Meek-Intro-Narrating the Visual in Shakespeare Intro

8/2/2019 Meek-Intro-Narrating the Visual in Shakespeare Intro

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inoon

s, Nv n a

in inon o The Taming of the Shrew, on of s y,

a Lord and his servants perpetrate an elaborate condence trick upon the hapless

n co sy, n n m o m m bv , oo, lo.

p of o of on n on nvov on of v

wo of o :

2 Serv. do o ov ? W w f

aon n by nnn boo,an cy n ,

W m o mov n wnon w b,

evn wvn y w wn.

Lord. W ow io w m,

an ow w b n ,

a vy n w on.

3 Serv. O dn omn o ony woo,

sn on w b,

an aoo w,

so womny boo n wn.1

aon o lo n vnmn, o on

wo b fovn fo mn m fo n f. t o n

w Vn (cy) m o mov (52), w nn of io

o b a vy n w on (56). Fmo, n ynx

of mn n w aoo

wn nn, wn of dn f, o n obv of

xony , mov by womny (60) non of

boo n . t on m n, n, o b non

bwn non n y, n bwn vw n n. i wo

mn, owv, wo off. t lo n

mn n sy w om of v fon, yn y w

f [m] (49) of Vn n aon, n w ow [m]

io (54), b o no wn on of y. p lo

n o-ono m b b f sy doesnt bn

wo n n mn xony mo of vm. B of

1

The Taming of the Shrew, n The Riverside Shakespeare, . g. Bmo evn,2nd edn (Boston: Houghton Mifin, 1997), Induction 2.4960. Unless otherwise stated, all

fn o s wo n fom on, n by , n n

n nmb.


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Narrating the Visual in Shakespeare2

o s n o no o wo . do

s my b f o mnon?

if o, on lo on sy my ffn fom

wy n w s y b w vv on of n

nn?t momn on ow n n n nn v wo

oo s , n o ffn n n

m n w wo. Fo w s my v bn mn of

n o n yw wo wo w bo wo n m

w o b o, wo m o v bn fn by by of

wo o create m. t on of wo n The Taming of the Shrew

on v w w b fo of boo. t

s n n o , b o vvn

n vn of sn nv, n n om of wy nw of wo . a vo momn n s

y on b off n o fo o on n off vn,

oy o . Mny of nv onn bo on

o wo of , o om y o wo of , n

The Rape of Lucrece fo on / Of f nn (13667)

vn of f of toy.2 t enobb o on of co

b nAntony and Cleopatra, n w co o O-[]

o of Vn w w / t fny owo n (2.2.200201). W

v Jmo on of oon n imon boom n Cymbeline,

in which he describes the remarkably lifelike gures on the chimney-piece:

Never saw I gures / So likely to report themselves (2.4.823). There is also

v nv on n Richard II, wn d of Yo b

bn n of Bnboo v n lonon, n w Bnboo

by n mn m. aon o d, on wo v o

w / W n my on, / J v !

2 lon Bn m on on bwn v n

sn non n Mn p s: rnn a, ezbnl, Mon so, Renaissance Quarterly, 48 (1995), 32651. h off

bf onon ofLucrece, The Winters Tale, Cymbeline n Hamlet, n w

n mnn on onnn v ow of

n wo n n mm (. 342). a w , owv, i o no

w Bn sn nw o qon vy m on

(. 342). Fo vy of s fn o wo of v

Wm s. h, s n h ron o V a: a sy n

pox, Research Opportunities in Renaissance Drama, 1314 (197071), 571. s

o sn O n sn kn (), Shakespeare and the Arts (Nw Yo: gn,

1999); M ron, lon V n As You Like It, Shakespeare Quarterly, 52(2001), 25576 (. . 2569); n Mo k, Ekphrasis: Bildbeschreibung als

Reprsentationstheorie bei Spenser, Sidney, Lyly und Shakespeare (tbnn: Nmy,

2001), . 13881.


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Shakespeare, Narrative and Art 3

Wom, Bnboo! (5.2.1517). an, mo nny of ,

on of hmon n nm n of The Winters

Tale, n w o b wo of go romno: h

o n o hmon on hmon y y on wo o

and stand in hope of answer (5.2.100102). In each of these examples we ndon of xony nn o oo , o vn b

n, y, n o b on v of o movmn. a

m m, owv, momn xo by of n o n

these works of art, and recall Philip Sidneys celebrated denition of poetry as

n .3 in o wo, w fn o nn n

ny n s n n v , y o

m n n of nv, n on bwn ffn

y of mm, n n qon of w n n o w o mny

w v wn o o: o m .4

in n on of s fn o v , aon

ton ommn , exn ony x ff, f n o

function reexively as a trope for Shakespeares own rhetorical virtuosity, thereby

nn nnn paragone bwn o n n. a ommn on

mm o, o on moy nmb on o

o of rnn ommon on m.5 ton fy w o

non o f n o x ony x ff,

b w mon of s o on wn f

on. F fom bn nmb on o rnn m,

on of o y by s o nnfy

n om o non of bf. to xm fom The Taming

of the Shrew w w w bn: momn xy onn w o

engagement with works of art, and the extent to which we are taken in by ctions.

Fo, mmy f vv o of o wo, lo

co sy y, n o fon nw ny fo m: to

o, n non b o (inon 2.61). t lo xy sy o n

3

s p sny, The Defence of Poesy n The Oxford Authors: Sir Philip Sidney,. kn dnn-Jon (Oxfo: Oxfo unvy p, 1989), . 217. p

b oy n n nn n om

o smon of co (c. 556467 bc) n Moralia ( dnn-Jon, . 374, no o

. 217, n 221). Fo f on of n o bow.4 W.J.t. M, e n O, n Picture Theory: Essays on Verbal

and Visual Representation (co n lonon: t unvy of co p, 1994),

. 15181 (. 152). t n fom Jo con pf o The Nigger

of the Narcissus, . c W (hmonwo: pnn, 1988), n w con

ommn w w by ow of wn wo o m

yosee (. xx). s o MIconology: Image, Text, Ideology (co: counvy p, 1986).

5 aon ton, Vision and Rhetoric in Shakespeare (Bno: pv

Mmn, 2000), . 73.


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into the ctional world that he has created. Yet it is almost as if the Lord and his

oo v y n o of non of sy bf by

bn mm ow of off .

t y mby ffv sy no on m b o

ffn bwn fny n y: uon my f, i m o n, / anno n, no co sy (inon 2.723). sy mn o

mny wf wo bn b o m: W, bn o y o o

, / an on n o o m (inon 2.745). t wnon

(inon 1.47) m o v fo bo v n

x fon. t lo b y f mo bf / tn ny

womn n wnn (inon 2.623). an y v y , of

o, lo yon , Boomw. W sy wn Boomw

nally appears is thus bound up with, rst, these absent artworks, and, second,

lo on of y xony by. cy, n, pictorial descriptions are more than simply gures for Shakespeares rhetorical

voy. sy bf n v of Boomw fomn n

produced by on, w by oo wo of n b

mn fo y. how m o o xn ofThe Taming of the

Shrew, o o s mo ny?

W m b m o sy fo bn n n by n obvo

of on-y. an y, mn wo f no bon,

having served their function by breaking down Slys resistance to the ction that

lo , o oo o inon ofThe Taming of the Shrew. sy

sits down with his ctional wife to hear a play (134), a pleasant comedy (130)

that tells the story of the shrewish Katherina, a ctional character who like

sy mny wf wo v bn y by boy o. a sy mf

y, com, mm wf, by my , n wo (1423). t

on of wo wn inon v n noo mm

fnon o inon f. ty sy o b n n by on

bn on m n by m nnmn wn;

m m, inon wo mn of b my o

fom wy n w w n n by s y. Of o,

inon n b n xm of mm, n w soy xo won of m , n v onvnon

of cross-dressing boy-actors as a piece of deception. Even more signicant,

owv, wy n w lo xo on bwn v

ffn mo of non nv, m, o n o o

b co sy. Fo w lo o o on n bo

noo o n of w s o o . t momn, n, no

only highlights Shakespeares interest in reecting upon the visual arts and the

onvnon of b o wy n w y ofn v

n of mmy fom y oon of, n omon w, omo of .

s non of o on w qon

n n n vn of mm non; n


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m m ekphrasis, w f fn n nb, y

suggestive. Recent critics and theorists have dened ekphrasis as the verbal

non of v non.6 Y r Wbb no m,

-onn nm, ny mon on, n on

o ony n n y om o f o onof wo of n v wn y wo.7 in o,

o f o vy ny xn on: wo y

mn o o o o n f.8 a My k wn, t y

mnn vn n hn o w oy n:

f, mo boy, o vb on of omn, mo nyn, n

f o .9 But even then ekphrasis had a specic rhetorical function: as Webb

no, W n ekphrasis qy of vvn, enargeia,

m on mn y of n wo m, n ton wo, b

mo m o bj Enargeia of ekphrasis.10 By

onvn of no ony vb non of wo of

, n now, mo mon n of m b o b

or more specic type of enargeia, o vv non, n boo

m o xmn omx on bwn v n n n

s wo. a w n foow, s

nv om ofn m o boow nnny vm of

mv o of s n. s y

my onn vo on o wo of o ; y y o xo

no paragone on bwn nv n m. ty

ofn n m oy o nv mo of non, wat the same time exposing dramas reliance upon and afnity with narrative. This

boo s y w wn oy o y

by fnon w mm ny n xn, n w

oby ny n w k on of

n n.

6 Mitchell, Ekphrasis and the Other, p. 152. James A.W. Heffernan denes ekphrasis

vb non of non, n e n rnon,

New Literary History, 22 (1991), 297316 (. 299). s o hffnn boo-n yMuseum of Words: The Poetics of Ekphrasis from Homer to Ashbery (co: unvy

of co p, 1993); gn F. so, The Sculpted Word: Keats, Ekphrasis, and the

Visual Arts (hnov n lonon: unvy p of Nw enn, 1994); n sn

c, Writing for Art: The Aesthetics of Ekphrasis (Mn: Mn unvy

p, 2008).7 r Wbb, Ekphrasis ann n Mon: t invnon of gn, Word and

Image, 15 (1999), 718 (. 14).8 s Jn h. hm, The Sister Arts: The Tradition of Literary Pictorialism and

English Poetry from Dryden to Gray (co: t unvy of co p, 1958),

. 18n34.9 My k, Ekphrasis: The Illusion of the Natural Sign (Bmo: Jon

hon unvy p, 1992), . 7.10 Wbb, Ekphrasis ann n Mon, . 13.


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in S/Z, ron B o on of mm ny n

on of on bwn n nn. af n

evy y on view, B b wy n w y

w fm n y b by moyn onvnon n o

boow fom v .11 h , n o wo, o n of m m B mf obm

by nn othermo of non n o n .

Intriguingly, Barthess denition of realism could also serve as a denition of

f: t, m (by nm, ny ofn by n)

on no n oyn b n oyn () oy of :

fmo reality, o ffn fom ffn w fom bn

o y, set farther away, oon, o o

o mx n w bn bfo bn no wo: o

on o, nown m (. 55). Fo B, y m omnof mnom, vn w bn n , n f, of o

n onvnon wn fom o y of non. r n xon

, owv, B on of n onvnon

on of y, n on m o xon of w

w n wo o b .12 a B w, t wy m nno

b n o b (o ony mm,

o w y oy) (. 55). B ommn oby

, f fom bn n ob y n, o o x,

n y omn of ox n, vn y,

of y on mo ny. p, n, fnon of

v fom f n xm o ny mo x xm

of w non o v. in of s,

f om by f on of v n o b b

on o wo of n nn. By mn

o vb non of v , s ffvy

moy v of mm; o B, y oy w y oy

of oy. s on my no ny y

ff B b; non, vo v of non

s n w m nb o by o n bwn of

ffn v m m.

s qon of mm n v no, w m no, bn

primary focus of most Shakespeare scholars in the last twenty-ve years or so. As

lon hon ny obv, onon of nv mn n

m of en rnn o v o omw bow

11 s ron B, S/Z, n. r M (Nw Yo: F, s n

gox, 1974), . 546, qoon on . 54. s o B, t ry eff, ntzvn tooov (.),French Literary Theory Today (cmb: cmb unvy

p, 1982), . 1117.12 s Mw pooy, Mimesis (lonon n Nw Yo: ro, 2006), . 110.


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n .13 hon on fo my b

vn of -o o o s, n mn

nw o sn gnb n n n

rhetorical gures such as energia n enargeia n n wy n w y

x of on of o ny.14 cny nw omhas been benecial in putting history back on the critical agenda, and in prompting

o n n no on bwn x n onx.15

There are, however, signs that the rst phase of new historicist and cultural

m m omn o n n, w om ommno v on

o mn of nw fomm, n vn nw m.16 a M

robon ommn, t oy bn o o

of nnon, b now nn o fofon.17 evn gnb

mf, n Hamlet in Purgatory (2001), now vn mn

f onn w mnon of y wo bom,f no q nb, n ny nfonb. af ommnn on

m nny ofHamlet, gnb o ommn w on

mnn of wfy no ho Boom: i m b b o

b wn o nny ofHamlet; b my ofon bom o oy

difdent and even phobic about literary power, so suspicious and tense, that it

13 lon hon, The Invention of Suspicion: Law and Mimesis in Shakespeare and

Renaissance Drama (Oxfo: Oxfo unvy p, 2007), . 108.14 s sn gnb, Shakespearean Negotiations: The Circulation of Social

Energy in Renaissance England(Oxfo: cnon p, 1988), . 56.15 inPracticing New Historicism (co n lonon: unvy of co p,

2000), cn g n sn gnb fn nw o by

myn mo oy v n o mo on mooo. ty

write: Where traditional close readings tended to build towards an intensied sense of

wonn mon, n o bon of n, nw o n mo

ofn , wy, myfyn, , n vn v (. 9). Fo n nvq of mn r Mdon inoon o Shakespeare Reread: The

Texts in New Contexts (i n lonon: con unvy p, 1994), . . 89.16 s h gy, s s, 2005: a s Ovvw, Shakespeare,

1 (2005), 10220 (. . 113). On nw m , fo xm, Jon J. Jon,

s, Mony n a: a, t n Jmn n The Winters Tale,

n h gy (.), Shakespeare and Modernity: Early Modern to Millennium (lonon:

ro, 2000), . 6184; Jon n smon M (), The New Aestheticism

(Mn: Mn unvy p, 2003); n r cmbn, Radical

Spenser: Pastoral, Politics and the New Aestheticism (enb: enb unvy

p, 2005).17 M robon, The Sense of Early Modern Writing: Rhetoric, Politics, Aesthetics

(Mn: Mn unvy p, 2006), . 5. robon on of gnb

on o o vn ( . 4043).


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on of o fn o wo on nyon

bothers with the enterprise in the rst place.18

t n boo o no off n x q of nw o o

o n of s, b o r Mdon n

n o o v bn n n y, n on n on no of s m ny

v non fom fom n m b of wo.19 cy

by of n o n o o mon on n

ony o Julius Caesaro b mn of b my onn of

n boo o on s wo n y n o

onx.20 in foow, i of m

nny gnb f o v fom wy n w s

repeatedly reects upon the power of narrative and the ability of art to deceive his

n n . Mny v, of o, xo mm of s wo.21 Y fw v xo s

oon w on bwn ffn y of mm n

y n om, n w n oo

. s qon o vn o n b n s

onnn y m o i n o n mo

bow. t boo, n, onbon o n of m fo

on Shakespeares literariness and self-reexivity, and it argues that ekphrasis

18

gnb, Hamlet in Purgatory (pnon: pnon unvy p, 2001),. 4. Fo ho Boom oon The Western Canon: The Books and School of the

Ages (lonon: Mmn, 1995), n Shakespeare: The Invention of the Human (lonon:

Fo e, 1999).19 r Mdon, Shakespeare and the Arts of Language (Oxfo: Oxfo unvy

p, 2001), . 34.20 Fo n oon of y xo o of o n

y mon o Jnnf r n aon ton (),Rhetoric, Women and

Politics in Early Modern England(lonon n Nw Yo: ro, 2007). r n

ton w nnn of o m off wy of vn

effectiveness and political signicance of female speech: Eloquence is a crucial termfo b ov voby n wy of nn bn no vw ofn

no vn of womn n y fo nmn w

v n of oy (. 10).21 s, fo xm, ann r [Bon], Shakespeare and the Idea of the Play

(lonon: co n Wn, 1962); Jm l. cwoo, Shakespearean Metadrama

(Mnno: unvy of Mnno p, 1971), n Metadrama in Shakespeares

Henriad: Richard II to Henry V (By: unvy of cfon p, 1979);

rob en, Drama Within Drama: Shakespeares Sense of His Art in King Lear,

The Winters Tale, and The Tempest(Nw Yo n lonon: comb unvy p,

1975); gm Bw, Shakespeares Scepticism (Bon: hv, 1987), .. 2; rob kn, Shakespeare: The Theatre and the Book (pnon: pnon

unvy p, 1989); n rob Wmnn, Authors Pen and Actors Voice: Playing

and Writing in Shakespeares Theatre (cmb: cmb unvy p, 2000).


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n y v xm of o vn mo fo

v ff of sn mm.

On mon xnon fo s n n vvn of

n o nb.22 c on

Qnn wo Institutio Oratoria w wy n y mono n n ow o moy v hypotyposis n

enargeia o vv on of n obj o vn. Qnn w

t n xn w g , n romn

visions, wby n bn n o o mnon w xm

vvn y m y o b bfo o vy y.23 h o on

o f o enargeia, w m m no o m o n o xb

n, w o moon w b no vy n f w w

n on (6.2.32). Qnn, n, no ony

enargeia off o vvn b o on o ffv ow of

on, n n moon w b mov f y

n vn mv. t m on v vvn

o fon n o xboo s wo v non

mm oo.24 aonProgymnasmata w qn of fon

wn x fo o of n omoon. aon

w wn n fo ny ad, n w bn n enn n

xn ny n ln on by ro ao n rn

22 Fo f on of o n rnn , fo xm, s MmJo, Shakespeares Use of the Arts of Language (Nw Yo: comb unvy p,

1947); Bn V, s u of ro, n knn M n s. sonbm

(),A New Companion to Shakespeare Studies (cmb: cmb unvy p,

1971), . 8398, n In Defence of Rhetoric (Oxfo: cnon p, 1988); p

p, Literary Fat Ladies: Rhetoric, Gender, Property (lonon: Mn, 1987); N

ro, The Power of Eloquence and English Renaissance Literature (hm hm:

hv Wf, 1992); Qnn snn,Reason and Rhetoric in the Philosophy of

Hobbes (cmb: cmb unvy p, 1996); Mdon, Shakespeare and the

Arts of Language; p M, Elizabethan Rhetoric: Theory and Practice (cmb:

cmb unvy p, 2002); n robon, The Sense of Early Modern Writing, .. 2. Fo f ovvw of o Jnnf r,Rhetoric (lonon n Nw

Yo: ro, 2008).23 Qnn,Institutio Oratoria , n. h.e. B, 4 vo (lonon: Wm hnmnn,

1921), vo. 2,. 4335 (6.2.29).24 t.W. Bwn s wo v bn fm w Qnn,

wn , aon w co, Qnn w the Rhetorician, nn of mm

oo, n William Shaksperes Smalle Latine and Lesse Greeke, 2 vo (ubn: unvy

of ino p, 1944), vo. 2, . 197. ron know, n on,

Institutio wo v bn oo mbom n xnv fo n mm oo, n

n wo v bn mo y o ov v aon (vommnon). B o Mdon, wo mon on no

w [s] nw o o nboo b, , boon

n n fnon w n (Shakespeare and the Arts of Language, . 37).


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lo.25 The twelfth exercise is , used in its broader sense to mean

on, o of w o m : don fom

of xooy , on o w non bj , w,

rmly before the eyes.26 an n snboEpitome Troporum ac Schematum

(c. 1541), another popular grammar school textbook, we nd the followingdescription of the gurepragmatographia a specic type of vivid description or

hypotyposis on of n vn o on: wn w y n

oo w nn o y n, o o no

o o o mf, n , n o v m. 27

In this last example, Susenbrotus suggests that the gure ofpragmatographia

n ff mn of n o o ; n o wo, mo of on

ffv bo on n o fomn. Moov, m y

n o om of non vvn

n mmy. in The Arte of English Poesie (1589), go pnm o

vn f by n m non n n onof mny on, o by mny voy y n o n y, o

mn m n w n now on.28 in bo , snbo n

pnm m, w ff bo n v f,

b n om o m nv n nn w y m of

f. Y on mo omx n w . af ,

s m wo mv f of nn of n of vv

description that Susenbrotus describes. Why would a playwright ll his plays with

on nv on v y o m n n n y

w wn y w y ? sy ofnon wo b nn, vn m by o n bfo y

of n n n n wo of Qnn xb n?

Fo om , nomnon xb n m of m

onon of y mon .29 cny b yo

25 s M,Elizabethan Rhetoric, . 279.26 Aphthonii Sophistae Progymnasmata cum luculentis & vtilibus in eadem Scholijs

Reinhardi Lorichii Hadamarii (lonon: tom M, 1583), . Z5v (do

oo xo, q non qo oom , n v o bj).i m f o Jon ro fo w nn .27 Qo fom Jo X. Bnnn, tEpitome Troporum ac Schematum of Jonn

snbo: tx, tnon, n commny (nb oo on,

unvy of ino, 1953), . 84.28 go pnm, The Arte of English Poesie (1589), . gy do Wo

n a W (cmb: cmb unvy p, 1936), . 31.29 s anony Bnnn, Onstage and Offstage Worlds in Shakespeares Plays

(lonon n Nw Yo: ro, 1989). Bnnn o now ow of

oy n s nv o, y fnon of oy

o v mony on xnv ny n o, mn by n mo o o of o, ny w nv o b on fo n oon

b (. 12). s o Fn By, The Shakespeare Inset: Word and Picture (lonon:

ro n kn p, 1965).


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gob, w n n w o mnmm, n by o

n n o mn w mon, f no mo mon, n w y w.

a ofn n o on o, y n rnn m

n.30 in wo audience f o t on wn n; n

mby of n, n oy (OED, 7), n v fom ln audire,o . in on, r.a. Fo mn , s y w

wn fo n n obn m of nw, non (n mon,

fo xm) n nnmn o ; mny o w , n

w no nw. i now n o nny v o

mn xmn of nn o oqn oy n o n o,

w on o of lonon.31 p, n, o

of y mon enn o w f mny o w

n n of o wo v mn n m no

v obj o w a Fow v vy of

m wo of s n onmo.32

Y s n n of nv, i wo , o

byon bo o of rnn n y mm

onx. a w oo boo, s n

, vn oo, n n by of n o

n n o y n n of

n bn b. t vo vn oo s

y oo o n n nv fom, momn o v

, nn of Fff; O non w hm w

ob nb; go n King Lear; n non ofpoxn, p n lon n nm n of The Winters Tale.

t momn v yw y n n n bn,

n n n by o v n n mnon. Fo

w s wo m mon vn of w w

, myn o- b, y o on o obm n mon

30 in The Illusion of Power: Political Theater in the English Renaissance (By:

unvy of cfon p, 1975), sn O w n y

vnn ny w m o b vb mm, n n ... w fomof ooy (. 1617). Mo ny, owv, gb en

mny mo fn oseeing y n o n o hearing y;

hn o sn py?: evn of ey Mon t tmnooy, Ben

Jonson Journal, 8 (2001), 32747.31 King Lear, . r.a. Fo (Won-on-tm: tom Non n son,

1997), . 6.32 s a Fow,Renaissance Realism: Narrative Images in Literature and Art

(Oxfo: Oxfo unvy p, 2003), . 33. h w: ao onn n

w ommon n vnn-ny ny, y bon mo n m

to n n n n o, m o v bn b, nm wy (. 33). in noon nv n

nm , i wo , xo n qon oo s y,

n Hamlet; c 3, bow.


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of v non, n y of nv on o m

w m nno. inHenry V, fo xm, co xy

n of y w b o vv n w n

bn b: tn, wn w of o, yo m, / pnn

o oof vn (poo, 267). exy n gure ofenargeia, n w v fn o pnn, co

oby vb on n bn fo m o w hm

mn y (1.2.184), o w rnn ommno on o

f o oculimentis.33

This fascination with the capacity of language to make us see and the specic

n of sn my b f mn by xmnn

rnn ow on bwn n v

. in y of y om, The Sister Arts (1958), Jn h.

hm rnn oon w nn on ofut pictura poesis n paragone bwn oy n nn n w:

so fqny w ho m y on

ut pictura poesis my b on mo yno of rnn

m.34 p of ho m w n b n

poy nn w oon o o n

o on o ow o vvn.35 W, f ,

o b mo vy mm n nn? t xon of

33

M B own of oculi mentis y of nnn w y on n rnn o, n w oy o

with the gure of enargeia. s Speaking Pictures: English Emblem Books and

Renaissance Culture (lonon: lonmn, 1994), . 253. Fo w-nn on

ofenargeia n y mon am Mkown Enargeia n en

ly rnn (nb oo on, Nw Yo unvy, 2000).

Qoon fomHamlet n fom ann tomon n N tyo an 3 on

(lonon: tomon lnn, 2006).34 hm, The Sister Arts, . 612, qon Jo e. snn, A History of

Literary Criticism in the Renaissance (Nw Yo, 1920), . 42. s o ly gn,

Picture and Poetry 15601620: Relations between Literature and the Visual Arts in the English Renaissance (lmnon s: Jm h, 1981); dv ev, Literature and

the Visual Arts in Tudor England(an n lonon: t unvy of go p,

1990); c h, The Rule of Art: Literature and Painting in the Renaissance (co

n lonon: t unvy of co p, 1990); J dn,Pencils Rhetorique:

Renaissance Poets and the Art of Painting(Nw n lonon: unvy of dw

p 1993); co B, Reguring the Real: Picture and Modernity in Word

and Image, 14001700 (pnon: pnon unvy p, 1993); Nomn e. ln,

The Viewer as Poet: The Renaissance Response to Art (unvy p, pa:

t pnnyvn s unvy p, 1994); n p eon n c h (),

Early Modern Visual Culture: Representation, Race, and Empire in Early Modern England(p: unvy of pnnyvn p, 2000).

35 s ho, The Art of Poetry, n d.a. r n M. Wnboom (), Classical

Literary Criticism (Oxfo: Oxfo unvy p, 1989), . 107.


13/27


idea appears in Erasmus well-known denition ofenargeia nDe Copia (1513):

W [enargeia] wnv w o no xn n my, b y

o b oo f w x n oo n , o my

m w v n, no n, n n, no .36

h em moy mo of nn mn of xn vy ofenargeia. h m, n o wo, non o o

q of v , n n omow o o, o

least more immediate than, hearing or reading. Erasmus denition is echoed in

amn o Fby o n sn The Shepherds Calendar, n

w e.k. n n o mn o wo of v : o mn

of O n B o vy n o fny , f n w fo

n om bfo o y, mo ny o no .37 in bo of

xm, v mmy of o n fo oo

n w o o. t my o om wy ow xnn oafnity between ekphrasis and enargeia, n by on of on wy

y offn - on w ofn wn o bn

wo of v .

Bn on ofut pictura poesis, n, y v mon

bo v n vb . a co B , o of

on w t mo mmy v n fof (f

no ny mo fn) fom of mon nn i o

nn ow enargeia: y o z o of n

n ovwmn n of y n yn bo m n

nn mnn of on oy no o vy o.38 gvn

monn of ow of v n o, nn

rnn w w v by of pymon (on

n boo 10 of Ov Metamorphoses), n by on of ny wo

of of nqy, px mb of Vn, o Zx n

.39 W o v o n, oy o, w on of

36 em,De Copia, n Omnia Opera, 9 vo (B: Fobn, 1540), vo. 1, . 66;

non n fom tn cv, Enargeia: em n ro of pnn sxn cny, LEsprit Crateur, 16 (1976), 519 (. 7). s o cv

The Cornucopian Text: Problems of Writing in the French Renaissance (Oxfo: cnon

p, 1979).37 emn sn, The Shepherds Calendar, n Shorter Poems: A Selection,

. Jon l (lonon: evymn, 1998), . 20.38 co B, t pox soo: u p po, n gyn

p. Noon (.), The Cambridge History of Literary Criticism, Volume 3: The Renaissance

(cmb: cmb unvy p, 1999), . 16875 (. 169).39 s Fno roo, t ro of pn: a, l, n ion, n

Noon (.), The Cambridge History of Literary Criticism, Volume 3, . 1617 (. 162).Fo om v ommn on pymon my p Boo, Body Work:

Objects of Desire in Modern Narrative (cmb, Ma, n lonon: hv unvy

p, 1993), . 225.


14/27


onvnon vb n, n oy n n , v m

of n bn n oy mb y, m b mn

fo y o vn, n of pymon , m y become

.40 s mon bo oy of o vm by

oy. a W.J.t. M wn, bn w nffn, w n o n y wo nno n , m

n obj n m wy v non n. i my f o n

obj, b , nvo , b n nv bn v n bfo n

wy o.41

Y on bwn v n vb f mo omx

n mbo n mon ow. an n omn of

mbvn n b o n wo of s. h mo x

fn o paragone appears in the rst scene ofTimon of Athens, n w

we nd a suggestive encounter between a Poet and a Painter.42 t n

onby o ow n mmy of v bov

oy. t pn moy ffo my inffn

(1.1.30), b po w no v o:

amb! how

s own nn! W mn ow

t y oo fo! how b mnon

Mov n ! to mbn of

On m n. (1.1.3034)

t po m o m n , n no mnon

wo nn.43 B n m on vn v

wo no ony ovo b o y on mnon of obv?

t po o no mbn of On m n,

n mn non, n q n obv o v

vo o . t pn b nn n m n on

of hmon n ofThe Winters Tale: i y mon of

f. / h o; oo? (1.1.356). an po on: i w

say of it, / It tutors nature. Articial strife / Lives in these touches, livelier than

f (1.1.368). aon o po , nn o n n vn mo f n f f. p, n, w m y po

40 s B, t pox soo, . 169.41 M, e n O, . 152.42 s anony Bn, an eo of pon n s, Journal of the

Warburg Institute, 2 (1939), 26062; W.M. Mn, Timon n con of a,

Shakespeare Quarterly, 6 (1955), 24957; n Jon dxon hn, s n

Paragone: a rn of Timon of Athens, n Wn hb, d.J. pm n ro

pn (),Images of Shakespeare: Proceedings of the Third Congress of the International

Shakespeare Association, 1986(Nw: unvy of dw p, 1988), . 4763.43 Jon Jow o wo imagination n bj ow

o fom n on n Oxfo on of Timon of Athens (Oxfo: Oxfo

unvy p, 2004), no o sn 1, n 32.


15/27


mny rnn w wo o o v omn

of xony vvn n vm of nn. B w, on

m won, o y oo ? Wn w n,

nn bn, n x n mn y of . an, n fomn,

vn f omn oxmn xony w bo on, m ny n n wo v bn b o ,

wv m.

t pn o on o f mo of non

o o n, no n by o ffn of o:

a on mo nn i n ow

t mon q bow of Fon

Mo nny n wo. (1.1.9092)

t ny nqvo ommn m s o v , o v xn mo ny, o o n o

n. an y n b bwn v n vb mo of non,

nn pn wo off n nomn of own

nn. Moov, w o o xm of paragone

v , fom n onn of n non w on no.

a Jon dxon hn , a v on n oy mboy ono

own mm m of v y off o n. 44 l

lo n vnmn n The Taming of the Shrew, pn y

can ow on mo nn (90), b w v o wo fo .

in on, w m y mo Mo nny

n wo (92) f mn o ow of n. poxy,

pn n wo o po (n n n n

of n) of oy of v . W m o won ow

on o x on fn vis--vis n oy o n n

n. s yf xoon of paragone no ony m

oy of oy ov nn b o mon xn o w

m vn wn mny v ofn v n on

n n n mnon.

t n, n, m f m bo owof y bo v . a v ommno v on o,

o of y mon enn w vy nvo

om o of eo, n w n o w mo y o v

fom vw bo nn n on q o on,

n by yn .45 evn oy o m

44 hn, s n Paragone, . 50.45 gn, Picture and Poetry, . 39. Bn ommn e owv

inuenced by art works or inuential upon them is passed on in an inheritance more fromhom, Ov, n p n fom Zx, dom a, n Bo (Mn

p s, . 332). B o h on of on bwn p

sny n No h n The Rule of Art, . 5.


16/27


b n inon o Shrew n f y y; y b

on myoo n Ov Metamorphoses.46 in, B

own, wo on ofut pictura poesis fnmny y

b. h on boom o o w nn n

w y o ofpoetry n y m n n of woy w -mnn xon.47 B off v of vn

fo n of on, of w n b mm . F,

o y mon w w on o b noon of ut

pictura poesis w mv w n ommno on o. t

nn of nqy o fn rnn w w o, n ony

b v wo of w pny n p.48 son, on of

mn on w of o w wn o n v

m of v n vb w off m n oony o ow off

o . a ly gn wn, o of v

w fvo bn o, b n f o oqn.49 an , vy noon ofut pictura poesis n b n on . if oy n mb

nn, n nn n mb oy. in o wo, v

ymmy n qvn bwn wo mo of non m

on o oy of v .

som of onn xo n wo of s

onmo. Fo w mo fmo nn of o b

fon n hom on of a n

boo 18 of Iliadn V on of an n boo 8 of

Aeneid w omn of ovy of of n rnn.50 Fo om w of o, off n ffv n

46 s Jonn B, Shakespeare and Ovid (Oxfo: cnon p, 1993),

. 11819. s o The Taming of the Shrew, . g.r. hbb (hmonwo: pnn,

1968), no o inon 2.4859.47 s B, t pox soo, . 17073 (qoon on . 170).48 The close afnity between rhetoric and the visual arts is hinted at in Don Quixote,

when Don Quixote reects upon the difculties of describing his beloved Dulcinea, and

n y o mnn byon non

ow of bo of nqy and nn on: o w oo i o o n n by of dn, wn

bn woy of b o n mn, n nn o b n o

b of p, tmn n a n o of ly, o n

on woo n o of bonz, n o conn n dmon o o

? (cvn,Don Quixote, n. Jon rfo (hmonwo: pnn,

2000), . 706).49 gn,Picture and Poetry, . 39.50 cn By ny b fvo v of o n

The Rape of Lucrece, n p cny (.), The Cambridge Companion to Shakespeares

Poetry (cmb: cmb unvy p, 2007), . 90107 (. 100). s o cpon, e: pnn n Wo, n syv amon, gvn axn n kn

enb (.), Renaissance Figures of Speech (cmb: cmb unvy

p, 2007), . 11529.


17/27


ffv mn of nn ffn. in tom sv inon o

1563 on ofThe Mirror for Magistrates, for example, we nd an extended

on of f of toy on W . t momn boo 1 of

Aeneid, w n on of an obvn m of f

of toy n m n c. t n sv om voscenes of conict and woe, including Pompeye, and Cesar clad in armes and

y of s n M.51 Y on o nv wo n

: B toy (m o) bo m , / i m myn y n vy

onm (4356). sv n o nn ffv ow

of o non of toy. a m m,

vo qon bo n of non:

B ow n i yv of ,

t n y o fy yn?

s n wo i n w n wyco f f, no f o fyn.

i n no mo b ow n

Fy im f n bnn own,

an fom oy toy Nn own. (47076)

t no fo bn y . in f, o xony

wo of v sv no o m n ony ,

n y ow: i n no mo b ow n. Y

appears to be a certain degree of competitiveness and reexivity in this description.

t no no wo o v f n

b; n y fomon o my mon fn of

o. i sv n fo of f o fyn wo of

imaginary visual artist, or is it equally procient? Moreover, there seems to be a

n mbvn n sv om ow , nv n von. t

narrator seems to be enamoured of the artists skill, and praises the neness of the

representation. At the same time, however, the narrator describes a horric sight

that lls his eyes with tears. Perhaps, then, the narrator hopes that our response to

om w oon o his on o bn b mmny owf

wo of o . in o wo, momn wy n wekphrasis is often concerned with empathy, and serves as a means of both guring

n n moon on.

O rnn m vn n vn

of wo of v y b. Boo 2 of sn The Faerie Queene

onn n xn on of Bow of B, n xony

attractive but ultimately dangerous and articial garden. Spensers ekphrastic

mo w m on bn of y n non, n

m wnn n vn of m o v bn

51 The Mirror for Magistrates, . ly B. cmb (cmb: cmb

unvy p, 1938), . 297317, n 41923 (. 313).


18/27


an important inuence on Shakespeare. When Guyon and the Palmer enter the

Bow, y n o y on :

Y fm w of o yoy,

t m wo of mb w;

an n fmo oy

OfIason n Meda w yw;

Her mighty charmes, her furious louing t,

His goodly conquest of the golden eece,

His falsed faith, and loue too lightly it,

t wonArgo, w n vno

F o Euxine seas bore all the owr ofGreece.52

gvn o m of on of Bow n The Faerie Queene

wo onn w vn of n n n

of mn f on fo y, n gyon n pm o

o b wy of mb .53 i , on o no, wo of

mb w, o m[] o b on. t o oy

of Jon n M, w wo my m o

Jon n qn gon F. s w of of ,

we are told, that it becomes increasingly difcult to separate the carvers medium

fom n n: Y m n foy bow fy /

Vn , oo m wn, / t m w w no yoy,

/ O yoy no w w n (2.12.45). h, vy momn wn w

o o b o of ow of , w o mn wo of o mby f o ffn bwn wv

n n voy o of w m. t mbvn ow

v ow of n b n oo s y n

om. Fmo, w n c 1, sn xy o

on of Vn n aon n boo 3 ofThe Faerie Queene my v v

n non fo s Venus and Adonis.

a w v bn o , ny onon of n o mn

w on on between y x. t f m

n n nn n o 1602 qo of tom ky The Spanish

Tragedy xo on bwn nv, m n oart. The play was rst published in 1592 and was reprinted ten years later,

Nwy o, mn, n n w nw on of pn ,

52 emn sn, The Faerie Queene, . tom p. ro, J (hmonwo:

pnn, 1978), 2.12.44.53 On on bwn v n vb mo of non n sn

, mon o, Jo B. d, i of s n The Faerie Queene, ELH, 27

(1960), 87121; Jon B. Bn, Spenser and Literary Pictorialism (pnon: pnon

unvy p, 1972); t M. k, Gazing on Secret Sights: Spenser, ClassicalImitation and the Decorums of Vision (i: con unvy p, 1990); dn,

Pencils Rhetorique , . 3; n Mkown, loon Bom loon p, SEL,

45 (2005), 4463.


19/27


n o, of bn m .54 i n

pn w m mon no o wn mnon on

of xn on. in n, o of w nn,

pn om on , wo y oon honmo o

on. honmo om ffn o of pn, n o pn: a n? cn n m , o won, on, o ? n n

m ? (11314).55 i n pn on Bzo,

n honmo of , n m n xn fow

(117). a of pn n, honmo pn o

[] (136) n o n o of m:

an n , , n, bo mn nn, n on n on,

yo now wn w wv mn, n i w o m own. an

looking upon him by the advantage of my torch, nd it to be my son Horatio.

t yo my ow on, yo my ow on. dw m oPriam of Troy, crying, The house is a-re, the house is a-re, as the torch over

my . M m , m m v, m m y, m m m, m m

w n, m m , nvo vn, n n n, v m n

n n o fo. (15161)

t of honmo ny on of mny nn,

w mn w off o no o . an y mo

honmo b, on mb ny onvb of

v . honmo m wn o b n, b vo n

b nvn mf n nv,or even a play. The only way of painting a gure saying The house is a-re,

the house is a-re, as the torch over my head is to write the phrase on to the

nn f, n n y mon qvn of bbb.56 so ny

54 The Spanish Tragedie (lonon: pn by W[m] W[] fo t[om] pv,

1602), . rn of 1592 on n 1594 n 1599.55 Qoon fom y n fom p ew on (cmb, Ma:

hv unvy p, 1959). t pn n n n on

(. 12733). Fo on of o of on l en,Beyond the

Spanish Tragedy: A Study of the Works of Thomas Kyd(Mn: Mn unvy

p, 2001), . 11926. co m nn on s w

onb fo on ( t. a (.), The Table Talk and Omniana of Samuel

Taylor Coleridge (lonon: g. B n son, 1923), . 203). t oy w n n

wn ny by Wn svnon, n s hn n The Spanish Tragedy

1602, SEL, 8 (1968), 30721. en, owv, w bon on

(. 122), n t qon of o of on my w v

o mn nnw (. 123). s o M a. t The Scandal of Images:

Iconoclasm, Eroticism, and Painting in Early Modern English Drama (snov:

sqnn unvy p, 2005), . 5.

56 inny, o 1615 on onn n on wn fmn of wn mn fom mo, nn

honmo yn a my on hoo. s The Spanish Tragedie (lonon: pn

by W[m] W, 1615), .


20/27


honmo on pn m o n moby of

commission, or even that it has the potential to go on indenitely: And is this the

n? (162). Moov, honmo q o b n o pm of toy

wo y momn n s w b xo n mo

n c 2 n 3: nn of f of toy n The Rape of Lucrece,n py n Hamlet, w oy of py, pm n

hb. h The Spanish Tragedy s, wo toy nv n

n Mow nv-vy yDido, Queen of Carthage, w f

VAeneid. W momn onby bo nn, n,

m o b mo onn w y xn n boown, n mn

n wo of gn so ny nx.57

cy, n, s w no ony w n rnn o

n n nn v , o n by of n o y

y. Y s nq mon y mon o n

continual fascination with ekphrasis, and the fact that this interest nds its way into

nv om and y. Fmo, w m no s

on ofn m fom mo of o o

nn lo n vnmn n Shrew n Jmo n Cymbeline

phenomenon that reects a particular Shakespearean interest in the relationship

bwn n on-y. a w n c 5,

momn n s wo nv o om

w o of vo on-mn . By onn s

onmo, w v o n f vn on of v

n o b mo nb o o wo of n y o nn.ty , o Jon hon m, noon n .58

The fact that such ekphrastic passages nd their way into Shakespeares plays thus

m wy n w m n b xy x, vn y. in

these moments seem to conrm Harry Berger, Jrs sense that textuality is deeply

wovn no s n n m . i x qo

n foo; n m o of n n of

.59 how, n, m onon of nn v n s

o b onnn y m?

57 so, The Sculpted Word, . 1.58 s Jon hon, t po of e, Word and Image, 4 (1988),

20919; n hon inoon o The Gazers Spirit: Poems Speaking to Silent

Works of Art (co n lonon: t unvy of co p, 1995), . 391.

B o t, wo ommn in fnmn wy m o b

noon, n n onon of v xn w wy b ffn n

n n nomn xn fom v o (The Scandal of Images, . 234n19).

cf. M, e n O, . 157n19.59 hy B, J, tx an pfomn: t exm of Macbeth, n

Making Tries of Terrors: Redistributing Complicities in Shakespeare (snfo: snfounvy p, 1997), . 98125 (. 102). s o y,Imaginary Audition:

Shakespeare on Stage and Page (By: unvy of cfon p, 1989), .

1 n 2.


21/27


e, i v bov, s n no ony

n vy of n b o n ny bwn ffn fom of

mm. an on mon of n on w b xo n

of boo on bwn nv n m mo

of non. W v y no s y onn mny of nv; n ny om v fon of y

problematic. In the rst chapter ofShakespearean Tragedy (1904), fo xm,

a.c. By nn obm n nn on

of nv n m wo, bn m nm.60 Y By

n o on o on ow of sn nv, mn n

n s xoon m (. 54). in foono, By

onn, mn fnn onnon bwn nv n n:

t on of v on wy mny o njoy n m, wo, on

wo, n y. a mn of vy

no vy no mnon o y m w o

xoon, o n , w mnon , wo

experience little difculty. (p. 54n2)

t f n onn o foono , , By

on o b n fo, o of ony mon. Y By

s nv x of o yw,

n s y n b wo xnn ny o

of deciency. He implies that Shakespeare made his expositions so vivid that eveno wo vy no mnon b o njoy xnn

s on . By m on mnon

, n nn n of bo ny of

nnn-ny n b of y mon yo.

By non m n n vvn of sn

nv, n wy n w y wo on o mny fo on

w .

in mo n y ofShakespearean Narrative (1995), rwon Won

s nv , b obv

m nv o v bn mjo oy ffo o of s

nv wn n v.61 Won wo y

60 a.c. By, Shakespearean Tragedy (1904; . hmonwo: pnn,

1991), . 54.61 rwon Won, Shakespearean Narrative (Nw: unvy of dw p,

1995), . 18, 1920. Fo o n onon of o Bb hy,

Shakespeares Storytellers: Dramatic Narration (lonon: p Own, 1997), n

y n Shakespeare Survey, 53 (2000), m of w s n Nv

( y hm Bonm, s Nm (. 111), n J l. lvnon,eo inb gn: t Nv ofRomeo and Juliet (. 3948)). Bonm

stresses the need for further study in this eld, writing that What we need now is a proper

nooy of m (. 2).


22/27


mo of nv n m no nomb: Fom non of

ezbn y , on of nv o m o no v

m xn: oy n m w ony on n n o

fom ( onn, fo nn), y m o wn m. On m

v s y, nv n m, wy mo nm (. 203). Won ommn y wy mo n m

v, n o nv n o mn n sn

m. Won o m, , s y now

n n wnn, b o no xo fy of y.

s qon n fo of l en Shakespeare as Literary

Dramatist(2003). en off n v n omn : s,

f fom bn nffn o bon, o no nown y

w bn n , n n n, x n nooz

w wn mo y.

62

en fomn m wo n of s y : if w v n y y

o o, w, w v on of fomn n xn of

x (. 23). h oo o qo x of y Romeo

and Juliet,Henry VnHamletfnon on o o, w

on qo fnon on o y o, n oon o w

n mn m o wo fo (. 220). en boo y

o n nw n s m, onn w bn

s y o.63 W m no, owv, en y

xo s wo n onx of bon oy n nn

o b, n offn n ny of y mv.

en w o no o of y o ob no

omxy of s n (. 24), o o o on o no

vo o o y n s y

bn fom o x. h w: i my m n s

wo no m x n now y m

w b om on . s my m n, owv,

on w z wo v bn y by

(. 227). W n en vw s my v bn

62 l en, Shakespeare as Literary Dramatist(cmb: cmb unvy

p, 2003), . 25.63 s p cny, Shakespeare, National Poet-Playwright (cmb:

cmb unvy p, 2004) n Shakespeares Literary Authorship (cmb:

cmb unvy p, 2008); co so, Shakespeare and the Idea of the Book

(Oxfo: Oxfo unvy p, 2007); n r M, Jn r n r

Won (), Shakespeares Book: Essays in Reading, Writing and Reception (Mn:

Mn unvy p, 2008). Fo mo on of en boo

do a. Boo vw n Shakespeare Studies, 35 (2005), 22135. con Bowommn en on w w sn w wn o n, vn

f no vyon w w of mn ( vw of en n Shakespeare

Quarterly, 55 (2004), 3225 (. 322)).


23/27


onn w w n, n boo o o

mon o non o nv n s y

bo mn n om w qon en y . in

c 3, fo xm, w ow xmnon of py

n a 2 ofHamlet n nn of n of x von en s w m onn o b

ffn bwn x n fomn, n bwn y n

wn.

t vn of fomn m en m my off

no xnon fo v of oy n n sn

nv. pfomn-n n o s mo fy

s on n on , n ofn w bo y w n

of n-nv j. in Shakespeares Theory of Drama (1996), fo xm,

pn knn on n n dfn of dm oos y n om. s ommn a non of

mn boy f o v vn, oo (n) n of bj

bn n.64t on on v, b on nno wonn wo wo v x representation of mn boy o

v oo bj bn n. t m on

m oo o nv o vb non nobmy

v vn, oo (n) n of bj bn n

m, i n, v . knn onn:

in oy, oy n , bj n nb n o o

n; non nno o o on s

m v vn mn boy, on m on w

in of n o n n o o n n

o o (sonn 82.10) o m bj o v, w b

m n of b: nmn, o bo wo n

b n mov n. (. 11)

a w v y n, m o bwn ffn

fom of n o mo qon n y nw. W, y,

n m fom oy, oy n ? do f m

n fomn o bo nmn o o

on? i sn m nny f of n o of

o? O o of on m of mn bo? knn o

on o w no ob wn o of n y o xmn

qon of pn versus pfomn n en rnn m, o o

on s ow bon of y (. 18).

B y n n qon of n y

knn y n o n o o m oo n m:

64 pn knn, Shakespeares Theory of Drama (cmb: cmb

unvy p, 1996), . 1011.


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sn m onn w vomn of n fom w

n ovom w nq of y oy (. 45).

hn coo xn knn mn by n s

bv n oy of m ov oy b on (

go) oo y fom.65 s w:

h nv om onny non o f of mbomn n

the other arts, in Venus eshliness and sweat that can never get beyond verbal

on, o n nn of tojn W n Lucrece n v

on of n n boy by m of o of o n

n. B n: en l w co n m. t mn n

o bo o: fo o of y, o mn n

. (. 14)

i coo mn o non bwn m on n w o ; n o wo, v

n nv oy. B n n non coo oon n no

difculties: how should one respond to her contention that King Lear and Cordelia

bo o? Fmo, w o on m of fo

o of y? t o no ffvy n m fom

o fom of coo n, n on o y y m

fomon o s nv om. Fo xm, w m qy y

,for the purposes of the narrative poem, l n on. in

coo mn o b n on f: on o King Lear, no n wo b n xony n The

Rape of Lucrece, f no fom of on, n o nn on

wn non of bf.

t mon n mn of knn n coo

ob o mn s fn vis--vis nv n m, o

m nny mo n nv, oy o wo of v

y o boo w xo n qon. c n o

wo v wn bo n mm mo ny v

wy n w mo of non n on onvnon, n

n noo o of n: n of non

n m.66 Y w onn my w on

65 hn coo, Boo rnnn down,London Review of Books, 23/15, 9 a

2001, 1314 (. 14).66 a Fow ommn t ommon on bwn x m

o n n n n nn ny o. V no nnnoy

b. an y n o n n

mon, oon, n on n wy q omb w o

of n (Renaissance Realism, . v). Fo f on of m , foxm, e.h. gomb, Art and Illusion, 4 n (lonon: pon, 1972); Non

goomn,Languages of Art: An Approach to a Theory of Symbols, 2n n (inno:

h, 1988); M, e n O, . . 161; n pooy, Mimesis.


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bwn y n o , w m xn onn by onn

on bwn nv n m, o x n fomn. t

m on onvnony of mo of non m

mn y, nn, o no ny v n ovwmn

n of y n.67 t f s y onn omny momn of vv on w ofn y f-ono bo

by o m s w n bo

v m of n n n by o o,

o n y n n of vn bn n.

lon hon ny ommn W nn o fo ow m

no y n rnn y, b enargeia, o vvn

n n, of vo non of vn w

v mon, y , of y mm

w w mn o on-.68

hon ommn on wo qon mn f onon. Wn w y, o

ffn bwn vn on n vn

off bom n, vn bo n mn y?

O ffn vn n fomn no w o n?

W i wn o s w n o- no n-

n ny m n, b y mv b qon of

x v fomn. t , o b , mon ffn bwn

n y n n fom; y m o m ffn

bn ov by om . dm wo wy o om xn n

on mnon of n; n omn nv

n s y w xy n n

o v bn , vn n wo of nv o on. to

no wy, mo of xn, nn n, n n

n y, q n mon of mny wo on of

or viewer. In the nal scene ofA Midsummer Nights Dream, s

ow of m n n mnon, w

n mn oomn of fomn (5.1.212), w

co n Henry V n o p o o mfon w yo

o (poo, 23). in bo of xm s m

f n ofn v o mn w y nno , mn

xn o om xn noo o of . Mo n ,

owv, xony vm ofn o n s

y ofn o by ny bwn ffn mo of mm

n o ny nn oy of m non.

t boo xo onn v xn n ofVenus and Adonis,

The Rape of Lucrece,Hamlet,King Learn The Winters Tale. t wo off

a series of reections upon the art of narrative, its relationship with drama and,

67 B, t pox soo, . 169.68 hon, The Invention of Suspicion, . 126.


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mo ny, w w w , n mn of onn n b

oo n o s oeuvre. t boo

on own nmb of s om

n of vmn.69 The rst chapter focuses on Venus and Adonis,

n fo mon of om n xmn wo, onn oxo ffn wy n w y x n boow vy fom

on of wo of v , o mo n vn fom oo of

wo on . t on xmn on bwn

v n vb mo of non n The Rape of Lucrece. i ,

vn bfo on of nn of f of toy, s b

own non bwn ooy n v. t o on

w qon bo o non of bf, n l

reading of the painting and her mistaking of its represented gures for real

beings both comments upon and intensies the readers experience ofThe Rapeof Lucrece f.

t boo n mov on o on of s m wo.

t xo mon of nn v n Hamlet.

Fon n on py n 2.2,

nv n y v of mm omxy, n

m o b non bwn non n y. hm

on ooqy, n w b fomn wo

mz n / t vy f of y n (2.2.500501), nn

on ow of n o v- non

of f. t ooqy y oon w n n

on mm omon n bon. t fo xmn

on bwn n, n n n nKing Lear. i wy

n w emn n e bo of wom on vv nv nob

for their deceitfulness can be seen as gures for the playwright. The chapter also

xo y onn w on of m n von vn,

of go, w off, n of kn

l, w n n m fom. W off mo n o

ffn xn?

The fth chapter focuses on The Winters Tale, wo

s mo x n f-ono nvon no on

bwn nv n m mo of non. Moov, y

arguably Shakespeares most provocative treatment of the gure of ekphrasis,

nm y no ony mn w n obj of

of hmon o bom b o xo -

mn y of wo n vvn of nv on. i

the last two scenes of the play reect not simply Shakespeares prioritisation of

m ov nv ( mny v ) b n n

ow n mon of bo n n . t n of aoy

69 s n cny, Shakespeare, National Poet-Playwright.


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a con-man who offers vivid descriptions of ctional, absent events further

n b o no ony mo b

also a seductive condence trick.

in co, i xo qon n on o nn of s

y n f fon of m n w mn fo nv.These endings offer an intriguing nal perspective on the issues of narrative and

mm ny fo of boo. On f, nv

w n of mn o y m o bn bo n

of on n fon. howv, f w o no nomy

nv n of on omn o b

mn n omn o y b off o . a

of boo, n, w wo y n w v ffn

mo of mm, omm myn on mo of non b

n o, b wy w n y o bn, o vn onnn, nn .

Meek-Intro-Narrating the Visual in Shakespeare Intro

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