The oldest love poem. Sumerian terracotta tablet from Nippur, Iraq. Ur III period, 2037-2029 BCE. Ancient Orient Museum, Istanbul
The examples and perspective in this section may not represent a worldwide view of the subject
. (September 2018)
Some scholars believe that the art of poetry may predate literacy. Others, however, suggest that poetry did not necessarily predate writing.
The oldest surviving epic poem, the Epic of Gilgamesh, comes from the 3rd millennium BCE in Sumer (in Mesopotamia, now Iraq), and was written in cuneiform script on clay tablets and, later, on papyrus. A tablet dating to c. 2000 BCE describes an annual rite in which the king symbolically married and mated with the goddess Inanna to ensure fertility and prosperity; it is considered the world's oldest love poem. An example of Egyptian epic poetry is The Story of Sinuhe (c. 1800 BCE).
An early Chinese poetics
, the Kǒngzǐ Shīlùn
(孔子詩論), discussing the Shijing
(Classic of Poetry
Other ancient epic poetry includes the Greek epics, the Iliad and the Odyssey; the Avestan books, the Gathic Avesta and the Yasna; the Roman national epic, Virgil's Aeneid; and the Indian epics, the Ramayana and the Mahabharata. Epic poetry, including the Odyssey, the Gathas, and the Indian Vedas, appears to have been composed in poetic form as an aid to memorization and oral transmission, in prehistoric and ancient societies.
Other forms of poetry developed directly from folk songs. The earliest entries in the oldest extant collection of Chinese poetry, the Shijing, were initially lyrics.
The efforts of ancient thinkers to determine what makes poetry distinctive as a form, and what distinguishes good poetry from bad, resulted in "poetics"—the study of the aesthetics of poetry. Some ancient societies, such as China's through her Shijing (Classic of Poetry), developed canons of poetic works that had ritual as well as aesthetic importance. More recently, thinkers have struggled to find a definition that could encompass formal differences as great as those between Chaucer's Canterbury Tales and Matsuo Bashō's Oku no Hosomichi, as well as differences in content spanning Tanakh religious poetry, love poetry, and rap.
Classical thinkers employed classification as a way to define and assess the quality of poetry. Notably, the existing fragments of Aristotle's Poetics describe three genres of poetry—the epic, the comic, and the tragic—and develop rules to distinguish the highest-quality poetry in each genre, based on the underlying purposes of the genre. Later aestheticians identified three major genres: epic poetry, lyric poetry, and dramatic poetry, treating comedy and tragedy as subgenres of dramatic poetry.
Aristotle's work was influential throughout the Middle East during the Islamic Golden Age, as well as in Europe during the Renaissance. Later poets and aestheticians often distinguished poetry from, and defined it in opposition to prose, which was generally understood as writing with a proclivity to logical explication and a linear narrative structure.
This does not imply that poetry is illogical or lacks narration, but rather that poetry is an attempt to render the beautiful or sublime without the burden of engaging the logical or narrative thought process. English Romantic poet John Keats termed this escape from logic "Negative Capability". This "romantic" approach views form as a key element of successful poetry because form is abstract and distinct from the underlying notional logic. This approach remained influential into the 20th century.
During this period, there was also substantially more interaction among the various poetic traditions, in part due to the spread of European colonialism and the attendant rise in global trade. In addition to a boom in translation, during the Romantic period numerous ancient works were rediscovered.
20th-century and 21st-century disputes
Some 20th-century literary theorists, relying less on the opposition of prose and poetry, focused on the poet as simply one who creates using language, and poetry as what the poet creates. The underlying concept of the poet as creator is not uncommon, and some modernist poets essentially do not distinguish between the creation of a poem with words, and creative acts in other media. Yet other modernists challenge the very attempt to define poetry as misguided.
The rejection of traditional forms and structures for poetry that began in the first half of the 20th century coincided with a questioning of the purpose and meaning of traditional definitions of poetry and of distinctions between poetry and prose, particularly given examples of poetic prose and prosaic poetry. Numerous modernist poets have written in non-traditional forms or in what traditionally would have been considered prose, although their writing was generally infused with poetic diction and often with rhythm and tone established by non-metrical means. While there was a substantial formalist reaction within the modernist schools to the breakdown of structure, this reaction focused as much on the development of new formal structures and syntheses as on the revival of older forms and structures.
Recently, postmodernism has come to convey more completely prose and poetry as distinct entities, and also among genres of poetry, as having meaning only as cultural artifacts. Postmodernism goes beyond modernism's emphasis on the creative role of the poet, to emphasize the role of the reader of a text (Hermeneutics), and to highlight the complex cultural web within which a poem is read. Today, throughout the world, poetry often incorporates poetic form and diction from other cultures and from the past, further confounding attempts at definition and classification that were once sensible within a tradition such as the Western canon.
The early 21st century poetic tradition appears to continue to strongly orient itself to earlier precursor poetic traditions such as those initiated by Whitman, Emerson, and Wordsworth. The literary critic Geoffrey Hartman has used the phrase "the anxiety of demand" to describe contemporary response to older poetic traditions as "being fearful that the fact no longer has a form", building on a trope introduced by Emerson. Emerson had maintained that in the debate concerning poetic structure where either "form" or "fact" could predominate, that one need simply "Ask the fact for the form." This has been challenged at various levels by other literary scholars such as Bloom who has stated in summary form concerning the early 21st century that: "The generation of poets who stand together now, mature and ready to write the major American verse of the twenty-first century, may yet be seen as what Stevens called 'a great shadow's last embellishment,' the shadow being Emerson's."