“But Such a Mind, Mak’st God Thy Guest”: Catholic Theology and Prudence in Ben Jonson’s Eupheme and Anthony van Dyck’s Portrait of Venetia Digby
Ben Jonson’s Eupheme poems and Anthony van Dyck’s portrait of Venetia Digby as Prudence have often been seen as art works fiercely at odds, and that particularly Jonson’s overall brash dismissal of the visual arts is epitomized in his poems in praise of Venetia’s life. Yet ample evidence within Euph...
| 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: |
Brill
2021
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| In: |
Religion and the arts
Year: 2021, Volume: 25, Issue: 5, Pages: 565-589 |
| Further subjects: | B
Beauty
B Soul music B St. Thomas Aquinas B Ekphrasis B Emblem B Genesis B Body B Virgin Mary B Masques |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Ben Jonson’s Eupheme poems and Anthony van Dyck’s portrait of Venetia Digby as Prudence have often been seen as art works fiercely at odds, and that particularly Jonson’s overall brash dismissal of the visual arts is epitomized in his poems in praise of Venetia’s life. Yet ample evidence within Eupheme supports the idea that not only are Jonson’s poems in peculiar ekphrastic conversations with Van Dyck’s painting but that Jonson conceives of the ekphrasis as a device for guiding viewers and readers into rare contemplative poetic spaces. The nature of the interplay between Van Dyck’s painting and Jonson’s poems shares similarities to how Jonson conceived of the courtly masque as a cooperative, unitive experience of visual and verbal elements. In addition, the influence of emblems of Alciato on Jonson’s poetry is instructive in this regard, as these emblems exhibit a cooperative interplay between discrete visual and verbal (body and soul) elements. Issues arising from the artistic cooperative interplay between the body and the soul are linked to the Catholic theology of prudence through the subject of both Jonson and Van Dyck’s works. Specific Catholic contexts hitherto not considered are suggested for both the painting and poems, and especially Jonson’s poem “To My Muse” (the last poem in Eupheme), but these theological contexts are also established in relation to the two titles of Jonson’s poems, which take for their subject Venetia’s body and mind. Furthermore, various loose ends such as the dating of Van Dyck’s painting and the idea that Sir Kenlem had commissioned it to reconstruct Venetia Digby’s reputation are brought up and considered throughout the essay with an eye to these contexts. | ||
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