Abstract

The respectably legitimate offspring of an age-old affair between writing and picture-making, the calligramme — that is, “a poem in which the typographical layout creates a picture, generally related to the ‘subject’ of the text” (Dictionnaire des littératures, Larousse) — is often seen as an esoteric minority art of dubious reputation. Starting from an exclusively Western approach to the history of the calligramme, my aim is to demonstrate that this artform may in fact represent something more than simply (here I deliberately use a metaphor from the far east, as a counterargument to my theme) the “Kyogen of the No theatre” — i.e., more than a lightweight interlude between more literary, aesthetic, even metaphysical preoccupations — more elevated, more serious, or, in general terms, more extended. Apart from the play and the pleasure of an approach that is creative in terms of letters and language, it contains serious elements related to the actual exercise of writing in our media civilization.