Transposition is very much what poetry and all literary art is about. To hear snatches from the huge unknowable symphony of experience, to catch them and transpose them to a key that resonates with our understanding, so that at some point they harmonise with that unheard melody from heaven we are always trying to hear, that is the purpose of poetry.
In a happy coincidence, this quote from Malcolm Guite’s Faith, Hope, and Poetry speaks directly to the name of ‘Transpositions’ and to the heart of this post. Guite manages to craft an image of the purpose of poetry which is fascinating in that in describing poetry’s purpose he employs one of poetry’s most powerful tools – metaphor. As abstract and beautifully succinct as Guite’s assertion is, one concrete way in which poetry transposes is Ekphrasis.
An example of ekphrasis in poetry from the nineteenth century is “To A Picture by Giovanni Bellini” by E. Nesbit.
Let thy pure light for ever shine.
Though dimly, through this life of mine !
Though what I dream, and what I do.
O thou whose deeds and dreams are one !
Yet let Death’s sunrise shine on me.
Still reaching arms and heart to thee !
Though to which painting Nesbit is responding is not clear, it is likely that it is one of Bellini’s studies of the Madonna. The Madonna was Bellini’s special study. However, which of the almost a dozen “Madonna and Child” paintings it could be is not clear. Though, strictly speaking, ekphrasis can refer to a direct comparison or experience of a specific work, in this case it may reflect the experience of a number of different Bellini paintings.
In literary terms, and especially given its classical roots and the way it came to prominence in the work of many nineteenth century poet theologians (like John Ruskin and Walter Pater), ekphrasis is rarely spoken about in relation to contemporary poetry. However, contemporary poetry is not ignorant of the ekphrastic mode. Some contemporary poets who are particularly successful in their employment of ekphrasis include Eavan Boland,Geoffrey Hill, and Les Murray. Finally, it could be said that in our reflections on the arts and in reflecting on our experiences of specific works of art, much of what Transpositions is about is ekphrastic.
Can you suggest any other examples of ekphrasis that might be helpful to this discussion?
 (Guite 23). You can read the Transpositions review of Guite’s book here.
 This poem was included in the 1888 collection titled Easter-tide and published by E.P. Dutton.