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Speaking pictures?
Chloe Porter

with events as if they were actually happening, words describe and relate the same events in the past. 19 Plutarch’s allusions to ‘silent poetry’ and ‘voiced painting’ contribute to the discourse of ut pictura poesis (‘as is painting, so is poetry’), which was highly influential amongst early modern writers, and which is based on a

in Making and unmaking in early modern English drama
Nigel Wood

description, which doth neither strike, pierce, nor possess the sight of the soul so much as that other doth. 27 Horace’s famous formula, ut pictura poesis , has frequently been interpreted more in line with ut pictura poesis erit – that poetry should aspire to the condition of painting 28 – yet his

in The Renaissance of emotion
The intermediality of English satire, c. 1695–1750
Andrew Benjamin Bricker

. But it was also a relationship that had, by the end of the century, been radically retheorised. Early on, texts and image were thought of in distinct and yet complementary ways. Horace’s reduction of the relationship was simple: ‘Ut pictura poesis’ (‘as in painting so in poetry’, as it was often translated during this period). 62 Such a formulation made sense to early modern theorists and

in Changing satire
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John Dryden’s Absalom and Achitophel and historical allegory
Noelle Gallagher

Ut pictura poesis: erit quae, si proprius stes, Te capiat magis, et quaedum, si longius abstes. Horace, Ars Poetica Horace’s famous comparison between poetry and painting served as the basis for the ut pictura poesis

in Historical literatures
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Behind the screen
Chloe Porter

medle no further then he can skyll of’. 32 Transferred to The Roaring Girl , the shoemaker merges into multiple spectators whose anonymity further emphasises the expertise of the playwright and players who ‘make’ the play. I noted in chapter 1 that the singular figure of the painter in the rhetoric of ut pictura poesis enables the metaphorical effacement of the collaborative

in Making and unmaking in early modern English drama
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Edmund Waller, Andrew Marvell, and the advice-to-a-painter poem
Noelle Gallagher

broadsides, ultimately finding their way into homes, coffee houses, booksellers’ shops, and other public places. 15 As their title suggests, advice-to-a-painter poems invoked an ut pictura poesis tradition that aligned poetry with painting. 16 Focusing primarily on recent events and public persons, such works usually took their frame of reference from the style of emblematic

in Historical literatures
Jason Lawrence

Zampieri. 3 Unglaub has pondered why some later European painters drawn to Tasso’s poem studiously avoided depicting this specific moment, emphasising ‘the ekphrastic overdetermination of the garden scene’ and suggesting that ‘its pictorial representation could admit only the narrowest interpretation of ut pictura poesis ’, which thus encouraged certain artists to look

in Tasso’s art and afterlives
Heiner Zimmermann

historiography. Denouncing the victory as unclean, she opposes the official glorification of the triumph and discredits patriotic self-sacrifice. In her sponsors' eyes, her representation is a revilement of the Republic of Venice. Barker’s play was originally conceived as a radio drama, so the painting, although omnipresent, is never seen.13 The dramatist, however, deploys a profusion of rhetorical and dramaturgical devices to make the audience see, hear, smell and touch the picture in their imagination. A talking sketchbook parodies the topos ut pictura poesis and the cliché

in Howard Barker’s Art of Theatre
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Rosalind Powell

, in The Seasons , pp. 2–57. See Chapter 5 , pp. 212–3, for a discussion of Thomson’s descriptions of subjective, variable perception in The Seasons . 38 A number of critics have dealt with the accuracy of Kent’s illustration: Michèle Plaisant notes that, with the influence of Newton apparent throughout The Seasons , Kent’s choice of the rainbow for the engraving is no coincidence. Michèle Plaisant, ‘“Ut pictura poesis”: lumière et ombres dans les Saisons de Thomson

in Perception and analogy
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Spenser, Donne, and the metaphysical sublime
Yulia Ryzhik

status: Donne juxtaposes his own poem as a picture (Horace’s ut pictura poesis ) with ‘Others’ who ‘at the porches and entries of their buildings set their arms’ (lines 1–2) – likely an evocation of the opening line of the Aeneid , ‘I sing of arms, and the man’. 42 Donne’s mockery of the epic tradition continues when he toys with the idea of poetic imitation as his cardinal methodology: ‘I have no purpose to come into any man’s debt. … If I do borrow anything of antiquity, … you shall still find me to acknowledge it’ (lines 15–18) – an acknowledgement that is not

in Spenser and Donne