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How Is the Scene Treated Differently in Visual Art Than in the Written Text Beowulf

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Describing visual art in words

"The presence that thus rose so strangely beside the waters, is expressive of what in the means of a thousand years men had come to desire. Hers is the head upon which all 'the ends of the globe are come up', and the eyelids are a fiddling weary. It is a beauty wrought out from within upon the flesh, the deposit, fiddling cell by prison cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed! All the thoughts and experience of the world have etched and moulded there, in that which they have of power to refine and make expressive the outward form, the animalism of Hellenic republic, the lust of Rome, the reverie of the heart age with its spiritual ambition and imaginative loves, the return of the Infidel globe, the sins of the Borgias. She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen 24-hour interval about her; and trafficked for foreign webs with Eastern merchants: and, as Leda, was the female parent of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but equally the audio of lyres and flutes, and lives only in the effeminateness with which it has moulded the changing lineaments, and tinged the eyelids and the hands. The fancy of a perpetual life, sweeping together 10 one thousand experiences, is an old one; and mod thought has conceived the idea of humanity as wrought upon by, and summing upward in itself, all modes of thought and life. Certainly Lady Lisa might stand equally the embodiment of the former fancy, the symbol of the mod idea." The Mona Lisa described by Walter Pater

The word ekphrasis, or ecphrasis, comes from the Greek for the written description of a piece of work of fine art produced equally a rhetorical do,[1] often used in the adjectival grade ekphrastic. It is a vivid, often dramatic, verbal clarification of a visual work of art, either real or imagined. In ancient times, it referred to a description of any thing, person, or experience. The word comes from the Greek ἐκ ek and φράσις phrásis, 'out' and 'speak' respectively, and the verb ἐκφράζειν ekphrázein, 'to proclaim or phone call an inanimate object by name'.

According to the Poetry Foundation, "an ekphrastic poem is a vivid description of a scene or, more commonly, a piece of work of fine art."[2] More than by and large, an ekphrastic poem is a verse form inspired or stimulated past a work of fine art.

Ekphrasis has been considered generally to exist a rhetorical device in which i medium of art tries to relate to another medium past defining and describing its essence and form, and in doing so, relate more directly to the audition, through its illuminative liveliness. A descriptive work of prose or verse, a picture, or even a photograph may thus highlight through its rhetorical vividness what is happening, or what is shown in, say, any of the visual arts, and in doing and so, may enhance the original art and so take on a life of its own through its vivid description. One case is a painting of a sculpture: the painting is "telling the story of" the sculpture, and so becoming a storyteller, also equally a story (piece of work of art) itself. Nearly any blazon of artistic medium may be the histrion of, or subject area of ekphrasis. One may not e'er be able, for example, to make an accurate sculpture of a book to retell the story in an authentic mode; all the same if it is the spirit of the volume that nosotros are more concerned about, it certainly can exist conveyed by well-nigh any medium and thereby enhance the artistic touch of the original book through synergy.

In this manner, a painting may represent a sculpture, and vice versa; a poem portray a moving picture; a sculpture depict a heroine of a novel; in fact, given the right circumstances, any art may describe any other art, especially if a rhetorical element, standing for the sentiments of the creative person when they created their work, is nowadays. For instance, the distorted faces in a crowd in a painting depicting an original piece of work of art, a sullen countenance on the face of a sculpture representing a historical figure, or a film showing particularly dark aspects of neo-Gothic architecture, are all examples of ekphrasis.

History [edit]

Plato'due south forms, the beginning of ekphrasis [edit]

In the Republic, Volume X, Plato discusses forms by using real things, such every bit a bed, for example, and calls each way a bed has been made, a "bedness". He commences with the original form of a bed, one of a diversity of ways a bed may have been constructed by a craftsman and compares that course with an ideal form of a bed, of a perfect archetype or image in the form of which beds ought to be made, in short, the epitome of bedness.

In his analogy, one bedness form shares its own bedness – with all its shortcomings – with that of the platonic class, or template. A third bedness, likewise, may share the ideal class. He continues with the fourth form likewise containing elements of the ideal template or archetype which in this way remains an always-nowadays and invisible ideal version with which the craftsman compares his piece of work. As bedness after bedness shares the ideal course and template of all cosmos of beds, and each bedness is associated with another ad infinitum, it is called an "infinite regress of forms".

From form to ekphrasis [edit]

It was this epitome, this template of the ideal form, that a craftsman or later an artist would effort to reconstruct in his try to achieve perfection in his work, that was to manifest itself in ekphrasis at a afterward phase.

Artists began to use their own literary and artistic genre of art to work and reverberate on some other art to illuminate what the eye might not see in the original, to elevate it and perchance even surpass it.

Plato and Aristotle [edit]

For Plato (and Aristotle), it is not so much the grade of each bed that defines bedness:[3] as the mimetic stages at which beds may exist viewed that defines bedness.

  1. a bed every bit a concrete entity is a mere class of bed
  2. whatsoever view from whichever perspective, be information technology a side acme, a full panoramic view from above, or looking at a bed end-on is at a second remove
  3. a full motion picture, characterising the whole bed is at a third remove
  4. ekphrasis of a bed in another art form is at a fourth remove

Socrates and Phaedrus [edit]

In another instance, Socrates talks most ekphrasis to Phaedrus thus:
"You know, Phaedrus, that is the strange matter about writing, which makes it truly correspond to painting.
The painter'south products stand before us as though they were alive,
just if you question them, they maintain a near purple silence.
It is the aforementioned with written words; they seem to talk
to you equally if they were intelligent, only if you ask them anything
about what they say, from a desire to exist instructed,
they go on telling you merely the aforementioned thing forever".[4]

Genre [edit]

In literature [edit]

The fullest example of ekphrasis in artifact tin be found in Philostratus of Lemnos' Eikones which describes 64 pictures in a Neapolitan villa. Ekphrasis is described in Aphthonius' Progymnasmata, his textbook of fashion, and subsequently classical literary and rhetorical textbooks, and with other classical literary techniques was keenly revived in the Renaissance.

In the Middle Ages, ekphrasis was less ofttimes practiced, peculiarly every bit regards real objects, and historians of medieval art accept complained that the accounts of monastic chronicles recording at present vanished art concentrate on objects fabricated from valuable materials or with the status of relics, and rarely requite more than the cost and weight of objects, and perhaps a mention of the subject thing of the iconography.

The Renaissance and Baroque periods made much utilize of ekphrasis. In Renaissance Italy, Canto 33 of Ariosto's Orlando Furioso describes a picture gallery created by Merlin. In Espana, Lope de Vega often used allusions and descriptions of Italian art in his plays, and included the painter Titian equally i of his characters. Calderón de la Barca also incorporated works of art in dramas such as The Painter of his Dishonor. Miguel de Cervantes, who spent his youth in Italian republic, utilized many Renaissance frescoes and paintings in Don Quixote and many of his other works. In England, Shakespeare briefly describes a group of erotic paintings in Cymbeline, simply his near extended exercise is a 200-line clarification of the Greek army before Troy in The Rape of Lucrece. Ekphrasis seems to have been less common in French republic during these periods.

Instances of ekphrasis in 19th century literature can be found in the works of such influential figures every bit Castilian novelist Benito Pérez Galdós, French poet, painter and novelist Théophile Gautier, Norwegian playwright Henrik Ibsen, and Russian novelist Fyodor Dostoyevsky.

Herman Melville's Moby Dick, or The Whale features an intense apply of ekphrasis equally a stylistic manifesto of the book in which it appears. In the chapter "The Spouter Inn", a painting hanging on the wall of a whaler'due south inn is described as irreconcilably unclear, overscrawled with smoke and defacements. The narrator, so-called Ishmael, describes how this painting tin be both lacking any definition and still provoking in the viewer dozens of distinct possible understandings, until the great mass of interpretations resolves into a Whale, which grounds all the interpretations while containing them, an indication of how Melville sees his own book unfolding around this chapter.

In Pérez Galdós'due south Our Friend Manso (1882), the narrator describes two paintings by Théodore Géricault to bespeak to the shipwreck of ethics; while in La incógnita (1889), there are many allusions and descriptions of Italian fine art, including references to Botticelli, Mantegna, Masaccio, Raphael, Titian, etc.

In Ibsen's 1888 work The Lady from the Sea, the first human action begins with the description of a painting of a mermaid dying on the shore and is followed by a description of a sculpture that depicts a adult female having a nightmare of an ex-lover returning to her. Both works of art tin be interpreted as having much importance in the overall significant of the play as protagonist Ellida Wangel both yearns for her lost youth spent on an isle out at ocean and is later in the play visited by a lover she thought expressionless. Furthermore, as an interesting instance of the back-and-forth dynamic that exists between literary ekphrasis and art, in 1896 (eight years later the play was written) Norwegian painter Edvard Munch painted an image similar to the i described by Ibsen in a painting he entitled (unsurprisingly enough) Lady from the Body of water. Ibsen'due south last work When We Dead Awaken besides contains examples of ekphrasis as the play's protagonist, Arnold Rubek, is a sculptor who several times throughout the play describes his masterpiece "Resurrection Day" at length and in the many dissimilar forms the sculpture took throughout the stages of its creation. Once again the evolution of the sculpture as described in the play tin can be read as a reflection on the transformation undergone by Rubek himself and even as a statement on the progression Ibsen's own plays took as many scholars have read this final play (stated past Ibsen himself to be an 'epilogue') as the playwright'south reflection on his own work as an artist.

The Russian novelist Fyodor Dostoyevsky employed ekphrasis most notably in his novel The Idiot. In this novel, the protagonist, Prince Myshkin, sees a painting of a dead Christ in the house of Rogozhin that has a profound effect on him. After in the novel, another grapheme, Hippolite, describes the painting at much length depicting the paradigm of Christ as one of fell realism that lacks any dazzler or sense of the divine. Rogozhin, who is himself the owner of the painting, at ane moment says that the painting has the power to take away a man'due south organized religion, a comment that Dostoyevsky himself made to his wife Anna upon seeing the actual painting that the painting in the novel is based on, The Body of the Dead Christ in the Tomb past Hans Holbein. The painting was seen shortly before Dostoyevsky began the novel. Though this is the major instance of ekphrasis in the novel, and the 1 which has the most thematic importance to the story as a whole, other instances tin be spotted when Prince Myshkin sees a painting of Swiss mural that reminds him of a view he saw while at a sanatorium in Switzerland, and also when he offset sees the face of his honey involvement, Nastasya, in the form of a painted portrait. At one point in the novel, Nastasya, too, describes a painting of Christ, her own imaginary piece of work that portrays Christ with a child, an prototype which naturally evokes comparison betwixt the epitome of the dead Christ.

The Irish aesthete and novelist Oscar Wilde'due south The Pic of Dorian Gray (1890/1891) tells how Basil Hallward paints a picture of the young man named Dorian Grey. Dorian meets Lord Henry Wotton, who espouses a new hedonism, defended to the pursuit of beauty and all pleasures of the senses. Nether his sway, Dorian bemoans the fact that his youth will soon fade. He would sell his soul then as to take the portrait historic period rather than himself. As Dorian engages in a debauched life, the gradual deterioration of the portrait becomes a mirror of his soul. There are repeated instances of notional ekphrasis of the deteriorating figure in the painting throughout the novel, although these are ofttimes fractional, leaving much of the portrait's imagery to the imagination. The novel forms part of the magic portrait genre. Wilde had previously experimented with employing portraits in his written piece of work, as in The Portrait of Mr. W. H. (1889).

Anthony Powell's novel sequence A Dance to the Music of Time begins with an evocation of the painting by Poussin which gives the sequence its name, and contains other passages of ekphrasis, perhaps influenced by the many passages in Marcel Proust's À la recherche du temps perdu.

In the 20th century, Roger Zelazny's "24 Views of Mt. Fuji, by Hokusai" uses an ekphrastic frame, descriptions of Hokusai'due south famous serial of woodcuts, every bit a structural device for his story. In her novel Skyline the South African-Italian Patricia Schonstein concludes each chapter with an fine art curator's description of a naïve work of art as a means of introducing boosted narrative voices.

Ekphrastic poetry [edit]

This is a pattern of the Shield of Achilles based on the clarification in the Iliad. Information technology was completed past Angelo Monticelli c. 1820. This shield represents the art of ekphrastic verse Homer used in his writings.

Ekphrastic poesy may be encountered as early as the days of Homer, whose Iliad (Book xviii) describes the Shield of Achilles, with how Hephaestus made information technology too as its completed shape.[5] Famous later examples are found in Virgil's Aeneid, for instance the description of what Aeneas sees engraved on the doors of Carthage's temple of Juno, and Catullus 64, which contains an extended ekphrasis of an imaginary coverlet with the story of Ariadne picked out on it.

Ekphrastic poetry flourished in the Romantic era and once again among the pre-Raphaelite poets. A major poem of the English language Romantics – "Ode on a Grecian Urn" by John Keats – provides an case of the creative potential of ekphrasis. The unabridged poem is a description of a piece of pottery that the narrator finds immensely evocative. Felicia Hemans made extensive utilize of ekphrasis,[vi] as did Letitia Elizabeth Landon, especially in her Poetical Sketches of Mod Pictures. Dante Gabriel Rossetti'southward "double-works" exemplify the apply of the genre past an artist mutually to enhance his visual and literary art. Rossetti too ekphrasised a number of paintings by other artists, generally from the Italian Renaissance, such as Leonardo da Vinci's Virgin of the Rocks.[7]

Other examples of the genre from the nineteenth century include Michael Field's 1892 volume Sight and Song, which contains merely ekphrastic poetry; Algernon Charles Swinburne's poem "Before the Mirror", which ekphrasises James Abbott McNeill Whistler's Symphony in White, No. 2: The Piffling White Girl, hinted at but by the verse form's subtitle, "Verses Written under a Picture"; and Robert Browning's "My Final Duchess", which although a dramatic monologue, includes some description by the knuckles of the portrait before which he and the listener stand up.

Ekphrastic verse is still commonly practised. Twentieth-century examples include Rainer Maria Rilke'south "Archaïscher Torso Apollos",[8] and The Shield of Achilles (1952), a poem by W. H. Auden,[5] which brings the tradition back to its get-go with an ironic retelling of the episode in Homer (see higher up), where Thetis finds very dissimilar scenes from those she expects. In dissimilarity, his earlier poem "Musée des Beaux Arts" describes a particular real and very famous painting, Landscape with the Fall of Icarus, thought until recently to be by rather than after Pieter Brueghel the Elder, which is besides described in the verse form past William Carlos Williams "Landscape with the Autumn of Icarus".[ description needed ] The paintings of Edward Hopper take inspired many ekphrastic poems, including a prize-winning book in French by Claude Esteban (Soleil dans une pièce vide, Sun in an Empty Room, 1991),[nine] a collection in Catalan by Ernest Farrés (Edward Hopper, 2006, English translation 2010 by Lawrence Venuti), an English drove past James Hoggard Triangles of Light: The Edward Hopper Poems (Wings Printing, 2009), and a collection by various poets (The Poetry of Solitude: A Tribute to Edward Hopper, 1995, editor Gail Levin), together with numerous individual poems; see more at Edward Hopper § Influence. The poet Gabriele Tinti has equanimous a series of poems for ancient works of art including the Boxer at Residue, the Discobolus, Arundel Head, the Ludovisi Gaul, the Victorious Youth,[x] the Farnese Hercules, the Hercules past Scopas,[xi] the Elgin marbles from the Parthenon, the Barberini Faun, the Doryphoros and many other masterpieces.

In, or as, art history [edit]

Since the types of objects described in classical ekphrases ofttimes lack survivors to modern times, art historians accept oftentimes been tempted to utilize descriptions in literature every bit sources for the appearance of actual Greek or Roman art, an approach full of adventure. This is because ekphrasis typically contains an element of contest with the art it describes, aiming to demonstrate the superior ability of words to "paint a moving picture". Many subjects of ekphrasis are clearly imaginary, for example those of the epics, but with others it remains uncertain the extent to which they were, or were expected to be by early audiences, at all accurate.

This tendency is past no means restricted to classical fine art history; the evocative only vague mentions of objects in metalwork in Beowulf are eventually always mentioned by writers on Anglo-Saxon fine art, and compared to the treasures of Sutton Hoo and the Staffordshire Hoard. The ekphrasic writings of the lawyer turned bishop Asterius of Amasea (fl. around 400) are often cited by art historians of the period to make full gaps in the surviving creative record. The inadequacy of most medieval accounts of art is mentioned to a higher place; they more often than not lack any specific details other than cost and the owner or donor, and hyperbolic but wholly vague praise.

Journalistic art criticism was effectively invented by Denis Diderot in his long pieces on the works in the Paris Salon, and extended and highly pointed accounts of the major exhibitions of new art became a popular seasonal feature in the journalism of most Western countries. Since few if any of the works could be illustrated description and evocation was necessary, and the cruelty of descriptions of works disliked became a office of the style.

As art history began to become an academic subject in the 19th century, ekphrasis as formal analysis of objects was regarded as a vital component of the bailiwick, and past no ways all examples lack attractiveness as literature. Writers on fine art for a wider audience produced many descriptions with dandy literary also as art historical merit; in English language John Ruskin, both the nigh important journalistic critic and popularizer of historic art of his day, and Walter Pater, above all for his famous evocation of the Mona Lisa, are amid the most notable. As photography in books or on tv allowed audiences a direct visual comparison to the verbal description, the office of ekphrasic commentary on the images was fifty-fifty mayhap increased.

Ekphrasis has also been an influence on art; for case the ekphrasis of the Shield of Achilles in Homer and other classical examples were certainly an inspiration for the elaborately decorated big serving dishes in argent or silver-gilt, crowded with complicated scenes in relief, that were produced in 16th century Mannerist metalwork.

In music [edit]

There are a number of examples of ekphrasis in music, of which the best known is probably Pictures at an Exhibition, a suite in ten movements (plus a recurring, varied Promenade) composed for pianoforte by the Russian composer Modest Mussorgsky in 1874, and so very popular in various arrangements for orchestra. The suite is based on real pictures, although as the exhibition was dispersed, well-nigh are at present unidentified.

The first motility of Three Places in New England past Charles Ives is an ekphrasis of the Robert Gould Shaw Memorial in Boston, sculpted past Augustus Saint-Gaudens. Ives also wrote a poem inspired by the sculpture equally a companion piece to the music.[12] Rachmaninoff's symphonic poem Island of the Expressionless is a musical evocation of Böcklin's painting of the same proper noun. Rex Ruddy'south song "The Night Spotter", with lyrics written by Richard Palmer-James, is an ekphrasis on Rembrandt's painting The Night Watch.

Notional ekphrasis [edit]

Notional ekphrasis may depict mental processes such equally dreams, thoughts and whimsies of the imagination. It may also exist one art describing or depicting some other work of art which every bit yet is yet in an inchoate state of creation, in that the work described may still exist resting in the imagination of the artist earlier he has begun his creative work. The expression may also be applied to an fine art describing the origin of another art, how it came to be made and the circumstances of its being created. Finally it may describe an entirely imaginary and non-existing work of fine art, every bit though it were factual and existed in reality.

In ancient literature [edit]

Greek literature [edit]

The Iliad [edit]

The shield of Achilles is described by Homer in a famous case of ekphrastic poetry, used to depict events that have occurred in the by and events that will occur in the time to come. The shield contains images representative of the Creation and the inevitable fate of the city of Troy. The shield of Achilles features the post-obit nine depictions:

  1. The World, Sea, Sky, Moon and the Cosmos (484–89)
  2. Two cities – one where a hymeneals and a trial are taking place, and one that is considered to be Troy, due to the battle occurring inside the city (509–forty)
  3. A field that is being ploughed (541–49)
  4. The habitation of a King where the harvest is being reaped (550–60)
  5. A vineyard that is being harvested (561–72)
  6. A herd of cattle that is existence attacked past two lions, while the Herdsman and his dogs effort to scare the lions off the prize bull (573–86)
  7. A sheep subcontract (587–89)
  8. A scene with young men and women dancing (590–606)
  9. The mighty Ocean equally it encircles the shield (607–609)

The Odyssey [edit]

Although not written equally elaborately as previous examples of ekphrastic poetry, from lines 609–614 the belt of Herakles is described as having "marvelous works,"[thirteen] such as animals with piercing optics and hogs in a grove of trees. It also contains multiple images of battles and occurrences of manslaughter. In the Odyssey, at that place is besides a scene where Odysseus, bearded as a beggar, must testify to his wife, Penelope, that he has proof that Odysseus is even so alive. She asks him well-nigh the clothes Odysseus was wearing during the fourth dimension when the beggar claims he hosted Odysseus. Homer uses this opportunity to implement more ekphrastic imagery by describing the golden brooch of Odysseus, which depicts a hound strangling a fawn that information technology captured.[13]

The Argonautika [edit]

The Cloak of Jason is another case of ekphrastic verse. In The Argonautika,[fourteen] Jason'southward cloak has seven events embroidered into it:

  1. The forging of Zeus' thunderbolts by the Cyclops (730-734)
  2. The building of Thebes by the sons of Antiope (735–741)
  3. Aphrodite with the shield of Ares (742–745)
  4. The battle between Teleboans and the Sons of Electryon (746–751)
  5. Pelops winning Hippodameia (752–758)
  6. Apollo punishing Tityos (759–762)
  7. Phrixus and the Ram (763–765)

The description of the cloak provides many examples of ekphrasis, and non only is modeled off of Homer'southward writing, but alludes to several occurrences in Homer's epics the Iliad and the Odyssey. Jason'due south cloak can be examined in many ways. The way the cloak's events are described is similar to the catalogue of Women that Odysseus encounters on his trip to the Underworld.[15]

The cloak and its depicted events lend more than to the story than a simple clarification; in true ekphrasis way it not only compares Jason to future heroes such equally Achilles and Odysseus, merely also provides a type of foreshadowing. Jason, by donning the cloak, can exist seen equally a figure who would rather resort to coercion, making him a parallel to Odysseus, who uses schemes and lies to complete his voyage dorsum to Ithaca.[16]

Jason also bears similarities to Achilles: by donning the cloak, Jason is represented as an Achillean heroic effigy due to the comparisons fabricated between his cloak and the shield of Achilles. He is also takes up a spear given to him by Atalanta, not as an reconsideration, but due to his heroic nature and the comparison betwixt himself and Achilles.[17]

While Jason but wears the cloak while going to run across with Hypsipyle, it foreshadows the changes that Jason volition potentially undergo during his run a risk. Through the telling of the scenes on the cloak, Apollonios relates the scenes on the cloak as virtues and morals that should be upheld past the Roman people, and that Jason should learn to live by. Such virtues include the piety represented by the Cyclops during the forging of Zeus' thunderbolts.[18] This is also reminiscent of the scene in the Iliad when Thetis goes to see Hephaestus, and requisitions him to create a new gear up of armor for her son Achilles. Before he began creating the shield and armor, Hephaestus was forging 20 gilt tripods for his own hall, and in the scene on Jason'south cloak we meet the Cyclops performing the last step of creating the thunderbolts for Zeus.[19]

Roman literature [edit]

The Aeneid [edit]

The Aeneid is an ballsy that was written by Virgil during the reign of Augustus, the first Emperor of Rome. While the epic itself mimics Homer'southward works, it tin can exist seen as propaganda for Augustus and the new Roman empire.[20] The shield of Aeneas is described in book eight, from lines 629–719.[21] This shield was given to him past his mother, Venus, after she asked her husband Vulcan to create it.[21] This scene is nearly identical to Thetis, the mother of Achilles, asking Hephaestus to create her son new weapons and armor for the battle of Troy.

The departure in the descriptions of the two shields are easily discernible; the shield of Achilles depicts many subjects, whereas the shield made for Aeneas depicts the hereafter that Rome will have, containing propaganda in favor of the Emperor Augustus.[twenty] Much like other ekphrastic poetry, it depicts a clear catalogue of events:

  1. The She Wolf and the suckling Romulus and Remus (629–634)
  2. The Rape of the Sabine Women (635–639)
  3. Mettius pulled apart by horses (640–645)
  4. Invasion of Lars Parsona (646–651)
  5. Manlius guarding the capitol (652–654)
  6. Gauls invading Rome (655–665)
  7. Tartarus with Cato and Catiline (666–670)
  8. The Body of water effectually the width of the shield (671–674)
  9. The Battle of Actium (675–677)
  10. Augustus and Agrippa (678–684)
  11. Antony and Cleopatra (685–695)
  12. Triumph (696–719)

There is speculation as to why Virgil depicted certain events, while completely avoiding others such as Julius Caesar'south conquest of Gaul. Virgil clearly outlined the shield chronologically, but scholars argue that the events on the shield are meant to reflect certain Roman values that would have been of high importance to the Roman people and to the Emperor.[22] These values may include virtus, clementia, iustitia, and pietas, which were the values inscribed on a shield given to Augustus past the Senate.[23] This example of ekphrasitc poesy may be Virgil'southward attempt to relate more of his piece of work to Augustus.

Earlier in the epic, when Aeneas travels to Carthage, he sees the temple of the city, and on it are keen works of art that are described past the poet using the ekphrastic style. Like the other occurrences of ekphrasis, these works of art describe multiple events. Out of these, in that location are 8 images related to the Trojan War:[21]

  1. Depictions of Agamemnon and Menelaus, Priam and Achilles (459)
  2. Greeks running from Trojan soldiers (468)
  3. The sacking of the tents of Rhesus and the Thracians, and their deaths past Diomedes (468–472)
  4. Troilus being thrown from his Chariot as he flees from Achilles (473–478)
  5. The women of Troy in lamentation, praying to the gods to help them (479–482)
  6. Achilles selling Hektor'south body (483–487)
  7. Priam begging for the return of his son, with the Trojan commanders nearby (483–488)
  8. Penthesilea the Amazon, and her fighters (489–493)

Another significant ekphrasis in the Aeneid appears on the baldric of Pallas (Aeneid Ten.495-505). The baldric is decorated with the murder of the sons of Aegyptus by their cousins, the Danaïds, a tale dramatized by Aeschylus. Pallas is killed by the warrior Turnus, who plunders and wears the baldric. At the climax of the verse form, when Aeneas is on the point of sparing Turnus's life, the sight of the baldric changes the hero's mind. The significance of the ekphrasis is hotly debated.[24]

The Metamorphoses [edit]

There are several examples of ekphrasis in the Metamorphoses; one in which Phaeton journeys to the temple of the sun to see his male parent Phoebus. When Phaeton gazes upon the temple of the sunday, he sees the following carvings:[25]

  1. The seas that circumvolve the Earth, the surrounding lands, and the sky (8–nine)
  2. The gods of the sea and the Nymphs (x–19)
  3. Scenes of men, beasts, and local gods (20–21)
  4. Twelve figures of the Zodiac, six on each side of the door to the temple (22–23)

Other aspects [edit]

Educational value of using ekphrasis in teaching literature [edit]

The rationale backside using examples of ekphrasis to teach literature is that one time the connection between a poem and a painting are recognized for case, the student's emotional and intellectual engagement with the literary text is extended to new dimensions. The literary text takes on new significant and in that location is more to reply to considering another fine art class is beingness evaluated.[26] In addition, as the cloth taught has both a visual and linguistic basis new connections of understanding are formed in the student'southward encephalon thus creating a stronger foundation for understanding, remembrance and internalization. Using ekphrasis to teach literature can be done through the utilize of college club thinking skills such every bit distinguishing different perspectives, interpreting, inferring, sequencing, compare and dissimilarity and evaluating.[ citation needed ]

Literature examples [edit]

  • Roberto E. Aras: "«Ecfrasis» y «sinfronismos» en la ruta de Ortega hacia El Quijote" ("Ekphrasis" and "synphronism" on Ortega'south route to Don Quixote), in Disputatio. Philosophical Research Bulletin 8:ten (December 2019): 0-00 (18 p.)
  • Andrew Sprague Becker: The Shield of Achilles and the Poetics of Ekphrasis. Lanham, MD: Rowman & Littlefield, 1995. ISBN 0-8476-7998-five
  • Emilie Bergman: Art Inscribed: Essays on Ekphrasis in Spanish Gilt Age Poetry. Cambridge: Harvard University Press, 1979. ISBN 0-674-04805-9
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  • Siglind Bruhn: Musical Ekphrasis: Composers Responding to Verse and Painting. Hillsdale, NY: Pendragon Press, 2000. ISBN 1-57647-036-9
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  • Siglind Bruhn, ed.: Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis [Interplay: Music in Interdisciplinary Dialogue, vol. 6]. Hillsdale, NY: Pendragon Press, 2008. ISBN 978-1-57647-140-i
  • Frederick A. de Armas: Ekphrasis in the Age of Cervantes. Lewisburg: Bucknell University Press, 2005. ISBN 0-8387-5624-7
  • Frederick A. de Armas: Quixotic Frescoes: Cervantes and Italian Renaissance Art. Toronto: University of Toronto Press, 2006. ISBN 978-1-4426-1031-6
  • Robert D. Denham: Poets on Paintings: A Bibliography. (Jefferson, NC: McFarland, 2010) ISBN 978-0-7864-4725-ane
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  • Barbara K Fischer: Museum Mediations: Reframing Ekphrasis in Gimmicky American Poetry. New York: Routledge, 2006. ISBN 978-0-415-97534-6
  • Claude Gandelman: Reading Pictures, Viewing Texts. Bloomington: Indiana University Press, 1991. ISBN 0-253-32532-3
  • Jean H. Hagstrum: The Sis Arts: The Tradtition of Literary Pictorialism and English language Poetry from Dryden to Gray. Chicago: The University of Chicago Press, 1958.
  • James Heffernan: Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. Chicago: University of Chicago Press, 1993. ISBN 0-226-32313-vii
  • John Hollander: The Gazer's Spirit: Poems Speaking to Silent Works of Art. Chicago: University of Chicago Printing, 1995. ISBN 0-226-34949-7
  • Gayana Jurkevich: In pursuit of the natural sign: Azorín and the poetics of Ekphrasis. Lewisburg, PA: Bucknell Academy Press, 1999. ISBN 0-8387-5413-9
  • Mario Klarer: Ekphrasis: Bildbeschreibung als Repräsentationstheorie bei Spenser, Sidney, Lyly und Shakespeare. Tübingen: Niemeyer, 2001. ISBN 3-484-42135-5
  • Gisbert Kranz: Das Bildgedicht: Theorie, Lexikon, Bibliographie, 3 Bände. Köln: Böhlau, 1981–87. ISBN 3-412-04581-0
  • Gisbert Kranz: Meisterwerke in Bildgedichten: Rezeption von Kunst in der Poesie. Frankfurt: Peter Lang, 1986. ISBN 3-8204-9091-4
  • Gisbert Kranz: Das Architekturgedicht. Köln: Böhlau, 1988. ISBN 3-412-06387-8
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  • Murray Krieger: Ekphrasis: The Illusion of the Natural Sign. Baltimore: Johns Hopkins University Press, 1992. ISBN 0-8018-4266-ii
  • Norman State: The Viewer every bit Poet: The Renaissance Response to Art. University Park, PA: Pennsylvania State University Printing, 1994. ISBN 0-271-01004-v
  • Cecilia Lindhé, 'Bildseendet föds i fingertopparna'. Om en ekfras för den digitala tidsålder, Ekfrase. Nordisk tidskrift för visuell kultur, 2010:1, p. 4–16. ISSN Online: 1891-5760 ISSN Print: 1891-5752
  • Hans Lund: Text equally Picture: Studies in the Literary Transformation of Pictures. Lewiston, NY: Due east. Mellen Printing, 1992 (originally published in Swedish as Texten som tavla, Lund 1982). ISBN 0-7734-9449-9
  • Alexander Medvedev: Tiziano's «Denarius of Caesar» and F.M. Dostoevsky's «The M Inquisitor»: on the Problem of Christian Art In: The Solovyov Research, 2011, No. 3, (31). P. 79–xc.
  • Michaela J. Marek: Ekphrasis und Herrscherallegorie: Antike Bildbeschreibungen im Werk Tizians und Leonardos. Worms: Werner'sche Verlagsgesellschaft, 1985. ISBN 3-88462-035-5
  • J. D. McClatchy: Poets on Painters: Essays on the Art of Painting past Twentieth-Century Poets. Berkeley: University of California Press, 1988. ISBN 978-0-520-06971-8
  • Hugo Méndez-Ramírez: Neruda's Ekphrastic Experience: Mural Art and Canto full general. Lewisburg, PA: Bucknell Academy Printing, 1999. ISBN 0-8387-5398-1
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  • Valerie Robillard and Els Jongeneel (eds.): Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis. Amsterdam: VU University Press, 1998. ISBN 90-5383-595-4
  • Maria Rubins: Crossroad of Arts, Crossroad of Cultures: Ekphrasis in Russian and French Poesy. New York: Palgrave, 2000. ISBN 0-312-22951-8
  • Grant F. Scott: The Sculpted Discussion: Keats, Ekphrasis, and the Visual Arts. Hanover, NH: University Press of New England, 1994. ISBN 0-87451-679-X
  • Grant F. Scott: "Ekphrasis and the Picture Gallery", in Advances in Visual Semiotics. Ed. Thomas A. Sebeok and Jean Umiker-Sebeok. New York and Berlin: W. de Gruyter, 1995. 403–421.
  • Grant F. Scott: "Copied with a Deviation: Ekphrasis in William Carlos Williams' Pictures from Brueghel". Word & Paradigm 15 (January–March 1999): 63–75.
  • Mack Smith: Literary Realism and the Ekphrastic Tradition. Academy Park: Pennsylvania State U Press, 1995. ISBN 0-271-01329-X
  • Leo Spitzer: "The 'Ode on a Grecian Urn', or Content vs. Metagrammar," in Comparative Literature 7. Eugene, OR: University of Oregon Printing, 1955, 203–225.
  • Ryan J. Stark, Rhetoric, Science, and Magic in Seventeenth-Century England (Washington, DC: The Catholic Academy of America Press, 2009), 181–90.
  • Iman Tavassoly: Rumi in Manhattan: An Ekphrastic Collection of Poetry and Photography, 2018. ISBN 978-1984539908
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  • Robert Wynne: Imaginary Ekphrasis. Columbus, OH: Pudding Firm Publications, 2005. ISBN 1-58998-335-ane
  • Tamar Yacobi, "The Ekphrastic Figure of Speech," in Martin Heusser et al. (eds.), Text and Visuality. Word and Image Interactions iii, Amsterdam: Rodopi, 1999, ISBN 90-420-0726-five.
  • Tamar Yacobi, "Verbal Frames and Ekphrastic Figuration," in Ulla-Britta Lagerroth, Hans Lund and Erik Hedling (eds.), Interart Poetics. Essays on the Interrelations of the Arts and Media, Amsterdam: Rodopi, 1997, ISBN 90-420-0202-vi.
  • Santarelli, Cristina (2019). "L'ékphrasis come sussidio all'iconografia musicale: Funzione metanarrative delle immagini nel romanzo modern eastward contemporaneo". Music in Art: International Journal for Music Iconography. 44 (ane–2): 221–238. ISSN 1522-7464.

Run into besides [edit]

  • Blazon

References [edit]

  1. ^ The Chambers Dictionary, Chambers Harrap, Edinburgh 1993 ISBN 0-550-10255-8
  2. ^ The Poetry Foundation, Glossary Terms: Ekphrasis (accessed 27 April 2015)
  3. ^ "Ecphrasis".
  4. ^ Plato: Phaedrus 275d
  5. ^ a b Munsterberg, Marjorie, Writing Well-nigh Fine art: Ekphrasis (retrieved 27 Apr 2015)
  6. ^ Grant F. Scott. The Fragile Image: Felicia Hemans and Romantic Ekphrasis in Felicia Hemans. Reimagining Poetry in the Nineteenth Century. Palgrave Macmillan, 2001. ISBN 978-0-333-80109-3
  7. ^ "For "Our Lady of the Rocks", past Leonardo da Vinci". Rossetti Archive . Retrieved 7 March 2017.
  8. ^ "Rainer Maria Rilke, Trunk of an Archaic Apollo".
  9. ^ Sample poem: "Trois fenêtres, la nuit" ("Nighttime windows"), notes
  10. ^ http://blogs.getty.edu/iris/verse form-for-a-victorious-athlete/ Getty Museum | 2015-09-08
  11. ^ "Giving Life to Hercules: Q&A with Gabriele Tinti and Joe Mantegna - Unframed". unframed.lacma.org . Retrieved 9 May 2019.
  12. ^ Mortensen, Scott. "Orchestral Gear up No. i: Three Places in New England – Notes". A Charles Ives Website . Retrieved 19 Oct 2013.
  13. ^ a b Lattimore, Richmond (1967). The Odyssey of Homer. New York: Harper Perennial Modernistic Classics. lines 609–614.
  14. ^ Rhodios, Apollonios. The Argonautika. lines 720–763.
  15. ^ Bulloch, Anthony (2006). "Jason's Cloak". Hermes. 134: 44–68 [59]. Retrieved xvi April 2016.
  16. ^ Shapiro, H. A. (1 January 1980). "Jason's Cloak". Transactions of the American Philological Association. 110: 263–286. doi:10.2307/284222. JSTOR 284222.
  17. ^ Clauss, James (1993). The Best of the Argonauts. The University of California Printing. p. 120. Retrieved xvi Apr 2016.
  18. ^ Shapiro, H. A. (ane January 1980). "Jason'due south Cloak". Transactions of the American Philological Association. 110: 265. doi:ten.2307/284222. JSTOR 284222.
  19. ^ Clauss, James. The Best of the Argonauts. p. 122.
  20. ^ a b Williams, R. D. (1981). "The Shield of Aeneas". Vergilius (27): 8–11. JSTOR 41591854.
  21. ^ a b c Ahl, Frederick (2007). The Aeneid of Virgil. Great britain: Oxford Globe's Classics. lines 372–406. ISBN978-0-19-923195-9.
  22. ^ Penwill, John. "Reading Aeneas' Shield" (PDF).
  23. ^ Harrison, S. J. (November 1997). "The Survival and Supremacy of Rome: The Unity of the Shield of Aeneas". The Journal of Roman Studies. 87: 70–76. doi:10.1017/S0075435800058081. Retrieved 20 Apr 2016.
  24. ^ Olive, Peter (August 2021). "Red Herrings and Perceptual Filters: Problems and Opportunities for Aeschylus's Supplices". Arethusa. 54: 1–29. doi:x.1353/are.2021.0000.
  25. ^ Martin, Charles (2010). Metamorphoses. West. W. Norton and Company. pp. 1–23.
  26. ^ Milner, Joseph O'Beirne, and Lucy Floyd Morcock Milner. Bridging English. 2nd ed. Upper Saddle River: Prentice, 1999. pp. 162–163.

External links [edit]

  • Discussion of Course
  • Essay on musical ekphrasis Archived 23 September 2009 at the Wayback Auto
  • Maier Museum of Fine art at Randolph College Ekphrastic Poesy Web Page
  • Hephaestus Starts Achilles' Shield
  • Self-Portrait in a Convex Mirror, Ashbery
  • Ekphrastic poem by Jared Carter on the Lorado Taft sculpture, "The Solitude of the Soul."
  • Homo Lying on a Wall
  • Examples of Ekphrasis poesy
  • Ekphrastic blog, Poems and Pictures
  • Martyn Crucefix on 14 Ways to Write an Ekphrastic Poem

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Source: https://en.wikipedia.org/wiki/Ekphrasis

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