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remindus of graphic representation.Pictorialismgenerates in language effectssimilarto those created by pictures,so thatin Spenser's
Faerie Queene,for instance,John M. Bender has found instancesof
focusing, framing, and scanning." But in such cases Spenser is
representingthe world withtheaid of pictorialtechniques; he is not
representingpictures themselves.The distinctionholds even when
a pictorial poem can be linked to the styleof a particularpainter.
We know, for example, that the austere clarityof William Carlos
Williams's "The Red Wheelbarrow" owes something to the photographs of Alfred Stieglitz and to the precisioniststyle of Charles
Sheeler, the American photographer-painterwhom Williams met
shortlybefore he wrote the poem.12 But Williams'spoem makes no
referenceto Sheeler or Stieglitzand does not representany one of
their pictures; instead, it uses the verbal equivalent of pictorial
precision in order to represent a set of objects.
Iconicityis more complicatedthan pictorialismbecause it embraces
sounds and sets of relationsas well as visual properties.'3But visual
iconicity,which is what concerns me here, is a visible resemblance
between the arrangement of words or letterson a page and what
theysignify,as in Herbert's "Easter Wings." Like pictorialism,visual
iconicityusually entails an implicitreference to graphic representation. The wavy shape of an iconicallyprinted line about a stream,
for instance,will look much more like Hogarth's line of beauty than
like any wave one mightactuallysee froma shore.14 But once again,
iconic literaturedoes not aim to represent
pictures;it apes the shapes
of pictures in order to represent natural objects.
These three terms-ekphrasis,pictorialism,
and iconicity--arenot
mutuallyexclusive. An ekphrasticpoem can use pictorialtechniques
to representa pictureand can be printedin a shape whichresembles
the paintingthat it verballyrepresents.'15But ekphrasisdiffersfrom
both iconicityand pictorialismbecause it explicitlyrepresents representation itself. What ekphrasis represents in words, therefore,
must itselfbe representational.
The Brooklyn Bridge may be considered a work of art and construed as a symbolof many things,but
since it was not created to representanything,a poem such as Hart
Crane's The Bridgeis no more ekphrasticthan Williams's"The Red
Wheelbarrow."'6
When we understand that ekphrasis uses one medium of representation to represent another, we can see at once what makes
ekphrasis a distinguishablemode and what binds together all ekphrastic literaturefrom Homer to John Ashbery.Comparing such
disparate phenomena as classic and postmodern ekphrasis, recent
criticstend to see only differencesbetween the two. While classic
ekphrasis,theysay, salutes the skillof the artistand the miraculous
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verisimilitudeof the forms he creates, postmodern ekphrasis undermines the concept of verisimilitudeitself.Thus Ashbery's"SelfPortraitin a Convex Mirror"has been called by Richard Stamelman
"a radical criticismof the illusionsand deceptions inherentin forms
of traditionalrepresentationthat insist on the ideal, essential, and
totalized nature of the copied images they portray."'7Nothing so
nakedlydeconstructivecan be found in Homer's account of Achilles'
shield, but if Ashbery'spoem is a "meditationon difference"rather
than on likeness, as Stamelman says (608), Homer's account of
Achilles' shield is a meditationon both, a verbal tributeto graphic
verisimilitudeand a sustainedcommentaryon the differencebetween
representationand reality.Describing the ploughmen depicted on
Achilles' shield, Homer writes,"The earth darkened behind them
and looked like earth that has been ploughed /thoughit was gold."'8
Homer thus reminds us that he is representingrepresentation,and
byexplicitlynotingthe differencebetweenrepresentationand reality,
he implicitlydraws our attentionto the frictionbetween the fixed
forms of graphic representation and the narrative thrust of his
words. Shortlyafterdescribingthe earth made of gold, Homer tells
us that the cattle depicted elsewhere on the shield were "wrought
of gold and of tin, and thronged in speed and with lowing/out of
the dung of the farmyardto a pasturingplace by a sounding /river,
and beside the moving field of a reed bed" (18.574-76).
Homer does two thingsin this passage: first,he reminds us again
of the differencebetween what is represented (the cattle) and the
specificmedium of representation(gold and tin); second and more
importantly,he animates the fixed figuresof graphic art, turning
the pictureof a single momentinto a narrativeof successiveactions:
the cattlemove out of the farmyardand make theirway to a pasture.
From Homer's time to our own, ekphrasticliteraturereveals again
and again this narrativeresponse to pictorialstasis,this storytelling
impulse that language by its very nature seems to release and
stimulate.That is why I must disagree with Krieger when he treats
ekphrasis as a way of freezingtime in space, and also with Wendy
Steiner when she defines ekphrasis as the verbal equivalent of the
"pregnant moment" in art-the literarymode "in which a poem
aspires to the atemporal 'eternity'of the stopped-actionpainting."'9
The "pregnant moment" of an action is the arrested point which
most clearly implies what came before the moment and what is to
followit. But as the example fromHomer shows,ekphrasticliterature
typicallydeliversfromthe pregnant moment of graphic art its embryonicallynarrativeimpulse, and thus makes explicitthe storythat
graphic art tells only by implication.20
In fact,since the pictureof a momentin a storyusuallypresupposes
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COLLEGE
NOTES
1 In what is probably the earliest definitionof the term, which was extensively
used by Greek rhetoriciansof the firstfive centuries A.D., it is called simply "a
descriptive account bringing what is illustrated vividlybefore one's sight." (Shadi
in Heliodorus
Bartsch,DecodingtheAncientNovel: The Readerand theRole of Description
and AchillesTatius[Princeton,1989] p. 9.) In the Greek rhetoricalhandbooks, statues
and paintingswere treated amongthe objects suitable for ekphrasticdescription,but
only after the fifthcentury did ekphrasiscome to denote the description of visual
art exclusively(Bartsch, p. 10).
2 See Leo Spitzer, "The 'Ode on a Grecian Urn' or Content vs. Metagrammar,"
7 (1955), 208, and Murray Krieger, "Ekphrasisand the Still
Literature,
Contemporary
Movement of Poetry; or, LaokodnRevisited,"in The Poet as Critic,ed. Frederick P.
W. McDowell (Evanston, Ill., 1967), p. 8; hereaftercited in text.
3 Helen Vendler, The Odes of John Keats (Cambridge, Mass., 1983), pp. 116-52;
WilliamFreedman, "Postponementand Perspectivesin Shelley's'Ozymandias,'" Studies
in Romanticism,
25 (1986), 63-73.
4 See Wordand Image, 2 (1986).
5 Murray Krieger calls ekphrasis "a classic genre" ("Ekphrasis,"5), but this would
put it on a par withepic and tragedy.Since no formalor syntacticfeaturesdistinguish
the literaryrepresentationof visual art from other kinds of literature,and since it
can appear withinany recognizedgenre fromepic to lyric,it maybe more appropriately
termed a mode, like pastoral or elegy. But while those two can be largely defined
by their subject matter,the subject matter of ekphrasis requires us to define it in
terms of representation.
6 See n. 2 above. In "Words on Pictures: Ekphrasis,"Artand Antiques(March 1984),
80-91, John Hollander surveysexamples of ekphrasis from Homer to our own time
and makes some suggestivecommentson them,but he does not attemptto construct
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