June 19, 2012
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| :The classic expression of [[ekphrastic]] fear occurs in [[Lessing's Laocoon]] , where it is "prescribed as a law to all poets" that "they should not regard the limitations of painting as beauties in their own art." For poets to "employ the same artistic machinery" as the painter would be to "convert a superior being into a doll." It would make as much sense, argues [[Lessing]], "as if a man, with the power and privilege of speech, were to employ the signs which the [[mute]]s in a Turkish [[seraglio]] had invented to supply the want of a voice.''[12] | :The classic expression of [[ekphrastic]] fear occurs in [[Lessing's Laocoon]] , where it is "prescribed as a law to all poets" that "they should not regard the limitations of painting as beauties in their own art." For poets to "employ the same artistic machinery" as the painter would be to "convert a superior being into a doll." It would make as much sense, argues [[Lessing]], "as if a man, with the power and privilege of speech, were to employ the signs which the [[mute]]s in a Turkish [[seraglio]] had invented to supply the want of a voice.''[12] | ||
| - | :[[ut pictura poesis]] [uut pik‐too‐ră poh‐ees‐is]a phrase used by the Roman poet Horace in his Ars Poetica (c.20 BCE), meaning ‘as painting is, so is poetry’. The phrase has come to stand for the principle of similarity between the two arts, an idea shared by many writers and artists of different periods and found in common metaphors of literary ‘depiction’ or ‘portrayal’. It held an important place in aesthetic debates of the late Renaissance and in the theories of neoclassicism, but was subjected to an important critique by the German dramatist and critic G.E. Lessing in his essay Laokoon (1766). The relationship between the two ‘sister arts’ is usually said to lie in their imitation of nature (see mimesis). | + | :[[ut pictura poesis]] |
| - | Read more: http://www.answers.com/topic/ut-pictura-poesis#ixzz1yEYeEvqz | + | [[Simonides of Ceos]] (links) |
| + | [[Apelles]] (links) | ||
| + | [[Hierarchy of genres]] (links) | ||
| + | [[Ode on a Grecian Urn]] (links) | ||
| + | [[Ars Poetica]] (links) | ||
| + | [[Joseph Trapp]] (links) | ||
| + | [[Agni (opera)]] (links) | ||
| + | [[Alfred Woolmer]] (links) | ||
| {{GFDL}} | {{GFDL}} | ||
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- The classic expression of ekphrastic fear occurs in Lessing's Laocoon , where it is "prescribed as a law to all poets" that "they should not regard the limitations of painting as beauties in their own art." For poets to "employ the same artistic machinery" as the painter would be to "convert a superior being into a doll." It would make as much sense, argues Lessing, "as if a man, with the power and privilege of speech, were to employ the signs which the mutes in a Turkish seraglio had invented to supply the want of a voice.[12]
Simonides of Ceos (links) Apelles (links) Hierarchy of genres (links) Ode on a Grecian Urn (links) Ars Poetica (links) Joseph Trapp (links) Agni (opera) (links) Alfred Woolmer (links)
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