Literature and the other arts

Marshall, David; Mace, D. T.; Nisbet, H. B.; Rawson, Claude

doi:10.1017/chol9780521300094.030

Cited by 22 publications

(4 citation statements)

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“…(trans. Markiewicz and Gabara , 537 ) Indeed it is as a demand, a ‘ call for literature to act like painting by presenting images and tableaux to the reader or listener’ (Marshall 1997, 682, my emphasis) that the ut pictura poesis trope was most influential.…”

Section: Ut Pictura Poesis Eritmentioning

confidence: 99%

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Differential Imagery Experience andUt Pictura Poesisin the 18th-century

MacKisack

2016

Interdisciplinary Science Reviews

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That the ability to visualise, to see with 'the mind's eye', varies between individuals has been known since Francis Galton reported on the results of his 'Breakfast Table' questionnaire in 1880. Research in the ensuing years has supported what Galton's surveys suggested: that the vividness of the population's mental imagery lies across a spectrum, with small percentages at the extremes being bereft of imagery or visualising with near percept-like quality. This paper explores what impact this factor of individual psychological difference had on the literary-theoretical debate over ut pictura poesiswhether poetry can or should emulate paintingas it culminated in the 18th-century. After making the case for personal experience of imagery being an influencing factor on the position that critics in the period took on ut pictura poesis, the paper concludes by engaging with the methodological and conceptual difficultiesfor the philosophy of science as much as for literary theory and history that the line of argument produces.keywords mental imagery, differential psychology, 18th-century British poetics, history of art, history of science, interdisciplinarity Ut Pictura PoesisTaken from his Epistle to the Pisos, Horace's formulation 'ut pictura poesis' -'a poem is like a painting' (Dorsch and Murray 2000, 108)became a central point of contention in theories of visual and verbal art, and of their relation, from antiquity onwards. Originally a benign observation about how the two modes are best encountered, Horace's statement came to stand for the thesis that literature, just as much as the visual or plastic arts, deals in sensory experience, and vision in particular. The parallel goes at least back to Simonides's 'Painting is mute poetry and poetry is a speaking picture' (Markiewicz and Gabara 1987, 535) in the early 5th-century BC, and would go on to be re-iterated by Plato, Aristotle, and Cicero; Longinus's 1st-century treatise On the Sublime emphasises the poetic power of

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Section: Ut Pictura Poesis Eritmentioning

confidence: 99%

“…We will see how this plays out in the eighteenth century — the ‘culmination’ (Marshall 1997, 682) of the ut pictura poesis debate — in the cases of two authors who take opposing sides on the issue: Joseph Addison and Edmund Burke.…”

Section: Motives Reasonsmentioning

confidence: 99%

Differential Imagery Experience andUt Pictura Poesisin the 18th-century

MacKisack

2016

Interdisciplinary Science Reviews

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“…This translation from the book and gallery to the estate obviously could not have taken place without wealthy landowners […] Over three million acres of land were enclosed through acts of Parliament alone in the course of the eighteenth century, transforming the face of England. 50 Picturesque gardens frame nature as a ready-made 'natural' painting and thus occlude the arbitrariness of landowner's wealth. 51 In their writings on the picturesque, Richard Payne Knight and Uvedale Price derided both 'Capability' Brown and Humphrey Repton for being 'mere' gardeners and not artists able to acknowledge the primacy of the eye: 'the Picturesque eye' is 'anti-georgic', Malcolm Andrews remarks, noting that 'man's presumptuous "improvements" are repudiated by the Picturesque eye […] Man is humbled before the untamed grandeur of Nature'.…”

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confidence: 99%

“…Thy joys no glitt'ring female meets, No hive hast thou of hoarded sweets, No painted plumage to display: On hasty wings thy youth is flown; Thy sun is set, thy spring is gone-We frolic, while 'tis May. (ll [41][42][43][44][45][46][47][48][49][50].…”

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confidence: 99%

Escaping the Crowds: The Harmonious Environments of Sociability in Eighteenth-Century Writings

Uściński

2023

Literature & History

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This article looks at the eighteenth-century ways of thinking about nature in connection with sociability and retirement by juxtaposing some of the poetry of the period with the discourses concerned with gardens and the aesthetics of garden design. In the writings of Anthony Ashley Cooper, 3rd Earl of Shaftesbury, Joseph Addison, William Gilpin, Elizabeth Montagu, and William Shenstone, the interest in the value of retirement as a much-needed respite from polite society is accompanied with some concern about the dangers of inactivity and idleness. Nature is thus supposed to offer an appropriately shaded, harmonious environment that provides spiritual reinvigoration and cultivation of taste, away from the tumult of urban crowds. In the poetry of Thomas Gray and William Blake, in turn, one may notice the evocation of nature as a more disturbing force, which, rather than merely confirming to the taste for harmony, seems to challenge some of the premises of polite culture. Paying attention to aesthetic thought, cultural history and poetic discourse, the article provides some insights into the complexity of the eighteenth-century aesthetics of nature.

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Literary Passions

Joy¹

2020

Eighteenth-Century Literary Affections

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Literature and the other arts

Cited by 22 publications

References 214 publications

Differential Imagery Experience andUt Pictura Poesisin the 18th-century

Differential Imagery Experience andUt Pictura Poesisin the 18th-century

Escaping the Crowds: The Harmonious Environments of Sociability in Eighteenth-Century Writings

Literary Passions

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