Classic and Contemporary Poetry: Explained

"Dora Films (1913), Elvira Notari in Naples" by Barbara Guest is a poem that intricately weaves together the themes of film, vision, and perception. Set against the backdrop of Naples, the poem explores the interplay between the visible and invisible, the tangible and the imagined, using the medium of film as a central motif.

The poem opens with a reference to "Virgil's body in a grove above Naples / and nearby a camera," juxtaposing the ancient and the modern, the historical and the technological. This sets the stage for a meditation on how different mediums capture and convey reality. Virgil, the classical poet known for his epic narratives, symbolizes the enduring power of storytelling, while the camera represents the modern means of recording and interpreting these stories.

Guest's use of imagery is both vivid and surreal, as seen in the line "toothpick beside a platter of teeth." This startling image suggests a juxtaposition of the mundane and the grotesque, perhaps indicating how film can amplify and transform everyday objects into something more significant and unsettling.

The camera, described as "nimble" and "touched by fearfulness," embodies a sense of agility and sensitivity. This personification of the camera suggests it has its own consciousness and emotions, navigating the complexities of capturing reality. The need for "chiaroscuro (light-dark) / should peril approach" highlights the filmic technique of using contrasts to create depth and drama, emphasizing the camera's role in manipulating and enhancing the visual experience.

Elvira Notari, a pioneering Italian filmmaker, becomes a focal point in the poem. "Elvira Notari uses the camera hood when il destino enters / in knit cap: / the visual depends on the visible." This line emphasizes the director's skill and intuition in navigating the uncertainties of fate ("il destino") and capturing them on film. The "camera hood" symbolizes both a literal tool and a metaphorical shield, allowing Notari to focus and filter reality through her lens.

The image of "Virgil at Naples' harbor leaning on his stick, / the power to see / what is invisible the stick in a position of power" merges the ancient poet with the contemporary setting. Virgil's stick, a symbol of support and authority, represents the poet's ability to perceive and convey the unseen truths of the world. This aligns with the filmmaker's role in revealing hidden narratives and emotions through the camera.

"A slap of oars leads to the visual, / gyrating where it ends" suggests the rhythmic, almost hypnotic movement of the film as it unfolds. The motion of the oars propels the narrative forward, leading the viewer to a visual revelation. This dynamic movement mirrors the experience of watching a film, where the audience is carried along by the flow of images and emotions.

The poem concludes with the line "A likeness to what is believed / is the poem. The camera takes us, momentarily." Here, Guest draws a parallel between poetry and film, both mediums creating representations of reality that resonate with the viewer's beliefs and perceptions. The camera, like the poem, offers a fleeting but powerful glimpse into another world, capturing moments that linger in the imagination.

In "Dora Films (1913), Elvira Notari in Naples," Barbara Guest masterfully blends historical and contemporary references, using the metaphor of film to explore themes of vision, perception, and the interplay between the visible and invisible. Through her evocative imagery and nuanced language, Guest invites the reader to consider the transformative power of art and the ways in which it shapes our understanding of reality. The poem serves as a tribute to the pioneering spirit of early filmmakers like Elvira Notari, who used their craft to illuminate the world in new and profound ways.

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