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On its first appearance English Poetry of the Romantic Period was widely praised as on of the best introductions to the subject. This edition includes updated material in the light of recent work in Romanticism and Romantic poetry. The book discusses the concerns that linked the Romantic poets, from their responses to the political and social upheavals around them to their interest in the poet's visionary and prophetic role. It includes helpful and authoritative discussions of figures such as Blake, Clare, Coleridge, Crabbe, Keats, Scott, Shelley and Wordsworth.
Revealing the connections between the veneration of national landscape and eighteenth- century English vocal music, this study restores English music’s relationship with the picturesque. In the eighteenth century, the emerging taste for the picturesque was central to British aesthetics, as poets and painters gained popularity by glorifying the local landscape in works concurrent with the emergence of native countryside tourism. Yet English music was seldom discussed as a medium for conveying national scenic beauty. Stephen Groves explores this gap, and shows how secular song, the glee, and national theatre music expressed a uniquely English engagement with landscape. Using an interdisciplinary approach, Groves addresses the apparent ‘silence’ of the English picturesque. The book draws on analysis of the visualisations present in the texts of English vocal music, and their musical treatment, to demonstrate how local composers incorporated celebrations of landscape into their works. The final chapter shows that the English picturesque was a crucial influence on Joseph Haydn’s oratorio The Seasons. Suitable for anyone with an interest in eighteenth- century music, aesthetics, and the natural environment, this book will appeal to a wide range of specialists and non- specialists alike.
Essays on eighteenth- and nineteenth-century ways of looking at landscape, in theory and practice.
Winner of the Gabrielle Roy Prize in English and the Raymond Klibansky Prize, The Picturesque and the Sublime is a cultural history of two hundred years of nature writing in Canada, from eighteenth-century prospect poems to contemporary encounters with landscape. Arguing against the received wisdom (made popular by Northrop Frye and Margaret Atwood) that Canadian writers view nature as hostile, Susan Glickman places Canadian literature in the English and European traditions of the sublime and the picturesque. Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome – even terrifying – and welcomed scenes that conformed to these notions of sublimity. She contends that to interpret their descriptions of nature as "negative," as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's "Enthusiasm," Charles G.D. Roberts's Ave, and Paulette Jiles's "Song to the Rising Sun," and explores the poems in the context of theories of nature and art. Instead of projecting backward from a modernist perspective, Glickman reads forward from the discovery of landscape as a legitimate artistic subject in seventeenth-century England and argues that picturesque modes of description, and a sublime aesthetic, have governed much of the representation of nature in this country. Susan Glickman is a poet living in Toronto. She is the author of Complicity, The Power to Move, Henry Moore's Sheep and Other Poems, and Hide and Seek.
For most of the twentieth century, modernist viewers dismissed the architectural ornament of Louis H. Sullivan (1856-1924) and the majority of his theoretical writings as emotional outbursts of an outmoded romanticism. In this study, Lauren Weingarden reveals Sullivan's eloquent articulation of nineteenth-century romantic practices - literary, linguistic, aesthetic, spiritual, and nationalistic - and thus rescues Sullivan and his legacy from the narrow role imposed on him as a pioneer of twentieth-century modernism. Using three interpretive models, discourse theory, poststructural semiotic analysis, and a pragmatic concept of sign-functions, she restores the integrity of Sullivan's artistic choices and his historical position as a culminating figure within nineteenth-century romanticism. By giving equal weight to Louis Sullivan's writings and designs, Weingarden shows how he translated both Ruskin's tenets of Gothic naturalism and Whitman's poetry of the American landscape into elemental structural forms and organic ornamentation. Viewed as a site where various romantic discourses converged, Sullivan's oeuvre demands a cross-disciplinary exploration of each discursive practice, and its "rules of accumulation, exclusion, reactivation." The overarching theme of this study is the interrogation and restitution of those Foucauldian rules that enabled Sullivan to articulate architecture as a pictorial mode of landscape art, which he considered co-equal with the spiritual and didactic functions of landscape poetry.
This 1972 text takes John Clare as the focus of different attitudes to landscape as something to have a 'taste' for.
This book explores the interrelationships between British fiction and tourism, 1745-1830, especially as these are exemplified in the novels and tours of three of the most important Romantic novelists. Its author shows that the imaginative reshaping of humdrum reality characteristic of the fiction of Ann Radcliffe, Mary Shelley, and Sir Walter Scott was also widely practiced by tourists who shared the same liberating "Romantic" aesthetic.
This book tackles the age-old interpretative problem of 'pleasure' in Keat's poetry by placing him in the context of the liberal, leisured and luxurious culture of Hunt's circle. Challenging the standard narrative which attribute Keat's astonishing poetic development to his separation from Hunt, the author cogently argues that Keats, profoundly imbued with Hunt's bourgeois ethic and aesthetic, remained a poet of sensuous pleasure through to the end of his short career.
This book is the first systematic examination of the significance of landscape in Victorian poetry. Pauline Fletcher divides poetic landscapes into two categories: antisocial" landscapes of isolation or retreat, and "social" landscapes that reflect the life of man in community. Originally published in 1983. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.