Ekphrasis and historical materiality in Shakespeare’s The Rape of Lucrece
, Archaeologies of English RenaissanceLiterature (Oxford:
Oxford University Press, 2007), and Angus Vine, In Defiance of Time: Antiquarian
Writing in Early Modern England (Oxford: Oxford University Press, 2010).
8 Catherine Belsey, ‘Invocation of the Visual Image: Ekphrasis in Lucrece and Beyond’,
Shakespeare Quarterly, 63 (2012), 175–98 (p. 196).
9 Greene describes an unrequited desire in the Renaissance for the ancient world, a
desire that was like an ‘incomplete embrace’ (The Light in Troy, p. 43).
10 Valentine Cunningham, ‘Why Ekphrasis?’, Classical Philology, 102
Ekphrastic encounters in Kyd’s The Spanish Tragedy
‘Fabulously counterfeit’: ekphrastic
encounters in Kyd’s The Spanish Tragedy
One of the more explicit references to the paragone in Renaissanceliterature
appears in Shakespeare’s Sonnet 16. Like several of the poems in the sequence,
Sonnet 16 self-consciously reflects upon the speaker’s attempts to represent the
friend in verse, or what the poet playfully refers to as his ‘barren rhyme’.1 But
this particular sonnet also sets up a further comparison between poetry and the
visual arts. The speaker proposes that the friend’s living offspring will
Continental accounts of architecture because of the new proliferation of translations, and who readjusted
continuously when speaking and hearing the words of their discussions.
1 Lawrence Stone, The Crisis of the Aristocracy 1558–1641 (Oxford: Oxford University
Press, 1967), pp. 41–2, 45–6, 51.
2 J. F. R. Day, ‘Primers of Honor: Heraldry, Heraldry Books, and English RenaissanceLiterature’, Sixteenth-Century Journal 21:1 (Spring 1990), 94–6.
3 On these volumes, see Day, ‘Primers of Honor’, 93–103.
4 John Guillim, A Display of Heraldrie: Manifesting a More Easie