The treatment of nature in English poetry between Pope and WordsworthReynolds, Myra
History
The treatment of nature in English poetry between Pope and Wordsworth
Reynolds, Myra
English poetry -- History and criticism; Nature in literature
in romances, and in travels, and many artists are sketching in the
picturesque regions opened up to them by earlier students of mountain
landscapes.
Many lovers of Nature and of poetry have commented with surprise on
the slow development of the poetic appreciation of mountains. It is,
perhaps, even more strange that English poetry should have been still
slower in its discovery of the ocean. It is as if English poets from
Dryden to Byron had all lived inland. Even in Wordsworth, in spite
of some wonderful lines, there is no treatment of the ocean at all
comparable to his study of mountains. In the classical age the ocean
was a dreary waste. In the transition poetry we do not find much more
knowledge or appreciation. The one quality of the ocean that receives
anything like adequate expression is its boundlessness. Characteristic
lines are by John G. Cooper.
In unconfined perspective send thy gaze
Disdaining limit o’er the green expanse
Of ocean.
Armstrong says that the “floating wilderness”
Scorns our miles and calls Geography
A shallow prier.
Mickle looks upon the awful solitude of ocean and his imagination is
stirred by
the last dim wave in boundless space
Involved and lost.
These are the best lines I have found. The chief expressions of
pleasure in the ocean are Gay’s mild delight in a sunset across the
sea, and subsequent moonlight effects, and Beattie’s pleasing dread
as he seeks the shore to listen to the wide-weltering waves. We find
in Cowper’s letters a more appreciative passage on the ocean than
occurs in any of the poetry. The most sincere ocean enthusiasm is in
Mrs. Radcliffe’s romances. Travelers, even those who went along the
coast of Wales and among the Scottish islands or to the Isle of Wight,
say little of the sea. The ocean was, in fact, much such a burden as
Sterne’s plain. When the poet had once said that it was big and awful
his stock of impressions was exhausted. In painting, the ocean was not
entirely ignored, but in this province, too, there was meagerness of
conception and expression. The ocean waited for Turner and Byron and
Shelley.
Public-domain text, read in full here on John Shaqi.
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