Classic and Contemporary Poetry: Explained

Albert Goldbarth's poem "1400" is a fascinating and visceral exploration of the materials and processes used in medieval paint-making, connecting these earthy origins to the divine images they ultimately created. Goldbarth vividly lists the various organic and inorganic substances used to produce pigments, drawing a stark contrast between the humble, sometimes grotesque materials and the sacred art they were used to create.

The poem begins with a catalog of substances, many of which are by-products of decay or processes we might find repugnant: "Saps, and the anal grease of an otter, and pig's blood, and the crushed-up bulbous bodies of those insects." This initial listing sets the tone for the poem, immersing the reader in the sensory and often unpleasant reality of medieval paint-making. Goldbarth’s choice of words like "grease," "blood," and "crushed-up" emphasize the raw, physical nature of these materials.

As the poem continues, Goldbarth adds more items to this medieval recipe, including "oven soot, and the oil that forms in a flask of urine and rotting horseflesh, and the white of an egg." Each ingredient not only paints a picture of the painstaking and gritty labor involved but also serves as a reminder of the resourcefulness and ingenuity required in a time when these were among the few available options for creating color. The juxtaposition of "the secret watery substance in an egg" with "spit-in-charcoal" further illustrates the combination of everyday and extraordinary efforts that went into this craft.

Goldbarth’s detailed list continues with natural pigments and substances, such as "orange clay, and auburn clay, and clay bespangled with the liquid pearl of fish scales stirred in milt," highlighting the diversity of sources for medieval pigments. The inclusion of natural items like "coral in a powder" and "silver flake" alongside more mundane materials such as "ash, and grape-like clusters of fat" underscores the intersection of the natural world with human creativity.

Towards the end of the poem, Goldbarth shifts from listing ingredients to describing the process of creating paint and the ultimate purpose of these materials. The phrase "and so from these they made their paints" serves as a pivot point, transitioning the reader from the raw components to their transformation into art. The culmination of these efforts is the creation of "their Gods and their saints," sacred images imbued with spiritual significance and crafted from the most humble and earthly origins.

Goldbarth's poem is both a celebration of the transformative power of art and a commentary on the often-overlooked origins of creative materials. The detailed and almost tactile description of the paint-making process invites the reader to consider the labor and ingenuity involved in medieval artistry. At the same time, the poem’s structure, with its relentless listing, mirrors the exhaustive and meticulous nature of the process itself.

Ultimately, "1400" serves as a reminder of the complex interplay between the mundane and the divine, the raw and the refined. Goldbarth’s detailed enumeration of ingredients and the transformation they undergo to become sacred art highlights the alchemical nature of creativity, where even the most humble substances can be elevated to create objects of profound beauty and spiritual resonance.

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