And Ut Pictura Poesis Is Her Name
By John Ashbery
You can’t say it that way any more.
Bothered about beauty you have to
Come out into the open, into a clearing,
And rest. Certainly whatever funny happens to you
Is OK. To demand more than this would be strange
Of you, you who have so many lovers,
People who look up to you and are willing
To do things for you, but you think
It’s not right that if they really knew you . . .
So much for self-analysis. Now,
About what to put in your poem-painting:
Flowers are always nice, particularly delphinium.
Names of boys you once knew and their sleds,
Skyrockets are good, do they still exist?
There are a lot of other things of the same quality
As those I’ve mentioned. Now one must
Find a few important words, and a lot of low-keyed,
Dull-sounding ones. She approached me
About buying her desk. Suddenly the street was
Bananas and the clangor of Japanese instruments.
Humdrum testaments were scattered around. His head
Locked into mine. We were a seesaw. Something
Ought to be written about how this affects you when you write poetry:
The extreme austerity of an almost empty mind
Colliding with the lush, Rousseau-like foliage of its desire to communicate
Something between breaths, if only for the sake
Of others and their desire to understand you and desert you
For other centers of communication, so that understanding
May begin, and in doing so be undone.
Summary of And Ut Pictura Poesis Is Her Name
John Ashbery’s “And Ut Pictura Poesis Is Her Name” is a complex and evocative poem published in his 1987 collection, Houseboat Days. The title, a Latin phrase meaning “as is painting, so is poetry,” immediately establishes the poem’s central concern: the relationship between the two art forms, and the very act of creation itself. The poem doesn’t offer a straightforward definition of this relationship but rather explores the difficulties of expressing beauty, meaning, and genuine connection in a modern context. It meditates on the challenges of self-awareness, the fleeting nature of inspiration, and the paradoxical desire for both understanding and escape in communication. The poem suggests that the very attempt to articulate meaning can be self-defeating, leading to a beautiful but ultimately unresolved tension.
What You Should Know
“And Ut Pictura Poesis Is Her Name” is a prime example of Ashbery’s signature style—a seemingly disjointed, associative style often described as “surrealist” or “postmodern.” Don’t expect a traditional narrative or logical progression. Instead, allow yourself to be guided by the poem’s images, rhythms, and unexpected turns. The poem delights in blurring the lines between thought, sensation, and the creative process itself. It is less about what the poem says and more about how it feels to read it. This poem is celebrated for its ambiguity and resistance to easy interpretation, inviting readers to actively participate in the creation of meaning.
In-Depth Analysis of “And Ut Pictura Poesis Is Her Name”
The Opening Lines and the Search for Authenticity
The poem begins with a direct, almost dismissive statement: “You can’t say it that way any more.” This immediately sets up a sense of dissatisfaction with conventional expression. The speaker seems to be rejecting traditional approaches to beauty and art. The subsequent lines, urging a retreat “into the open, into a clearing,” suggest a need for a more honest, direct engagement with experience. “Bothered about beauty you have to come out into the open…” implies that genuine appreciation of beauty requires vulnerability and a willingness to shed pretense. The acceptance of “whatever funny happens to you” further reinforces the idea of embracing the unexpected and unconventional.
The Paradox of Self-Awareness
The lines concerning “lovers” and the fear of being truly known introduce a complex psychological dynamic. The speaker acknowledges the desire for connection, yet simultaneously expresses a fear of vulnerability and exposure. “You who have so many lovers but you think it’s not right that if they really knew you…” suggests a sense of internal conflict. This is quickly followed by “So much for self-analysis,” a seemingly abrupt dismissal of introspection. This isn’t necessarily a rejection of self-reflection but rather a recognition of its limitations. The speaker acknowledges that endless self-analysis can be paralyzing and ultimately prevent genuine connection.
The Building Blocks of Creation: Imagery and Association
The shift to “About what to put in your poem-painting” marks a transition from abstract psychological inquiry to the concrete details of artistic creation. The poem then proceeds to list a series of seemingly random images: “Flowers are always nice, particularly delphinium,” “Names of boys you once knew and their sleds,” “Skyrockets are good, do they still exist?” These images aren’t presented in a logical order; rather, they are presented associatively, as fragments of memory and imagination. This technique reflects the way the creative mind often works, jumping from one idea to another, guided by unexpected connections and fleeting impressions. Notice the use of questioning: “do they still exist?” This adds a layer of nostalgia and uncertainty, suggesting a longing for a lost past.
Language and the Search for Meaning
Now one must find a few important words and a lot of low-keyed, dull-sounding ones. This seemingly contradictory statement is crucial to understanding Ashbery’s aesthetic. He suggests that both grandeur and simplicity are essential to effective language. “Important words” provide substance and meaning, while “low-keyed, dull-sounding ones” create a sense of grounding and authenticity. The poem then moves into a surreal, dreamlike sequence – “She approached me about buying her desk. Suddenly the street was bananas and the clangor of Japanese instruments.” This shift highlights the unpredictable nature of inspiration and the way seemingly mundane events can trigger unexpected bursts of imagination.
The Climax: Mind, Desire, and Communication
The final section of the poem culminates in a powerful and complex metaphor: “The extreme austerity of an almost empty mind colliding with the lush, Rousseau-like foliage of its desire to communicate.” This image encapsulates the central tension of the poem – the struggle between the desire for expression and the limitations of language and thought. The “empty mind” represents a state of openness and potential, while the “lush foliage” represents the overwhelming abundance of emotion and experience. The collision of these two forces is both chaotic and generative. The poem concludes with a recognition of the futility of complete understanding. “So that understanding may begin, and in doing so be undone.” This paradox suggests that the very act of communication inevitably alters and distorts meaning. However, this doesn’t necessarily imply despair. Rather, it acknowledges the inherent limitations of language and the beauty of incomplete understanding.
Literary and Poetic Devices in “And Ut Pictura Poesis Is Her Name”
- Allusion: The title itself is a direct allusion to the Latin phrase popularized by the Roman poet Horace. The mention of “Rousseau-like foliage” alludes to the paintings of the French Romantic artist Jean-Baptiste-Camille Corot, evoking themes of nature and emotion.
- Imagery: The poem is rich in vivid imagery, such as “bananas and the clangor of Japanese instruments” and “lush, Rousseau-like foliage.”
- Free Verse: The poem’s lack of strict meter or rhyme scheme allows the ideas to flow freely and encourages a sense of spontaneity.
- Enjambment: The continuation of lines without a full stop keeps the reader engaged, allowing the ideas to shift quickly from one to the next.
- Association and Juxtaposition: The juxtaposition of contrasting elements encourages the reader to think beyond literal interpretations and find the underlying meaning of the poem.
- Paradox: The poem’s contradictions provide a way for readers to interpret the poem from various angles, thereby opening their imagination to explore new creative possibilities.
And Ut Pictura Poesis is celebrated for its ambiguity and resistance to easy interpretation, inviting readers to actively participate in the creation of meaning. The poem’s use of allusion, imagery, and free verse demonstrates Ashbery’s ability to craft a poetic experience that transcends literal boundaries, allowing the reader to find depth in the seemingly random and unexpected. The juxtaposition of the “empty mind” and “lush foliage” metaphor illustrates the tension between desire and reality, creating an evocative experience that encourages reflection on the limits of language and the complexity of thought.