Some of these poems originally appeared in the form of shape poetry; others did not, but presented a trope or extended metaphor that proved central to the poem’s meaning, which led me to convert a few unshaped poems into shape poems.I’ll present each poem that I’ve digitized, as well as reflect on what its digitization preserves from the original user experience, adds to enhance the poem’s significance, and masks from the modern reader.Tags: Age Enlightenment EssaysAlitalia Seat AssignmentsExplain The Significance Of Essay Type Test Items7th Grade Math HomeworkInternet Censorship Research EssayConcession Paragraph Essay
[ Original Text | New Hive Digitization | Final Digitization ] In my final digitization of “The Altar,” I mimicked George Herbert’s original altar-like shape of the poem and added an attempt to capture the damaged nature of the altar described in the first verse.
When a reader hovers over each stanza of the poem, they can visualize the slab of the altar that it represents, but there remains a disconnect between each slab of the altar; the reader will never be able to visualize all of the slabs at once.
Thus, I altered “The Altar” such that its shape is truly broken; the reader can visualize that the text synergistically creates an altar shape, but the hover effects that I coded emphasize the incomplete status of the altar’s construction.
[ Christian Classics Ethereal Library (CCEL) Version | Final Digitization ] Despite its title, Herbert did not originally publish “The Collar” as a shape poem.
If the altar were unbroken, that would diminish the hardship that Herbert believes must be endured in order to grow close to God.
Alternatively, an unbroken altar could signal perfect piety, which contradicts the famous Christian tenet from Romans : Since no Christian is free of sin, it follows that no human-constructed altar should be broken.
Each of the six circles has a unique circumference.
In order to draw attention to the narrator’s growing disenchantment with Christianity, I gradually disintegrated the circumference of the first, second, third, fourth, and fifth circles.
Though I stayed faithful to the intended reader experience in each digitization of “Easter-wings,” I noticed that “ease of reading” worsened with each digitization that I made.
Sure, I got progressively closer to animating the two wing-shaped pieces of the poem to simulate flight – what I believe Herbert desired – but, in my final digitization, it would be nearly impossible for someone to read and process the poem’s content.