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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
Open Access (free)
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
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
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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
Chloe Porter

like a missed metatheatrical opportunity. On a basic level, it might be argued that this choice is motivated by practical limitations such as the size of the cast. To some extent playwrights’ focus on individual visual artists can also be explained by the combined influence of the discourse of ut pictura poesis and the paragone debates, both of which invite comparisons between a ‘poet’ and

in Making and unmaking in early modern English drama
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The visual turn in Antony and Cleopatra
Richard Wilson

Shakespearean paradox that ‘There’s language in her eye’ [ Troilus, 4,5,55 ]. Joel Finemann called this verbalization of vision ‘Shakespeare’s Perjur’d Eye’, and described the Sonnets as a systematic revolt against the official literary doctrine of ut pictura poesis , in which ‘poetry based on visual likeness’ is made to give way to ‘poetry based on verbal difference’. After the Sonnets

in Free Will
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
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Kenneth Borris

Recontextualizing Spenser’s 1579 Shepheardes Calender according to book history, the author analyzes its characteristics as a material text. The circumstances of its publication and of the stationer involved, Hugh Singleton, indicate that it was probably subsidized by the Earl of Leicester. The book’s complex design was deeply innovative, and the poet himself appears to have conceived its most unusual features, including its incorporation of a newly devised illustrative program and a commentary, both atypical for a first edition of imaginative fiction or poetry. His Calender samples and reinterprets diverse literary and nonliterary forms and discourses, ranging from humanist eclogues and emblem books to various calendars and popular almanacs, as well as their norms of print. The bibliographical format, paper, typography, and decoration, and the choice, arrangement, and sequence of the various textual parts recall English and continental precedents for printing eclogues and other kinds of books, as well as commentaries, and yet the book introduces various important changes. The twelve original woodcuts were probably devised according to Spenser’s own designs, and the author reveals elaborate symbolism in several selected pictures to show that the 1579 Calender’s illustrations profoundly interact with its poetry. Shedding much new light on its genesis and contents, including its poetics, politics, and satire of the queen’s prospective marriage to the duc d’Anjou, this comprehensive inquiry into the Calender’s first materialization as a book provides invaluable means to advance knowledge of Spenser’s first major poem, his poetic development, and his early reception.

in Edmund Spenser’s Shepheardes Calender (1579)