems in which the sound of the poem is structured more than the sensethe intermedium between music and poetry. See the section on sound poetry in Chapter Four and, besides our discussion, that in Liede (1963, 2: 221 55).

T

Tautograms: sound poems in which the sound comes from the repetition of a letter or word, a highly alliterative genre which was popular in the late middle ages through the seventeenth century. See our discussion of sound poetry and that in Liede (1963, 2: 94 103) for many examples. He makes the distinciton between tautograms and other sound poetry more clear-cut than we do.

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Technopaignion (pl. technopaignia, anglicized pl. technopaignias): a Greek term, from "techno-" (art or technique)"paignia" (="peignia," games), used in classical rhetoric to describe any unconventional display of technical virtuosity. The term came to be applied especially to pattern poetry through the renaissance period. The spelling withan "ei," while technically a corruption, is the more usual one.

Telestic: a poem in which the terminal letters of each line add up to form an intextus. See acrostic above and the section on acrostics in Chapter Four.

Tugras (tughras, tugras): a Turkish term for calligraphic inscriptions formed by distorting the shapes of the letters of monogrammatic texts to make up designs, sometimes abstract and sometimes mimetic. One finds tugras side by side with pattern poems in Persian and alone in most Islamic art literatures. See Chapter Three.

V

Versus cancrini: verses which read the same backwards as forwards not letter by letter, as do palindromes, but word by word. "Cancrini," like "cancrizan" (q.v.), derives from the Latin cancer (crab), and the verse is supposedly suggestive of the walk of a crab, which is apparently sideways.

Versus intextus: an intext which is also a poem. "Intextus" (q.v., ="woven") is the interior or cross text of a member of the acrostic family or of a labyrinth. It is absolutely wrong, although it is commonly done, to make the plural of this term "versi intexti" since "versus" is a fourth declension noun and its plural is therefore the same as its singular. The correct plural is therefore "versus intexti.'' "Intextus" ( = intext) can, however, be used as a noun substantive, and it can therefore be "intexti" in the plural. The term is particularly helpful in speaking of such elaborate intexti as those of Optatian (see Chapter Two, section ii, Latin).

Visual poetry: the intermedium between literary and visual art. However, this term is often used synonymously with poesia visiva (q.v.) to distinguish recent works from concrete poetry. In this book we do not use it in that sense but, rather, as a comprehensive term covering the whole of pattern and more recent visual poetry.

W

Word square: a rectangular array of letters in which the letters can be read in virtually all possible vertical or horizontal directions meaningfully, thus making such pieces akin to magic squares and mathematics. The best known such word square is the "Enigma of Sator," described in Chapter Two, but there are also many occult and related pieces that are similar, for which see our section on magic inscriptions in Chapter Four.

X

Xi-rho: a traditional monogram of Jesus Christ, formed of an X with a vertical line in its center, this last capped with a right loopthe letters "xi' and "rho" of the Greek alphabet.

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BIBLIOGRAPHY

ARTICLES

The following articles either discuss or include pattern poems. Articles which are only background are included in the supplementary bibliography.

Adler, Jeremy, "Technopeignia, carmina figurata and Bilder-reime: seventeenth-century figured poetry in historical perspective." Comparative criticism: a yearbook (1982) 107 42.

Aksel, Malik, "Das Schrift-Bild in der Türkischen Kunst." Anatolica 1 (1967) 111 7.

Anonymous, (Untitled). Journal de l'empire (18 November 1806) 3 4 [author was actually Jean-François Boissonade, for whom see French section "to 1900" in Chapter Two and in the book section, below, of this bibliography]. bibliography].

Askins, A. L-F., "Manuel de Faria e Sousa's Fuente de aganipe: the unprinted seventh part." Geary (1983) 245 77. [See book listings for full information.]

Atkinson, Donald, "The origin and date of the 'sator' word square." Journal of ecclesiastical history 2 no. 2 (1951) 1 18.

Avrin, Leila, "Hebrew micrography: one thousand years of art in script." Visible language 18 n. 1 (1984) 87 95.

Becker, Albert, "Gestalt und Gehalt in Wort und Ton." Germanisch-Romanische Monatschrift 34 (1953) 13-29.

Beer, Rudolf, "Die Handschriften des Klosters Santa Maria de Ripoll," Sitzungsberichte der [Königlichen] Akademie der Wissenschaften in Wien, Philosophische-Historische Klasse 155 n. 3 (1908) 1 212, pl. 1-12.

Bergsagel, J., "Cordier's circular canon." Musical Times 113 (1972) 1175-7.

Binns, J.W., 'William Gager on the death of Sir Philip Sidney." Humanistica Lovantensia 21 (1971) 221-38.

Boissonade, Jean-François, see Anonymous (above).

Boultenhouse, Charles, "Poems in the shape of things." Art news annual 28 (1959) 246 62.

Bowler, Berjouhi Barsamian, "The word as icon." Typographica 16 (1970) 1328.

Braun, Stephan, "Die Basillika des Reparatus." Christliche Kunstblätter 3 (1870) 94 104.

Brinker, Helmut, "Bild und Schrift in der chinesischen Kunst." Brunner (1979) 51 75. [See main listing in book section.]

Bulas, Kasimierz, "New illustrations to the Iliad." American journal of archeology 54 no. 2 (1950) 112 8, pl. xvii-xxa/b.

Butzmann, Hans, "Einige Fragen zu der Überlieferung und zu den Bildern der Laudes Sanctae Crucis des Hrabanus Maurus." Codocis manuscripti 4 (1978) 65 75.

Camòn Aznar, José, "El arte de la miniatura española en el siglo x." Goya 58 (1964) 266 87.

Chalon, Renier, "De quelques livres eccentriques . . ." Bulletin du bibliophile et de bibliothécaire 21 (1835) 19-28, 61: 23 (1835) 31 40.

Chalon, Renier, "Imprimeries particulières. Supplement à l'article qui concerne dans le Dictionnaire bibliographique de M. Peignot." Bulletin du bibliophile et du bibliothécaire 22 (1835) 43ff.

Chalon, Renier, "Nugae difficiles. Supplement aux amusements philologiques de G. Peignot." Bibliophile belge 1 (1845) 63 71, 145 50, 255-62.

Chalon, Renier, "La première édition du Wonder-

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boek de David Joris de Gand (1542)." Annales du bibliophile belge et hollandais 8 (June, 1865) 137-43.

Chang, Yü-hung, "An outline analysis of the graphological functions." Computational analyses of Asian and African languages [Tokyo] 7 (March 1977) 43-68.

Chaparro Gomez, César, "A percamiento a los carmina figurata: P. Optaciano Porfirio (c. XXVI)/technopeignon, carmina figurata, caligrama." Annuario de estudios filológicos 4 (1981) 55-69.

Ch'ien Chung-shu, "China in the literature of the seventeenth century." Quarterly bulletin of Chinese bibliography 1 no. 4 (December, 1940) 351-84.

Church, Margaret, "The first English pattern poems." PMLA 61 (1946) 636 50.

Clère, J.J. "Acrostiches et mots croisés des anciens égyptiens." Chronique d'Egypte 13 (1938) 35-58.

Cook, Elizabeth, "Figured poetry." Journal of the Warburg and Courtauld Institutes [London University] 42 (1979) 1-15, pl. i-iv.

Cook, Geoffrey, "Visual poetry." Art contemporary [La mamelle] 2 no. 4 (1977) 26-31.

Dainville, Oudot de, "Vers attribués à Piere Abélard." Bibliothèque des École de Chartres, 87 (1926) 236-7.

Dal, Erik, "Figurdigte? I nutid, baroktid og middelalder/ Hvordan?- Hvorfor?" Plus 7 (October, 1966) 2-8.

Dal, Erik, "Lidt om figurdigte og expressiv typografi." Bogvennen 4 (1971/3) 129-36.

Davidson, Israel, "Eccentric forms of Hebrew verse." Students' annal of the Jewish Theological Seminary of America 1 (1914) 81-94.

Davidson, Israel, "Parparot la-shira ha-Ivrot." Luah Ahever *1 (1918) 90 108 [expansion of his earlier article].

Debeljak, A., "Likovno pesnitvo." Ljubljanski svon (1922) 290 6.

Deonna, Waldemar, "Les poèmes figurés." Revue de philologie 50 (1926) 187-93.

Díaz y Díaz, Manuel C., "Vigilá y Sarracino: sobre composiciones figurativos en la Rioja del siglo x." Lateinische Dichtungen des X. und XI. Jahrhunderts. Festgabe fiir Walter Bulst [see listing in book section for full information] 60 92.

Dietrich, Albrecht, "Abraxas." Abraras. Festschrift fiir Hermann Usener. [See listing in book section for full description].

Domínguez Bordona, D. Jesús, "Rêtratos en manuscritos españoles." Conferencias dadas en el centro de intercambio intelectual GermanoEspañol 16 (1928) 1-16, pl. 1-6.

Doria, Charles, "Visual poems from Greek magical papyri." Kaldron 3 (1977) 2-5.

Doria, Charles, "Visual writing forms in antiquity: the versus intexti." Precisely 3-5 (1979) 63 92 [also in Kostelanetz (1979)].

Dubois, Philippe, "Palindromi i carmina figurata." Knjieva kritika 4 (1977) 19 30 [author's name given both as here and as "Filip Duboa"].

Egger, Rudolph, "Ein Carmen figuratum aus Salona." Charisma: Festgabe zur 25jährigen Stiftungsfeier des Vereins klassischen Philologen in Wien (1924) 12 15.

Ernst, Ulrich. "Die Entwicklung der optisen Poesie . . ." Germanisch-Romanisch Monatschrift 26 (n.s.) 1976) 379 85.

Ernst, Ulrich, "Europäische Figurengedichte in Pyramidenform aus dem 16. und 17. Jahrhundert." Euphorion 76 (1982) 247 325.

Ernst, Ulrich, "Lesen als Rezeptionsakt," in Schlieben-Lange (1985) 67 94. [See listing in book section for complete information].

Ernst, Ulrich, "Poesie und Geometrie: Betrachtungen zu einem visuellen Pyramidengedicht des Eugenius vulgaris," in Grabmüller, Klaus et al. (1984) 321-33, pl. 1 2.

Ernst, Ulrich, "Ein unbeachtetes carmen figuratum des Petrus Abelardus." Mittellateinisches Jahrbuch (Winter 1986).

Ferber, Stanley, "Micrography, a Jewish art form." Journal of Jewish art 3/4 (1977) 12 24.

Fickermann, Norbert, "Eine Karolingische Kostbarkeit zwischen Figurengedichte der Zeit um 1500." Beiträge zur Geschichte der deutschen Sprache u. Literatur 83 (1961/2) 36 62.

Fluck, Hans-Rüdiger, "Ergezlichkeit in der Kunst." Daphnis 4 (1975) 13-42.

Follieri, Enrica, "Tommaso di Damasco e l'antica

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minoscola libraria greca." Reconti della classe di scienze morali, storiche e filologiche [accademia nazionale dei Lincei] ser. 8, v. 29, nos. 3/4 (1974) 1-29, pl i.

Garbe, Burkhard and Gisela Garbe, "Ein verstecktes Figurengedicht bei Daniel von Csepko, Das treuhertzge Creutze als Krypto-Technopeignia eines Hymnus von Venantius Fortunatus." Euphorion 69 (1975) 100-6.

Gloger, Zygmunt, "Dawne rebusy i zagadki." Prezeglad bibliograficzno archaeologiczny 3 (1882) 241-8.

Goodman, William B., "Edward Taylor writes his love." New England Quarterly 27 (1954) 510-5.

Granstrem, E. G. "Katalog treyeskikh ruskolsej." Vizantijskij vremennik 16 (1959) 234-5.

Grilli, Giuseppe, "Poesia artificiosa e metametrica nella letteratura catalana." Annali dell'Instituto Universitario Orientale [Napoli] 27 (1975) 293-355.

Guégon, Bertrand, "Les verses figurées dans l'antiquité et au moyen age." Arts et métiers graphiques 29 (May, 1932) 7-14.

Guégon, Bertrand, "Vers figurés et calligrammes." Arts et métiers graphiques 32 (November, 1932) 27-34 and fcg. 34.

Habersetzer, Karl-Heinz, "Ars poetica simpliciana." Daphnis 4 n. 1 (1975) 60-82.

Haeberlin, Carl, "Epilogomena ad figurata carmina greca." Philologus 49 (1890) 271-84, 649-61.

Hagberg, Louise, "Ordens makt." Fataburen: Nordiska Museets och Skansens Årsbok (1932) 75-88.

Hatherly, Ana, "Camoes e la tradizione del programma." Quaderni portughesi 7/8 (Autumn, 1980) 20-9.

Hatherly, Ana, "Labirintos da parte vii da Fuente de Aganipe de Manuel de Faria e Sousa." Arguivos do centro cultural português 21 [separata] 439-67.

Hatherly, Ana, "Labirintos portugueses do sécolos xvii e xviii." Colóquio artes 45 (June, 1980) 20 29.

Hatherly, Ana, "Pirâmides, obeliscos, mausoléus e lisonjas do barroco português." Colóquio artes 66 (Sept., 1985) 5-11, 75-6.

Helm, N. M., "The carmen figuratum as shown in the works of Publilius Optatianus Porfyrius." Transactions and proceedings of the American Philological Association 33 (1902) xliii-xlix.

Higgins, Dick, "Baude Cordier's 'Circular canon.' Ear 3 n. 6 (September-October, 1977) 9.

Higgins, Dick, "The strategy of visual poetry." Precisely 3 5 (1979) 41 59 [also in Kostelanetz (1979) and in Higgins (1983) 29-39, for which see book section].

Hoffmann, Heinz, "Satorquadrat." Paulys Realencyclopädie der classischen Altertumswissenschaft Supplementband 15 (1978) 478 565. [See main listing in book section (under "P")].

Hsia, C. T., "The scholar-novelist and Chinese culture: a reappraisal of Ching-hua Yüan." Plaks (1977) 266 305. [See main listing in book section].

Jackson, Holbrook, "Patterns in print," The Dolphin (1941) pp. unfolioed.

Jakobi, Hermann, "Über zwei ältere Erwähnungen des Schachspiels in der Sanskrit-Literatur." Zeitschrift der deutschen morgenländischen Gesellschaft 50 (1896), 227-33.

Jha, Kalanath N., "Is citrakavya always a lower grade of poetry?" Bharat Manisha 1 n. 2 (July, 1975) Varanasi 1. 21-6.

Jha, Kalanath N., "The meaning and scope of ubhyacitra as a decision of citrakavya."Journal of the Bhagalpur University 8 n. 2 (1975) 218-26.

Johnson, Thomas H., "The topical verses of Edward Taylor." Publications of the Colonial Society of Massachusetts, Transactions 34 (1941) 532.

Kapadia *, Hiralal R., "Gujarati illustrations of letter-diagrams." Bulletin of the Chunilal Gandhi Vidyabhavan 4 (August, 1957) 49-74.

Kapadia, Hiralal R., "Illustrations of letter diagrams." Journal of the University of Bombay (new series) 23 pt. 2 [Arts n. 29] (1954) 60-91; 24 pt. 2 [arts n. 30] (1955) 97-147; 25 pt. 2 [arts n. 31] (1956) 82-113.

Kapfhammer, Giinther, "Joseph Gutsmüthl = Shalomon Schönenfels." Östbairische Grenzmarken 15 (1973) 27-47.

Kilián István, "A régi magyar képvers." Üj irás 20 n. 11 (November, 1980) 16 34 and front, back and inside front covers.

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Kinderman, Heinz, "Die Danziger Barockdichtung." Euphorion 37 no. 3 (1936) 296-324.

Kluge, Elsa, "Kritische Anmerkungen zu den Gedichten des Publilius Optatianus Porfyrius." Historisches Jahrbuch 45 (1925) 55- 72.

Kluge, Elsa, "Über Optatianus Porfyrius." Miinchener Museum für Philologie des Mittelalters und der Renaissance 4 (1924) 323-48.

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Kostic, Mita, "Zacharias Orfelins Kalligraphie." Archiv für slavische Philologie 3 (1915) 155-63.

Krumbacher, Karl, "Die Akrostichis in der griechischen Kirchenpoesie." Sitzungsberichte der Bayerische Akademie der Wissenschaften (der philosophisch- Philologischen- und der historischen Classe) 23 (1903) 551-691).

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Wirtz, H., [review of Alfred Forke, Dichtungen der T'ang und Sung-Zeit]. Mitteilungen des Seminars an der Friedrich-Wilhelms Univer-

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sität zu Berlin. "Jahrgang 33, erste Abetilung: ostasiatische Studien." (Berlin: Walter de Gruyter, 1930) 183-5.

Wojaczek, Günther, "Bucolica analecta." Wiirzburger Jahrbiicher für die Altertumswissenschaft. Neue Folge 5 (1979) 81-7.

Yates, Rev. William, "Essay on Sanskrit alliteration." Asiatic[k] researches of the Royal Asiatic[k] Society of Bengal [Calcutta] 20 (1836) 135-60.

Zabeltitz, Max Zobel von, "Figurengedichte." Zeitschrift für Biicherfreunde (Fall, 1926) 21-4.

Zabelititz, Max Zobel von, "Über Figurengedichte." Gutenberg Festschrift des 25jährigen Bestehens des Gutenbergmuseums in Mainz (1925) 182-6. [See listing in book section for full information].

Zarate, Armando, "Los textos visuales de la epoca Alejandrina." Disposicion (Notas) 3 no. 9 (1979) 353-66.

Zumthor, Paul, "Carmina figurata." Change [Paris] 4(1969) 148-59 [also in Zumthor(1975) 23-35; see listing in book section for full information].

BOOKS

All of the following books contain pattern poems or discussions of them. For broadsides, poster poems, manuscripts, and periodicals, see the relevant articles or the previous section. We also make no effort to list every edition of well-known anthologies or authors' works, such as The Greek Anthology or the works of George Herbert. We also list editions which we assume will be most readily available (reprints) when it appears this might be helpful. Latin city names are given in their modern forms. Other city names are listed by their most common forms in their present countries (e.g., "Firenze" for "Florence," "Gdansk" for "Danzig," etc.) Pages of particular significance are noted in square brackets. Anonymous works are listed by the first significant word in their titles. Many privately published funeral sermons are listed under their own author but also refer to the catalog of them, under ''Katalog" in this list.

Das ABC cum notis variorum herausgegeben von einem dessen Nahmen in ABC steht. 2 v. Leipzig-Dresden: bey Johann Christoph Miethen, gedruckt Johann Meinrich Richter, 1703.

Abele von Lilienberg, Matthias. Vivat Unordnung. 5 v. Niirnberg: Endter, 1670-5.

Abraxas: Festschrift für Hermann Usener. Leipzig: Teubner, 1891.

Abulafia, Abraham ben Samuel. The path of the name, ed. David Meltzer. Berkeley: Tree, 1976.

Accame, Vincenzo. II segno poetico. Milano: Edizioni d'Arte Zarathustra, 1977.

Acuña de Figueroa, Francisco. Obras completas, ed. rev. by Manuel Bernardez. 12 v. Montevideo: Vazquez Cores, Dornaleche y Reyes, Editores, 1890.

Aczél, Géza, ed. Képversek. Budapest: Kozmosz, 1984.

Ajitsena. Alankaracinta-mani *. Solapur (Saka): Sakharam Nemcand, 1829.

Aksel, Malik. Tiirklerde dini resimler. Religious pictures in Turkish art. Istanbul: Elif, 1967.

Albertus, Laurentius [Lorenz]. See Laurentius Albertus.

Alger, William Rounseville. The poetry of the east. Boston: Whittemore, Niles and Hall, 1856.

Alger, William Rounseville. The poetry of the orient. Boston: Roberts Brothers, 1883.

Almqvist, Sven. Johann Kankel, Pehr Brahes boktryckare på Visigsö. Stockholm; Almqvist och Wiksel, 1965.

Alsted[ius], I. [Johannes?] H. Encyclopaedia septem tomis distincta . . . 7 v. Worms: typis G. Corvinij, 1630.

Andrews, Edward Deming. The gift to be simple: songs, dances and rituals of the American Shakers. 1940; New York: Dover Publications, 1967.

Andrews, Edward Deming and Faith Andrews. Visions of the heavenly sphere: a study in Shaker religious art. Charlotte, VA: University Press of Virginia, 1969.

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Angot, Robert "Sieur de l'Eporonière." Le chefd'oeuvre poétique, ed. Prosper Blanchemain. 1634; Rouen: Imprimerie de Henry Boissel, 1872.

Apel, Willi. French secular compositions of the fourteenth century." Corpus mensurabilis musicae." Roma: American Institute of Musicology, 1970.

Apel, Willi. The notation of polyphonic music. 5th ed. Cambridge, MA: Medieval Academy of America, 1961.

Aplauzos académicos e rellação do felice sucesso da celebre Victoria do Ameixal . . . Amsterdam: Jacob van Velsen, 1673.

Archevolti, Samuel ben Elhanan Isaac. Arugat Habbossem. Venezia: printer unknown, 1602.

Arnholtz, Arther, Erik Dal and Aage Kabell, eds. Danske metrikere. 4 v. Københaven: J. H. Schultz Forlag, 1953 [1: 16-7 393].

Artenski, Rafal Kazimierz. Triumphans Herculae victus . . . Kraków: Stanislaw Piotrkowczyk, 1672.

Aubry, Pierre. Les plus anciens monuments de la musique française. 1905; New York: Broude Brothers, 1969.

August II, Duke of Lüneburg-Braunschweig ( = Gustavus Selenus). Cryptomenytices et cryptographiae Libri ix. Liineburg: Johann et Henricus der Sternen, 1624.

Ávila, Affonso. O lúdico e as projeções do mundo barroco. 2nd ed. "Debates," 35. São Paulo: Editora Perspectiva, 1980.

Awedyk, Michal Jan Nepomucen. Conchylium Gemmas . . . Kraków: typis haeredum FrancisciCezary, 1728.

Ayres, Philip. Lyric poems, made in imitation of the italians. London: J. Knight and F. Saunders, 1687.

Baehrens, E., ed. post. Fragmenta poetarum latinorum epicorum et lyricorum . . ., ed. W. Morel. 1927. Stuttgart: Teubner, 1973.

Baldassare, Bonifacio. Balthassaris Bonifacii Musarum liber xxv. Urania ad Dominicum Molinum. Venezia: Antonio Piello, 1628 [pattern poems only reprinted in Tau/ma (Bologna) 6 (1979)].

Baron, Robert. 'Erotopathainion; or, The cyprian academy. London: printed by W. W. and are to be sold by J. Hardesty, T. Huntington and T. Jackson at their shops in Ducklane, 1647.

Barsotti, see Niccolò da Lucca.

Bartas, Guillaume de Salluste du. Bartas: his deuine weekes and works, tr. Joshua Silvester. 1605; Gainesville, FL: Scholars Facsimiles and Reprints, 1965 [Bartas' original work contains no pattern poems . Cf., Silvester,Joshua.]

Barthelmy, Jean-Jacques . Travels of Anarchasis the younger in Greece. 6 v. London: C. and J. Rivington, 1825 [v. 6, 182].

Beaulieu, Es torg de. Les divers rapportz. Lyons: Pierre de Saint-Luce (dit le Prince), 1537.

Beaumont, Joseph. The minor poems of Joseph Beaumont, D.D., 1616-99, ed. Eloise Robinson. Boston: Houghton Mifflin, 1914.

Beck, Johann Joseph. Anni hujus novi M. DC. L V. A uspicium . . . Wolfenbiittel: privately printed, 1655.

Becker, see Beck, Johann Joseph.

Behr, Christopherus. Quid flumum non subiturum hominumq. in memoriam vivax monumentum futurum . . . Ursula Dorothea Fiirstia . . . Breslau: Baumann, exprimebat Joh. Christoph Jacobi, 1667.

Bekker, Immanuel. Anecdota graeca. 3 v. Berlin: G. C. Nauck, 1814-21.

Benlowes, Edward. Sphinx theologica sive musica templi ubo discordia concors. Cambridge: ex Academiae seleberrimae, 1636.

Benlowes, Edward. Theophila, or love's sacrifice. London: Henry Seile and Humphrey Mosely, 1652.

Bens, Jacques. Guide des jeux d'esprit. Paris: Albin Michel, 1967.

Bermudo, Juan. Comiença el libro llamado declaracio de instrumentos . . . Ossuna: Juan de Leo, 1555 [some copies have Danckert's chess board-s haped notation, while earlier editions and other copies of this edition, including the current reprint (Kassel: Bärenreiter, 1957) do not].

Bernard, Valentin. Christliche Leichpredigt [funeral sermon forJ ohann Ludwig Eins eidel]. Rudolfstadt: privately published, 1670 ["sig G4r(Stolberg 7934)"].

Berns, Jörg Jochen, ed. Justus Georg Schottelius 1612-1676. Ein Teutscher Gelehrter am

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Wolfenbiitteler Hof. Exhibition catalog. Wolfenbiittel: Herzog August Bibliothek, 1976.

Bettini, Mario. Florilegium, in quo autropeliae sive urbanitates poeticae dramata pastoralia et aliquota poscula soluta oratione collecta e lyceo et ex aliis lucubrationibus M. B. . . . Bologna: C. Ferronii, 1632.

Bettini, Mario. Florilegium variorum poematum. Leyden: Franciscum de la Boterie, 1633.

Bettini, Mario. Lyceum e moralibus, politicis ac poetis . . . Venezia: apud Evangelistum Deuchinum, 1626.

Bharavi. Kiratarjuniyam, ed. Shiva Narayan Das Lane: Sri Udai Candra Pal, 1884.

Bhoja. Saraswastikanthabharana *. "Kavyamala Series." Bombay: K. N. Sharma and V. L. Pansikar*, 1934.

Biccius, Christianus. Carolus undecimus rex swediae . . . in plausum auspicatissimi nominalis . . . festi . . . Dni. Caroli XI regis Svecorum . . . Szczecin: typis Danielis Storckii, [year? ].

Bielecki, Stanislaw Antoni. Naumachia triumphalis. Kraków: Typ. Acad., 1732.

Billings, William. New England psalm-singer. Boston: Edes and Gill, 1770.

Bingham, Caroline. James VI of Scotland. London: Weidenfeld and Nicholson, 1979.

Bircher, Martin and Thomas Bürger, eds. Alles mit Bedacht. Barockes Fiirstenlob auf Herzog August (1579-1666) in Wort, Bild und Musik. Wolfenbüttel: HAB Bibliothek, 1979.

Birken, Sigmund von. Fortsetzung des Pegnitz-Schäferey. Nürnberg: W. Endter, 1645 [cf. Harsdörffer].

Birken, Sigmund von. Guelphis. Nürnberg: zu finden bey Johan Hofmann. Gedruckt bey Christoph Gerhard, 1669.

Birken, Sigmund von. Pegnesis. 2 v. Nürnberg: Wolf Eberhard Felsecker, 1673-9 [cf. Harsdörffer].

Birken, Sigmund von. Teutsche Rede- Bind- und Dicht-Kunst. 1679; Hildesheim: Georg Olms Verlag, 1973.

Blanc[us], Guilielm[us]. Epigrammata in obelis cum mirae magnitudinae ex Aegypto . . . Roma: ex officinis Bartholomae Grassii, 1586.

Blenerhasset, Thomas. A reuelation of the true Minerva (1582), ed Josephine Walters Bennett. Gainesville, FL: Scholars Facsimiles and Reprints, 1941.

Blumenthal, Walter Hart. Bookmen's bedlam of literary oddities. An olio. New Brunswick, NJ: Rutgers University Press, 1955.

Blumenthal, Walter Hart. Eccentric typography and other diversions in the graphic arts. Worcester, MA: Achille St. Onge, 1963.

Bluteau, Rafael. Protheus doloris in obitu serenissimae Reginae Portugaliae D. Mariae Franciscae Elisabetae a Sabaudia. Lisboa: printer unspecified, ca. 1684.

Bohatcová, Mirjam. Humanistické jednolisty z Luice. "Publikace slezského studijního ústava v Opave," sv. 19. Ostrava: Slezského studijního ústava, 1957.

Boissonade, Jean-François. Critique littéraire sous le premier empire. 2 v. Paris: Didier et Cie., 1863 [v. 1, 367-81].

Bombarda, Domizio, see Fernando Donno.

Bombaugh, Charles Carroll. Oddities and curiosities of words and literature, ed. Martin Gardner. 1875; New York: Dover Pubs. 1961.

Bonciari[us], Marco Antonio "the elder." Oedipus, sive de Bello literatorum lusus. Perugia: typis Petri Jacobi Petrutij, 1603 [code poem on 120-1].

For Bonifacio, Baldassare, see Baldassare [Baldassari], Bonifacio.

Boorman, Stanley, ed. Studies in the performance of late medieval music. New York: Cambridge University Press, 1983.

Borck, K. and R. Henss, eds. Der Germanistentag 1968. Vorträge und Berichte. Heidelberg: Karl Winter, 1970.

Borgmann, Dimitri. Language on vacation. New York: Scribners, 1965.

Bosworth, William. The chaste and lost lovers . . . London: Blaiklock, 165L.

Bouquet, Simon. Bref et sommaire receuil de ci qui a esté faiet, et de l'ordre tenüe à la joyeuse et triomphante entree des très-puissant, trèsmagnanime et très-chrestien prince Charles IX . . .Paris: Denis du Pré, 1572.

Bowler, Berjouhi Barsamian. The word as image. London: Studio Vista, 1970.

Boyssières, Jean de. Les troisième oeuvres de Jean de Boyssières . . . Lyon: L. Cloquemin, 1579.

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Bremen, see Universität Breman.

Briusov, Valerij Iakovlevich, ed. and tr. Armianskaia poeziia vpoezzj vperevodakh. Erevan: Armianskoe gosd izdvo, 1956.

Briusov, Valerij Iakovlevich. Russkie simvolisti. 2 v. 1894; Letchworth, Eng.: Bradda Books, 1972.

Browne, Edward Granville. A literary history of Persia: from Firdawsy to Sa'adi. 4 v. 1906; Cambridge: Cambridge University Press, 1964.

Browne, William. Britania's Pastorales. London: George Norton, 1616.

Browne, William. The shepheard's pipe. London: printed by N. O. Kos for G. Norton, 1614.

Browne, William. The whole works, ed. W. Carew Hazlitt. 2 vols in 1. 1868-9; Hildesheim: Georg Olms Verlag, 1970.

Brugnolo, Furio. II canzoniere di Nicolò de' Rossi. 2 v. "Medioevo e umanesimo," 16 and 30. Padova: Editrice Antenore, 1974-7.

Brunner, H. et al., eds. Wort und Bild. Miinchen: Wilhelm Fink, 1979.

Budge, E. A. Wallis. Amulets and superstitions. 1930; New York: Dover Editions, 1970.

Bulas, Kasimierz. Les illustrations de l'Iliade. "EVS Supplementa," 3. Lw6w: Lwów Université, 1929.

Calatayud y Borda, Cypriano Gerónimo. Oracion funebre que en las solemnes exequias de la R. M. Maria Antonia de San Joseph, Larrea, Arispe, de los Reyes . . . Lima: imprenta de los Huérsanos, 1783.

Cambier, G., ed. Hommages à André Boutemy. "Collection Latomus," 145. Bruxelles: Revue des études latine, 1976 [231-43].

Camillis, Camillo. Impresi illustri. Venizia: F. Ziletti, 1586 [identical edition sometimes listed as printed by Nicolò Calvi].

Campos, Augusto de, Decio Pignatari and Haroldo de Campos. Teoria da poesia concreta. Revised edition. São Paulo: Liveria Duas Cidades, 1975.

Canel, A. Recherches sur les jeux d'esprit, les singularités et les bizarreries littéraires principalement en France. 2 v. Evreux: de l'imprimeries de Auguste Hérissey, 1867.

Capelle, Pierre Adolphe. Contes, anecdotes, chansons et poésies diverses de Capelle, fondateursociétaire du caveau moderne. Paris: H. Perroneau, 1818.

Caramuel de Lobkowitz, Juan. Ioannis Caramuelis primus calamus ob oculos ponens metametricam, quae variis currentium, recurrentium, adscendentium, descendentium nec non circumvolantium versuum ductibus, aut aeri incisos aut buxo insculptos aut plumbo infusos multiformis labyrinthos exornat. Roma: Fabius Falconius, 1663 [work is known as the "Metametrica"].

Carbonero y Sol y Merás, L. M. Efuerzos del ingenio literario. Madrid: Establicimento Tipogràfico "Sucesores de Rivadeneyra," 1890.

Cardini, Giancarlo, Paulo Castaldi, Domenico Guaccero, Daniele Lombardi, Beniamino Placido, Sergio Salvi, Gianni-Emilio Simonetti and Dino Villatico. Spartito preso: la musica da vedere. Firenze: Valecchi, 1981.

Carroll, Lewis. See Charles Dodgson.

Caruso, Luciano. La poesia figurata nell' alto medioevo. "Poetica e storia delle idee." Napoli: Libereria Scientifica Editrice, 1971.

Caruso, Luciano and Giovanni Polara, eds. Iuvenilia loeti. Raccolta di poeti latini medievali. "Marcartre libri," 3. Roma: Lerici Editore, 1969.

Carvahal y Lancaster, D. Joseph de. Parentacion solemne de sufragio y obsequio . . . Don Phelipe V. Salamanca: Antonio Villagordo, 1747.

Carvallo, Luis Alfonso de. Cisne de Apolo, de las eccelencias, y dignidad, y todo que al arte poetica y versificatoria pertenece . . . Medina del Campo: I. Godinere de Millis, 1602.

Casoni, Guido. L'opere del sig. cavaliere Guido Casoni. Venezia: Tomaso Baglione, 1626 [earlier editions lack some of Casoni's pattern poems].

Castelein, Matthijs de. De const van rhetoriken. Ghent: Jan Cauweel, 1555.

Castro, P. Francisco de. Christiana reformación, assi del pecador. Sevilla: Juan Cabeças, 1680.

Castro, P. João Batista de. Recreaçam proveytosa . . . Lisboa Occidental: Na officina de A. Pedrozo Galram, 1728 [2nd Ed., 1729].

Cerone, Pietro [Pedro]. El melopeo y maestro. Tractado de música théorica y pratica en que se pone por extans lo que vno para hazerse perfecto músico ha me nester saber y por mayor facilidad, comodidad y claridad del lector . . . 2 v. "Biblioteca musica Bononiensis," v. 2 and 25. 1613; Bologna: Arnoldo Forni, 1969.

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Cesmicki, Ivan. See Janus Parnonius.

Chabrol, C. Oriselle, ou les extrèmes mouvements d'amour, tragicomédie. Paris: Mathieu Colombel, 1633.

Champion, Pierre. Le jardin de plaissance et fleur de rhétorique. 3 v. Paris: Société des anciens textes, 1910.

Charisma: Festgabe zur 25jährigen Stiftungsfeier des Vereins klassischen Philologen in Wien. Wien: Verein klassischen Philologen, 1924.

Christliche Leichpredigt [funeral sermon for Maria Höpfner]. Leipzig: privately printed, 1641 ["sig. Lr (Stolberg: 6288)"].

Chu Hsiang-Hsien. Hui-wen lei-chü hsü-pien. No place [Su-chou?]: Lin-yü t'ang, n.d. [preface dates from 1692].

Cirier, Nicholas. L'oeil typographique . . . Paris: Fermin Didot Frères, 1839.

Cobbing, Bob and Peter Mayer. Concerning concrete poetry. London: privately printed, 1976 and London: Writers Forum, 1978 [editions differ].

Collecção dos applausos em prosa e em verso consegrados a D. F. Joseph Maria de Fonseca e Evora, Bispo do Porto. Lisboa: Officina Sylviana, 1745.

Collegium Societatis Jesu. Typus mundi . . . Antwerper: apud Ioan. Cnobbaert, 1627.

Condolentiae et affectus statua . . . Johanni Dillies . . .Szczecin: M. Höpfner, 1657.

Cook, Elizabeth. Seeing through words: the scope of late renaissance poetry. New Haven: Yale University Press, 1986.

Crespin, Jehan [Jean]. [Poetae graeci] vetustissimi authorum georgica, bucolica et gnomica poemata quae supersunt. 1569; Genève: apud haer. E. Vignon, 1600.

CreutzSact und FrewdenErndt, der wahren Kinder Gottes ["Leichpredigt und poetische Lacramae auf Barbara Jüngler"]. Durlach: privately published, 1631.

Crompton, Hugh. Pierides, or the muses mount. London: printed by J. F. for Charles Webb, 1658.

Curzio, Lancino. Epigrammaton libri. . . decem. 2 v. Mediolani: apud Rochum et Abrosium fratres le valle impresores, Philippus Foyot faciebat, 1521.

Dachnowski, Jan Karol. Philantropia lubo . . . zwiazek * Lukasza Charmeckiego* y . . . Maryny Zaleskiey. Krak6w: Maziej Andrzejowcsyk, 1631.

Daly, Peter M. Dichtung und Emblematik bei Catherina Regina von Greiffenberg. "Studien zur Germanistik, Anglistik und Komparatistik," 36. Bonn: Bouvier, 1976.

Dasopant. Dasopantanchi pasodi, ed. N. S. Pohnekar. Hyderabad: Marathawada Sahitya Parishad Prakashan, ca. 1950.

Deene, Edewaerd. Testament Rhetoricael. City and printer unknown, 1544 [editions of 1543 and 1553 have fewer or no pattern poems; the pattern poems are all reprinted in the Jaarboek de Fonteine (1978-9) pt. 2, pp. 19, 21, 23, and 31].

Dembinski, Jeremiasz. . . . Monumentum ad maiorem D. O.M. gloriam . . . Kraków: A. Piotrowczyk, 1617.

Dencker, Klaus-Peter. Text Bilder visuelle Poesie international. Köln: Verlag M. Dumont Schauberg, 1972.

Derzhavrin, Gavriil Romanovich. Sochineniia, ed. Iakov Karlovich Grot. 9 v. St. Petersburg [Leningrad]: Imperatorskaia Akademiia Nauk, 1864-83.

Dinkler, Erich. Signum crucis. Tübingen: J. C. B. Mohr, 1967 [160-73].

Diringer, David. The alphabet. 2 v. London: Hutchinson, 1968.

Djordjic, Ignjat. Djela Ignacija Gorgi*. "Stari pisci hrvatski," 25 pts. 1 and 2. 2 v. Zagreb: [Kniara] Jugoslavenska Akademija [lav. Hartmana], 1926.

Dodgson, Charles [Lewis Carroll]. The annotated Alice, ed. Martin Gardner. New York: Clarkson N. Potter, 1960.

Domaniewski, Franciszek Józef. Porta triumphalis . . . Kraków: typ. Collegii Majoris Universitatis Cracoviensis, 1725.

D'Ors, Miguel. El caligrama, de Simmias a Apollinaire. Pamplona: Ediciones Universidad de Navarra, 1977.

Dovhalevskij, Mytrofan. Poetyka: sad poetycnyi [Hortus poeticus]. Kiev: Mystectvo, 1973.

Draski, Adam. Eparchias. Kraków: Typis Francisci Cesarij, 1631.

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Drummond, William ["of Hawthornden"]. The poetical works of William Drummond of Hawthornden, ed. L. E. Kestner. "Scottish text society, new series," 3 4. 2 v. Manchester: Manchester University Press, 1913.

Dudeney, Henry Ernest. The Canterbury puzzles and other curious problems. 1919; New York: Dover Publications, 1958.

Duleba *, Wladislaw, Klasyczne podstawy poetiki perskiej. "Rozprawy habilitacyjne," 102, Kraków: Uniwersytet Jagiellonski, 1986.

Dupuy, Enrique [Erycius Puteanus]. Pietatis thaumata in Bernardi Bauhusii e societae Iesu proteum parthenium, unius libri versus librum, stellarum numero sive formis MXXII variatum . . . Antwerpen: ex officina Plantiniana, apud Balthasarem et Ioannem Moretos, 1617.

Edmonds, J. N., ed. and tr. The greek bucolic poets. "Loeb classical library." London: William Heinemann, 1919 and New York: G. P. Putnam, 1919.

Eichberg, Richard J. Die Beziehung zwischen Kirchenliedern und Kirchengeräten (ein vergessener Sport). Berlin: Paul Koeppen, 1904.

Ernst, Ulrich. "Geschichte der visuellen Poesie." Forthcoming in 1988.

L'eroica ed incomparibile amicizia de gl'illustrissimi signori N. Barbarigo e M. Trivisano . . . Venezia: publisher unknown, 1628 [see Liceti et al.]..

Eugenio da San Giuseppe. Castrum doloris et honoris . . . Wien: in officina typographica Matthaei Cormerovi, 1657.

Fehrman, Carl Abraham Daniel. Diktaren och döden. Stockholm: Bonniers, n.d.

Felix João, Fr. Isagoge. Lisboa: Officina de Pedro Craesbeck, 1613.

Feran, Nico. I rebus. Milano: Mondadori, 1977.

Fernandez, Pedro, Count of Lemnos, ed. Carmini libri quatuor discessaro Lemensium comite. Napoli: ex typographia Tarquini Longhi, 1610.

Ferreira Leonardo, Manoel, "Labyrinthos que pelos titolos . . .," see Collecção dos applausos em prosa. . .

Fieret, Sebastien. Arithmetica seraphica caluculatore fratre et Escartin, CaesarAugustiae. City and publisher unknown, 1595.

Figueroa, Francesco Acuña de. See Acuña de Figueroa, Francesco.

Firley, Henryk "Leopardus." Illustri reverendi dno. Henrici Firley. Kalisz: Albertus Gedelius, 1624 [Firley or "Leopardus" is traditionally given as the author of this work, though he was actually its dedicatee].

Fischer, Kurt von. Polyphonic music of the 14th century. "L'oiseu-lyre," 18. Monaco: l'Oiseaulyre, 1984.

Fisher, John, ed. The magic of Lewis Carroll. New York: Bramhall House, 1973.

Franciszek de St. Casimirus. Lucina orti sub sole lechico . . . Lwów: Confraternitatis SSmae Trinitatis, 1736.

Frisch, Johann Leonhard. Schulspiel von der Unsauberkeit der falschen Dicht- und Reimkunst, ed. L. H. Fischer. 1744; Berlin: Verlag des Vereins für Geschichte Berlins, 1890.

Fröding, Gustaf. Samlade Skrifter. 10 v. Stockholm: A. Bonnier, 1911 [v. 7, 142].

Gaceta de Lima de 1762 a 1765, ed José Durand. Lima: Oficina de Asuntas Culturales Cofide, 1982.

Gaffarel, Jacques. Curiositez inouyés hoc est curiositates inauditae de figuris persarum talismanicis . . . Paris: Hervé du Mesnil, 1629.

Gager, William, ed. Exequiae illustrissimi equitis D. Philippi Sidnaei, gratissimae memoriae ac nomini imprensae. Oxford: ex officina typographica Josephi Barnesii . . ., 1587.

Gameren, Hannardus de Mosaeus [Gamerio Moseo, Annardo]. De merito Christi. An illus papistae suis concionibus caeremonis et sacris adhibuerint. Antwerpen: Plantin, 1568.

Gand de Brachey, Louis de. Sol britannicus regi consecratus a domino Ludovico. London: J. Beal and S. Buckley, 1641.

Gardthausen, Viktor. Griekische Paleographie. 2 v. Leipzig: Verlag von Viet, 1913.

Geary, John S., C. B. Faulhaber and D. F. Carpenter, eds. Florilegium hispanicum: medieval and golden age studies presented to Dorothy Clotelle Clark. Madison, WI: Medieval Seminary of Hispanic Studies, 1983.

Gelb, I. J. A study of writing. Revised edition. Chicago: University of Chicago Press, 1963.

Ghazi ud-Diin Ali, King of Oudh. Haft Qulzun. 7 vols. Lucknow: privately published, 1820-7.

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Gibb, E. J. W. Ottoman poems. London: Trübner and Company, 1882.

Gisberto, Dominica. Bos loquens. Padova: Io Baptista Pasquati, 1664.

Glonerus, Samuel. In obitum Joannis Frederici Benzii . . . Argentorati: Joannis Philippi Mülbii, 1638.

Goldonowski, Andrejo. Poema historicum de S. Paulo. Kraków: Piatkowski, 1628.

Goldsmith, Oliver. The vicar of Wakefield. Darby: PA: Arden Library, 1981.

Golowin, Sergius. Dada im Mittelalter. Berlin: Libertad Verlag, 1981.

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Hadewig, Johann Heinrich. Wohlgegründet teutsche Versekunst. Bremen: bey Berthold und Heinrich de Villiers, in Verlegung Peter Köhlers, 1660.

Haeberlin, Carl. Carmina figurata graeca. Hannover: Hahn, 1887.

Haeberlin, Carl. De figuratis carminibus graecis. Hannover: Jaeneck, 1886.

Hagen, Hermann. Antike und mittelalterliche Rätselpoesie. Kiel: K. F. Steinheil, 1869.

Haidelius z Rassensteinu, Jan. Musa illustrissimi . . . principis . . . Caroli [Lambergia a lamberg]. Praha: Daniel Sedesanus, 1607.

Hanmann, Enoch. Prosodia germanica . . . Frankfurt: Christian Klein, 1658.

Harsdörffer, Georg Philipp. Frauenzimmer Gesprechspiele. 8 v. Nürnberg: Wolffgang Endtern, 1644 57 [v. 5, pp. 1, 23, 451].

Harsdörffer, Georg Philipp. Poetischer Trichter, dritter Theil. 1653; Darmstadt: Wissenschaftliche Buchgesellschaft, 1969 [p. 108].

Harsdörffer, Georg Philipp, Sigmund von Birken, and Johann Klaj[us]. Pegnesisches Schäfergedicht . . . "Deutsche Neudrucke, Reihe Barock," 8. 1644; Tübingen: K. Garber, 1966 [cf. von Birken].

Harsdörffer, Georg Philipp, Sigmund von Birken, and Johann Klaj[us]. Pegnesisches Schäfergedicht . . ., ed. Gerhard Rühm. Berlin: Gerhard Verlag, 1964 [cf. von Birken].

Harsdörffer, Georg Philipp, Sigmund von Birken and Johann Klaj[us]. Fortsetzung der Pegnitz-Schäferey. Nürnberg: Wolffgang Endter, 1645 [cf. von Birken].

Harvey, Christopher. Schola cordis, or The heart of itself gone away from God . . . London: H. Blunden, 1647.

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Harvey, Christopher. The school of the heart. London: William Tegg and Company, 1859.

Harvitt, Hélène. Estorg de Beaulieu: a disciple of Marot. "Columbia University: studies in romance philology and literature." New York: AMS Press, 1966.

Hatherly, Ana. Para uma arqueologia da poesia experimental. Lisboa: Colóquio Artes, 1979.

Hatherly, Ana. A experiência do prodígio: bases teóricas e antologia de textos-visuais portugueses dos séculos XVII e XVIII. "Temas portugueses." Lisboa: Imprensa Nacional-Casa de Moeda, 1983.

Hausteuerliche Vers-Geschenke aus das hochzeitliche Freudenfeste des Hr. Hans Ulrich Holzhaben . . . Stammlein: privately printed, 1676.

Hausteuerliche Versgeschenke und das hochzeitliche Freudenfeste des Hr. Dietrich Mayers . . . Zürich: privately printed, 1678.

Haydn, [Franz] Joseph .... The holy ten commandments/Die Heilige zehn Gebote. "Dessoff Choir Series." New York: Music Press, 1942.

Heidfeld, Godofried. Sphinx theologicon philosophica . . . Herborn: excudebat Christ. Corvinus, 1612.

Helwig, Johann. Die Nymphe Noris in zweyen Tagzeiten. Nürnberg: Jeremiah Dümler, 1650.

Helwig, Johann. Ormond. Frankfurt: Joh. David Zumer, 1648.

Hemacandra Suri. Kavyanusasana. Bombay: R. C. Parikh, 1938.

Herbert, George. The poems of George Herbert, ed. Helen Gardner. London: Oxford University Press, 1961.

Herbert, George. The temple. Cambridge: T. Buck and P. Daniel, 1633.

Herka, Klemens Kostka. Liber passus. Kraków: Collegij Majoris Univ. Cracoviensis, 1732.

Hermannus de Santa Barbara. Carmelo-Parnassus in xenium oblatus . . . d. Ioanni Guelterio Slusio . . . per p.f.H. a S. B. Leodii[?]: apud Arnoldum Bronckardt, 1687.

Herrick, Robert. Hesperides: or The works both human & divine. London: Printed for John Williams and Francis Eglesfield, and are to be sold by Tho. Hunt, Bookseller in Exon., 1648.

Herrick, Robert. His noble numbers: or, His pious pieces . . . London: Printed for John Williams and Francis Eglesfield, 1647 [also-1647; London: Scholars Press, 1969].

Higgins, Dick. George Herbert's pattern poems: in their tradition. New York: Unpublished Editions, 1977.

Higgins, Dick. Horizons: the poetics and theory of the intermedia. Carbondale: Southern Illinois University Press, 1983.

Hobbes, Thomas. A Discourse upon Gondibert, an heroick poem written by Sir William D'Avenant, with an answer to it by Mr. Hobbs. Paris: Matthieu Guillemot, 1650.

Hobogirin. Dictionnaire encyclopédique du Boudhisme d'après les sources chinoises et japonaises, quatrième fascicule. "Librarie d'Amérique et d'Orient." Paris: Adrien Maisonneuve, 1969.

Hoffman, Johann "der trauende." Lehrmäßige Anweisung zu der teutschen Verß- und TichtKunst . . . Nürnberg: Johann Ziegler, 1702.

Holden, Anthony. Greek pastoral poetry. Baltimore, MD: Penguin Books, 1974.

Hollander, John. Vision and resonance: two senses of form. New York: Oxford University Press, 1975.

Hopp[e] Israel. See Toeppen, M.

Horn, Paul. Geschichte der persischen Literatur. 2 v. Leipzig: C. F. Amelangs Verlag, 1901 [v. 1 p. 54 describes some still-unlocated pieces].

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Hueck, Monika. Gelegenheitsgedichte auf Herzog August von Braunschweig-Liineberg und seine Familie (1579 1666). "Repertorien zur Erforschung der frühen Neuzeit," 4. Wolfenbüttel: Herzog August Bibliothek, 1982.

Hunger, Herbert. Die hochsprachliche profane Literatur der Byzantiner. In Ivan von Müller, ed., "Handbuch der Altertums-wissenschaft," v. 12 pt. 5. 2 v. Müchen: Beck, 1978.

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neueste Art, zur reinen und galanten Poesie zu gelangen. Hamburg: Johann Wolfgang Fickweiler, 1707 [266].

Iacobus Nicholai de Dacia. Liber de distinccione metrorum, ed. Aage Kabell. "Humanistiska Vetenskaps-Samfundeti Uppsala Monografier," 2. Uppsala: Almqvist och Wiksell, 1967.

Ibn Yahya, see Joseph ben David Ibn Yachya.

Illustrissimo ac reverendissimo . . . D. Alberto Baranowski . . . archiepiscopo Grensensi . . . Kalisz: Albert Gedel, 1608 [unique copy in Kungliga Biblioteket, Stockholm].

Illyes, Andreas. Brevis vitam sapienter instituendi, seu breviarum selectissimorum carminum. Hungary [City unknown]: printer unknown, 1696.

In memoriam honoratissimam . . . Elisabethae reginae. Oxford: Barnes, 1603.

In serenissimi . . . Johannis Tertii dei gratia regis Poloniae . . . Nominis regii anagramma carmen . . . Gdansk: David Fredericus Rhetius, 1682.

Iordan, Joachimus. Epithalami in honorem . . . Christophori Butelli. Szczecin: Typ. Rhetianis, 1602.

Jagodýnski, Stanislaw Serafin. Nymphica mosciwego pana J.M.P. Alexandra Chaleckiegona Chalczu . . . z Iey Moscia P. P. Anna Magdalena Woynianka . . . Wilno: Józef Korczan, 1617.

Jagodýnski, Stanislaw Serafin. Poezie, ed. Kazimierz Józef Turowski. Kraków: Biblioteka Polska, 1860.

James I, King of Great Britain [James VI Stuart of Scotland]. The poems of King James VI, ed James Craigie. "Scottish text society," ser. 3, v. 22, 26. Edinburgh: Blackwood, 1958.

Janecek, Gerald. The look of Russian literature: avant-garde visual experiments, 1900-1930. Princeton: Princeton University Press, 1984.

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Jauss, Hans Robert, ed. Medium aevum vivium. Festschrift für Walter Bulst. Heidelberg: D. Schaller, 1960.

Jenkins, Harold. Edward Benlowes, 1602-1676: biography of a minor poet. London: [University of London] Athlon Press, 1952.

Jha, Kalanath. Figurative poetry in Sanskrit literature. Delhi: Motilal Banarsidass, 1975.

Jizbice, Pavel z. Schedarium farrago nova . . . Leyden: Christophorus Guyotius, 1602.

Joris de Gand, David. Wonderboek. Deventer: Dirk van Bome, 1552 [the publisher of this book is often thought to be Alfred Pafroed, but this cannot be true, per van der Linde, "La première édition du Wonderboek . . ." (1865) 159-60 (cf. section A for article listing)].

Joseph ben David Ibn Yachya. Sefer tora or. Bologna: Hashotfim ose Malakhat Hameshi po Bologna, 1538.

Karasiewicz, Pavet Antoni, Votum solemne . . . Zamosc: Univ. Zamosc., 1764.

Karst, Johann Rudolf. Deutscher Dichtung Lust u. Schau Platz. Frankfurt: Wilhelm Serlin, 1667.

Katalog der fürstlich Solberg-Stolberg'schen Leichenprädigten-Sammlung. 4 v. bound as 5. Leipzig: Degener und Co., 1927 35.

Keller, Karl. The example of Edward Taylor. Amherst: University of Massachusetts Press, 1975.

Kelner, Michael. Epaenodia ad . . . Petrem Giran ducem Ossunae . . . quam accivit M.K. germanus ubius. Napoli: Tarquinus Longus, 1620.

Kempe, Martin. Poetische Lust-Gedenken, erster Theil. Jena: publisher unknown, 1665.

Kempe, Martin. Poetische Tafeln. Jena: Johann Jakob Bauhofer, 1667.

Keresztsegh, Imre Csaki de. Domus Austriacae curae sive Tripudium genethalicum in . . . natali . . . Archiducis Austriae . . . Wien: Typogr. Caesareae Imperiali-Aulica, 1716.

Kern, Hermann. Labyrinthe. 2nd ed. München: Prestel, 1982.

Kielkowski, Maurycy. Hypomena Franciscanum. Krak6w: F. Cezary, 1718.

Klag-schallende Post- und Trauer-Jägdhörnlein. Frankfurt: Johann Görlin, 1669.

Klaj[us], Johann. Friedensdichtung und kleinere poetische Schriften, ed. Konrad Wiedemann. "Reihe Barock," 10. Tübingen: Niemeyer, 1968.

Klaj[us], Johann. Geburtstag des Friedens. Niirnberg: Endter, 1650.

Klaj[us], Johann. Irene, das ist vollständige Außbildung deß zu Niirnberg geschlossenen

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Frieden. 2 v. Nürnberg: Wolfgang Endter, 1650.

Klaj[us], Johann. Der leidende Christus, in einem Trauerespiele vorgestellt. Nürnberg: Wolffgang Endter, 1645.

Kleiner, Gottfried. Garten-Lust im Winter. Hirschberg: bey Diet. Krahnen, 1732.

Klintberg, Bengt af, ed. Du är rosen, jag är törnet. Stockholm: Wahlströms Bokförlaget, 1977.

Klonsky, Milton, ed. Speaking pictures. New York: Harmony Books, 1975.

Kochowski, Wespazjan. Rubus incombustus. Kraków: N. A. Schedel, 1690.

Köhler, Andreas. Deutlich und grundliche Einleitung zu der reinen deutschen Poesie . . . Halle: printer unknown, 1734.

Kominis, Atanasio D. Ió Byzantinon hieron epigramma kai epigrammatatopoipoi. . Athena: 'Adelthon Murtion, 1966.

Kopfermann, Thomas, ed. Theoretische Positionen zur Konkreten Poesie. Tübingen: Max Niemeyer Verlag, 1974.

Kornfeld, Theodor. Selbst-lehrende alt-neue Poesie . . . Bremen: Hermann Brauer, 1685.

Kostelanetz, Richard, ed. Visual literary criticism, a new collection. Carbondale, IL: Southern Illinois University Press, 1979.

Kreutzer, Johann Carl. An den Nahmens-Feste Catherina Zweyer Grossen Koeniginnen . . . Gdansk: T. J. Schreiber, 1733.

Kriss-Retterbeck, Lenz. Zeichen Religiösen Volksglaubens. München: Georg D. W. Callwey, 1963 [fig. 133, p. 117].

Krzyzkiewicz *, Ignacy. Attica musa thitoream et hyampeum. Kraków: apud Albertum Gorecki, 1674.

Kvetnickij, Feodor. Clavis poetica, ed. Bernard Uhlenbruch. "Rhetorica slavica" 3, "Slavistische Forschurgen." Köln: Böhlau, 1985.

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Lateinische Dichtungen des XI. und XII. Jahrhunderts. Festgabe für Walter Bulst. Heidelberg: Lambert Schneider Verlag, 1979.

Laurentius Albertus. See Albertus, Laurentius.

Leopardus. See Firley, Henrik.

Lepiecki, Florian. Lampas extincti loco sideris aeternum . . . infunere Caeciliae Renatae . . . Reginae. Kraków Valerianus Piatkowski, 1644.

Li Ju-Chen. Flowers in the mirror, ed. and tr. Lin Tai-yi. Berkeley: University of California Press, 1965 [242-3].

Li Ju-Chen. Ching hua yuan. Peking: Jen min ch'u pan she, 1979.

Liceti, Fortunio. Ad alas amoris divini a Simmia Rhodio compactus . . Padova: Iulius Crivellarius, 1640.

Liceti, Fortunio. Ad aram lemniam Dosiadae . . . encyclopedia . . . Paris: apud Clodouaeiam Cottard, 1635.

Liceti, Fortunio. Ad epei securim encyclopedia . . . Bologna: typis Iacobi Montii, 1637.

Liceti, Fortunio. Ad syringam a Theocrito compactam et inflatam encyclopaedia. Udino: N. Schiaratti, 1655.

Liceti, Fortunio. Ad syringam Publilianam encyclopaedia . . . Padova: apud Pasquatum et Iacobum Bertolum, 1635.

Liceti, Fortunio. Allegoria peripatetica de generatione. Padova: apud Gasparem Crivellarium, 1630.

Liceti, Fortunio. Encyclopaedia ad aram pythiam Publilii Optatiani Porphyrii . . . Padova: Gasparem Crivellarium, 1630.

Liceti, Fortunio. Encyclopaedia ad aram mysticam Nonarii Terrigenae . . . Padova: apud Gasparem Crivellarium, 1630 [copy in biblioteca comunale, Milano].

Liceti, Fortunio et al. L'amicitia incomparabile de gl'illustrissimi . . . Venezia: Marco Ginammi, 1627 [a copy in Marciana at Venezia, 89-c. 133].

Liceti, Fortunio, et al. Imitationesfigurati metria Simmia Rhodio inventi. Padova: ad Gasparem Crivellium, 1627 [copy in Biblioteca Universitaria, Padova: #82-02707].

Liede, Alfred. Dichtung als spiel. 2 v. Berlin: Walter de Gruyter, 1963.

Lindquist, David. Studier i den svenska andakts-litteraturen under stormaktstiden. Uppsala: Svenska kyrkans diakonistyrelses Bokförlag, 1939.

Loyd, John, ed. Peplus. Illustrissimi viri D. Philippi Sidnaei suprimis hornribus dicatus. Oxford: Joseph Barnes, 1587.

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Lobo, Manuel de Gama. Caesareas conclusiones deductas . . Lisboa: P. Ferreyra, 1726.

Logion episcopali illustrissimi . . . domini Simonis Rudnicki . . . Episcopi Varwiens a studiosa iuventute Collegij Brunsbergeia. Societ. Iesu . . . evoltum. Brunsbergae: Typis Schöfelsianis, 1612.

Loyd, Samuel. Cyclopedia of puzzles. New York: Lamb, 1914.

Lukácsy. András. Kiment a ház az oblakon: költészet és játék. Budapest: Gondolat, 1981.

Maché, U. and Neid, V., eds. Gedichte des Barocks. Stuttgart: Reklam, 1980.

Macrinus, Salmonicus. See Maigret, Salmon.

Madelen de Gouda, Jacob[us]. Erarium aureum poetarum . . . Köln: H. Quentil, 1501.

Madhavan, V. R., ed. Chitra Kavikal. Madras: International Institute of Tamil Studies, T. T. T. I., 1983.

Magdalius Gaudensis, Jacobus. Aerarium auream poetarum. Köln: Quintill, 1502.

Mai, Trebor. See Robert Williams.

Maigret, Salmon [Salmonicus Macrinus]. Epithalamiorum [Lyricorum] Liber. Paris: Gerardi Morrhii Campensis, 1531.

Mallarmé, Stéphane. Oeuvres complètes. ''Bibliothèque de la Pleiades." Paris: Gallimard, 1945.

Manitius, Max. Geschichte der christlich-lateinischen Poesie bis zur mitte des 8. Jahrhunderts. Stuttgart: J. G. Cotta, 1981 [363].

Männling, Johann Christoph. Aria, welche bey Trauer- Voller des Niclaus Ernst von Natzmern . . . Stargardt: Johann Nicolaus Ernst, 1702 [f.2v].

Männling, Johann Christoph. Der europäische Helicon. Alten Stetin: G. Dahlem, 1704.

Männling, Johann Christoph. Europäische Parnassus . . . Wittenberg: Brünings Wittib., 1685.

Manuel de Mello, Dom Francisco. Obras métricas. Lyon: Horacio Boessat et George Romens, 1665.

Mari, Valerius Montelupi de. Gratulationes in reditum . . . Sigismundi III . . . Poznan: Wolrab, 1611.

Markwardt, Bruno. Geschichte der deutschen Poetik. 4 v. Berlin: de Gruyter & Co., 1958 [v. 1, 342-5].

Marot, Jean. Oeuvres. 1703; Genève: Slatkine Reprints, 1970.

Martin, Gabriel. Les poésies fantaisistes (1886 1893). Paris: Alphonse Lemerre, 1894.

Martin, Gabriel. Les psaumes de la beauté. Paris: J-B. Ferreyrol, 1891.

Massin, [Robert]. Letter and image. New York: Van Nostrand Reinhold Company, 1970 [expanded from earlier French edition].

Melander, Toini Ida Elise. Suomalaista Kirjapainotaitoa barokin vuosisadalla. Helsinki: Graafinen Kekusliita, 1960.

Mennes, [Sir] John and James Smith, eds. Facetiae. Musarum delicae; or, The muses' recreation. 2 v. 1658 [et al.]; London: John Camden Hotten, 1874 [placement of plates varies among individual copies].

Michalowska, Teresa. Staropolska teoria genologiczna. Wroclaw: Ossolineum, 1974 [139ff].

Migne, Jacques Paul, ed. Patrologia latina cursus completus. 140 v.[?]. Paris: Garnier, 1844-1905 [v. 107, pp. 133-294].

Mitis, Tomá. Prima farrago poematum ab aliquot studiosis . . . scriptorum . . . ad Joannem sen. Hoddeiovinum . . . poetarum Mecoenatem. Praha: Johannes Cantor, 1561.

Mlodinski, Stefan. Infula Geranomia . . . D. Stanislaus Kiszka. Vilnae: Jozef Karcan, 1614.

Mnemosyne slawy, prac y trudów . . . Piotra Mohily, wojewodzica ziem moldawskich . . . od studentów gynmasium w bractwie Kijowski. . . Kiew: S. Cudotworna tawra Piecz, . . . 1633.

Moderne encyclopedie der wereld literatuur. 7 v. Hilversum: Uitgiverij C. J. de Boer, 1965 [v. 3(F-H), 48 "Figuurgedikt"].

Moesch, Lukács. Vita poetica . . . sive poesis tota. Trnava: Typis Academicis per Joan[nem] Adamum Friedl., 1693.

Mohila, Piotr. Mnemosyne slawy . . . Piotra Mohily. Kiev: S. Cudolworna Lawra. Piecz./Kiov., 1633.

Molas, Joaquim. La literatura Catalana d'avantguardia 1916 1938. "Selecció Edició i Estudi," Barcelona: Antoni Bosch, 1983.

Molnár, Albert Szenczi. See Szenczi Molnar, Albert.

Molnár, Gergely. Elementa gramaticae Latinae. Debrecen: printer unknown, 1725 [pattern poems are in most editions after the first, of 1702].

Montaigne, Michel Eyquem de. The complete works of Montaigne, tr. Donald M. Frame. 1948; Stanford, CA: Stanford University Press, 1957.

Montaigne, Michel Eyquem de. Oeuvres complètes. Paris: Éditions du Seuil, 1967.

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Montfauçon, Bernard de. Palaeographica Graeca. Paris: Fol. Parisiis, 1708 [309].

Monumenta Germaniae historiaca. ["MGH"]. Poetae latini aevi Carolini, ed. Kluge, Strecker et al. 4 v. Berlin: Weidmann, 1880-99.

Morgan, James Appleton. Macaronic poetry. New York: Hurd and Houghton, 1872 and Cambridge, MA: Riverside Press, 1872.

Morhof, Daniel Georg. Unterricht von der teut-. schen Sprache. 1682; Lübeck: J. Wiedemeyers, 1700 [582].

Müller, Hans-Georg. Hrabanus Maurus 'De laudibus sanctae crucis.' "Beiheft zum Mittellateinischen Jahrbuch," 11. Ratingen: A. Henn, 1973.

Mütherich, Florentine and Joachim E. Gaehde. Carolingian painting. New York: Braziller, 1976.

Nanticovus, Michael. Encomia et vota nuptiis . . . M. Joachimi Goltzii, rectoris scholae Iglaviensis . . . secundum sponsi . . . Praha: Georgius Nigrinus, 1597.

Nemcanský, Pavel. Vota strenae loco anno noti . . . Praha: Samuel Adam a Veleslawina, 1615.

Neumark, Georg. Poetische Tafeln. Jena: Bauhofer, 1667.

Neumeister, Erdmann. Die allerneueste Art, zur Reim und galanten Poesie . . . Hamburg: Johann Wolfgang Fickweiler, 1712.

Newell, Kenneth B. Pattern poems. a historical critique. Boston: Marlborough House, 1976.

Niccolò da Lucca [Nicolau Barsotti, Nicolò Barsotti]. Cynosura sive Mariana stella polaris Christo Iesu sole amicto, exornata, illustrata . . . Wien: typis Ionnis Iacobi Kürner, 1657.

Nicolò de' Rossi. See Furio Brugnolo.

Nieweglowski, Franciszek. Festum crucis Potociana. Zamosc: typis Universitatis, 1741.

Niegoszewski, Stanislaw. Serenissimo ut esset perpetuum Stanislai Nyegossevii, Poloni . . . Venezia: Aldo Manutio[?], 1584.

Nieradzki, Adam. Kirys hartowany. No city or printer listed, 17th century [found by Piotr Rypson of Warszawa].

Die nieuwe Nassauwse princelyle schenkhan. Amsterdam: publisher unknown, 1708.

Nigrin, Jan [Johannes]. "Ad d. M. Sigismundum Podkostelsky B[ohemo-]B[rodenum] de renovatione amplissimi senatus gratulantem." See Podkostelský, Zikmund. Chairosyné ananeósis.

Nodier, Charles. Histoire du roi de Bohème. Paris: Delangle, 1830 [107].

Nogueras i Oller, Rafael. Les tenebroses. Barcelona: Joventut, 1905.

Nysselis, Elia. See Nicolaus Spissius.

Oelhaft, Jakob. De seminario pestilenti. Danzig: Georg Rhete, 1624.

Oliveyra, Solomon di. Ayelet ahavim. Amsterdam: publisher unknown, 1665.

Omeis, Magnus Daniel. Gründliche Anleitung zur teutschen accuraten Reim- und Dicht-Kunst. 2nd ed. Nürnberg: Wolffgang Michaelles, 1712.

Omont, Henri. Miniatures des plus anciens manuscrits grecs . . . Bibliothèque nationale manuscrits." Paris: Honoré Champion, 1929.

Opitz, Martin. Anmerkungen in die teutsche Prosodie. Frankfurt: Christian Klein, 1658.

Opitz, Martin. Martini Opitii opera geist- und weltlischer Gedichte, ed. Enoch Hanmann. 2 v. Wroclaw: Jesjas Fellgibel, 1689 [v. 2, 77ff].

Optatianus Porfyrius, Publilius. Carmina, ed. Elsa Kluge. Leipzig: B. G. Teubner, 1926.

Optatianus Porfyrius, Publilius. Publilii Optatiani Porfyrii carmina, ed. Giovanni Polara. 2 v. Torino: G. B. Paravia, 1973.

Ory, Eduardo de. Rarezas literarias. Cádiz: M. Cerón Bohórquez, ca. 1905.

Oudin, J., Curé de B. Manuel d'archéologie religieuse, civile et militaire. 2nd ed. Paris: Jacques Lecoffre, 1845.

Palatino, Giovanni Battista. Libro nuovo d'imperare a scrivere tutte sorti lettere. Roma: M. Benedetto Gionfa, 1540 [rebus poems].

Palatino, Giovanni Battista. Libro nuovo d'imperare a scrivere tutti sorti lettere. Venezia: Apresso Aluise Sesso per Gio. Antonio Rampazetta, 1588 [reprinted in Three classics of italian calligraphy, see below].

The pamphlet poets. New York: Simon and Schuster, 1927.

Panard, Charles François. Oeuvres choisies. Paris: Armand Gouffe, 1803.

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Paschalia seleniana . . .Wolfenbüttel: privately printed, 1664 [birthday festschrift for Duke Augustus].

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Pavic, Milorad. Istorija srpske knievnosti baroknog doba. Beograd: Nolit, 1970.

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Peignot, Jérôme. Du caligramme. Paris: Chêne, 1978.

Pereira Velozo, Joseph. Desejos piedosos de huma alma saudosa. Lisboa: na Officina de Miguel Deslandes, 1688.

Petersen, Nikolaus. Danckschüldige Ehrengedächtniß dem Johannes Birckenbusch . . . Glückstadt: Melchior Kochen, 1679.

Petit, Marc, ed. and tr. Poètes baroques allemands. Paris: François Maspero, 1977.

Peucker, Nikolaus [Nikolaj]. Wohlklingende lustige Paucke von hundert Schertz-Gedichten. Berlin: Otto Christian Pfeffer, 1702 [106-7].

Phalleen, Israel. Skyldigt faveur till den åre borne . . . Linkjöping: Ephraim Kämpe, 1697.

Piccolomini, Eneo Silvio [Pope Pius II]. Commentarii . . . Roma: Dominici Baseae, 1584.

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Pigna, Giovanni Battista. Carminum libri quattuor ad Alphonsum Ferrariae principem. Venezia: ex officina Erasmiana Vicentii Valgrisii, 1553.

Piscator, Philippus Ludovicus. Artis poetices praecepta methodice concennata et perspicuis exemplis illustrata . . . Gyulafeh6rvar: printer unknown, 1642.

Piskorski, Sebastian Jan. Sacritissima virginis dei matris . . . Kraków: Typis Universitatis, 1698.

Plaks, Andrew H., ed. Chinese narrative: critical and theoretical essays. Princeton: Princeton University Press, 1977.

Platen, Magnus von. Johan Runius. Stockholm: Wahlström & Widstrand, 1954.

Pochet, Jacques. Apollonis spiritualis oraculum . . . Bruxelles: Johannis Mommorti, 1651 [2nd ed. Frankfurt: Ammonium et Serlinum, 1658].

Podkostelský, S[igmund, =Zikmund]. Omne trinium perfectum. Gdansk: J. Rhete, 1636.

Podkostelský, Zikumnd. Chairosyné anamnésis praestantissimae . . . coronae aplissimi senatus Bohemobrodensis . . . 27. aprilis anno 1616 feliciter renovati gratitudinis et honoris ergo conscripta et dedicata . . . Praha: Matthias Pardubicemus [ = Pardubský], 1616.

A poetical rhapsody (1602-21), ed. Hyder E. Rollins. Cambridge: Harvard University Press, 1931.

Pogorzelski, Piotr. Adorea ferarium D. Antonii pauden. Zamosc: print. off. Acad. Zamoscen, 1639.

Polara, Giovanni. Ricerce sulla tradizione di Publilio Optaziano Porfirio. Salerno: Libreria Internazionale Editrice, 1971.

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Preisendanz, Karl. Papyrae graecae magicae. 2 v. Leipzig: B. G. Teubner, 1928 31.

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Przeczkoski, Ludwik Ferdynand. Sarmatici labores Herculis mortalitatique immortalitatio . . . Paris: publisher unknown, 1644.

Pszczenski, Jakób Karol. Palma Paulina. Czestochowa *: printer unknown, 1757.

Pulavar, Abdul Kafoor Sahib. Cittira kavi malai. Madras: Avvaiahem, n. d. (ca. 1939?).

Puteanus, Erycius. See Enrique Dupuy.

Puttenham, George or Richard. The arte of english poesie, ed. Gladys Doidge Wilcock and Alice Walker. 1587?; 1936; Folcroft, PA: The Folcroft Press, 1969.

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Raby, Frederic James Edward. A history of secular latin poetry in the middle ages. 2nd ed. Oxford: Clarendon Press, 1957.

Racki, Jan. Ver florentis Poloniae . . .Kraków: Valerian Piatkowski, 1642.

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Redtel, Friderich. Ein nohtwendiger Unterricht von der teutschen Versekunst. Stettin: C. Schröder, 1704.

Rengifo, Juan Díaz. Arte poetica española. 1592; Barcelona: Maria Angela Martin, 1759.

Rhacopaeus, Martin. Propempticon . . . Zachariae Brunsvicio Pardubiceno Praga Zatecium vocato. Praha: officina typogr. Schumaniana, 1606.

Richards, Nathanael [ = Nathaniel]. The celestiall publican. London: imprinted by Felix Kyngston for Roger Mihell, 1630 [copies vary, and there may exist two editions of the same year].

Rickey, Mary. Utmost art. Lexington: University of Kentucky Press, 1966.

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Saunders, Frederick. Salad for the solitary. New York: Lamport, Blackman and Caw, 1853.

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Seaman, David William. Concrete poetry in France. Ann Arbor: UMI Research Press, 1981 [partly-rewritten PhD dissertation].

Selenus, Gustavus. See August II Duke of L8uneburg-Braunschweig.

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Sparrow, John. Visible words: a study of inscriptions in and as works of art. Cambridge: Cambridge University Press, 1969.

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Spelta, Antonio Maria. Istoria . . . de' fatti notabili. Pavia: Bartoli, 1603.

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Staff, Frank. The valentine and its origins. New York: Praeger, 1970.

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Stepanov, N. L., ed. Russkaia basnia, XVIII i XIX veka. Leningrad: Sovietskij pisatel', 1949.

Stevenson, Matthew. Occasions of spring, or poems upon several occasions. London: N. Elkins, 1654.

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2 v. Venezia: Neri Pozza Editore *, 1961 [v. 2, 809-20].

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Surya Dev. Ramkrishnakavyam, ed. and tr. [Sri] S. D. Valankar. Bombay: Keshav Bhikaji Dhawala, at Shrisamarth Sadan, 1978.

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Sylvester, Joshua. The complete works of Joshua Sylvester, ed. Alexander S. Grosart. 2 v. Edinburgh: Edinburgh University Press, 1880.

Sylvester, Joshua, tr. The divine weeks and works of Guillaume de Saluste, Sieur de Bartas, ed Susan Snyder. 2 v. Oxford: Clarendon Press, 1979 [see also Bartas].

Szenczi Molnár, Albert. Lusus poetici excellentium aliquot ingeniorum mirifici exhibientem . . . Hannau [Hungary]: Thomas Willerii et Joannis Leclerque, 1594.

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Tavares Mascarenhas de Tavora, Jeronymo. Lugubre panegyrica à morte de D. Nuno Alvares Pereira de Mello. Lisboa: privately printed[?], 1727.

Tavares Mascerenhas de Tavora, Jeronymo. Paraben epithalamico. Lisboa occidental: na officina Rita Cassiana, 1783.

Temberski, Stanislaw. Epithalamion albo Gradyniec . . . Kraków: Mathiae Andreovien, 1636.

Thalmayr, Andreas, ed. Das Wasserzeichen der Poesie; oder, Die Kunst und das Vergnügen Gedichte zu lesen. "Die andere Bibliothek." Nördlingen: Franz Greno, 1985.

Thein, U [Hbo of Hmawbi, or "Mawbi Sayam Thein"]. Porana-dipani kyan. [A treatise upon the lexical, orthographic and stylistic peculirities of the older Burmese literature]. 3rd ed. Rangoon: Myama Pidakat Press, 1930 [book says it is v. 1, but other v. are unknown].

Theocritus. Eidulla. Venezia: Aldus Manutius, 1395 [rev. 1496].

Theocritus. [Eidulla]. Venezia: Roma: printer unknown, 1514.

Thilo, Valentinus. Pyramis literaria aeternae Divi Georgii Wilhelmi Morchiens Brandenburgiensis. Kaliningrad ( = Königsberg): Praele Reusneriane, 1642.

Thorndike, Joseph J., Jr., ed. Mysteries of the past. New York: American Heritage, 1977.

Three classics of Italian calligraphy, intr. by Oscar Ogg. New York: Dover Publications, 1953.

Titov, Eiodor Ivanovich. Materialy do istorij knyzhnoi spravy na Ukraini v 16-18 b.b. Kiev: Drukarij Ukrainskoi Akademij Nauk, 1924.

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Todd, Glenn, ed. Shaped poetry. San Francisco: Arion Press, 1981 [deluxe portfolio, not a book].

Toeppen, M. Israel Hoppe's Burggrafen zu Elbing/ Geschichte des ersten Schwedisch-Polnischen Krieges in Preussen. Nebst Anhang. Leipzig: von Duncker und Humblot, 1887.

Tomaszkiewicz, Józef Walenty. Arbor laureato . . . Kraków: typ. Acad., 1723.

Tortel, Jean. Le préclassicisme français. Paris: Cahiers du sud, 1952.

Tory, Geoffroy. Le champ fleury. 1521; New York: Dover Reprints, ca. 1970.

Tory, Geoffroy. Champ fleury, ou l'art et science de la proportion des lettres, ed. G. Cohen. 1529; Paris: Bosse, 1931 [best edition].

Trembecki, Jacób Teodor. Wirydarz poeticki viridarium, ed. Aleksander Brückner. 2 v. 1675; Lwów: Towarzystwo dla popierania nauki polskiej, 1910-1.

Tschiewski, Dimitrij. Formalistische Dichtung bei den Slawen. "Heidelberger slawische Texte,"3. Wiesbaden: Otto Harrassowitz, 1958.

Tuba Augustea. Wolfenbüttel: privately printed, 1663 [birthday festschrift for Duke Augustus].

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Tudur, Hywel. Genisis i blant. Caernarfon: privately published, 1906.

Tuwim, Julian. Pegaz Deba *. Warszawa: Czylelnik, 1950.

Tuwim, Julian. Polski slownik pijacki i antologia bachiczna. Warszawa: Tow. Wydanicze Rój, 1935.

Tyrigetes, Jan. Technopaegnion, sacropoeticum, venerabili corporis Christi festo, pietatis ergo consecratum, ed Mikolaj Lubomirski. Kraków: in officina Lazari, 1598.

Uhse, Erdmann. Wohlinformierter Poet. Leipzig: Friedrich Groschuss, 1705 [piece on page 92 differs from that in 1726 edition].

Uhse, Erdmann. Wohlinformirter Poet. Leipzig: Jacob Schuster, 1726 [84].

Universität Bremen, Bibliothek. Gelegenheitsschrifttum [Catalog]. Bremen: Abteilung Gesellschaftswissenschaften (Universität Bremen), 1977.

Valeriano Bolzani, G. P. ["Pierius"]. Pro sacerdotum barbis . . . London: Sumptibus Pauli Frelon, 1621.

Velichkovskij, Ivan. Tvorij. Kiev: Naukova Dumka, 1972.

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Venantius Honorius Clementianus Fortunatus. A basket of chestnuts, tr. and ed. Geoffrey Cook. Cherry Valley, NY: Cherry Valley Editions, 1981.

Viro reverendo et clarissimo Domino M. Christophoro Betulio. Szczecin: typ. Rhetianis, 1607.

Vitthala*. Kavita Sangraha, ed. Waman Daji Oak. Bombay: printed by Nirnaya Sagur Press for Pandurang Jawaji, 1924.

Vochius, Esaias. Amplissimis praestantissimisque consuli et senatoribus . . . civitatis Maioris Strezelicii . . . parsimoniae encomium . . . Praha: Paulus Sessius, 1607.

Vodnanský: see Rhacopeus, Martin.

Voulté [Visagier], Jean ["Iohannis Vulteus Rhemus"]. Inscriptionum libri duo . . . Paris: Sim. Colimaeum, 1538.

Waddell, Laurence Austin. The Buddhism of Tibet: or, Lamaism, with its mystic cults, symbolism and mythology . . . 2nd ed. Cambridge (UK): W. Heffer and Sons, 1934.

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Wang, Chung-huo. Miau-chüeh shih-chieh chih hui-wen wen-hsüeh (English subtitle: Chinese palindrome: the world's most exquisite literature). Hsin-chia-p'o [Singapore]: Chungkuo hsüeh-hui (China Society), 1966 [special edition, for members only].

Wang, Chung-huo. Hui wen wen hsüeh ch'i kuan. Taipei: Ching-i Shu-chü, 1976.

Wasniowski, Wojciech. Wielkiego boga wielkiej matki ogrodek. Kraków: Francisek Cezary, 1644.

Watson, Thomas. 'Ekatompathia, or Passionate centurie of love, ed. Edward Arber. London: privately published, 1870.

Watson, Thomas. The hekatompathia, or Passionate centurie of love, introduction by S. K. Heninger, Jr. 1582; Gainesville, Fl: Scholars' Facsimiles and Reprints, 1964.

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Weerdt, I. de Parnassi bicipitis Vaticina . . . Antwerpen: ex officina Plantiniana, 1626.

Weigel, Christophe. L'art d'écrire. Niirnberg: publisher unknown, 1716.

Weis, Hans. Bella bulla. Lateinische Sprachspiele. Bonn: F. Dümmler, 1951.

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Wells, Carolyn. A whimsey anthology. 1906; New York: Dover Publications, 1963.

Westerweel, Bart. Patterns and patterning: a study of four poems by George Herbert. Amsterdam: Rodopi, 1984.

Wheatley, Henry Benjamin. Of anagrams. Hartford: S. Austin, 1862.

Whiting, Nathaniel. Le hore di recreatione; or, The pleasant historie of Albino and Bellama,

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ed. S. K. Heninger, Jr. Gainesville, FL: Scholars Facsmiles and Reprints, 1964.

Wiedmann, Conrad, ed. Redeoratorien. Tübingen: Niemeyer, 1965.

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Willet, Andrew. Sacrorum emblematum century una. Cambridge (UK): ex officina Iohannis Legate Academiae Cantagriegiensis typographi, 1596.

Williams, John. Early Spanish book illumination. New York: George Braziller, 1977.

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Winterton, Ralph. ed. Poetae minores Graeci. Cambridge (UK): ex officina J. Hayes, 1671.

Wither, George. The poetry of George Wither, ed. Frank Sidgwick. 2 v., 1902; New York: AMS Press, 1968.

Wojaczek, Günther. Daphnis: Untersuchungen zur griekischen Bukolik. Meisenheim am Glan: Verlag Anton Hain, 1969.

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Yachya, Ibn. See Joseph ben David Ibn Yachya.

Yehuda Arie Modena. See Leon of Modena.

Zabczyc, Jan. Mars moskiewski krwawy. Kraków: Mikolaj Szarfenberger, 1605 [edition of 1606 is identical].

Zarate, Armando. Antes de la vanguardia. Buenos Aires: Rudolfo Alonzo Editor, 1976.

Zesen, Philipp von. Deutsches Hellicons erster und ander Theil. Wittenberg: Johann Röhner, 1641 [2nd ed. Wittenberg: Johann Seelfisches, 1649].

Zesen, Philipp von. Sämtliche Werke, ed. Ferdinand van Ingen. 5 v. as 10. Berlin: U. Mache, 1971.

Zumthor, Paul. Langue, texte, égnime. Paris: Editions de Seuil, 1975.

Zvelebil, Kamil. A history of tamil literature. "History of indian literature series." Wiesbaden: Otto Harrassowitz, 1974 [53, 217 fn. 62].

Dissertations

The following dissertations deal, at least in passing, with pattern poetry:

Avrin, Leila. "Hebrew manuscripts of the early levantine period." MA Thesis. Ann Arbor: University of Michigan, 1965.

Church, Margaret. "The pattern poem." PhD Dissertation. Cambridge, MA: Radcliffe (Harvard), 1944.

Gran, Ulf. "Studier i manierism." MA Thesis. Lund (Sweden): Lund University, 1981.

Hernandez Vieto, Hector. "Las ideas literarias de Caramuel." PhD Dissertation. Champaign-Urbana: University of Illinois, 1970[?].

Krueger, John Richard. "The structure of discourse and poetry in the mongolian chronicle of Sagang Sechen (1662)." Seattle: University of Washington, 1960.

Levitan, William. "The field of roman verse: studies on visible form in ancient poetry." PhD Dissertation. Austin: University of Texas, 1983.

Raschke, Werner. "Die Danziger Dichterkreis des 17. Jahrhunderts." PhD Thesis. Rostock (Germany): Rostock University, 1923.

Seaman, David William. "French concrete poetry: the development of a poetic form, from its origins to the present day." PhD Dissertation. Stanford: Stanford University, 1970.

Westerweel, Bart. "George Herbert: four poems." PhD Dissertation. Utrecht (Netherlands): University of Utrecht, 1983.

Wilczek, Piotr. "Barokowa puezja a wizualna w Polsce." MA Dissertation, Katowice (Poland): Universyted Slski, 1986.

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Supplementary Bibliography

The following books and articles do not contain pattern poems, although in some cases they have been mentioned by others as including them. Some of them are referred to in the main text, while others provide useful background for our discussion.

Amman, Robert J., "The musical theory and philosophy of Robert Fludd,"Journal of the Warburg and Courtauld Institutes [London University] 30 (1967) 198-227.

Anceschi, Giovanni. Monogrammi efigure. Milano: La casa Usher, 1981.

Antolín, Guillermo. Catálogo de los códices latinos de la Real Biblioteca del Escorial. 5 v. Madrid: Imprensa Helénica, 1910-23.

Apianus, Petrus and Bartolomaeus. Inscriptiones sacrosancta vetustatis . . . Ingolstadt: P. Apiani, 1534.

Archilochus. Archilochos, ed. Giovanni Tarditi. Roma: Edizione dell'Ateneo, 1968.

Audollent, Auguste, ed. Defixionum·tabellae . . . Paris: Fontemoing, 1904.

Ausonius, Decimus Magnus. Ausonius, ed. and tr. Hugh C. Evelyn-White. 2 v. "Loeb Classical Library." London: W. Heinemann, 1914 21 and New York: G. P. Putnam, 1914-21.

Avrin, Leila, "Note on micrography: a jewish art form,"Journal of Jewish art 6 (1979) 112-7.

Bailly, Pierre, "L'éclat du palindrome," Bizarre 1 (1955) 47 50.

Baron, Robert. Poculae castalae. London: Thomas Dring, 1650.

Barthel, Gustav, "Konnte Adam schreiben?" Weltgeschichte der Schrift. Köln: M. DuMont Schauberg, 1972.

Bayam, André [Andreas]. Elogia epigramata et emblemata. Roma: Typis Francisci Caballi, 1641.

Bayam, Andre [Andreas]. Panegyricus sine verbis de S. Philippi Nerii laudibus. Urbevetri: Rainuldi Ruuli, 1629.

Berdan, John Milton. Early Tudor poetry. 2nd ed. 1931; Hamden, CT: Shoestring Press, 1961.

Boethius, Ancius Manlius Torquatus Severinus. . . . De institutionis arithmetica libri duo. De in stitutione musica libri quinque, ed. Gottfried Friedlein. 1867; Frankfurt am Main: Minerva, 1966.

Bohatcová, Mirjam, "Deutsche Einblattdrucke des 16. Jahrhunderts im Prager Sammelbuch des Václav * Dobrenský," Gutenberg Jahrbuch (1979) 172 83.

Bohatcová, Mirjam. "Farbige Figuralachrostischen aus der Offizen des Prager Druckers Georgius Nigrinus (1574/1581)." Gutenberg Jahrbuch (1982) 246 62.

Bohatcová, Mirjam. Irrgarten des Schicksals. Einblattdrucke vom Anfang des dreißigjärigen Krieges. Hannau: Dausien Verlag, 1966 and Praha: Artia, 1966.

Bohn, Willard. The aesthetics of visual poetry, 1914 1928. Cambridge: Cambridge University Press, 1986.

Bolte, Johannes, "Die indische Redefigur Yathasamkhya . . .," Archiv für das Studium der neueren Sprachen und Literaturen [58Jg.] 112 (1904) 265-76.

Bonciari[i], Marco Antonio. Estaticus, sive de ludicra poesi dialogus . . . tres distincta libellos . . . Perugia: apud Marcum Naccarinum, 1615.

Borinski, Karl. Die Poetik der Renaissance und die Anfänge der literarischen kritik in Deutschland. Berlin: Weidmannsche Buchhandlung, 1886.

Bouisson, Maurice. Magic: its rites and history. London: Rider and Company, 1960.

Brennan, Christopher. Musicopoematographoscope and pocket musicopoematographoscope, int. by Axel Clark. Sydney: Hale & Ironmonger, 1981.

Broby-Johanson, R, "Grafisca glimt," Dansk Grafik 38 (1979).

Brockelmann, Carl. Geschichte der arabischen Literatur. 4 v. 1889; Leyden: E. J. Brill, 1943.

Brome, Alexander. Songs and other poems. 2nd ed. London: Henry Brome, 1664.

Brown, Edwin Louis. Numeri Vergiliani. Studies in Eclogues and Georgics. Bruxelles-Berchem: Latomus-revue des études latines, 1963.

Brunet de Presle, W. Notices et textes des papyrus grecs. "Notices et extraits des manuscrits de la Bibliothèque Imperiale," 18. Paris: bibliothèque Imperiale, 1865 [pt. 2, pp. 25-76 and pl. i-x].

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Bruno, [Filippo] Giordano. Opera latine conscripta, ed. V. Tocco et al. 3 v. as 8. 1879-91; Stuttgart-Bad Cannstatt: Friedrich Fromann-Günther Holzboog, 1962.

Büchner, K. Römische Literatur Geschichte. Stuttgart: A. Kröner, 1957.

Bulas, Kasimierz, "La colère d'Achille," Eos 24 (1932-3) 241-50.

Burger, C. P., "De rebus van onze oude rederijkers," Het Boek 14 (1925) 145-92.

Butler, Samuel, Characters, ed. Charles W. Daves. Cleveland: Press of Case Western Reserve University, 1970.

Cambridge, Richard Owen. The works, ed. George Owen Cambridge. London: T. Cadell and W. Davies in the Strand and T. Payne at the Muse Gate, 1803.

Caramuel de Lobkowitz, Juan. Primus calamus tomus II, ob oculos exhibens rhythmicam, quae hispanicos, italicos, gallicos, germanicos etc. versus metitur, eosdemque concentu exornans viam aperit ut orientales possint populi (hebraici, arabes, turcici, persici, indici, sineses, japonici etc.) conformare aut etiam reformare proprios numeros, edition secunda duplo auctior, diversis iisque necessariis indicibus locupletata. Campania: ex Officina episcopali, 1668.

Carey, Patrick. Trivial poems and triolets, ed Sir Walter Scott. London: J. Murray, 1819.

Carrega, Ugo, ed. Scrittura attiva. Bologna: Zanichelli, 1980.

Chatzidakes, Manoles and A. Grabner. Byzantine and early mediaeval painting. London: Weidenfeld and Nicholson, 1965 [93].

Cherrier, Claude. Polissonmiana, or requoil de Turpelins, des quodlibets, rebus . . . Amsterdam: Desbordes, 1722.

Chopin, Henri. Poesie sonore internationale. Paris: Jean-Michel Place, 1981 [book has two accompanying audiocassettes with works discussed in Chopin's text].

Cicero, Marcus Tullius. Cicero, ed. and tr. William Armstead Falconer. "Loeb Classical Library." 28 v. Cambridge: Harvard University Press, 1921 [20, 496-7].

Cirlot, Juan Edwards. A dictionary of symbols, ed. and tr. Jack Sage. New York: Philosophical Library, 1962.

Clements, Robert J. The peregrine muse. "University of North Carolina, Studies in the romance languages and literatures," 82. Chapel Hill: University of North Carolina Press, 1969.

Cobbing, Bob and Peter Mayer, "Some myths of concrete poetry," Stereo headphones 5 (1972) 28-9.

Colonna, Francisco. Hypnerotomachia Poliphilis, ed. Giovanni Pozzi and L. A. Ciapponi. 2 v. 1497; Padova: "Itinera erudita," 1-2 (1964) and Padova: "Medioevo e Umanesimo," 38-9 (1980).

Comenius. See Komenský, Jan Amos.

Cook, Geoffrey, "Visual poetry as a molting," in Kostelanetz (1979)- full listing in book section, above.

Cosenza, Mario Emilio. A biographical and bibliographical dictionary of the italian humanists and of the world of classical scholarship in Italy, 1300-1800. 5 v. Boston: G. K. Hall, 1962. [v. 6, Supplement (1967)].

Cosenza, Mario Emilio. Checklist of non-Italian humanists. Boston: G. K. Hall, 1969.

Court, Louis de. Veriétés ingenieuses ou receuil et mélange de pièces sérieuses et amusantes. Paris: C. David, 1725.

Curtius, Ernst Robert. European literature and the Latin middle ages, tr. Willard R. Trask. "Bollingen series," 36. 1953; Princeton: Princeton University Press, 1967.

Dallet, Joseph B., "Libri labyrinthaei: configurations of a metaphor in the sixteenth and seventeenth centuries," in R. Tuynman et al. (1979) 273-6. See main listing below.

Daniel, George. The poems of George Daniel, Esq., ed. Alexander B. Grosart. 4 v. Boston, Lincs.: R. Roberts, 1878.

Debon, Günther. Ts'ang-lang's Gespräche über die Dichtung. Ein Beitrag zur chinesischen Poetik. Wiesbaden: Otto Harrassowitz, 1962.

Deeds, C. N., "The Labyrinth," in Hooke (1935 1-42). See main listing.

Del Monte, Alberto. Studi sulla poesia ermetica medievale. Napoli: Giannini, 1953.

Della Porta, Giovanni Battista. Steganografie. Napoli: apud Ioannem Baptista Subtilem, 1602.

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Díaz y Díaz, Manuel C. Libros y librerios de la Rioja altomedieval. ''Biblioteca de temas Riojanos," 28. Logroño: Instituto de Estudios Riojanos, 1979.

Dick, [William Brisbane?]. Dick's original album verses and acrostics. New York: Dick and Fitzgerald, 1879.

Diringer, David. The illuminated book: its history and production. London: Faber and Faber, 1958.

Domínguez Bortona, D. Jesús, "Retrados en manuscritos españoles," Conferencias dada en el Centro de intercam intelectuel Germano-Español 16 (1928).

Donno [Mandurino], Ferdinand[o]. Opere, ed. Gino Rizzo. "Biblioteca Salentina di Cultura," 6. Lecce: Edizioni Milella, 1979.

Doré, Henri. Recherches sur les superstitions en Chine. In "Variétés sinologiques," 48 v. Shanghai: La Mission Catholique, 1896-1938 [v. 32, Les practiques superstitieuses (1911) and v. 36, La lecture des talismans chinois (1913)].

Dornseiff, Franz. Das Alphabet in Mystik und Magie. Leipzig: B. G. Teubner, 1922.

Draper, R. P., "Concrete poetry," New Literary History 2 n. 2 (1971) 329-40.

Dryden, John, "MacFlecknoe" in Selected works, ed. William Frost. 2nd ed. New York: Holt Rinehart & Winston, 1959.

Eden, Richard, ed. The history of trauayle in the west and east indies . . . London: Richard Iugge, 1577 [p. 356].

Einstein, Alfred, "Augenmusik im Madrigal," Zeitschrift der Internationalen Musikgesellschaft 14 (1912) 8-21.

Eka Adhyayana. Kutakavya *, ed. Dr. R. Sharma. Delhi: National Publishing House, 1963.

Essary, Loris. "On language and visual language," in Kostelanetz (1979): see book section for full information.

Estreicher, Karol. Bibliografia polska. 34 v., 1870-1951; New York: Johnson Reprint, 1966.

Étiemble. La scrittura, tr. Mario Andreose, Milano: Il Saggiatore, 196Þ.

Faber du Faur, Curt von. German baroque literature. New Haven: Yale University Press, 1958.

Ferland-Angers, Albertine, "Albert Ferland: poète fier (1872-1943)," Qui 3 (1952) 65-80.

Franke, Herbert. Kulturgeschichtliches über die chinesische Tusche. "Philosophisch-historische Klasse, Abhandlungen Neue Folge," 54. München: Bayerische Akademie der Wissenschaften, 1962.

Frankel, Harry. "Poetry and paintings," Comparative literature 9 (1957) 289-307.

Frye Northrop. Anatomy of criticism. Princeton: Princeton University Press, 1957 [274-5].

Gamaren [Moseaus], Hannardus van. Turris sacra dilingam reverendissimi atque illustrissimi principis ac domini, D. Othonis . . . [Dilingen: Secaldus], 1567 [city and printer per Harvard University Libraries; not specified on title page of the work [cf. book section].

Gauthier, Marcel, "De quelques jeux d'esprit," Revue Hispanique 33 (1915) 385-445, 35 (1915) 1-76.

Gerlo, Alois and Emilio Lauf. Bibliographie de l'humanisme belge . . . Brussels: Presses Universitaires de Bruxelles, 1965.

Gessner, Christian Friedrich. Die so nöthig als nützliche Buchdruckerkunst und Schriftgiesserey. Leipzig: Johann Erhard Kappens, 1740.

Ghulam, Yousif Mahmud. The art of arabic calligraphy. Lafayette, CA: Y. M. Ghulam, 1982.

Gombrich, E. H., "Icones symbolicae: the visual image in neo-Platonic thought,"Journal of the Warburg and Courtauld Institutes [London University] 11 (1948) 163-92.

Gombrich, E. H. Symbolic images. London: Phaidon, 1972 [141, 165, 169].

Góngora y Argote, Luis de. Obras poéticas. 3 v. Paris: L. Michaud, 1921[?].

Gortan, Velko and Vladimir Vratovic, eds. Hrvatski latinisti: croatici auctores qui latine scripserunt. 2 v. Zagreb: Matica Hrvatska, 1969.

Gottsched, Johann Christoph. Versuch einer critischen Dichtkunst. 4th ed. Leipzig: Breitkopf, 1751 [p. 682].

Gosart, Alexander B., ed. Miscellanies of the Fuller Worthies' Library. 4 v. London: privately printed, 1872.

Gryphius, Andreas. Lustspiele, ed. H. Palm. Stuttgart: Literarisches Verein, 1878.

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Haddon, Walter. Poematum Gualteri Haddoni. . . Libri duo . . . London: apud Gulielmum Seresium, 1576 [F5v].

Han[n]ardus van Gameren [Mosaeus]. See Gameren [Mosaeus], Hannardus [van].

Hatherly, Ana. "Para uma arqueologia da poesia experimental: anagramas portugueses do século XVII," Collóquio Artes 40 (1979) 32-41.

Hawes, Stephen. The co[nu]ercyon of swerers. London: Wynkin de Worde, 1509.

Hebräische Schrifte [exhibition catalog]. Zürich: Kunstgewerbe Museum. 1976.

Hejnic, Joseph and Jan Martínek. Rukovet humanistického básnictví/Enchiridion renatae poesis in Bohemia et Moravia cultae. 5 v. Praha: Academia, 1966-83.

Heninger, S. K., Jr. Touches of sweet harmony. San Marino, CA: The Huntington Library, 1974.

Herdan, Gustav. The structuralist approach to Chinese grammar and vocabulary. "Series practica," 6. Den Haag: Mouton, 1964.

Higgins, Dick, "Four points towards a taxonomy of sound poetry," Precisely 10 12 (1981) 49-59, also in Kostelanetz (1981) 49-59 and Higgins (1983) 40-52, in book section above.

Hilton, James. Chronograms . . . 3 v. London: E. Stock, 1882, 1885 and 1895.

Hoboken, Anthony van .Joseph Haydn: thematisch-bibliographisches Werkverzeichnis. 2 v. Mainz: B. Schott's Söhne, 1971.

Hocke, Gustav René. Manierismus in der Literatur: Sprach-Alchimie und esoterische Kombinationskunst. Reinbeck b. Hamburg: Rowohlt Verlag, 1959.

Hooke, Samuel Henry, ed. The Labyrinth: further studies . . . London: Society for promoting Christian Culture, 1935.

Hugo, Herman. Pia Desideria. Antwerpen: Henricus Aerisseus, 1624.

Hupp, Otto. Runen und Hakenkreuz. München: M. Kellerer, 1921.

Husmann, Heinrich. Tropen und Sequenzehhandschriften. "Repertoire international des sources musicales ('RISM')," 5. Munchen: G. Henle, 1964.

Ichikawa, Sanki et al., eds. Haikai and haiku. Tokyo: Nippon Gakujutsu Shinkokai, 1958.

Infantes de Miguel, Victor, "La textura del poema: disposición gráfica y voluntad creadora," 1616 3 (1980) 82-9.

Iorga, Nicola. Les arts mineurs en Roumanie. 2 v. Bucaresti: Édition de l'imprimerie de l'état, 1934.

Isidore of Seville. Traité de la nature [De rerum natura]. "Bibliothèque de l'école des hautes études hispaniques," 28. Bordeaux: Féret et fils, 1960.

Iversen, Gunilla. Tropes de l'Angus Dei. "Corpus troporum," 4. "Acta Universitatis Stockholmiensis, Studia latina Stockholmiensa," 26. Stockholm: Almqvist & Wiksell International, 1980.

Jacques, J-M., "Sur un acrostiche d'Aratos," Revue des études anciennes 62 (1960) 48 61.

Jauss, Hans Robert. Toward an aesthetic reception. Minneapolis: University of Minnesota Press, 1982.

Jha, Kalanath N., "Sound poetry in Sanskrit literature" [forthcoming].

Joachim da Fiore. Liber figurali. Reggio Emilia: Leone Tondelli, 1950. AlsoTorino: Società editrice interazionale, 1953.

Jolas, Eugéne, "From 'Jabberwocky' to 'Letterism'," Transition 48 (1948) 1, 104-20.

Jones, [Sir] Henry Stuart. Catalogue of the ancient sculptures preserved in the municipal collections of Rome. Oxford: Clarendon Press, 1912 [discusses "tabulae iliacae"].

Juszynski, Hieronim. Dycyonare poetów polskich. 2 v. Kraków: J. Matecki, 1820.

Kanof, Abram. Jewish ceremonial art and religious observance. New York: Harry Abrams, 1969.

Katz, Ruth, "On 'nonsense' syllables as oral group notation," Musical quarterly 60 n. 2 (April 1974) 187 94.

Keyser, Paul de, "De oplossing van het raadselachtig rebusblazoen van het oudheidkundig Museum van de Bijloke te Gent, "Jaarboek "de Fonteine" (1946 7) 35 66.

Kircher, Athanasius. Oedipus aegypticus hoc est universalis hieroglyphicae veterum doctrinae . . . 4 v. Amsterdam[?]: ex typographica Vitalis Mascardi, 1652 5.

Klemming, Gustav Edvard and J. G. Nordin. Svensk boktryckeri-historia, 1483 1883. Stockholm: P. A. Norstedt, 1883 [has informa-

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tion on some early swedish printers of pattern poetry].

Komenský, Jan Amos. Das Labyrinth der Welt und andere Schriften. 1668; Leipzig: Verlag Philipp Reclam, 1984.

Kominis, Atanasio D., "Osservazioni sugli epigrammi di Teodoro Studita," Bolletino Badia Greca di Grottaferrata n.s. 13 (1959) 155 7.

Kostelanetz, Richard. Accounting. Sacramento, CA: Poetry Newsletter Books, 1973.

Kostelanetz, Richard. Articulations I. New York: Kulchur, 1974.

Kostelanetz, Richard. Exhaustive parallel intervals. New York: Future Press, 1979.

Kostelanetz, Richard, ed. Imaged words & worded images. New York: Outerbridge and Dienstfrey, 1970.

Kostelanetz, Richard. In the beginning. Somerville, MA: Abyss, 1979 and Brooklyn: Assembling, 1971.

Kostelanetz, Richard. Numbers: poems and stories. Brooklyn: Assembling, 1970.

Kottick, Edward L. The unica in the chansonnier cordiforme (Paris, Bibliothèque Nationale, Rothschild 1973). Neuhausen. b. Stuttgart: American Institute of Musicology, 1967; also2 v. Chapel Hill: University of North Carolina Press, 1967.

Kranz, Gisbert. Das Bildgedicht in Europa. Zur Theorie und Geschichte einer litterarischen Gattung. 2 v. Pederborn: Ferdinand Schöningh, 1973 [v. 1, pp. 19 22].

Kraus, Carl von, "Uber einige Meisterlieder der kilmarer Handschrift," Sitzungsberichte der Bayerischen Akademie der Wissenschaften (Philologische-Historische Klasse) no. 4 (1929) 1-26.

Kristeller, Paul Oskar. Latin manuscripts before 1600. 3rd ed. New York: Fordham University Press, 1965.

La Salle, Paul de. Fleurs de pommier. Paris: Charpentier, 1839.

Lechler, Jörg, "Vom Hakendreuz," Vorzeit 1 (1926) 1 27, pl. 1-36.

Leon of Modena [Yehuda Arie Modena]. Midbar Yehuda. Venezia: Daniel Zanetti, 1602.

Levison, Wilhelm. England and the continent in the eighth century. 2nd ed. Oxford: Clarendon Press, 1956 [138, 145].

Lewis, C. D. The poetic image. London: Jonathan Cape, 1977.

Lora-Totino, Arrigo, ed. Futura/poesia sonore. Milano: Cramps Records, 1978 [nos. 5206 301 to 307, 7 discs with 48-pp. book].

Lubomirski, Milcolaj. Illustriss. et reverendiss. D. D. Petro Tvlicki, Episcopo Cracoviensi. . . Hieroglyphico Tetrataho . . . Kraków: Nicolai Lib., 1607.

Marcus, Aaron, "Literature and vision," in Kostelanetz (1979) 15 22; see book section for full information.

Mariana, Juan de. Historia de España. 10 v. Madrid: B. Cano, 1794.

Mariotti, Benedetto. Miscellanea exornatum philologicarum . . . Pisa: apud F. Tanaglium, 1637.

Masters, G. Mallary, "The hermetic and platonic traditions in Rabelais' Dive bouteille." Studi francesi 10 no. 28 (1966) 15-29.

Maupassant, Guy de. Oeuvres complètes de Guy de Maupassant. 29 v. Paris: Louis Canard, 1908.

Mayer, Peter. Alphabetical and letter poems: a chrestomathy. London: Menard Press, 1978.

Menage, Gilles. Les origines de la langue françaix. Paris: Augustin Courbé, 1680.

Metzger, Thérèse, "La Masora ornamentale et le décor calligraphique dans les manuscrits hébrerux espagnols au moyen age," in Sirat (1974) 97-116, pl. xcvii-cii [main listing below].

Meyer, Jerome S. More fun for the family. New York: Greenburg Publisher, 1938.

Meyer, Wilhelm, "Ein Labyrinth in Versen . . ." Bayerische Akademie der Wissenschaften. Sitzungsberichte der Philosophisch -philologischund historischen Classe 5 (1882) 267-300, pl. flwg. p. 300.

Miniszech, Franciszek A. W. Coelestis sacri Augusti Carmeli Adamas. Kraków: Cezary, 1683.

Mioni. Elpidio.mBibliothecae divi Marci Venetiarum. Codice graeci manuscripti. 2v.? Roma: Instituto Poligrafico . . . Libreria dello Stato, 1985 [v. 2: "Thesaurus antiquus codices, 300 625"].

Monte Croce, Riccoldo da. . . . Ricoldi ordinis praedicatorum contra sectam Mohameticam . . . libellus. Paris: H. Stephanus, 1511.

Montfauçon, Bernard de. Paleographica graeca

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. . . Paris: Ludovicum Guerin, Joannis Boudot and Carolum Robustel, 1708.

Montgomery, James Alan. Aramaic incantation texts from Nippur. "Publications of the University of Pennsylvania Museum, Babylonian Section." 3. Philadelphia: University Museum, 1913.

Nadaillac, Marquis de, "The unity of the human species," Annual report of the Board of Regents of the Smithsonian Institution (1896) 563 9 [detailed discussion of the swastika].

Narkiss, Bezalel. Hebrew illuminated manuscripts, with foreword by Cecil Roth. Jerusalem: Encyclopedia Judaica and Keter Publishing House, 1969; alsoNew York: Macmillan, 1969.

Nieremberg, P. Juan Eusebio. Oculta filosofia de la sympatio y antipatia. Madrid: en la Imprenta dell Reyno, 1633 [106].

Nodier, Charles. Description raisonée d'une jolie collection de livres . . . Paris: Techener, 1844.

Nodier, Charles. Notices bibliographiques, philologiques et littéraires. Paris: Techener, 1835 [includes his essays through 1835 from the Bulletin du bibliophile; title page gives year of publication as 1834, clearly impossible].

Norris. John. A collection of miscellanies . . . London: Samuel Manship, 1710.

O'Grady, Holly, "Sperry: a verbal/visual novel," in Kostelanetz (1979) [cf. book section for full information].

Otfried von Weissenburg. Otfrieds Evangelienbuch, ed. Oskar Erdmann. "Altdeutsche Textbibliothek," 49. Tübingen: Max Niemeyer, 1957.

Piccolomini, Eneo Silvio [Pope Pius II]. . . . Opera quae extant omnia . . . Basil: ex officina Henric Petrina, 1551.

Pignoria, Lorenzo. Miscella elogiorum adclamationum adlocutionum conclamationum epitaphiorum et inscriptionum. Padova: Impr. Camarales, [late 1620s].

Plutarch, Moralia. "Loeb Classic Library." 14 v. Cambridge: Harvard University Press, 1936.

Pollard, Alfred W[illiam]. A short-title catalogue of books printed in England, Scotland and Ireland and of English books printed abroad, 1475-1640. London: Bibliographical Society, 1950 [all books listed exist on microfilm also].

Porter, Lambert C. La fatrasie et le fatras. Genève: Librairie E. Droz, 1960.

Pozzi, P. Giovanni, "Gli artifici figurali del linguaggio poetico e l'iconismo," Strumenti critici 3 no. 31 (October, 1976) 249-83.

Purkhart, György. Lusus poetici. Eger: Typographiae Agriensis . . ., 1768.

Rahmings, Keith, "Flowcharting," in Kostelanetz (1979) [cf. book section for full information].

Ramming, Martin, ed. Japan-Handbuch. Berlin: Steiniger, 1941.

Rawson, Philip. Tantra. London: Thames and Hudson, 1973.

Reni, Guido. Racolta delle migliore chiesi è suburbane da Giacomo Fontana. Roma: printer unknown, 1855.

Reportoriul monumenteler si obiectelor de arta din Timpal ui Stefan cel mare. Bucaresti: Editura Academei Republicii Populare Romine, 1958.

Reuchlin, Johannes. De arte cabalistica libri tres. Hagen: apud Iohannem Sacerium, 1630.

Reuchlin, Johannes. De arte cabalistica/On the art of the Kabbalah, tr. Martin and Sarah Goodman. New York: Abaris Books, 1983.

Reynolds, L. D. and N. G. Wilson. Scribes and scholars: a guide to the transmission of Greek and Latin literature. 2nd ed. Oxford: Clarendon Press, 1974.

Rigveda samhita *, ed. Max Müller. London: Oxford University Press, 1890.

Ripa, Cesare. Iconologie . . . Paris: M. Guillemot, 1643.

Ritter, Dr. Franz. Die Zwillinge. 1820; Heidelberg: Carl Winter, 1979 [entire book is a lipogram lacking the "R." See also Wright, Ernest Vincent, Gadsby].

Robson, Ernest and Jet Wimp. An anthology of contemporary mathematical poetry. Parker Ford, PA: Primary Press, 1979.

Rönnau, K. Die Tropen zum Gloria in excelsis Deo. Wiesbaden: Breitkopf & Härtel, 1967.

Roth, Cecil. The Aberdeen Codex of the Hebrew Bible. "Aberdeen University Studies," 38. Edinburgh: University of Aberdeen, 1958; alsoLondon: Oliver and Boyd, 1958.

Roudault, Jean. Poètes et grammariens au 18e siècle. Paris: Gallimard, 1971.

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Sackner, Ruth and Marvin. [Catalog of the] Ruth and Marvin Sackner archive of concrete and visual poetry. Miami Beach, FL: Sackner Archive, 1986.

Safadi, Y. H. Islamic calligraphy. London: Thames and Hudson, 1978.

Savonarola, Girolamo Maria Francesco Matteo. Tractato dell' amore di Gesù. 2nd ed. Firenze: Antonio Miscomini, 1492 Cover is shaped prose].

Schrift und Bild. Frankfurt am Main: Typos Verlag, 1963 [catalog for "Schrift und Bild" exhibition at Stedelijk Museum, Amsterdam (May-June 1963) and at Baden-Baden (JuneAugust 1963)].

Scobie, Stephen. "A homage and an alphabet: two recent works by Ian Hamilton Finlay," in Kostelanetz (1979) [see book section, above].

Setschkaroff, Wsewolod. Die Dichtung Gundalics und ihr poetischen Stil. Bonn: Athenäum, 1952.

Sex propositiones arithmeticae per proteo SEX DUX SOL LEX LUX FONS. Lwów: Collegium Soc. Jesu., 1666.

Shih, Su. Wen-ta lu. Pao-yen t'ang pi-chi. Shanghai: Wen-ming shu-chü, 1922.

Shih, Vincent Yu-chung. The literary mind and the carving of dragons. 1959; Taipei: Chung Hwa Book Company, 1970.

Shipman, Thomas. Carolina, or Loyal poems. London: Samuel Hayrick, 1683.

Sho. Pinselschrift und Malerei in Japan vom 7.-19. Jahrhundert [exhibition catalog]. Museum für Ostasiatische Kunst (25.- Oct.-7. Dec. 1975). Köln: Museen der Stadt Köln, 1975.

Shutaru, Mukai, "Concrete poetry: its source and relationship with Japan," Graphic Design 52 (Winter 1973) 55-62.

Simoniti, Primo. Sloveniae scriptores latini recentioris aetatis. Opera scriptorum latinorum Sloveniae usque ad annum MDCCCXLVIII typis edita. Zagreb and Ljubljana: Academia Scientiarum et Artium Sloveniae and Institutum Historicum Academia Scientarum et Artium Slavonum Meridionalium, 1972.

Sirat, Colette, ed. La paléographie hébraïque médievale. "Colloques Internationaux du Centre Nationale de la Recherche Scientifique," 547. Paris: Editions du Centre Nationale de la Recherche Scientifique, 1972.

Sirat, Colette and Leila Avrin. La lettre hébraique and Micrography as art. "Études de paléographie hébraïques." Paris: Editions du Centre Nationale de la Recherche Scientifique and Jerusalem: Department of Judaica, Israel Musem, 1981.

Skinner, Stephen. Terrestrial astrology: divination by geomancy. London: Routledge and Kegan Paul, 1980.

Solt, Mary Ellen. Concrete poetry: a world view. Bloomington, IN: Indiana University Press, 1968.

Southey, Robert. The poetical works of Robert Southey. 10 v. as 5. Boston: Houghton Mifflin, 1884.

Spanner, Adolf. Das kleine Andachtsbild vom XIV. bis zum XX. Jahrhundert. München: F. Bruckmann, 1930.

Spelta, Antonio Maria. Enchiridion; seu, commentarium ad contextandas Epistoles . . . Ticino: H. Bartolus, 1591.

Spelta, Antonio Maria. La saggia pazzia, fonte d'allegrezze . . . Veneia: Apresso Marc' Antonio Samasco, 1605[?].

Stanford, William Bedell. Greek metaphor: studies in theory and practice. Oxford: Blackwell, 1936 [App. B to chap. 3, p. 66].

Stanford, William Bedell. The sound of Greek: theory and practice of euphony. "Sather classical lectures," 38. Berkeley: University of California Press, 1967.

Starr, Freerick, "Japanese riddles," Asiatic Society of Japan. Transactions, 38 no. 1 (1911) 1-12.

Steinen, Wolfram von den. Notker der Dichter und seine geistige Welt. Bern: A. Francke, 1948.

Steiner, George, "After the book," Visible language 4 (1970) 197-210.

Stewart, H. M., "A crossword hymn to Mut." Journal of Egyptian Archaeology 57 (1971) 87-104, pl. xxv-xxvii.

Sumarokov, A. P. Izbrannye proizhedia. Leningrad: Sovietskij Pisatel'ij, 1957.

Ta'ao Hsiang. She-yüan mo-ts'ui. Peking: Wu-chin T'ao-shih, 1929.

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Tardi, Dominique. Les epitomes de Vergile de Toulouse. Paris: Boivin & Cici, 1928.

Telesio [Thylesius], A. Poemata . . . Roma: in edibus F. Minilii Calvi, 1524.

Tesauro, Emanuele. Il cannochiale Aristotelico . . . 5th ed. Torino: Bartolome Zavatta, 1620 [20].

Theodoros Prodromos. Theodoros Prodromos. Historische Gedichte, ed. Wolfram Hörandner. "Wiener Byzantinische Studien." Wien: Osterreichische Akademie der Wissenschaften, 1974.

Togari Shoshin-an. Toboku waboku zusetsu. Tokyo: Bijutsu shuppansha, 1953.

Togo, Mina. Inscriptions copts et grecs de Nubie. Cairo: Publications de la Societé d'Archéologie Copte, 1942 [best source of illustrations of Nubian inscriptions which have been said to resemble pattern poetry].

Traherne, Thomas. Centuries, poems and thanksgivings, ed. H. M. Margoliouth. 2 v. Oxford: Clarendon Press, 1958.

Trithemius, Johannes. Steganographiae nec non claviculae Salomonis germani, Ioannis Trithemii. . . genuina . . ., ed. Juan Caramuel de Lobkowitz [q.v.]. Köln: typis Egmondanis, 1635.

Tuynman, P., G. C. Kuiper and W. E. Keßler, eds. Acta conventus Neo-Latini Amstelodamensis. Proceedings of the second international congress of Neo-Latin studies; Amsterdam, 19.-24. August, 1973. "Humanistische Bibliothek," Reihe 1, Band 26. München: Wilhelm Fink, 1979.

Tylkowski, Adalber. Arithmeticae curiosae editio secunda. Olivae: Johann Jacob Textor, 1689.

Valeriano Bolzani, G. P. ["Pierius"]. Hieroglyphica, seu De sacris aegyptiorum . . . Venezia: Antonius et Iacobus de Franciscis, 1604.

Vendler, Helen. The poetry of George Herbert. Cambridge: Harvard University Press, 1975.

Verien, Nicolas. Recueil d'emblèmes et devises. Paris: J. Jombert, 1685.

Virgilio [Marone] di Tolosa. Epitomi ed epistole, ed. Giovanni Polara, tr. into Italian by Luciano Caruso and Giovanni Polara. Napoli: Liguori, 1979.

Volkmann, Ludwig. Bilderschriften der Renaissance. Leipzig: K. W. Hiersen, 1923.

Vyasa. Mahabharata. Bombay: T. R. Krishnacarya * and T. R. Vyasacarya, 1907.

Washbourne, Thomas. Divine poems. London: Humphrey Mosely, 1654.

Washbourne, Thomas. The poems of Thomas Washbourne, ed. Alexander B. Grosart. Blackburn: C. Tiplady, printer [privately published], 1868.

Weiss, Christina. Seh-Texte. Zirndorf: Verlag für moderne Kunst, 1984; and Nürnberg: Institut für moderne Kunst, 1984.

Welch, Anthony. Calligraphy in the arts of the Muslim world. Austin: University of Texas Press, 1979.

Wentzlaff-Eggebart, Friedrich Wilhelm. Deutsche Mystik zwischen Mittelalter und Neuzeit. 3 ed. Berlin: De Gruyter, 1969.

Williams, [Oscar] Emmett, ed. An anthology of concrete portry. New York: Something Else Press, 1968.

Williams, [Oscar] Emmett. Selected shorter poems (1950-1970). New York: New Directions, 1975.

Wright, Ernest Vincent. Gadsby. Los Angeles: Wetzel, 1939 [very rare: the only known copy is in the Public Library at Milton, MA. The entire novel is a lipogram, lacking the letter "E." See also Ritter, Dr. Franz, Die Zwillinge].

Yates, Frances A. The art of memory. Chicago: University of Chicago Press, 1966 [diagrams of memory wheels resembling circular labyrinths such as those of Caramuel and others].

Yates, Frances A. Giordano Bruno and the hermetic tradition. 1964; New York: Vintage Books, 1969.

Zanetti, Antonio Maria ["Girolamo;;], ed. Graeci D. Marci Bibliotheca Codicum Manuscriptorum. Venezia: S. Occhi, 1740.

Zolnai, Béla. A ldthato nyelv. Budapest: Minerva Könyvtár, 1926.

Zorrilla y Moral, José. Album de un loco . Madrid: A. Gullon, 1867.

Zorrilla y Moral, José. Obras de D. José Zorrilla. Paris: Baudry, 1852.

Zorrilla y Moral, José. Poesias, ed. Narciso Alonso Cortés. Madrid: Espasa-Calpe, 1952.

Zorrilla y Moral, José. Poesías intimas. Buenos Aires: Emecé Editores, 1943.

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Zorrilla y Moral, José. Ultimos versos . . . Madrid: publisher not listed, 1908.

Zumthor, Paul. Introduction à la poésie orale. Paris: Editions du Seuil, 1983.

Zunz, Leopold (=Jom-Tob Lipman). Die synagogale Poesie des Mittelalters. 2 v. Berlin: J. Springer, 1855-9 [v. 2=Die Ritus des synagogalen Gottesdienstes, reprinted separately with that title in Frankfurt: J. Kaufmann, 1919) 1: 149].

Zunz, Leopold. Literaturgeschichte der synagogalen Poesie. Berlin: Gerschel, 1865 [source of information on Hebrew pattern poets].

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INDEX

This is an index of pattern poets, of associated authors, and of authors of works in related forms. Names are given in their commonest international forms; numbers in italics refer to pages on which illustrations of works by an author are printed.

A

Abelard, Pierre (1079-1142), 7, 28; frontis.

Abelardus, Petrus. See Abélard, Pierre.

Abele von Lilienberg, Matthias (d. 1677), 71; 73.

Abraham ben Ezra (d. 1167), 7, 54; 55.

Abuláfia, Abraham ben Samuel (1240-ca. 1291), 7, 55; 56.

Abuláfia, Tadros (d. after 1298), 7, 55.

Acarthistos (fl. 625 C.E.), 22.

Acuña de Figueroa, Francisco (1791-1862), 16, 123-4, 130, 172; 124.

Addison, Joseph (1672-1719), 14, 208.

Aesaoa[?], Amalia (nineteenth century), 119.

Agricola, Johann (ca. 1530-90), 201.

Ajitasena (Digambara, ca. tenth century C.E.), 159; 160, 222, 223.

Ajiyasantithaya (thirteenth century C.E.), 159.

Akab, István (fl. 1778), 58.

Alarcon, Pedro de (nineteenth century), 114, 119.

Albertus, Laurentius ( = Albert, Lorenz?, sixteenth century), 11, 71.

Albinus, Johannes ( = Weiss?, seventeenth century), 38.

Albinus, Michael ( = Weiss?, fl. 1648), 143.

Alcidor. See Sechst, Johann.

Alcuin (775-804), 7, 29.

Alegres, Dolores (nineteenth century), 114, 124.

Alfonso X "el Sabio," King of Castille (r. 1252 84), 114, 172.

Alsted[ius], Johannes Heinrich (seventeenth century), 38, 39, 48, 51.

Alvares do Oriente, Fernão (fl. 1607), 125.

Amaracandra Suri (fl. 1300 C.E.), 159; 160.

Amyntas. See Lochner, Jacob Hieronymus.

Anandavardhana (before ninth century C.E.), 159.

Andersen, Hans Christian (1805-75), 15.

Andreas, Illyes. See Illyes, Andreas.

Angot, Robert (1581- ? ), 65, 224; 226.

Aratus (ca. 315-ca. 240), 29, 171.

Archevolti, Samuel ben Elhanan Isaac (1516-1611), 55, 57

Archilocus (seventh century B.C.E.), 19.

Ardeshahr Khabnardar (nineteenth century), 161.

Arnold, Christoph ("Lerian," seventeenth century), 76, 77.

Arreovillo y Rotoabrios, Carpoforo (nineteenth century), 113, 114, 119, 120.

Artenski, Rafael Kazimierz (d. 1699), 131.

Asimus, Cajico (nineteenth century?), 114; 117.

Assunção, José da (fl. 1728), 126.

August II "the Younger," Duke of Lüneberg-Braunschweig ("Selenus," 1579-1666), 32, 39, 44, 46, 48, 51, 79, 178, 198, 200; 39.

Ausonius (ca. 310-94), 25.

Awdyk, Michal Jan Nepomucen (fl, 1728), 136.

Ayres, Philip (fl. 1687), 96.

Ayres de Penhafiel, Anastácio (eighteenth century), 130.

B

Bacharach, Naftali (seventeenth century), 55.

Badach Martinus (seventeenth century), 134.

Bäerle, Adolf (nineteenth century, 88.

Bahada *. See Vagbhata.

Baiardo, A[ntonio?] (fl. 1530), 184.

Baïf, Jean Antoine de (1532-89), 11, 65.

Baldissare, Bonifacio (ca. 1570-1625), 12, 39-40, 48, 49, 146; 40, 41.

Banhuis, P. Bernard van. See Bauhuysen, P. Bernard.

Bärholtz, Daniel ("Hylas," seventeenth century), 73, 76.

Barner, Jakob (fl. 1667), 143.

Baron, Robert (1593-1639), 96.

Barsotti, Niccolò. See Niccolò da Lucca.

Barthelmy, Jean-Jacques (1716-95), 14.

Basho (1664-94), 156.

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Batista de Castro, João (1700- ? ), 126.

Baude Cordier (fifteenth century), 179; 180.

Bauhuysen, P. Bernard (1575-1629), 183.

Baum, Lyman Frank (1856-1919), 109.

Bayam, André (seventeenth century), 193, 195.

Bayle, S. (nineteenth century), 68.

Bean, Samuel, M.D. (1842-1904), 17, 107; 108.

Beaulieu, Estorg de (1495-1552), 65, 200; 65.

Beaumont, Joseph (1616-99), 66, 96, 203; 97, 204.

Beck[er], Joseph Johann (fl. 1669), 41, 72.

Belhen, Jeremias (nineteenth century), 119.

Belion (fl. 1769), 201.

Bellaw, A. W. (nineteenth century), 109.

Benlowes, Edward (1603-76), 14, 96, 98.

Benther, Johann (fl. 1635), 138.

Bernardo, Antonio (seventeenth century), 41.

Bernard, Valentin (fl. 1670), 72.

Bernowin (ninth century), 30.

Berthold (thirteenth century), 9.

Besantinus (second century C.E.), 20, 49.

Betka, Franciszek (fl. 1822), 138.

Bettini, Mario (1582-1657), 39; 43.

Betulius. See Birken, Sigmund von.

Bevillacqua, Mario, Count (sixteenth century), 63, 64.

Bhaiya Bhagavatidasa (fl. 1755), 161.

Bharavi (seventh century C.E.), 222, 223, 226; 224.

Bhoja (eleventh century C.E.), 220, 226; 225.

Biccius, Christianus (seventeenth century), 41.

Bielecki, Stanislaw Antoni (fl. 1732), 138.

Bienecki, Albertus (seventeenth century), 131.

Billings, William (1746 1800), 179; 181.

Birken, Sigmund von ("Betulius," "Floridan," 1626-81), 72-3, 76, 77, 103, 192.

Blanc, Guillaume (1551? 1601), 41.

Blennerhasset, Thomas (ca. 1550-ca. 1625), 98.

Bluteau, Rafael (1638-1734), 126.

Bockenrode, Johannes (sixteenth century), 37, 41.

Boethius (ca. 480-525), 182.

Boissonade, Jean-François (1774-1857), 15, 16, 20, 67.

Bonifacio, Baldissare. See Baldissare, Bonifacio.

Bosworth, William (1607-ca. 1650), 98, 208.

Bouchet, Jean (sixteenth century?), 225.

Bouquet, Simon (sixteenth century), 65.

Bourgade, André (nineteenth century), 68.

Boyssières, Jean de (1555-ca. 1583), 11, 65: 66.

Brennan, John (1870-1932), 106.

Breton de los Herreros, Manuel (1796-1873), 114.

Brome, Alexander (1620-66), 98.

Browne, William (1590-ca. 1643), 98, 109; 99.

Bruno, Giordano (1548-1600), 10, 42, 184.

Bucholtz, György (1688-1757), 58.

Bulyovszky, Gyula (nineteenth century), 15, 58.

Butler, Samuel (1612-80), 14, 98.

Buzenski, Hieronymus (seventeenth century), 13.

C

Caesar, Johan Baptista (sixteenth century), 71.

Calatayud y Borda, Cypriano Géronimo (fl. 1783), 124; 124.

Callimachus of Alexandria (ca. 250 B.C.E.), 20.

Calvör, Joachim (seventeenth century), 41.

Cambridge, Richard Owen (1717-1802), 14.

Camoes *, Luis Vaz de (1524-80), 112, 125.

Capelle, Pierre-Adolphe (1772-1824), 16, 68, 88.

Cappel, Peder (1664-1727), 89.

Capsius, Quirin (fl. 1661), 73.

Caramuel de Lobkowitz, Juan (1606-82), 13, 15, 25, 41-4, 49, 51, 112, 131, 178, 182, 183, 184, 185-6, 193, 195, 198, 201; 12, 44.

Caravajal y Lancaster, D. Joseph de (eighteenth century), 44.

Cardano, Girolamo (1501-76), 198.

Carey, Patrick (fl. 1651), 98.

Carroll, Lewis (Charles L. Dodgson, 1832-98), 105, 109, 172, 203-5; 106, 205.

Casado, José ("El rojo," nineteenth century), 119.

Casoni, Guido (1575-1640), 51, 63.

Castelein, Matthijs de (1485-1550), 94, 198; 94.

Castro, Pedro Francisco de (fl. 1680), 112; 114.

Cellier, Jacques (sixteenth century), 54, 65-6, 187.

Cervantes Saavedra, Miguel de (1547 1616), 113, 119, 121.

Cesmicki, Ivan. See Janus Pannonius.

Chabrol, C. (seventeenth century), 66, 194.

Chang Chih-hsiang (1507-87), 212; 210.

Chang Lin (fl. early seventeenth century), 155; 154, 155.

Chapmeyer, Christoph[er] (seventeenth century), 73.

Charpentier, Marc-Antoine (ca. 1635-1704), 192.

Charreus, Werner (fl. 1691), 91.

Chichester, John (fl. 1603), 47.

Ch'iu Ying (ca. 1494-ca. 1552), 121.

Chrysoberges, Loukas (fl. 1157-70), 171; 170.

Christello (fl. 1698), 73.

Chu Hsiang-hsien (eighteenth century), 212-5; 213, 214, 217, 218.

Cicero, Marcus Tullius (106-43 B.C.E.), 28, 119.

Cirier, Nicholas (nineteenth century), 68.

Cisinga, Joannes. See Janus Pannonius.

Cisinge, Jean de. See Janus Pannonius.

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Clajus, Johannes. See Klaj, Johann.

Cludius, Philipp Sigismund (seventeenth century), 44.

Coien, Andreas (fl. 1607), 139.

Colonna, Francesco (d. 1527), 10, 63, 173, 187-8.

Comenius, Isaac (Komenský, Jan-Amos, 1592-1670), 76, 150.

Conovius, Michael (d. 1692), 139.

Corbejon, Gesualdo (nineteenth century), 114.

Cordier, Baude. See Baude Cordier.

Cordovero, Moses (1522-70), 55.

Cova, Julian de la (nineteenth century), 114.

Crespin, Jean (sixteenth century), 14, 20, 21.

Creuz, Henricus a (seventeenth century), 134.

Crompton, Hugh (fl. 1656), 98.

Cruz, Juan de la (1542-91), 112.

Cunha, Francisco de (fl. 1743) 126; 128.

Curtius. Alexander Carolus (seventeenth century), 44.

Curtius, Laurentius. See Curzio, Lancino.

Curzio, Lancino (d. 1511), 10, 44-5, 174, 207; 45.

D

D., J. C. (fl. 1675), 73.

Dachnowski, Jan Karol (ca. 1590-ca. 1650), 131.

Dalpat (fl. 1879), 161; 162.

Damm. Heinrich Christoph von (seventeenth century), 73.

Danckerts, Ghiseline (1510-65), 182, 198; 181.

Danenritter (seventeenth century), 45.

Daniel, George (1616-57), 98.

Danila (ninth century), 187.

Dasopant (1551-1615), 161.

Davison, Francis (fl. 1602), 98.

Deene, Eduaerd de ( = Dene, fl. 1543-53), 94-5, 203.

Della Porta, Giovanni Battista (ca. 1538-1615), 198.

Dembinski, Jeremiasz (seventeenth century), 131.

Derzhavrin, Gavriil Romanovich (1743-1816), 146.

Devanandi (eighth century C.E.), 159.

Díaz Rengifo, Juan (fl. 1592), 29, 112, 126.

Dick, William Brisbane (1827-1901), 172; 173.

Dienstorffer, Johann Christian (seventeenth century), 45.

Dodge, H. C. (ninteenth century), 109.

Dodgson, Charles L. See Carroll, Lewis.

Dolinar, Milan (1870?-1914), 150.

Ðordjic, Igjat (1657-1737), 150; 151.

Döring, Martin[us] Ignatius von (fl. 1656), 73.

Dosiadis of Crete (second century B.C.E.), 20, 23, 48, 49, 51.

Dovhalevskij, Mytrofan (fl. 1736), 146-7, 185, 201; 148.

Draski. Adam (d. 1648), 24, 131.

Drummond, William, of Hawthornden (1587-1649), 105; 107.

Dryden, John (1631-1700), 14.

Duncker, Joachim (fl. 1667), 144.

Dupuy, Enrique (Ericius Putaenus, 1574-1646), 183, 198.

E

Eden, Richard (1521?-76), 153.

Elchanan Jacob ben Samuel Joshua. See Archevolti, Samuel ben Elhanan Isaac.

Eliyashu, Solomon ben Hayim (1841-1924), 55.

Ennius, Quintus (239-169 B.C.E.), 171, 192.

Eudocia Macrenbolitissa (ca. 1021-96), 7, 23.

Eudoxus (391-37 B.C.E.), 171.

Eugenio di San Giuseppe. See San Giuseppe, Eugenio di.

Eugenius Vulgaris (ca. 880-950), 30-1, 37, 47, 50: 32, 33.

F

Faber, Daniel von (fl. 1630), 182.

Faber, Michael (sixteenth century), 45.

Fabricius, Georg (1516-71), 31.

Fabricius, J. J. (fl. 1688), 73.

Falkener, Erhard (sixteenth century), 11, 71; 72.

Faria e Sousa, Manuel de (1590-1649), 112-3, 126, 193.

Fattori, P. (fl. 1614), 63.

Felix "Vir Clarissimus" (ninth century), 31.

Ferland, Albert (1872-1943), 17, 70, 107; 69.

Fernandez, Pedro, Count of Lemnos (seventeenth century), 12, 45.

Ferreira Leonardo, Manuel (eighteenth century), 126; 128.

Firley, Henryk (Leopardus, fl. 1624), 12, 131, 146.

Florentius (Florencio de Valeranica, tenth century), 31.

Floridan. See Birken, Sigmund von.

Fortunatus, Venantius. See Venantius Fortunatus.

Forstenovius, Peter (seventeenth century), 144; 145.

Franciszek of St. Casimirus (fl. 1636), 136.

Franck, Michael (fl. 1646), 74.

Franklin, Benjamin (1706-90), 184.

Frisch, Johann Leonard (1666-1743), 14, 85; 86.

Fröding, Gustav (1860-1911), 91.

Fugger, Wolfgang (sixteenth century), 201.

G

Gaffarel, Jacques (ca. 1601-81), 55.

Gager, Sir William (ca. 1555-1620), 96.

Gagne (nineteenth century), 68.

Gama Lobo, Emanuel A. (1658-1742), 126, 174; 129.

Gamaren, Hannardus de Mosaeus (sixteenth century), 45, 174.

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Gamerio Moseo, Annardo. See Gamaren, Hannardus de Mosaeus.

Gand, David Joris de. See Joris de Gand, David.

Gand de Brachey, Louis de (seventeenth century), 45; 46.

Garcia Conde, Enrique (1806-51), 119.

Garlach, Wend[el?] Mart[in] (seventeenth century), 45.

Gayangos y Arce, Pascual (1809-97), 114.

Gazelius, Johan G. (fl. 1682), 91.

Geller, Rudolf Karl (fl. 1645), 74, 78.

Georg, Stefan (1868-1933), 195.

Géroult, Quillaume (sixteenth century), 66.

Gessner, David (seventeenth century), 74.

Geuder, Johann (1640-93), 75; 74.

Giménez, Joaquín (ninteenth century), 119.

Ghiray, Shahin. See Girai, Sahin.

Girai, Sahin (ca. 1747-87), 165-6, 228; 166.

Girón Tellez, Pedro (seventeenth century), 45.

Gisberto, Pominio (fl. 1664), 132.

Glaser, Johann Friederich (fl. 1641), 75.

Gloner, Samuel (seventeenth century), 46.

Gloszowski, Martinus (seventeenth century), 131.

Go-Mizuno-o, Emperor of Japan (fl. 1648), 212.

Godbole (nineteenth century), 161.

Goethe, Johann Wolfgang von (1749-1832), 85-6, 105, 195.

Goldonowski, Andrzej (1596-1660), 132, 193.

Goldsch, Moshe Eliyahu. See Goldstein, Moshe Eliyahu.

Goldsmith, Oliver (1728-74), 100.

Goldstein, Moshe Eliyahu (fl. 1881), 54.

Gomez, Lucas (nineteenth century), 119.

Gongora y Argote, Luis (1561-1627), 193-4.

González Alvarez, José (nineteenth century), 114.

González Estrada, José (ca. 1830-83), 16, 66, 112, 113-22, 123, 153, 172; 115-8, 122.

Gosai, Emperor of Japan (Gosai-in Tenno, 1637-85), 157.

Gosbert (ninth century), 31, 51.

Gosky, Martin (ca. 1586-1656), 46, 75.

Gozbert. See Gosbert.

Graff, Andreas (fl. 1642), 58.

Grant, Ulysses S. (1822-85), 109.

Greiffenberg, Catherina Regina von (1633-94), 12, 75, 203; 75.

Grisel, Jehan (sixteenth century), 66.

Gryphius, Andreas (1616-64), 66, 194.

Gunaballava * Suri (before 1400 C.E.), 222.

Gunabhadra* (Digambara, ca. tenth century C.E.), 159, 223.

Gunavijaya* (fl. 1681), 159.

Guthsmüthl, Joseph (Shalomohn Schönenfels, nineteenth century), 16, 88; 87.

Gütting, Johann (fl. 1627), 7.

Gyula, Bulyovszki. See Bulyovszky, Gyula.

H

Haddon, Walter (1516-72), 172.

Hadewig, Johann Heinrich (1623-71). 76.

Haidelius of Rassenstein, Jan (fl. 1607), 148; 150.

Hanmann, Enoch (Hahnemann, seventeenth century), 76, 82, 83.

Happe, Volckmar (fl. 1665), 76.

Hariandra. See Haricandra.

Haricandra (fl. 1230 C.E.), 159.

Härpffer, Johann Philipp (fl. 1686), 76.

Harsa, Sri (before 1000 C.E.), 222.

Harsdörffer, Georg Philipp (Strephon, 1607-58), 12, 13, 73, 74, 76, 77, 192.

Hartzenbusch, Juan Eugenio (1806-80), 113, 114, 119.

Harvey, Christopher (1597-1663), 98-9.

Harvey, Gabriel (ca. 1550-1630), 13, 14, 98, 208.

Haugsdorf, Paul (fl. 1621), 148; 149.

Hawes, Stephen (d. 1523), 11, 104.

Haydn, Franz Josef (1732-1809), 179-80, 182; 181.

Hazard, Mary (nineteenth century), 109, 203.

Heath, Royal (nineteenth century). 177; 178.

Heidfeld, Godofred (seventeenth century), 46, 62.

Heidfeld, Johannes (d. 1623), 62.

Helianthus. See Volkamer, Johann Georg.

Helwig, Johann (Montano, 1609-74), 12, 13, 74, 76-7, 81.

Hemacandra Suri (1089-1173), 159; 222.

Hemavijaya Gani (fl. 1665), 159.

Herbert, George (1593-1633), 14, 16, 21, 65, 99, 208; 100.

Herka, Ignacy Kanty (f. 1725), 136, 138.

Herka, Klemens Kostka (1713-59), 136, 174.

Hermannus de Santa Barbara (seventeenth century), 46, 193.

Herrick, Robert (1591-1674), 99; 100.

Hildebrand, Friedrich (fl. 1652), 77.

Hiltensperger, Johann Casper (1710-54), 201.

Hincmar of Rheims (d. 882), 31.

Hipsted, Christopher (seventeenth century), 46.

Hobbes, Thomas (1588-1672), 14.

Höflich, Tomas (seventeenth century), 46.

Hopfmann, Johann (ca. 1640 1703), 86.

Holobdos, Manuel (fl. 1267 81), 22, 23; 24.

Homer (ninth century B.C.E.?), 5, 183.

Honthemius, Johannes (seventeenth century), 39, 46-7, 198; 48.

Hörnlein, Michael (seventeenth century), 77.

Hosius, Albertus (seventeenth century), 134.

Hrabanus Maurus (784-856), 7, 9, 11, 31-5, 39, 135, 171, 172, 198, 203, 208: 8, 34.

Page 270

Hsuan-tsung, Ming Emperor of China (r. 1425-35), 214

Hugo, Hermann (1588-1629), 95, 198.

Hugo, Victor (1802-85), 68, 114, 119, 195; 116.

Huldar Ali, Ghazi ud-Din, King of Oudh (r. 1819-27), 165; 115.

Hund, Samuel (Myrtillus, seventeenth century), 76.

Hunold, Christian Friedrich (Menantes, 1680-1721), 86

Huss, Erasmus Johan (d. 1699), 91, 200.

Hylas. See Bärholtz, Daniel.

I

Iacobus Nicholae de Dacia (Jakob Nielsen, fl. 1363-79), 9, 37, 47, 88, 174, 192-3; cover, 50.

Ibn Yachya, Joseph ben David (1494-1539), 55.

Illyes, Andreas (seventeenth century), 58.

Infante, Miguel (eighteenth century), 122.

Io. Bap. Laurus (seventeenth century), 47.

Isidore of Seville. See St. Isidore of Seville.

J

Jackman, Richard (fl. 1620), 95-100.

Jagodynski, Stanislaw Serafin (fl. 1617), 132, 146.

James VI, King of Scotland (James I, King of England, 1566-1625), 11, 75, 105, 172.

Jannequin, Clement (ca. 1500-ca. 1555), 192.

Janus Pannonius (1432-72), 9, 27, 47, 59, 150; 60.

Javornicki, Alexander (seventeenth century), 131.

Jayatilaka Suri (fifteenth century), 159.

Jinaprabha Suri (fl. 1450), 159.

Jinavalabha Suri (ca. 1135), 159; 159.

Joachim de Fiore (1132-1202), 9, 187.

João, Felix, Fr. (fl. 1613), 126.

Jonson, Ben (1573-1637), 14.

Jordan, Joachimus (fl. 1602), 144.

Joris de Gand, David (ca. 1501-56), 95; 94.

Josephus Scottus (ninth century), 7, 35, 224; 227.

K

Kakinomoto Hitamaro (fl. ca. 1700), 156; 156.

Kálídasa (second century B.C.E.), 157.

Kankel, Johann (1614-87), 77, 91-2, 130; 92.

Karst, Johann Rudolph (1624-82), 77.

Kelner, Michael (seventeenth century), 47.

Kemenres, Egyed (Augidius, eighteenth century), 58.

Kempe, Martin (1642-83), 143.

Keresztszegh, Imre Csaki de (eighteenth century), 59.

Keyrleber, Johann Georg (1639-91?), 179.

Kielburg, Ernst Friedrich (fl. 1723), 86.

Kielkowski, Maurycy (fl. 1718), 136, 137, 138; 136.

Kieser, Eberhard (1585-1631), 201.

Kilchius, Laurentius (fl. 1619), 47.

Kirsch, Johann Elias (1643-1723), 78.

Kircher, Athanasius (1601-80), 47-8, 49, 201.

Kircher, Hermannus (seventeenth century), 48.

Kiss, Mihály (fl. 1799), 58.

Klaj[us], Johann (1616-56), 12, 13, 76, 77, 78, 192; 78.

Klein, Johann (1599-1662), 140.

Kleiner, Gottfried (1691-1767), 86-7.

Kleinsmid, Johann-Burchard (fl. 1655), 78.

Klesel, Daniel (1631-87), 78, 87, 88, 198, 201; 39.

Kobierzycki, Albertus (seventeenth century), 131.

Koch, Jacob (fl. 1742-58), 201.

Köhler, Andreas (fl. 1734), 87.

Komenský, Jan Amos. See Comenius, Isaac.

Konstantinos Kephalos (tenth century), 31.

Kornfeld, Theodor (1636-98), 78-9; 79.

Kowalski, Andreas (fl. 1612), 134.

Kreutzer, Johann Carl (fl. 1733), 140.

Krisnamurti (nineteenth century), 222.

Krüger, Joachim (seventeenth century), 48.

Krzkiewicz, Ignacy (fl. 1674), 132.

Kuai (774-835), 219.

Kulamandana * Suri (1409-55), 159.

Kulenschmiedt, Heinrich Georg (fl. 1649). 79.

Küpffender, Gottfried (fl. 1686), 79.

L

Ladanius, Laurentius (fl. 1620), 154.

Laevius (first century B.C.E.), 5, 25, 206, 208.

Laganowski, Jan Stephan (1625-94), 141.

Lamb, Charles (1775-1834), 172.

Langi, Mihály (seventeenth century), 172.

Langiades, Petrus (fl. 1650), 144.

Lányi, György (eighteenth century), 59.

Lehnmann, Johann (fl. 1633), 48.

Lemens, G. (early seventeenth century), 48.

Lenaerts, Engelbert (fl. 1739), 48.

Leo I ''the Great," Pope (r. 440-61), 174.

Leon of Modena (Yehuda Arie Modena, 1571-1648), 55, 57.

Leonardo da Vinci (1452-1519), 184.

Leopardus. See Firley, Henry.

Lepieckis, Florian (fl. 1644), 132.

Lepsényi, Istvan (fl. 1700), 48, 59-60; 61, 62.

Lerian. See Arnold, Christoph.

Li Bo (705-62), 155, 156.

Li Ju-chen (eighteenth century), 153, 212.

Liceti, Fortunio (1577-1654), 12, 13, 20, 21, 28, 39, 40, 48-9, 51, 63.

Lieben, Silvester (seventeenth century ), 49.

Lipp, Johann Georg (fl. 1654), 89, 201.

Liu Hsieh (ca. 465-522), 211.

Lloyd, John (1558-1603), 24.

Lochner, Friedrich (Periander, seventeenth century), 76. 77.

Page 271

Lochner, Jakob Hieronymus (Amyntas, seventeenth century), 76, 77.

Lopes Cierra, Juan (seventeenth century), 130.

Lopez Ayala, A. (nineteenth century), 119.

Lorenz, Albert. See Laurentius Albertus.

Lorenz, Christopher (fl. 1630), 79.

Loyd, Sam (1873- ? ), 109, 201, 202: 110.

Lu Yu (112-85), 211.

Lubomirski, Mikolaj (fl. 1607), 132, 134.

Lude, Ludolff von (fl. 1649), 79.

Luther, Martin (1483-1546), 71.

Luxan, P. Mariano (fl. 1759), 125.

M

Ma Te-chao (nineteenth century), 217.

Machievelli, Niccolò (1469-1527), 177.

Machuca y Calendas, Serafin (nineteenth century), 114.

Macrinus, Salmonius (1490-1572), 10, 49; 10.

Madelenet de Gouda, Jacobus (fl. 1502-21), 35, 37, 41.

Madhavan, V. R. (fl. ca. 1750); 162.

Maennling, Johann Christoph (1658-1723), 79, 87, 201.

Magha ( ? ), 222.

Mai, Trebor (Williams, Robert, 1830-77), 75, 76; 77.

Maigret, Jean Salmon. See Macrinus, Salmonius.

Malheiro e Mello, Antonio Manuel Leyte Pacheco (seventeenth century), 128.

Mallarmé, Stéphane (1842-98), 17, 68, 106.

Malvicinus, Caesar (sixteenth century), 50; 53.

Maly, Benjamin (fl. 1589), 148.

Manhart, Bartholomaeus (fl. 1648), 143.

Mañjusri (sixteenth century?), 169.

Manuel I Comnenius, Emperor of Byzantium (1143-80), 23.

Manutius, Aldus (Mannucci, Teobaldo, 1450-1515), 10, 188.

Marcatos, Mauro (nineteenth century), 114.

Mariotti, Benedetto (seventeenth century), 49.

Marot, Jean (1450?-1526), 67, 185, 225.

Martin, Gabriel (1862- ? ), 68-9; 68.

Martov, Erl (eighteenth century), 146.

Mathurin, Regnier (1573-1613), 67.

Mattsperger, M. (nineteenth century), 184.

Maukisch, Johannes (1617-69), 79.

Maupassant, Guy de (1850-93), 195.

Mayer, David (fl. 1696), 79-80.

Maykiewicz, Stanislaus (fl. 1723), 136.

Megallans, Casimiro (nineteenth century), 119.

Melao, Adelina (nineteenth century), 114.

Mello, Francisco Manuel de (1608-66), 128.

Menachem ben Moses Egozi ( ? ), 57.

Menantes. See Hunold, Christian Friedrich.

Mennes, Sir John (1599-1621), 100, 185, 188; 101, 186, 190.

Merero, Antonia (nineteenth century), 114.

Meschinot, Jean (1420?-99), 225.

Metzger C. J. (fl. 1823), 86, 88.

Meurer, Ignatius (fl. 1646), 49, 80; 80.

Milo of St. Amand (ninth century), 35.

Milton, John (1608-74), 202.

Minocki, Franciszek (fl. 1756), 25, 136, 137; cover, 137.

Miranda, Carlos (nineteenth century), 122.

Mitelli, Giuseppe Maria (fl. 1693), 185; 185.

Mitis, Tomá (1523-91), 148.

Mitulski, Franciszek Norbert (fl. 1723), 137.

Mjcejy (eighteenth century?), 150.

Mlodinski, Stefan (fl. 1614), 132.

Mohila, Piotr (1597-1647), 132.

Moesch Lukácz (seventeenth century), 61-2; 62.

Molino, Domenico (seventeeth century), 12, 39, 40, 49, 146.

Molnir, Albert Szenci. See Szenci Molnár, Albert.

Molnár, Gergely (eighteenth century), 61.

Montaigne, Michel de (1533-92), 13.

Montano. See Helwig, Johann.

Montelupi de Mari, Valerius (fl. 1611), 132.

Morhof, Daniel Georg (1635-91), 80, 207.

Mörike, Eduard (1804-75), 186.

Moscherosch, Quirinus (1623 d. after 1657), 80.

Mudrony, Márton (eighteenth century), 61.

Myrtillus. See Hund, Samuel.

N

Naborowski, Daniel (1573-1640), 132-3.

Nandisena (after sixth century C.E.), 158; 158.

Nanticovius, Michael (fl. 1591), 148.

Narendrapralbha Suri (fl. 1282), 159, 220.

Nemcanský, Pavel (fl. 1615), 148.

Netenblad, Antonius (sixteenth century), 49, 89.

Neudorffer, Johann, the elder (1497-1563), 201.

Neumark, Georg (1621-81), 77-8, 80, 143.

Neumeister, Erdmann (1671-1756), 87.

Niccolò de Lucca (fl. 1657), 42, 43, 49, 186.

Nicolò de' Rossi (ca. 1290-ca. 1348), 9, 63-4; 65

Niegoszewski, Stanislaw (1565-99), 133.

Nielsen, Jakob. See Iacobus Nicholai de Dacia.

Nieradzki, Adam (fl. 1662), 133.

Nieweglowski, Franciszek Norbert (fl. 1741), 136, 137, 146; 139.

Nitivarman ( ? ), 223.

Norris, John (1657-1711), 101.

Page 272

Ocha, Eugenio de (nineteenth century), 119.

O'Duinan, Cathan (eighteenth century), 103, 203.

Oldenburg. "Dr. Fer. Aug." (fl. 1845), 88.

Oliveyra, Solomon di. See Solomon di Oliveyra.

Opitz. Martin (1597-1639), 76, 140.

Optatian (fl. 326 C.E.), 6, 25 8, 39, 49, 168, 171-2, 183, 197, 208; 5, 27.

Optatianus Porfyrius, Publilius. See Optatian.

Orfelin, Zacharija (1726-85), 150, 201.

Ortelius, Abraham (1527-98), 186.

Ortiga y Piñaz, Dionisio (nineteenth century), 114.

Osio, Felix (seventeenth century), 49.

Otfried (fl. ca. 868), 172.

Overbeck, Adolf Theobald (fl. 1640), 80.

Ovid (43 B.C.E.-ca. 17 A.D), 183, 208.

P

Pachymeres, Georgios (1242-ca. 1310), 23, 172.

Palande * (nineteenth century?), 161.

Palatino, Giovanbattista (fl. 1545), 184, 185; 185.

Palocsy, György (1670-1730), 61.

Panard, Charles-François (1689-1765), 16, 68, 70, 85; 69.

Pannonius, Janus. See Janus Ponnonius.

Papard, Johannes (fl. 1661), 80.

Parasara Bhatta* ( ? ), 222.

Paschasius a S. Iovanne Evangelista (sixteenth century), 43, 47, 49, 50, 59, 129.

Passerini, Francesco (1619-95), 13, 42, 50, 183, 193, 198.

Paul the Deacon (ca. 720-97), 7, 35.

Paulus Diaconus. See Paul the Deacon.

Pavel of Jizbice (Gisbicius, fl. 1602), 149.

Pebeda, Arturo A. (nineteenth century), 119.

Percher, F. Nicholas (seventeeth century), 67.

Perez, Luisa (nineteenth century), 114.

Periander. See Lochner, Friedrich.

Petersen, Nicolaus (fl. 1679), 84, 89; 90.

Petöfi, Sándor (1823-49), 15, 58.

Peucker, Nikolaus (Nikolaj, d. 1674), 80; 81.

Phalleen, Israel (Phalleneus, fl. 1697), 90, 92; 93.

Piasecki, Samuel (seventeenth century), 134.

Picolomini , Eneo Silvio, Pope Pius II (1405-64), 9, 50; 53.

Pierius. See Valeriano Bolzano, Giovanni Pierio.

Pigna, Giovanni Battista (1529-75), 51.

Pignoria, Lorenzo (1571-1631), 51, 186, 188.

Pinck, Robert (1573-1647), 47.

Piscator, Philippus Ludovicus (seventeenth century), 61-2.

Piskorski, Sebastian Jan (d. 1707), 134.

Pius II, Pope. See Piccolomini, Eneo Silvio.

Planudes, Maximus (ca. 1255-1305), 20.

Plato (428-348 B.C.E.), 224.

Platenechkij, Elysei (fl. 1623), 150; 151.

Po Chü-i (772-846), 215; 213.

Pochet, Jacques (seventeenth century), 51. 174.

Podkostelský, Sigismund (1594-1652), 140, 149, 185.

Pogorzelski, Piotr (fl. 1639), 134; 133.

Polotskij, Simeon. See Simeon Polotskij.

Pomario, Samuel (sixteenth century), 38, 51, 63, 96.

Poniatowski, Christophorus (seventeenth century), 131.

Porfyrius. See Optatian.

Praetorius, Bernhard (1567-1616), 51.

Praetorius, Johannes (fl. 1672), 75; 71.

Pravaresena (thirteenth century C. E.), 159.

Pravinbasimhaji* Takor* of Rajkot (eighteenth century C.E.), 161.

Price, Henry (fl. 1587-99), 51.

Propertius, Sextus (fl. 30-15 B.C.E.), 174.

Przeczkowski, Ludwik Ferdynand (fl. 1644), 134.

Pszczenski, Jakób Karol (fl. 1757), 193.

Purkhart, György (eighteenth century), 62.

Puteanus, Ericius. See Dupuy, Enrique.

Puttenham, George (sixteenth century), 13, 15, 75-6, 101, 166, 207, 266; 10, 102.

Puttenham, Richard (sixteenth century), 11, 75-6.

Pythagoras (fl. ca. 570 B.C.E.), 114; 118.

Q

Quad, Mattias (1557-1609), 201.

Quarles, Francis (1592-1644), 102.

Quevedo y Villegas, Francisco da (1580-1645), 119, 121.

R

Rabelais, François (1494? 1553), 11, 67; 67.

Radolinski, Andreas (seventeenth century), 132; 133.

Raid, Michael (fl. 1580), 149.

Ramirez, Braulio A. (nineteenth century), 122; 122.

Ratnakar ( ? ), 222.

Redtel, Friderich (fl. 1704), 87.

Remanso, Julian (nineteenth century), 113.

Reuchlin, Johannes (1455-1522), 176.

Rhacopeus, Martin (Vodnanský, fl. 1606), 149.

Rhetius, Johannes Valentinus (fl. 1643), 140.

Ribiero, Tomás (nineteenth century), 128.

Richards, Nathaniel (Nathanael, ca. 1600- ? ), 102-3.

Ricoldo da Monte Croce (1242 1320), 187.

Rivero, A. (fl. 1886), 125.

Roch, J. (fl. 1748), 87.

Rodríguez, C. (nineteenth century), 122.

Rodrfguez, José (nineteenth century), 122.

Page 273

Rodriguez, Faorlas, Leoncio (nineteenth century), 119.

Roerer, Johann Günther (fl. 1684), 80.

Roovere, Anthonijs de (d. 1482), 198.

Rosencrantz, Joachim (fl. 1651), 80.

Roskilde, Peder Jensen (sevententh century), 89, 203.

Rossi, Nicoló de'. See Nicol de' Rossi.

Rothmann, Bartholomaeus (fl. 1636-41), 141-2, 199-200; 142.

Rothut, Jacob (fl. 1694), 82.

Rudnicki, Sventoslaus (seventeenth century), 132.

Rudnicki, Szymon (1552-1621), 134.

Runge, Bartholomaeus (fl. 1669), 82.

Runius, Johan (1679-1713), 93.

Rupson, Wilhelm (fl. 1713), 143-4.

Rurock, Daniel (fl. 1644), 144.

Rzhevskij, Alekseij Andreijevich (1737-1804), 146.

S

Sainct-Gelays, Melin de (Saint-Gelais, 1481-1558), 11, 67; 68.

St. Abbo (Abbon, Albon, ca. 947-1004), 31.

St. Boniface (Winfried, 680-755), 7, 30.

St. Isidore of Seville (ca. 560-636), 29.

Salle, Paul de la (nineteenth century), 70; 69.

Salmeron Ramirez, Cármen (nineteenth century), 119.

Samantabhadra (Santivarman, seventh century C.E.), 158; 158.

Samayasundara Gani (fl. 1659), 159.

San Giuseppe, Eugenio di (seventeenth century), 51.

Sander, Andreas (fl. 1675), 82.

Sandou, Julio (nineteenth century), 51.

Sang, Shich'ang (fourteenth century), 155, 211-3, 214.

Santivarman. See Samantabhadra.

Saunders, Frederick (1807-1902), 110.

Savonarola, Girolamo (1452-98), 187.

Scaliger, Julius Caesar (1484-1558), 13, 14, 15, 24, 51, 174, 183; 24.

Schabelock, Christoph (fl. 1688), 154.

Scharmid, Christian (fl. 1650), 82.

Scheerbart, Paul (1863-1915), 194.

Schermer, Friderich (fl. 1657/8), 154; 155.

Schill, Johann Peter (fl. 1651), 82.

Schlemowitz, Hirsch Ilya (fl. 1870), 187.

Schmidt, Johann (fl. 1644), 144.

Schmied, Johann (fl. 1649), 82.

Schönenfels, Shalomon. See Gutsmüthl, Joseph.

Schotteller, Justus Georg (Schottel, Schottelius, 1612-76), 82.

Schrader, Daniel (fl. 1657), 142.

Schroeder, Friederich (fl. 1644), 6, 144.

Schuster, Andreas (Sutor, eighteenth century), 51, 87-8, 198.

Schütz, Johann Georg (seventeenth century), 82.

Schwind, Moritz von (1804-71), 182; 181..

Schwirse, Timothy (fl. 1606), 144.

Sechst, Johann (Alcidor, seventeenth century), 76, 77: 77.

Selenus. See August II the Younger, Duke of Lüneberg-Braunschweig.

Senleches, Jacob de (fl. 1378-95), 179; 180.

Senyestachius, Nicholaus (fl. 1614), 144.

Serenus, Sammonicus (second and third centuries C.E.), 176; 176.

Seyrl, Hans Rudolph (fl. 1663), 201.

Shipman, Thomas (1632-80), 103.

Shneour ben Hayyim (Senior, fl. 1304), 189.

Silo[n], King of Asturias (r. 774-83), 29, 203; 205.

Simandi, Wladislaw (fl. 1712-7), 138.

Simeon Sitnianovich Polotskij (Simeon of Polotsk, 1629-80), 146; 147.

Simha ben Tehoshua (fl. 1763), 57.

Simmias of Rhodos (fl. 325 B.C.E.) 5, 20, 21, 48, 207, 224; 18, 24.

Simon, Daniel, Jr. (fl. 1675), 82.

Skordylios, Zacharias (fl. 1562-88), 23, 171; 170.

Smith, James (seventeenth century), 100, 101, 188; 186, 190.

Smogulecki, Ioannes (seventeenth century), 134.

Sokolowski, Nicolaus (seventeenth century), 132.

Solomon ben Hayim Eliyashu. See Eliyashu, Solomon ben Hayim.

Solomon di Oliveyra (seventeenth century). 57; 57.

Sosipater Charisius, Flavius (fourth century C.E.), 25.

Sousa, Fr. Tomás de (eighteenth century), 128.

Southey, Robert (1774-1823), 195.

Speed, Samuel (1631-82), 72, 103.

Spelta, Antonio Maria (1559-1632), 51.

Sprekelsen, Hartwig von (fl. 1666), 82.

Stain, F. M. von (fl. 1659), 82.

Stanley, Thomas (Stanly, 1625-78), 103, 203.

Stargadius, Johannes (seventeenth century), 144.

Steinmann, Johann (fl. 1653), 82.

Stevenson, Matthew (ca. 1620-85), 103.

Stilsovius, Johannes (seventeenth century), 51.

Strephon. See Harsdörffer, Georg Philipp.

Strube, Johann (seventeenth century), 52.

Su Hui (second century C.E.), 153, 212, 216; 152.

Su Po-yü (second century C.E.), 212.

Su Shih (1036-1101), 219.

Suchorzowski, Ioannes (seventeenth century), 132.

Surowiecki, Jakób Antoni (fl. 1735), 138.

Surya (sixteenth century), 159.

Susliga, Wawrzvniec (1570-1640), 131, 134; 135.

Page 274

Sutor, Andreas. See Schuster, Andreas.

Syborg, Alexander Christian von (fl. 1677), 82.

Sydney, Sir Philip (1554-86), 46, 103.

Sylvester, Josiah (1563-1618), 103.

Szenci-Molnár, Albert (1574-1633), 46, 62; 60.

Szentpétri, Samuel (fl. 1774), 58; 59.

Szkudelski, Ioannes (seventeenth century), 132.

Szober, Ulryk (Ulrich Schober, 1559-98), 131, 134.

T

Taaliq (sixteenth century), 165.

Tabourot, Etienne (1547-90), 13, 172, 175.

Taine, Hippolyte (1828-93), 15.

Tama, Mordechai (eighteenth century), 57.

Tang Yin (1470-1523), 214.

Tavares Mascarenhos de Tavora, Jeronymo (eighteenth century), 128.

Taylor, Edward (1642-1729), 16, 95, 110; 111.

Temberski, Stanislaw (d. 1679), 134.

Tesauro, Emanuele (1591-1675), 173.

Textor, Johannes (seventeenth century), 46, 62.

Thein, U, Hbo of Hmawbi (nineteenth century?), 162-4; 164.

Theocritus (ca. 300 B.C.E.), 5, 21, 23, 48; 22.

Theodoros (ca. 50 B.C.E.-50 C.E.), 5, 21, 198-9, 200; 199.

Theodoros Studites (thirteenth century), 172.

Theodulfus (ca. 750-821), 35.

Theon of Smyrna (second century C.E.), 177.

Thilo, Valentin (seventeenth century), 188; 190.

Thomas of Damascus (ninth century), 23, 203.

Thuronius, Andreas (seventeenth century), 49, 93.

Tinoco, Luis Nunes (seventeenth century), 129, 198.

Titz, Johann Peter (1619-89), 82, 143.

Tolfstadius, "Nic. Laur." (fl. 1657), 82.

Török, Istvan (fl. 1774), 58.

Tory, Geoffroy (Geoffrey, 1480-1532), 67, 184-5.

Traherne, Thomas (d. 1674), 103.

Trembecki, Jakub Teodor (d. 1719), 134.

Treutzel, Daniel (fl. 1690), 90, 93.

Trier, Heinrich (fl. 1718), 88.

Trithemius, Johannes (1462-1516), 39, 42, 198.

Trzebicki, Andreas Zawissa (seventeenth century), 132.

Tsarfati, Joseph (d. 1527), 57.

Tu Fu (712-70), 214.

Tudor, Hywel (nineteenth century), 106; 107.

Tylkowski, Adalber (fl. 1689), 134, 178, 201.

Tyrigetes, Jan (fl. 1698), 131, 134.

U

Udayamanikya * Gani* (fourteenth century), 159; 223.

V

Vagbhata (fl. 1175), 159.

Valderada, Micaela (nineteenth century), 114.

Valdez, Manuel (fl. 1780), 184.

Valeriano Bolzano, Giovanni Pierio (1477-1558), 12, 14, 52, 98, 14.

Valmiki (seventh century B.C.E.), 158.

Váradi, Gerson (eighteenth century), 58.

Vecchius, Bartholomaeus (seventeenth century), 49.

Velichkovskij, Ivan (1687-1726), 12, 25, 146 7, 174, 183; 149, 183.

Veloso, Joseph Pereira (d. 1711), 128.

Venantius Fortunatus (ca. 540-ca. 600), 7, 35-6, 37, 197; 36.

Venkateswara* ( ? ), 222.

Vergil (70-19 B.C.E.), 25, 119.

Vestinus, See Besantinus.

Vi Ko (eighteenth century), 161, 162; 163.

Vicente Meles, Gregorio (nineteenth century), 119.

Vigilán (Vigila de Albeda, tenth century) 7, 30, 37, 112, 203.

Villon, François (ca. 1431-ca. 1463), 224.

Vitthala* (1608-82), 159, 161.

Vochius, Esaias (fl. 1607), 149.

Voigt, Caspar (fl. 1657), 144.

Volkamer, Johann Georg (Helianthus, seventeenth century), 76, 77.

Völschen, Christoph (fl. 1663), 83.

Voulté Jean (Vulteus, Iohannes, d. 1542), 52.

W

Wadowski, Idzi Stefan (d. 1721), 138.

Wagener, Christian (fl. 1669), 83.

Wagner, Albrecht (fl. 1758), 201.

Wahl, Solomon (fl. 1644), 142.

Walchius (seventeenth century), 198.

Walkenberg, Matthäus Philometes (fl. 1578), 148.

Walmann, J. (seventeenth century), 52.

Wan Shu (seventeenth century), 213.

Wang Hsi-chih (303-79), 211.

Wang, Sara (fl. 1620), 184.

Washbourne, Thomas (1606-87), 103.

Wasnowski, Wojciech (fl. 1644), 134-5, 174; 135.

Watson, Thomas (ca. 1557-92), 11, 103; 104.

Weber, Georg (seventeenth century), 83; 84.

Weerdt, I. de (seventeenth century), 52.

Weise, Christian (1643-1708), 83.