Romantic Landscape Vision: Constable and Wordsworth |
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Page 35
... language of the sense " without recognizing it to be a language . That time of " aching joys " and " dizzy raptures " is past , but the poet finds “ abundant recompense " for the loss of " thoughtless youth " in recognition that there ...
... language of the sense " without recognizing it to be a language . That time of " aching joys " and " dizzy raptures " is past , but the poet finds “ abundant recompense " for the loss of " thoughtless youth " in recognition that there ...
Page 128
... language and the individual self . Communication , as animals prove , is often effectual without language . But the discovery and formulation of a self may be regard- ed as a function of our ability to speak to ourselves . Wordsworth ...
... language and the individual self . Communication , as animals prove , is often effectual without language . But the discovery and formulation of a self may be regard- ed as a function of our ability to speak to ourselves . Wordsworth ...
Page 130
... language can carry us toward and give expression to when attained . Language distinguishes us from the so - called lower forms of life . Used poetically , language enables us to reintegrate ourselves with those lower forms ( as well as ...
... language can carry us toward and give expression to when attained . Language distinguishes us from the so - called lower forms of life . Used poetically , language enables us to reintegrate ourselves with those lower forms ( as well as ...
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