Pictorial Concerns in the Ronsardian Exegi Monumentum
Despite its emphasis on the ability of poetic monuments to confer immortality better than plastic memorials, the sixteenth-century French exegi monumentum topos has rarely been associated with the contemporary ut pictura poesis idea, which posited the fundamental similarity between the verbal and pi...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Sixteenth Century Journal Publishers, Inc.
1993
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| In: |
The sixteenth century journal
Year: 1993, Volume: 24, Issue: 3, Pages: 671-683 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Despite its emphasis on the ability of poetic monuments to confer immortality better than plastic memorials, the sixteenth-century French exegi monumentum topos has rarely been associated with the contemporary ut pictura poesis idea, which posited the fundamental similarity between the verbal and pictorial arts. By examining the exegi monumentum poetry of Pierre de Ronsard, the leader of the famous Pleiade school of French Renaissance poets, this essay stresses the error of this oversight. A conflation of these topoi is inscribed in the unconventional insistence by this poetry on the parity between verses and pictures. Further, even when Ronsard follows a more traditional path, he often reacts against ut pictura poesis. When ascribing the superior durability of poetry to its preeminent expressivity, Ronsard addresses a primary concern of the paragone (comparison) debate between poets and painters of the day: the dispute which opposed the parity-centered ut pictura poesis idea by emphasizing the inequalities between poems and paintings. | ||
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