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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
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