Encoded documents and images are derived from manuscripts in the Papers of Elsa von Freytag-Loringhoven in Special Collections at the University of Maryland, College Park, Libraries. In addition, individual pages or leaves of manuscripts are identified by the corresponding reel and frame numbers of the microfilm edition of the Freytag-Lorinhoven Papers.
Published by Tanya Clement.Office of Digital Collections and Research (DCR), University of Maryland, College Park, MD 20742
Baroness Elsa von Freytag-Loringhoven's poetry is printed here with the support of the University of Maryland Libraries. Permission to reproduce images of Freytag-Loringhoven's manuscripts has also been generously granted by the libraries.
This poem and manuscript drafts are available from this site for demonstration purposes only. Though the intellectual property of Elsa von Freytag-Loringhoven is in the public domain, all annotations and editorial commentary are copyrighted. They may not be reproduced without explicit permission from the copyright holder. For copyright information, please contact Tanya Clement.
DTD constructed from TEI P5 poetry base with tagsets for parallel segmentation, linking, figures, analysis, transcr, textcrit.
Line breaks have not been preserved in prose sections in order to facilitate parallel segmentation procedures.
Elements such as these would not have presented well on the stock, black-and-white, printed publication page. Indeed, it is quite often that, as the Baroness writes, "Print teeth bite."
Like "Matter Level Perspective" in which the Baroness uses lines in addition to words to represent meaning, "Orchard Farming" seems heavily influenced both by the typographical experiments of Tzara and Raul Hausmann and also Francis Picabia’s and Marcel Duchamp’s machine drawings. In "Orchard Farming" slanted lines down the side of the longer stanzas emphasize the fact that each stanza flows from small words to longer words, except for the penultimate stanza. Some lines, like the one-word stanza "CONTRAST" are marked with vertical lines emphasizing their "stopping" affect on the downward progression of the text. Whether the lines were an aid in creating the poem or were intended to exist in the final version of the piece is not obvious from the extant manuscripts for "Orchard Farming," but on a version of "Purgatory Lilt," which the Baroness included in an undated letter to Barnes, the Baroness writes that "the strokes or lines are long and short spaces between words and sentences," indicating that lines do matter (UMD reel 2, frames 226-7). It is evident that the lines reflect the content of the poem, a poem that discusses the flow and halt of life and creative endeavors.