“PIETÀˮ BY IVAN V. LALIĆ: THE EKPHRASIS OF A VISUAL MODEL AND THE PRAISE OF THE VISUAL ARTS

Abstract

In this paper we are focusing on the poem “Pietàˮ from the book of poems Script (1992) by Ivan V. Lalić. The poem has not been given much attention by the critics so far, with the exception of several valuable studies, which we wish to expand on. Our main focus is to analyse the nature of the poem by turning to different theories of the ekphrasis. Our basis theory is the theory of the ekphrasis of the visual model (Tamar Yacobi). By applying, but also questioning theories by Leo Spitzer, Murrey Krieger, Wendy Steiner, James Heffernan, Tamar Yacobi and others, and bringing together some seemingly disparate theoretical implications, we interpret the relationship between descriptive and narrative thrust, space and time, as well as the visible and the invisible in the poem. We also step into the inevitable interdisciplinary dialogue with art history, Christian iconography and visual representations suggested by the poem’s title, e. i. the pietà compositions, which associate with two major motifs in the poetry of Lalić – Madonna and love. By leaning on a centuries-long tradition of interpretating the relationship between literature and the visual arts, we draw a conclusion that “Pietàˮ is not to be reduced to any theoretical frame without reserve – the literary devices which it consists of reveal that it in fact represents a verbal praise of the visual arts.