Romantic Landscape Vision: Constable and Wordsworth |
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Page 92
... final form Coopers Hill presents not abstruse doctrines for the learned but a historical lesson of the Puritan revolution . Its final simile is power- ful because it emerges out of the exigencies of the poem's composi- tion and revision ...
... final form Coopers Hill presents not abstruse doctrines for the learned but a historical lesson of the Puritan revolution . Its final simile is power- ful because it emerges out of the exigencies of the poem's composi- tion and revision ...
Page 109
... final version - or , better , versions- demonstrating how difficult it was for him to be a " natural painter . " The basic features of the composition were present in his mind from the first . The studies show Constable adding and ...
... final version - or , better , versions- demonstrating how difficult it was for him to be a " natural painter . " The basic features of the composition were present in his mind from the first . The studies show Constable adding and ...
Page 118
... final lines is effective because developing from earlier inter- fusings of diverse time relations . From its first lines the poem demon- strates how awareness of time liberates man from the prison of im- mediacy , the delightful yet ...
... final lines is effective because developing from earlier inter- fusings of diverse time relations . From its first lines the poem demon- strates how awareness of time liberates man from the prison of im- mediacy , the delightful yet ...
Contents
Tintern Abbey and The Cornfield | 29 |
Peele Castle and Hadleigh Castle | 44 |
Constable and Graphic Landscape | 61 |
Copyright | |
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Common terms and phrases
aesthetic analogous artists awareness Beaumont's century Chaucer's chiaroscuro classical Claude Claude's clouds color consciousness Constable and Wordsworth Constable's Constable's art contrast Cornfield critics Dedham Vale Denham's earlier embody Ernest de Selincourt evoke example experience fashion feeling foreground Grasmere Hadleigh Castle Haywain Home at Grasmere human imaginative impression interaction John Constable Kenneth Clark landscape art landscape painting landscape poetry landscapists later light lines literary London M. H. Abrams man's Milton mind mode natural scene natural world never objects painter Paradise passage pattern Peele Castle perceive perception picture picturesque poem poem's poet poet's poetic Pope's Poussin Prelude reader relation represent rhythms Romantic Romanticism Rosa Ruskin scape Seasons sensation sense sight significant Snowdon specific spots sublimity suggested temporal texture things Thomson's Tintern Abbey tion trees ture turization Turner unique unity Ut Pictura Poesis Vale vision visual vital William Wordsworth Windsor Forest Words Wordsworth and Constable worth's