Ut pictura poesis
From The Art and Popular Culture Encyclopedia
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| [[W. J. T. Mitchell]] trenchantly observed that "We tend to think that to compare poetry with painting is to make a metaphor, while to differentiate poetry from painting is to state a literal truth." | [[W. J. T. Mitchell]] trenchantly observed that "We tend to think that to compare poetry with painting is to make a metaphor, while to differentiate poetry from painting is to state a literal truth." | ||
| - | ==References== | ||
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| - | *Rensselaer W. Lee, ''Ut Pictura Poesis: The humanistic theory of painting.'' New York: Norton, 1967[http://www.noteaccess.com/Texts/Lee/Intro.htm] | ||
| - | *Saltana (2001), ''Ut pictura poesis''[http://www.saltana.org/1/docar/001.html] | ||
| ==See also== | ==See also== | ||
| *[[Poesis]] | *[[Poesis]] | ||
Revision as of 17:38, 11 March 2013
Illustration: Laocoön and His Sons ("Clamores horrendos" detail), photo by Marie-Lan Nguyen.
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Ut pictura poesis is Latin, literally "As is painting so is poetry." The statement (often repeated) occurs most famously in Horace's Ars Poetica, near the end, immediately after the "other" most famous quotation from Horace's treatise on poetics, "bonus dormitat Homerus", or "even Homer nods" (an indication that even the most skilled poet can compose inferior verse):
- Poetry resembles painting. Some works will captivate you when you stand very close to them and others if you are at a greater distance. This one prefers a darker vantage point, that one wants to be seen in the light since it feels no terror before the penetrating judgment of the critic. This pleases only once, that will give pleasure even if we go back to it ten times over. (Quoting from English translation)
Horace meant that poetry (in its widest sense, "imaginative texts") merited the same careful interpretation that was, in Horace's day, reserved for painting. Horace's formula, equating the "sister arts," has proved more often a stimulus for dissent than for any useful theorizing on the resemblance between images and texts.
Lessing opens the Laocoön (1766) by observing that "the first who compared painting with poetry [Simonides] was a man of fine feeling," though, Lessing makes it clear, not a critic or philosopher. Lessing argues that painting is a synchronic, visual phenomenon, one of space that is immediately in its entirety understood and appreciated, while poetry (again, in its widest sense) is a diachronic art of the ear, one that depends on time to unfold itself for the reader's appreciation. He recommends that poetry and painting should not be confused, and that they are best practiced and appreciated “as two equitable and friendly neighbors.”
W. J. T. Mitchell trenchantly observed that "We tend to think that to compare poetry with painting is to make a metaphor, while to differentiate poetry from painting is to state a literal truth."
See also
