Ekphrastic encounters in Kyd’s The Spanish Tragedy
This chapter examines the figure of ekphrasis in Thomas Kyd’s The Spanish Tragedy, and focuses on the so-called ‘Painter scene’ that appears in the 1602 quarto. This is the most obviously ekphrastic moment in the play, in which its protagonist, Hieronimo, encounters a Painter and commissions a visual artwork based on his plight. Critics of the play have tended to rely upon the traditional conception of ekphrasis as paragone, and argue that the representational contest implicit in this scene ultimately demonstrates the superiority of drama. By contrast, this chapter seeks to question the paragonal model of ekphrasis, and argues that The Spanish Tragedy highlights drama’s interdependence with, rather than superiority to, other forms of representation. The chapter also suggests that the play’s interest in ekphrasis opens up larger questions about borrowing, imitation, and collaboration. The Spanish Tragedy highlights the illusionistic aspects of theatrical representation, and its reliance upon a cunning juxtaposition of various forms of ‘counterfeit’ art.
This book offers a comprehensive reassessment of ekphrasis: the verbal representation of visual art. In the past twenty-five years numerous books and articles have appeared covering different aspects of ekphrasis, with scholars arguing that it is a fundamental means by which literary artists have explored the nature of aesthetic experience. However, many critics continue to rely upon the traditional conception of ekphrasis as a form of paragone (competition) between word and image. This interdisciplinary collection seeks to complicate this critical paradigm, and proposes a more reciprocal model of ekphrasis that involves an encounter or exchange between visual and textual cultures. This critical and theoretical shift demands a new form of ekphrastic poetics, which is less concerned with representational and institutional struggles, and more concerned with ideas of ethics, affect, and intersubjectivity. The book brings together leading scholars working in the fields of literary studies, art history, modern languages, and comparative literature, and offers a fresh exploration of ekphrastic texts from the Renaissance to the present day. The chapters in the book are critically and methodologically wide-ranging; yet they share an interest in challenging the paragonal model of ekphrasis that has been prevalent since the early 1990s, and establishing a new set of theoretical frameworks for exploring the ekphrastic encounter.