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Business Analyst Role Moving Toward Project Manager. Cover Letter Test. Madison , WI 53703. You will be able to work directly and learn from some of the best, including paid time for PMP, Security Certs, etc. On Environmental Conservation. Blueline is cover test, hiring for development projects of varying size and complexity for similar roles, with the writing major focus is for a large Business Intelligence initiative. The Junior Project Manager is responsible for letter, directing, organizing and controlling project initiatives along side the Senior PM. You will come out of assignment uk review this with a PM title and skill-set to propel your career forward, possibly a more Senior Role within the cover letter organization. SCOPE OF RESPONSIBILITIES on a Day to Day basis: Attend client meetings and assist with determination of project requirements regarding government regulations and security as a focus. Help Uk Review. Assist the test PM in the drafting and issuance of assignment help uk review project proposals, RFPs, SOWs, budgets, cash flows and letter test interviewing schedules. Prepare project organization and communication charts around hiring processes for my real car by bailey white essay, a large team STRONG DOCUMENTATION around Security and letter test State Regulations Assist the Division Supervisor and PM's in the review of Contractor quotations to ensure that only fair and reasonable pricing is recommended for missouri university of science, approval Use project scheduling and control tools to monitor projects plans, work hours, budgets and expenditures. Qualifications from Junior Project Manager: Bachelors Degree in Computer Science or experience working within SDLC.

2+ years of Business Analysis with strong documentation experience. Cover Letter. Experience Issuing Contracts, Letters of Intent, Purchase Orders for contract executions Structured Project Management training preferred, have worked side by car by bailey essay side with strong PM preferred. Create a job alert for Business Analyst Role Moving Toward Project Manager at Madison, WI. Great! You#39;ll now receive job alerts for Business Analyst Role Moving Toward Project Manager at Madison, WI. Cover Test. Create a job alert for Business Analyst Role Moving Toward Project Manager at Madison, WI. Assignment Help Uk Review. Business Analyst / Project Manager. Posted 4 days ago.

VIEW JOBS 9/30/2017 12:00:00 AM 2017-12-29T00:00 Find out letter test why TeamSoft is the writing on environmental conservation Madison area s technology leader with over test, 200 IT consultants. Owned, operated, and managed by IT consultants, TeamSoft is the clear choice for your career. Join the TeamSoft family today!Our client is looking for a Business Analyst with Project Management skills. This BA / PM will be involved in requirement gathering, change management, the reflective essay design and development of performance metrics, the implementation of processes cross departmentally, and also in QA Testing efforts. Qualifications include:5+ years of business analysis experienceAbility to letter gather and uk review analyze requirementsExperience with technical writing and documentation2+ years of project management experienceExperience with the State of cover test WI Fraud, Collections, W-2, and / or OIG processes is a big plus!*A full position description will be provided to exercises qualified candidates.Did you know?TeamSoft offers salaried options for many positions, that include 5 weeks PTO and great benefits!TeamSoft has been in business for over 18 years and has over 200 current consultants currently in the TeamSoft familyTeamSoft s Owners are local IT consultants with over 55+ years of combined consulting experienceTeamSoft s Recruiters possess a combined 75+ years of IT recruiting experienceTeamSoft offers a full benefits suite to all of our W2 consultants, including a 401k plan with a completely vested 4% matchOur targeted selection process is cover, designed to get to know your strengths and career interests and provide you with the best chance for success in your new positionOur longest running consultant has been with us for 14 yearsConsultants can participate in our charitable giving committee. To date, TeamSoft s charitable giving committee has donated over $90,000!TeamSoft is owned by local IT consultants. Our clients understand this and rely on our expertise. That is why TeamSoft is the Madison Area s largest privately owned it consulting firm, with more than 200 current consultants! With over 50 active clients, TeamSoft will give you the white greatest exposure to the widest range of IT careers.Our owners possess a combined 55 years of IT consulting experience.

We get you. We know you. We know what you do every day. And we know what you deal with on the job.You take your career seriously and so do we. At TeamSoft you are not just a resume or number. Our goal is to create long-term partnerships with each of cover letter test our consultants.TeamSoft offers a full suite of benefits including a 401k plan with a completely vested 4% match.Click HERE to see what our consultants have to essay english say about working with TeamSoft.TeamSoft Promote yourself!TeamSoft is an letter test, equal employment opportunity employer functioning under an writing on environmental, Affirmative Action Plan. - provided by Diceproject management, business analysis, sdlc, pmp, requirementsbr/ Associated topics: chief program officer, cpo, manage, manager, management, monitor, product manager, project manager, relationship manager, task Teamsoft Madison WI. Business Analyst IBM Business Process Manager (Bpm.

Sirius Computer Solutions. Posted 1 days ago. VIEW JOBS 10/3/2017 12:00:00 AM 2018-01-01T00:00 **Requisition Number** J16-0120 **Title** Business Analyst - IBM Business Process Manager (BPM) **City** Open **Description** **Open Location w/ Austin or Omaha Preferred + 50% average travel** You’ve worked hard to get to where you are and want to work alongside people who’ve done the same. You’re looking to letter test be challenged and to grow professionally, and you want to be valued and car by bailey recognized for your contributions. Cover Letter. Sirius Computer Solutions agrees. As a nationally recognized IT solutions provider with an over essay on environmental, 35-year history of success, Sirius is known for cultivating the cover letter best talent, providing a positive work environment, and car by bailey white offering a compensation and benefits package designed to help our employees thrive both personally and professionally. We deliver best-of-breed IT solutions from the world#39;s top technology innovators, including Cisco, Citrix, CommVault, Dell, EMC, Hitachi, HP, IBM, NetApp, Nutanix, VMware, and cover test many more. If you want to work with the missouri and technology thesis Brightest Minds in the Business, contact us today. We#39;re looking for an IBM BPM Analyst with Project Management experience to join our Business Agility group. This is a full-time benefited role with us that can require an average of 50% overnight travel.

Position Summary: The primary purpose of this position is to serve as a supporting liaison between members of the cover letter technical team and the business user community to writing analyze business and user needs, elicits and document requirements, identify system enhancements, and determine impacts to current processes. Primary Duties Responsibilities: • Elicits requirements, defines business requirements, uses cases and user stories, and performs analysis on a solution implementation • Implements techniques for eliciting and validating requirements including: Brainstorming, JAD Sessions, RAD Sessions, Interviews, Surveys, Nominal Group Technique, and/or Structured Walkthroughs • Conducts functional specification review sessions with cross-functional team members • Conducts structured walkthroughs of process flow diagrams to establish “As-Is” and “To-Be” states • Ensures business requirements are met, optimal system design is achieved and differences between business requirements and systems capabilities are resolved • Leverages business experience and letter test analytical skills to assignment help uk review define recommendations and process improvements through industry best practices and letter personal line of business knowledge. • Identifies potential solutions and evaluates them for both technical and missouri university and technology business suitability • Serve as a liaison between business users and developers • Contributes to the adoption services/efforts of an implementation project • Develops training materials for end users **Requirements** Basic Qualifications: • Bachelor’s Degree in Systems Analysis, Information Technology, Business, or related field • At least three (3) years’ full software lifecycle development experience, to include experience with IBM’s Business Process Manager (BPM) platform Other Position Requirements: • Demonstrated ability to work autonomously on BA-related tasks/activities to develop end-customer deliverables • Experience with various project methodologies including Agile and letter test Waterfall implementation approaches • Demonstrated knowledge of at help least one industry (e.g., Healthcare and/or Banking) with the capabilities to elicit general requirements for other industries • Demonstrated knowledge of the application security space to be able to identify, research, and advise on and resolve business challenges related to application security • Experience with requirements management through a requirements tracking tool (e.g., SpiraTeam) Preferred Qualifications: • Experience in a consulting environment The above primary duties, responsibilities, and position requirements are not all inclusive. Sirius is an equal opportunity employer that values diversity. As a government contractor, Sirius takes affirmative action to employ and advance in employment qualified women, minorities, individuals with disabilities, and protected veterans; maintains a drug-free workplace; and cover participates in E-Verify. Individuals who receive job offers will be required to complete pre-employment screening that includes a background check verifying name, residences, education, work experience, and criminal convictions consistent with the Fair Credit Reporting Act; and a drug test for controlled substances consistent with the missouri of science thesis Drug-Free Workplace Act and letter test the Americans with Disabilities Act. Sirius will not sponsor work eligibility for this position. Assignment. Sirius Computer Solutions Madison WI. Business Analyst 20170130_001_Sxm. Posted 20 hours ago. VIEW JOBS 10/4/2017 12:00:00 AM 2018-01-02T00:00 h3Job Description/h3divpemstrong*Corp to cover letter test Corp is not accepted/strong/em/ppstrongQualifications:/strong/pulliBachelorsrsquo; degree or equivalent work experience is cited essay, required./lili8+ years of Business Analyst experience./liliProven experience in cover eliciting and documenting requirements./liliStrong knowledge of and previous experience with technical data documentation concepts and techniques; e.g. Cited Essay. (data requirements, data mapping, conceptual entity relationship data modeling)./liliSolid knowledge of and previous experience with business process and workflow modeling concepts, techniques and tools./liliProven experience in analyzing data to draw business-relevant conclusions./lili4+ years of experience with Microsoft Office suite of products such as Word, Excel, PowerPoint, Visio, and cover test Project./liliA solid understanding of information technology strategies, concepts, processes and techniques./lili2+ years of assignment uk review experience supporting complex IT application implementation project(s)./liliExcellent communication skills and ability to effectively interact with wide range of audiences, including operational staff, management and letter test technical personnel./liliAbility to act as liaison / conduit between parties, as necessary./liliStrong teamwork skills; ability to lead collaboration with diverse staff as well as work independently./liliExcellent problem solving /judgment skills and essay writing on environmental conservation high level of attention to cover letter test detail and accuracy./liliExcellent analytical skills and an informed, evidence-based approach./liliAbility to cited essay prioritize tasks to meet deadlines and multi-task to achieve progress on various activities./li/ulpstrongPreferred Skill Set:/strong/pulliPublic sector experience (Federal, State or County Government)./liliClinical analysis and knowledge of patient care processes in an inpatient and/or outpatient setting./liliElectronic Health Records (EHR) experience (system agnostic). Project Management role experience./liliExperience utilizing SharePoint document management tool./liliHIT and cover test HIE knowledge and experience; specifically with Health Level 7 International (HL7) standards and Surescripts e-prescribing capabilities./liliKnowledge of Stockell Insight billing application and QS1 pharmacy management systems./li/ulpstrongResponsibilities:/strong/ppFacility Electronic Health Records (EHR) Project/pulliWork with the PMO Project Manager, Office Director, client services and representation from the seven client clinical facilities, to writing coordinate the data gathering, collection and initial discovery and analysis efforts to letter support the implementation project planning and preparation activities./liliCoordinate and reflective essay english conduct detailed analysis and refinement of facility specifications and details; e.g. (staff role categorization, provider inventory listing, system license estimates)./liliResponsible for the continued identification, analysis, categorization and documentation of the existing facility services clinical reports./liliResponsible for the continued identification, analysis, categorization and documentation of the cover letter test existing facility services clinical forms./liliFacilitate initial discovery and writing on environmental analysis of data conversion source systems regarding patient and pharmacy data./liliCoordinate and perform initial discovery and analysis for cover test, HIE interface and writing creatively exercises integration components; e.g. (billing, nutritional, laboratory, pharmacy)./liliSupport the review and continued refinement of current state business process mapping and cover test workflow diagrams.Identify and reflective essay english document clinical policies and procedures utilized at the seven facilities./liliOrganize existing materials and documentation to support the effective onboarding of the EHR system vendor and Implementation Services vendor./liliPotential for continuation of Business Analyst role and responsibilities to support the implementation project initiative, post transition activities./li/ulpBusiness Analyst Tasks for Other Projects/pulliAnalyze business processes, procedures, organization structure, etc. in order to identify problems and test determine solutions./liliElicit requirements from stakeholders, analyze the requirements, document, and create functional specifications as required.

In this role, the missouri university thesis Analyst may also interact with the development and cover letter quality assurance teams./li/ulpProject Management Office (PMO) Support/pulliAssist the client#39;s PMO Director with the definition, documentation and communication of organizational and operational performance metrics for the PMO./li/ul/divh3Company Description/h3divEXACTA Corporation is university of science thesis, a provider of Talent Management Solutions to Fortune 1000 and cover letter test SMB companies, government agencies, and non-profits. Exercises. Operating divisions include talent and vendor services, commercial software based on CRM as ERP, and EXACTAcademy. Fundamentally, EXACTA is committed to the professional success of talented individuals looking for progressive career advancement.br/br/With 16 offices nationwide, EXACTA#39;s dedicated talent professionals genuinely care about your career, including sponsored continuing education and professional certifications. EXACTA is an equal opportunity employer with specific initiatives for veterans and under-represented minorities in IT and STEM./div Exacta Corporation Madison WI. Business Analyst Role Moving Toward Project Manager. Test. 1. Resume Copy paste or upload your resume. Essay Writing On Environmental Conservation. 2. Cover Letter (Optional) 2. Cover. Cover Letter (Optional)

Attached Cover Letter. 2. Cover Letter (Optional) Copy paste or upload your cover letter. Don’t have a cover letter? Build one now! We will save your jobs while you are here, but once you leave, they will be discarded. To save your jobs for when you return, please sign in. Mighty Recruiter Mighty Recruiter. Customer Service Customer Service. 800-652-8430 Mon- Fri 8am - 8pm CST.

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Cover Letter for Test Engineer - Best …

PETROCHEMICAL LOGISTICS ANALYST, Houston, TX. This opportunity will work in test, the Petrochemicals Division of distribution and investment company in creatively exercises, Houston. Once the new employee learns the company’s documentation process, products and logistics, the next step in their career path will be a promotion to Petrochemical Marketing Analyst. This could take 6 months to letter one year to move into the more advanced role. The employee would report to the Sr. Car By White! VP GM Commodity Chemicals, which currently consists of six individuals in this petrochemical department.

Territory: The Americas with a focus on the US Gulf Coast. Business Profile: Focused on cover test importing petrochemical products in liquid form from Asian markets, then selling products to writing exercises oil company refiners and other users of Feedstock products. Customer Base: Major oil companies, refineries, small trading companies and distributors. Offer support to the US petrochemicals business. The company is seeking to cover letter test hire someone from the petrochemicals industry with experience in logistics, marketing and business development. This person must understand transportation, supply chain and logistics. This is writing a career growth opportunity for a junior person with a college degree and 1-3 years working in the petrochemical industry. Support daily petrochemical product deliveries and documentation.

Communicating with customers, surveyors, forwarders etc. to insure smooth delivery of petrochemical products. Products are imported in liquid form. Support Aromatics import business to cover letter test maximize the trade volume and assignment, profit. Interface daily with Tokyo and letter test, London company offices in order to insure secure supply and timely product delivery to US markets. Explore and assignment uk review, identify new petrochemicals business opportunities. Conduct market trends and competitive analysis. Develop and build relationships with customers and suppliers.

Required Travel: 20-25% travel to visit with customers and attend trade shows in the Americas (US, Canada, Mexico and letter, Latin America) also limited travel to Tokyo and Europe. Qualified candidates should submit their resume to resumes@righandssolutions.com and include the reference number 102493 in your email. Please feel free to share with your network or any connections that are looking for a new opportunity. Our Client, a Dallas company which offers all general land surveying services is seeking a Land Surveyor with 10-years experience in of science and technology thesis, surveying to include at least 5-years as a Registered Land Surveyor. Interested candidates should hold a Bachelors degree in Engineering, Land Surveying, Architecture or related field and be RPLS certified. - Plan workflow, schedule and cover test, supervise field crews and technicians. - Coordinate with civil engineering and landscape architecture departments on jobs. - Plot and record property boundaries.

- Maintain records Assist with client development and marketing. - Provide assistance with submittals to writing creatively local/state/federal agencies. - Monitor projects adherence to company standards. Requirements of the Land Surveyor. - Bachelors degree in Engineering, Land Surveying Architecture or related field. - 10-years experience in surveying to include at least 5-years as a Registered Land - Surveyor RPLS certified. - Professional Licensed Surveyor or CST preferred. - Experience as a Survey Crew Chief. - Proficient in AutoCAD Development Desktop or Civil 3D.

- Knowledge of survey ethics and technical standards. - Knowledgeable of letter test construction procedures. - Maintain a current drivers license in good standing. Qualified candidates should submit their resume to resumes@righandssolutions.com and include the reference number 102492 in your email. Please feel free to share with your network or any connections that are looking for a new opportunity. MARKETING/COMMODITIES TRADER - Houston, TX. One of our clients is looking for writing, a junior marketing/trading candidate with petrochem experience in Houston, TX. Our client needs someone to support their aromatics business along with the Sr. Test! VP GM for their Commodity Chemicals group. Help Uk Review! Someone that has chemical industry and/or petrochemical experience. Letter Test! Japanese speaker is a plus.

The candidate would support day to day aromatics deliveries and documentations, communicate with customers, surveyors, forwarders, etc. for smooth deliveries, support their aromatics import business to maximize the cited essay, trade volume and profit and explore new aromatics related business. Qualified candidates should submit their resume to resumes@righandssolutions.com and include the reference number 102491 in your email. Please feel free to cover letter test share with your network or any connections that are looking for a new opportunity. WASTEWATER TREATMENT PLANT ENGINEER - Houston, TX. Our client has planned and designed all types of cited essay infrastructure systems for cities, utility districts and development projects. These projects include water supply and storage facilities, water distribution systems, wastewater conveyance and cover letter test, treatment facilities, and paving and drainage facilities. Our construction phase services including site inspection and contract administration assure that the projects are constructed smoothly and delivered on time. Writing On Environmental Conservation! This position consists of the planning and cover, design of civil engineering projects. Civil or Environmental Engineer with experience (0 to 5 yrs.) or an EIT with coursework in Wastewater Systems Treatment Plants including Lift Pump Stations, Biological Processes, and Sewage Collection Systems. Will analyze reports, maps, drawings, blueprints and other data to essay plan and design project. Prepare specifications and plans for projects and inspect construction site to letter monitor progress and ensure conformance to plans and specifications.

Qualified candidates should submit their resume to cited essay resumes@righandssolutions.com and include the reference number 102490 in your email. Please feel free to share with your network or any connections that are looking for a new opportunity. PROJECT ENGINEER - HH LAND DEVELOPMENT - Houston, TX. Our clients HH Land division has an opening for a Project Engineer. In this position you will be involved in hydrologic and hydraulic analyses supporting the Houston Land Division; projects will include drainage impact analyses for master planned developments, FEMA Letters of cover Map Change Requests, flood damage protection design, conveyance analyses. Aspects of the missouri, job include technical analysis and design with some client correspondence, team leadership, budgeting, and planning. The selected candidate will work from our West Houston office. Project Engineer will be responsible for providing technical analysis of a large and important engineering project or a number of smaller projects with many complex features.

Provide technical support with the help of a team to produce hydrologic and hydraulic analyses and reports as requested. Cover Letter! Use standard and missouri university and technology thesis, advanced modeling techniques, theory, and practices in hydrology and hydraulics related disciplines. Test! Project Engineer will interact with the Client and must have good communication skills. Bachelor of Science, Civil Engineering or related degree. Licensed Professional Engineer is essay english a plus 3+ years experience in HH analysis and design. Proficient in commonly used HH software (RAS, HMS, Unsteady, 2D, ICPR, XP-SWMM) Strong communication skills. This position reports to a Senior Project Manager and test, has the potential for advancement into Project Management or a Senior Project Engineering role.

Qualified candidates should submit their resume to my real bailey white essay resumes@righandssolutions.com and include the cover test, reference number 102489 in exercises, your email. Please feel free to share with your network or any connections that are looking for test, a new opportunity. SR PROJECT MANAGER-LAND DEVELOPMENT - San Antonio, TX. The Senior Project Manager is a both a team leader and a client manager. The Senior Project Manager responsibilities include: Business development, proposal writing and project management. Managing less experienced engineers and/or technical support personnel. Conceptualizing the initial design approach for a major phases of on environmental conservation a large project, or have overall responsibility for the engineering work on a project. Planning, scheduling and cover letter test, conducting or coordinating engineering projects involving conventional engineering practices as well as projects that includes a variety of complex features such as conflicting design requirements. Exercises judgment in the independent evaluation, selection, and substantial adaptation and modification of standard techniques, procedures and criteria.

Minimum Requirement.Bachelor of essay on environmental conservation Science, Civil Engineering. Letter! Registration as a Licensed Professional Engineer in the State of Texas. 12+ years of post-graduate experience. Must have excellent written and verbal communication skills. Must be able to build strong client relationships. Must have experience in Client Management and Business Development.

Qualified candidates should submit their resume to resumes@righandssolutions.com and missouri university of science and technology thesis, include the reference number 102488 in your email. Please feel free to letter test share with your network or any connections that are looking for english, a new opportunity. Our client has a need for a SENIOR HVAC PIPING TAKE-OFF/ESTIMATOR. Cover! Reporting to the Pre-Construction/Estimating Manager. Candidate must be able to interpret contract drawings and specifications including architectural and structural and create a complete piping take-off. Candidate must be able to read and interpret piping specs and properly identify the types of materials required for essay writing on environmental, individual systems. Strong computer skills are required. 5 years minimum HVAC Piping field experience with a Mechanical Contractor as a pipefitter is a requirement for this position.

Knowledge of HVAC Piping (CHW, HW, STM). Experience in Piping Take-Offs of Central Plants, Commercial Buildings, Hospitals, Labs, Schools and other commercial and institutional projects. Cover Letter! Candidate must have knowledge of the different types of missouri thesis HVAC Systems.Working knowledge of cover test Fastest, Quickpen or similar on screen take-off software is required. Must have technical knowledge of welding of piping systems. High level of commitment to the success of creatively exercises assigned projects.

Willing to put in extra effort and hours as needed. Qualified candidates should submit their resume to resumes@righandssolutions.com and include the letter, reference number 102487 in your email. Please feel free to assignment uk review share with your network or any connections that are looking for cover letter, a new opportunity. PROJECT MANAGER - LAND DEVELOPMENT - Houston, TX. The Sr.

Project Manager will have the responsibility for applying intensive and diversified knowledge of engineering principles and practices in broad areas for the development of single family and commercial projects including the design of water, sewer, drainage, paving, and grading. An understanding of essay municipal utility districts including creations, utilization, and operation is a plus. Lead a team of EIT's, designers, and CAD draftsmen to produce construction plans, exhibits, reports, tables, etc. as may be requested / required by the client. Letter Test! Be responsible for assignment help, the daily operations and letter, deliverables that may be necessary for car by bailey white essay, the development of single-family residential and commercial projects. Project Manager will interact with Client and other consultants and must have good communication skills. Uses advanced techniques, theory, precepts and practices in letter test, a specialized engineering field and related sciences and disciplines.

As a Project Manager you will plan, coordinate and direct a large and important engineering project or a number of smaller projects with many complex features. Required Education/Licenses: Bachelor of reflective english Science, Civil Engineering is required. Cover Letter Test! Licensed Professional Engineer plus specialized experience. Required Experience: 4 - 10+ years of post-graduate experience or Master's Degree and 2-3+ years of post-Master's experience. Ability to define routine problems, collect data, establish facts, and draw valid conclusions to solve routine problems and/or deal with a variety of variables in cited essay, situations. Ability to cover test interpret a variety of instructions furnished in written, oral, diagram, or schedule form. Qualified candidates should submit their resume to resumes@righandssolutions.com and include the reference number 102486 in white essay, your email. Please feel free to share with your network or any connections that are looking for a new opportunity.

URGENT NEED: TEMPORARY ASSIGNMENT/CONSULTANT PROJECT. Rig Hands Solutions is currently looking for three new positions for consultants or temporary employees for a 45 to letter test 60 day project. This opportunity could turn into a longer opportunity depending on the quality of work and if the hiring company purchases more assets in the south Texas area. The positions are as follows: 1. Petroleum Engineer with Experience drafting project based Reserve Reports - Ref. #102482. 2. Environmentalist with experience doing Phase I Studies - Ref. #102483. 3. Attorney with the ability to write Title Opinions in several counties in South Texas - Ref. #102484. Please e-mail us your resumes to resumes@righandssolutions.com as soon as possible as this is a time sensitive opportunity and include the cited essay, reference number in your email.

Please call us at 832-559-0204 with any questions. ALL JOB OPENINGS (click for more details) Please review the requirement by clicking on the job title. Qualified candidates should submit their resume to letter test resumes@righandssolutions.com and include the reference number in your email. Rig Hands Solutions and Elite Counsel Solutions are currently seeking a Sr. Recruiter for assignment help uk review, their Houston office. Candidates should have a minimum 5-years experience as a recruiter. Experience in the Oil Gas or in Legal industries is cover a plus.

Qualified candidates should submit their resume to resumes@righandssolutions.com and include the reference number 102475 in your email. Please feel free to share with your network or any connections that are looking for university, a new opportunity. Currently recruiting in cover letter test, Houston for essay writing on environmental conservation, a Chief Inspector with heavy civil construction projects. Education or training in a construction technology related field is preferred. Candidate must have experience inspecting heavy civil construction projects such as pump stations, pipelines and water/wastewater treatment plants. Cover! Candidate must be able to read and assignment, understand construction plans and cover test, specifications; inspect all aspects of ongoing construction work to missouri of science and technology thesis verify conformance to the construction contract documents; clearly communicate (orally and written) with Contractor, Owner, and Engineering personnel; review and understand submittals and other construction documentation; determine quantities of work items installed and letter, review relate contractor pay applications; and complete an electronic daily construction report clearly documenting daily construction and white essay, related activities. Experience with Word and Excel is necessary, and cover letter test, scheduling software is a plus.

The job will require the ability to climb ladders, lift light loads and cited essay, work 40-50 hours per week. Some weekend work may be required. Some travel within Texas may also be required. Qualified candidates should submit their resume to resumes@righandssolutions.com and include the cover letter test, reference number 102481 in your email. Please feel free to share with your network or any connections that are looking for a new opportunity. Our Houston office is currently searching for a TBD Engineer - TXDOT project with heavy civil construction projects. Education or training in a construction technology related field is preferred. Candidate must have experience inspecting heavy civil construction projects such as pump stations, pipelines and water/wastewater treatment plants. Candidate must be able to read and understand construction plans and specifications; inspect all aspects of help ongoing construction work to verify conformance to the construction contract documents; clearly communicate (orally and written) with Contractor, Owner, and Engineering personnel; review and cover letter test, understand submittals and other construction documentation; determine quantities of work items installed and review relate contractor pay applications; and help, complete an electronic daily construction report clearly documenting daily construction and cover letter test, related activities.

Experience with Word and Excel is necessary, and scheduling software is a plus. The job will require the ability to climb ladders, lift light loads and work 40-50 hours per week. Some weekend work may be required. Some travel within Texas may also be required. Qualified candidates should submit their resume to resumes@righandssolutions.com and include the reference number 102480 in assignment, your email.

Please feel free to share with your network or any connections that are looking for a new opportunity. CONSTRUCTION REPRESENTATIVE – INSPECTOR - Houston, TX. Houston office is currently searching for a Construction Representative (Inspector) for heavy civil construction projects. Education or training in a construction technology related field is preferred. Candidate must have experience inspecting heavy civil construction projects such as freeways, highways, roadways, pump stations, pipelines and water/wastewater treatment plants. Candidate must be able to letter read and understand construction plans and specifications; inspect all aspects of ongoing construction work to verify conformance to cited essay the construction contract documents; clearly communicate (orally and written) with Contractor, Owner, and Engineering personnel; review and understand submittals and other construction documentation; determine quantities of cover letter work items installed and review relate contractor pay applications; and complete an electronic daily construction report clearly documenting daily construction and related activities. Experience with Word and Excel is necessary, and scheduling software is a plus. The job will require the ability to climb ladders, lift light loads and work 40-50 hours per week.

1- 5 yrs. experience. Reflective English! Prefer ACI or NICET 1 or 2 certification and HMAC Level 1B certification; Some weekend work may be required. Cover Test! Some travel within Texas may also be required. Qualified candidates should submit their resume to resumes@righandssolutions.com and include the reference number 102479 in essay on environmental, your email. Please feel free to share with your network or any connections that are looking for letter, a new opportunity. LARGE DIAMETER MUNICIPAL PIPELINE MANAGER - Dallas, TX.

Our client a large Civil infrastructure company is college looking for a Team Leader/Project Manager that reports to letter the SR VP in writing on environmental conservation, Dallas TX heading the Pipeline Group for Large Diameter pipelines on water/waste water projects. Salary is cover letter test 150K. The candidate will serve as Sr. Project Manager on large-scale water and wastewater infrastructure projects, serve as key Client Manager for exercises, major North Texas clients and lead their Dallas Infrastructure Team. Relationships with key, existing clients including North Texas Municipal Water District, Dallas Water Utilities, Upper Trinity Regional Water District, City of Frisco and/or Trinity River Authority is preferred but not required. Specific design and management experience desired includes large-diameter pipelines and/or large-scale water/wastewater facilities including treatment, pumping and storage. Candidate will be part of growing North Texas Infrastructure and will play a key role in cover letter test, team leadership, sales, project delivery and client management. In addition, will be part of the statewide W/WW facilities or large-diameter pipeline practice team based on specific skillset and experience. BS Degree Licensed PE in Texas or ability to obtain within 6 months. Cited Essay! 13+ years client/project management and/or design experience with large-diameter pipeline projects or water/wastewater facility (WW Treatment, Pumping or Storage). Experience with regulatory requirements and securing appropriate regulatory permits associated with design and construction water and wastewater treatment facilities.

Dallas area candidates preferred. Letter! Must be fully able to work in the US without sponsorship. Job Type: Full-time. Required license or certification: Qualified candidates should submit their resume to missouri of science and technology thesis resumes@righandssolutions.com and include the cover letter test, reference number 102478 in your email.

Please feel free to share with your network or any connections that are looking for a new opportunity. PIPING SUPERINTENDENT - Houston, TX. Our Client located in Houston TX is looking for a Lead Piping Superintendent. Duties: Directs operation activities and sets department as well as individual performance goals accordingly. Pre-project review of drawings, field documentation requirements, on-site safety requirements and manpower needs. Exercises! Maintenance and test, planning of field reports, work-arounds, shutdowns and tie-ins as well as on-site jurisdictional disputes. Directs staffing, training and reflective, performance evaluations of piping construction personnel to develop and control uniformity. Test! Coordinates with Project Managers and other field personnel for smooth project planning and completion. Provides Project Managers up to date labor schedule information and future needs. Prepares periodic labor reports as requested by job, trade or cost center. University! Establishes and monitors field purchase requisitions on per job basis.

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Please feel free to cited essay share with your network or any connections that are looking for a new opportunity. One of test our clients in Houston, TX is looking for a Senior Bridge Engineer with the following qualifications: Bachelor of Science Degree, Civil Engineering Licensed Professional Engineer in the state of Texas. Master’s Degree in Structural Engineering Familiar with Microstation or AutoCAD. Required Minimum Experience: 4 years’ experience on Civil Structures and/or Bridge Design per TxDOT criteria Proven experience in white essay, handling multiple tasks and deadlines. Qualified candidates should submit their resume to resumes@righandssolutions.com and include the letter test, reference number 102473 in your email. OIL GAS AND TITLE OPINION ATTORNEYS. One of our up and creatively, coming law firm clients has a need for multiple oil gas and title opinion attorneys for cover letter test, there office in Houston. They are interested in multiple state jurisdictions.

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Key Experience Attributes. 1) Petroleum Engineering: Evaluations, transactions, and project leadership experience working for a U.S. based investment banking firm or highly respected oil and gas company in the upstream EP sector. Must have significant domestic evaluation experience including all or most major resource plays. Letter Test! Must have transaction experience, specifically in providing buy-side and/or sell-side analyses. Must be proficient at essay on environmental conservation ARIES, with financial modeling highly beneficial. 2) A huge plus will be a strong engineer that also has meaningful business development experience and multiple contacts within the letter test, upstream AD and/or EP community.

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1996 Ap Us History Free Response dbq Essay. Throughout the period 1801-1817, the government was ruled by cover letter test the Jeffersonian Republican party, whereas the cited essay Federalist Party began to slowly fade away from public view. The Jeffersonian Republican party, led by Thomas Jefferson, professed to favor a weak central government through the support of more states#8217; rights, #8220;#8230;that the states are independent#8230; to#8230;themselves#8230;and united as to everything respecting foreign nations.#8221; (Document A). On the other hand, the Federalist Party, previously led by Alexander Hamilton, espoused the idea of cover test, a strong central government. The characterization of these two political parties during the presidencies of Jefferson and writing, Madison were inconsistent with the cover letter professed position in the 1790#8217;s.The Jeffersonian Republican party was founded on specific principles, presented and created by Thomas Jefferson#8217;s ideal of the perfect government. The nation was thus divided into missouri of science, two ideals the letter test Jeffersonian Republicans and the Federalists but as Thomas Jefferson rose to power, the Federalists ideals and influence began to fade. During the Tripolitan War, Jefferson used mostly the navy to fight and win the war, because of university and technology, Jefferson#8217;s belief of a strong standing army was an invitation towards dictatorship.

Specifically, the cover #8220;mosquito fleet#8221; was used because of its size and maneuverability. The #8220;mosquito fleet#8221; was also lightly funded because of the Jeffersonian Republicans#8217; belief in a minimal navy, but it provided sufficient protection for the American shores. Three years after the Tripolitan War, the Embargo Act was enacted to avoid yet another war, which was the reason for my real car by white, Jefferson#8217;s pressure on Congress to pass it. The Embargo Act, however, was an example of cover letter test, Jefferson#8217;s Jeffersonian Republicans#8217; #8220;strict constructionist#8221; ideal because a compromise in the Constitution stated that Congress had the power to regulate foreign trade. Jefferson#8217;s main goal was to avoid war, but the Embargo Act only delayed what seemed to writing creatively, be the inevitable.

The Embargo Act caused a complete boycott of cover letter test, British and European goods, and it was supposedly an ultimatum for writing on environmental, the discontinuation of test, British and European harassment of American ships. The Embargo Act in turned backfired, because it hurt the merchants through the discontinued trade with superpower, Great Britain and other European countries, and university, was three times more costly than war itself. On the other hand, the Embargo did have positive attributes because the merchants began to develop domestic manufacturing, which slowly made the United States economically independent from other countries#8217; economies. Ironically, Jefferson#8217;s Embargo Act did cause an economic ripple in Europe, but the American people were too impatient to reap its #8220;bountiful#8221; yield. The Federalists obtained the title of being #8220;loose constructionists.#8221; The Jeffersonian Republicans#8217; rational of the Constitution was if it did not grant, it forbade. Cover Letter Test. President Madison vetoed the Internal Improvement Bill (soon to be known as the American System) because #8220;#8230;seeing that such a power is not expressly given by the Constitution.#8221; (Document H) President James Madison further defended his position by exercises stating the success of the Constitution depended on the cooperation of the federal and state governments. Cover Test. (Document H) Thus President James Madison upheld the cited essay ideals of the letter Jeffersonian Republican of a strict interpretation of the Constitution and creatively, the conservation of states#8217; rights, even though he was the cover test person to first propose/develop, the soon to essay writing conservation, be known, American System later made popular by Henry Clay in 1824. The Jeffersonian Republicans wanted to avoid the Federalist ideals of test, #8220;Congress has power to create a dictator,#8221; but the pressure from the American people and uk review, being the President of the United States caused certain members of the Jeffersonian Republicans to be steadfast on only several governmental and national topics. (Document D) As certain members, Thomas Jefferson and James Madison, of the Jeffersonian Republicans rose into a higher leveled power, their ideals began to fade and mix with Federalists#8217; views. During Jefferson#8217;s second term as president, Jefferson#8217;s #8220;reasons#8221; #8220;#8230;tells me that civil powers along have been given to the President of the U.S#8230;#8221; (Document B). Test. In four years time, Jefferson switched from his Jeffersonian Republicans#8217; view to the Federalists#8217;. Furthermore, as Jefferson urged the removal/impeachment of Supreme Court justice, Samuel Chase, Jefferson was at the same time further empowering his own governmental position.

The Embargo Act postponed America#8217;s war with foreign European nations and developed the United States#8217; domestic manufacturing. On the essay on environmental other hand, the Embargo Act was quickly pushed through Congress by Thomas Jefferson, but the cover Embargo Act was never approved by the individual states. So, the Embargo Act was a federal policy and not a policy passed by the states. The abolition of the slave trade also expressed Jefferson#8217;s indirect favoritism towards the Federalist policies. The method of which Jefferson obtained the abolition of the slave trade was against the Jeffersonian Republicans principles. The states did not have representation in reflective english the decision upon which to cover letter test, abolish the slave trade because Jefferson pushed the policy through Congress for a permanent ban on the slave trade.

Similarly, the War of missouri of science and technology thesis, 1812, occurred during Madison#8217;s presidency, was not supported by all American, and therefore was one of the many factors that caused America to letter, suffer one of my real car by bailey essay, its most humiliating defeats. John Randolph, who was a Democratic Republican, began to test, state the obvious near the end of Madison#8217;s presidency, #8220;#8230;the present government have renounced the my real true republican principles of Jefferson#8217;s administration.#8221; (Document F) The Jeffersonian Republicans were feeling the pressure of addressing national issues at different angles and they could not remain solid on their original ideals, #8220;Their (Jeffersonian Republicans) principle now is letter test old Federalism.#8221; (Document F) In a sense, Thomas Jefferson was slowly replacing his own political party ideals with Federalist ideals. The Jeffersonian Republicans was not the essay only political party to sway from its ideals. Cover Letter. The Federalist, Daniel Webster, stepped aside from the common Federalists ideal. In Daniel Webster#8217;s speech to the House of Representatives on assignment help the conscription bill, he strongly opposed the conscription bill. (Document D) What was his reason for such opposition, even though he was a Federalist? Thus, the Jeffersonian Republicans were not the only political parties to lean away from their political ideals, Federalists did also. The Louisiana Purchase further exemplified Thomas Jefferson#8217;s growing detachment from his Jeffersonian Republican ideals. Where did it strictly say in the Constitution that Jefferson could buy land?

It did not. Thus, Jefferson adopted the letter Federalist ideal of #8220;loose construction#8221; through buying land to expand America#8217;s power, even though Jefferson contemplated if the purchase was unconstitutional. University And Technology Thesis. Similarly, the Federalists were also changing views, for cover, the Federalist opposed the Louisiana Purchase even though it would increase the federal government power. The underlying purpose of the Federalists#8217; opposition towards the Louisiana Purchase was mainly on political grounds. Writing Creatively Exercises. Through the United States doubling in size, the influence of the much faded Federalist ideals would further weaken because the Federalists were already out of office and faced steadily diminishing influence in American society. Thus, in a respect, the Federalist ideas did not begin to fade from public view after John Adams was voted out of office, but instead was expressed to the public through the opposing party#8217;s top officials, Thomas Jefferson and James Madison. The characterization of the two parties did not remain accurate during the presidencies of Jefferson and Madison because of the cover test pressure during the possession of the high powered position changed the views of the Jeffersonian Republican leaders, #8220;laws and institutions must go hand in hand with the progress of the human mind.#8221; (Document G) During Jefferson#8217;s and Madison#8217;s term as president, the single-minded ideal of the and technology Jeffersonian Republican did not withstand the influence of the Federalist ideas on several government issues. Thus, Jefferson#8217;s and letter test, Madison#8217;s term as president was a melting pot of both Jeffersonian Republican and Federalist ideas.

None of the two presidents were able to continually uphold the Jeffersonian Republican idea through their presidency. However, the War of 1812 known as the writing exercises Second War for Independence would cause an upsurge of nationalism in the upcoming years during James Madison#8217;s term as president and bringing America closer. University/College: University of Arkansas System. Type of paper: Thesis/Dissertation Chapter. Date: 30 June 2016. Let us write you a custom essay sample on 1996 Ap Us History Free Response dbq. for only $16.38 $13.9/page.

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cold mountain thesis Pictures and Poetry. Debunking the cover letter, Bunk: An Examination of Picturesque Influence. A Thesis in the Department of English.

Presented in partial fulfilment of the requirements for the degree of Master of reflective essay college Arts at Concordia University Montreal, Canada. Keith Waddington 1998. School of Graduate Studies. This is to certify that the thesis prepared. By: Keith Waddington.

Entitled: Pictures and Poetry. Debunking the Bunk: An Examination of Picturesque Influence and submitted in test partial fulfilment of the requirements for the degree of. Pictures and Poetry. Debunking the Bunk: An Examination of Picturesque Influence. This thesis examines the history and development of the cited essay, Picturesque, its definition, theoreticians, and letter test practitioners; and its influence on romanticism. The focus is the correction of pejorative and negative assessments common in modern literary studies which provide a misleading interpretation of both the Picturesque and its influence.

The goal is a broader understanding which suggests the missouri university, necessity of a new evaluation of Wordsworth’s “groundbreaking” contribution to literary development. Accordingly, an extensive introductory section examines pre-Picturesque and Picturesque painting, outlining the beginnings of a new and particularly English aesthetic. Also, an exploration of pre-Picturesque poetry and formative Picturesque poetry reveals the literary ramifications of this aesthetic. Finally, Wordsworth and Keats are canvassed within the Picturesque context: Wordsworth to demonstrate the origins and erroneousness of the cover, modern critical bias and the way his poetry was often formulated according to Picturesque principles; Keats to demonstrate the longevity and continuing importance and influence of the Picturesque. Conclusions are conclusive. Table of my real essay Contents.

Section One: The Canvas. Section Two: Background. Section Three: The Middle Ground: Wordsworth. Section Four: The Foreground: Keats. Section One: The Canvas [1] [The] theory and practice of the Picturesque constitute the major English contribution to European aesthetics. (Watkin, vii)

The romantics . . . inherited the picturesque way of looking at nature, but realised that it . . . had become a tyranny, so they invented new ways of seeing which were new ways of feeling. (Brownlow, 16) Major contribution or tyranny? When modern scholars of literature observe the Picturesque and its influence on romantic poetry, ideas become gods and cover facts their disciples. The extensive adoption, intrinsic importance and “capability” of the writing creatively, Picturesque—willingly acknowledged by art historians like Watkin—are expurgated, summarily sacrificed on the altar of entrenched literary dogma, and cover test the service of writing exercises academia becomes a self-serving exercise in blind faith. This section will provide a prolegomenon to cover test, scepticism, describing the reflective essay college english, aesthetic context for the Picturesque movement, demonstrating the links between early continental landscape painting, neo-classicism, the Picturesque, later English landscape artists and romanticism. Besides offering essential background, outlining the artistic continuum which these links illustrate—revealing the inevitability of cover romanticisms and thus sanctioning a less venerational view of Wordsworth—the principle intent here is to on environmental conservation, provide a more useful definition of the Picturesque. In terms familiar to tabloid conspiracy theories: to tell you what they don’t want you to know. In the beginning was the cover, word, and the word was Picturesque. Although perhaps peculiar to help uk review, the pictorially educated modern, an aesthetic appreciation of landscape scenery was inconceivable prior to the Picturesque period. It is, in simple terms, a skill that requires learning.

According to cover test, Christopher Hussey in The Picturesque , numerous impediments initially existed, including general Christian doctrine; the early Christian transmutation of pagan nature spirits and gods into evil spirits, essentially rendering the natural realm dangerous and even sinful; and the humanistic bias of reflective our classical inheritance. Although valid to varying degrees, the chiefest obstacle was more likely the general difficulties of cover life and cited essay travel which often rendered nature antagonist. Learning landscape then was an up-hill struggle. The Picturesque movement, prerequisite and intrinsic to this learning process, developed during neo-classicism’s reign supreme, and the formality and rigidity of that rule, by its very nature, proved conducive rather than obstructive. The Picturesque, as we shall see, finally provided egress from neo-classical regulations, where reason could finally take rest, where imagination could romp over hill and cover letter test dale, where individual feeling accompanied originality. Our journey into help the Picturesque begins with the Grand Tour. Subsequent to England’s isolation during much of the seventeenth century and made possible by the Treaty of Utrecht (1713), the Grand Tour was initially a diversion limited to the monied aristocracy. The journey southward to cover, Italy involved either traversing the Alps or following the Rhone. In the accounts of grand tours made between 1640 and cited essay 1730 a pictorial view of landscape is exceptional. In each case it can be traced fairly exactly to the actual sojourn in Rome, where the works of Claude and cover letter Salvator were to help uk review, be seen. (Hussey, 84)

Indeed, picturesque awareness—commonly the quiddity of modern tourism—was, like landscape painting itself, entirely foreign. Cover Test? Chaucer, for example, made three or four trips over the Alps yet never mentioned them once in his poetry. John Evelyn’s travels between 1644 and 1648 precisely outline a similar aesthetic vacuity, suggesting it was “as if Nature had here swept up the essay, rubbish of the earth in the Alps” (qtd. Hussey, 85); remembering the “horrid mountains” as “troublesome” (qtd. Hussey, 86). Similarly, Richard Lassels’ Italian Voyage (1670) mentions Mount Cenis only in practical terms of route, “the most desirable for speed and convenience” (Manwaring, 9). Landscape painting at this time generally existed either as a background to human drama, or as a quasi-scientific topography. Neither was considered—especially for the English, where only the farmer or ditch-digger truly worked in landscape—significant work for the significant painter.[2] When aristocratic travellers finally arrived in Italy, they came upon an important exception to this rule. Claude Lorraine, Salvator Rosa and Gaspard Poussin[3] broke with the traditional subject hierarchy and raised the landscape to lofty heights of respectability.[4] The juxtaposition of the test, scenery aristocratic tourists had seen and the landscape paintings they confronted provided an early indication of this parochial aesthetic and even philosophical void. The aristocracy progressively responded, bringing home souvenir paintings and prints—an early equivalent of modern picture post-cards—beginning collections and posing as cognoscenti . Exercises? Grand Tour guide books soon appeared, including practical advice as well as art information.[5]

Essentially, the cover letter test, status of landscape paintings in Italy compelled travellers to assignment help uk review, rethink traditional distaste for test regions like the Alps, to over-look the associated dangers and discomforts of travel and exploration. The preparatory precepts of the Picturesque aesthetic were thus first introduced into England, and of science thesis it was particularly the paintings of cover test Claude and Salvator Rosa which stimulated the greatest interest. The Less Grand Tour. In addition to help uk review, this, the Grand Tour played another important role. In what might be seen as an instance of cultural trickle-down theory, the less affluent middle-class, encouraged by fashionable discussions of Picturesque niceties, was soon occupied with more modest excursions into letter test the English countryside. In search of landscape, landscape gardens and the galleries of mansions, tourists were aided by college english new guidebooks and much improved roads to get them there.

A dramatic democratic appreciation of landscape was at last being realised, with travellers, invariably, carrying sketch-book and Claude Glass. The Claude Glass, a convex mirror of about four inches diameter with tinted filters and bound up like a pocket-book, effectively compressed and framed landscapes. Analogous to letter test, the camera in these film-free days, the user was obviously obliged to turn his back on the scene to observe the framed and cited essay filtered view. Hugh Sykes Davies, in his recent analysis of the Picturesque and Wordsworth, offers the following comment: “It is very typical of their attitude to Nature that such a position should be desirable” (223). Indeed, as we shall see, the comment is merely typical of Davies’ view of the Picturesque. Timothy Brownlow, in John Clare and Picturesque Landscape , offers a similar comment, all the more mockery for letter test its parentheticality: “As an artist, he [Clare] casts aside, as it were, the Claude Glass (whose user had to writing on environmental conservation, turn his back on the landscape)” (13).

Malcolm Andrews, whose In Search for the Picturesque generally circumvents any romantic exploration, consequently offers a more useful note: The imagination as an “intellectual lens” approximates it to cover test, the Claude Glass, which can modify and enhance a particular landscape. All the special properties of the Glass are present in Coleridge’s well-known account of the origins of his poetic collaboration with Wordsworth and missouri university and technology their agreement about the two cardinal points of test poetry: “the power of exciting the sympathy of the reader by my real bailey essay a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colours of the imagination.” (71) Support for the Claude Glass as imaginative metaphor comes from Claude himself, who was as willing as able to composite the actual with the cover letter test, imaginary: Pastoral Landscape with Ponte Molle (1645), for example (see figure 1), represents a view of the pope’s summer residence. . . . The foreground is writing exercises imaginary, but the palace is fairly accurately portrayed. Letter? The castle-like building bathed in help uk review sunlight is letter a forerunner of the highlighted castles in the middle ground so beloved of Gilpin. (Bicknell, 4) The Picturesque tourists offer moving evidence that the cited essay, Picturesque became as widespread as it was popular. Indeed, the eighteenth century is cover letter test matched only by the twentieth for the per capita number of country house visits. At Hawkstone in Shropshire, for example, “there were so many visitors to the dramatically landscaped park that in c. 1790 an hotel was built to accommodate them” (Watkin, vii). David Watkin, who examines the Picturesque from the prospect of art historian, similarly provides an analysis inscribed by positivism, unequivocally stating that “theory and writing creatively exercises practice of the Picturesque constitute the cover letter, major English contribution to European aesthetics” (vii); and that “the Picturesque became the leading building-type in post-Reformation England and has long been recognised as the missouri of science thesis, nation’s principle contribution to the arts” (vii).

“In the intervening two hundred years since its discussion . Cover Letter? . . the writing on environmental, Picturesque has been altered and letter extended in many ways. Along the way it has acquired a pejorative tint” (Robinson, xii). Categorical and “pejorative” statements: “The cultural games of the picturesque” (Woodring, viii); “The vogue of the picturesque” (Nevious, 33); “Comic and faddish as much of the assignment, theory appears in test retrospect” (Brownlow, 43); W.M. Merchant’s common “cult” (9) epithet; as well as the assignment help uk review, supercilious Davies, who extends this negation to the present, saying “The modern tourists . . Cover Test? . pass through the country at a rate never dreamed of by university Gray and West, seeing nothing, and apparently feeling even less” (226), all fail to recognise that this appetite to sample and cover letter develop a taste for landscape was redolent of missouri university of science a general change in aesthetic sense. Test? In fact, the modern tourist, in car by bailey essay the route he selects and cover letter with each viewfinder frame often reveals the influence of the Picturesque. By the start of the nineteenth century, recognition of picturesqueness had become—and remains—second nature.[6] Landscape Artists Abroad. Salvator Rosa (1615-73)

As mentioned, Salvator Rosa, Neapolitan painter, etcher, satirical poet and actor, was crucial to cited essay, the development of the Picturesque and also provides an early link with romantic poetry. Letter Test? In addition to his landscapes, which portrayed the feral and fierce of nature (see figure 3), Salvator displayed a penchant for appalling subjects—witches and monsters, meditations upon death and missouri university of science thesis so on—inspiring such romantic painters as Barry, Fuseli and Mortimer, and finding poetic expression in the romantic inclination towards the cover letter test, gothic and graveyard melancholy. Lady Mortgan’s The Life and Times of Salvator Rosa , published in 1824, depicted the artist as a legendary figure hobnobbing with bandits and creatively joining a popular uprising in Naples, establishing him as the quintessential romantic artist: an outlaw encamped with darkness and despair, whose bravura with the test, brush was symptomatic of a burning artistic brilliance inimical to essay on environmental conservation, convention. Eighteenth century literary explorations of the Picturesque are literally laden with references to Salvator: “What’er Lorrain light touched with softening hue / Or savage Rosa dashed, or learned Poussin drew” ( Castel of Indolence I, XXXVIII). Claude Lorrain (1600-1682) Claude Lorrain, although French, spent his adult life in Rome. Claude was undoubtedly the greatest master of cover letter ideal-landscape painting, which seeks to present nature as surnature and concording with the habitual “improvement” of the Picturesque vision. In addition, Claude’s landscapes often contain classical ruins—an initial point of entry for English neo-classicists who required some token scrap of Rome or Athens—a key element modified in the Picturesque movement to accommodate native ruins—both genuine and artificial.[7] Besides his fundamental importance to the Picturesque movement, Claude, like Salvator, exhibited a less direct though nonetheless certain connection with romantic poetry, with his much acclaimed poetic rendering of light.

As E. Assignment Help Uk Review? B. Greenshields, Landscape Painting and Modern Dutch Artists , states, “if one artist were to be chosen as founder of modern landscape painting, that title would be rightly given to Claude” (15). Within the neo-classical/romantic context, John Ruskin offers the following: The love of neatness and precision, as opposed to all disorder, maintains itself down to cover letter test, Raphael's childhood without the slightest interference of any other feeling; and it is not until Claude's time, and owing in great part to his influence, that the new feeling distinctly establishes itself. English scenery, initially, existed as a back-drop to continental landscape paintings in much the same way as landscape initially provided only the setting for human pictorial narratives. In a comparison between Dovedale and Keswick, Dr. John Brown wrote: Were I to analyse the two places in their constituent principles, I shoud tell you, that the full perfection of Keswick, consists of three circumstances, beauty, horror and immensity united; the second of which is alone found in Dovedale. . . . But to give you a complete idea of these three perfections, as they are joined in Keswick, would require the united powers of reflective college Claude, Salvator Rosa and test Poussin. The first should throw his delicate sunshine over the cultivated vales, the scattered cots, the groves, the lake, and on environmental the wooded island. Cover Test? The second should dash out the horror of the rugged cliffs, the steep, the hanging woods, and missouri university of science and technology foaming water-falls; while the grand pencil of Poussin should crown the whole with the majesty of the impending mountains. (qtd.

Davies, 218) The original works of this scanty collection of cover letter Italian painters only partly explain the assignment, extensive aesthetic transformation in remote England. Cover Letter Test? Walpole mentions in his Anecdotes several foreign landscape painters living and car by bailey white essay working in England during the late seventeenth and early eighteenth centuries. Letter Test? [8] These included Henry Dankers, employed by Charles II as a topographical artist and cited essay Francesco Zuccarelli, who visited England twice, lived in cover letter London for five years and college english became a foundation member of the Royal Academy. Thomas Manby, an Englishman who studied in Italy, brought back the customary collection of paintings to add to his own works. In addition, the enormous popularity of these artists, especially Claude, led to cover letter, countless copies and even copies of missouri university of science thesis copies. Less duplicitous was the invention of prints and the development of test engraving to high art, making the landscapes of the masters as common as the furrowed tellurian landscapes of the peasants (see figures 1 and 2 ). Where the canvas could be known, often imprecisely, by only a few hundred privileged, the print could be known intimately by the massed thousands. Indeed, print collecting—”No person of Taste could be without a collection of prints” (Manwaring, 84)—became itself a popular pastime. Also, “the amateur landscape painter had begun to flourish before the seventeenth century closed, and long continued to cited essay, flourish increasingly” (Manwaring, 8). The stylistically idealised quality of Claude and Salvator’s paintings provided the inspiration for the Picturesque movement and was then modified as the English Picturesque developed, essentially becoming an idealisation of a nature that was rapidly vanishing and celebrating a rural way of life that was being lost.

A Picturesque Definition. Perhaps the earliest explicit statement on cover letter the Picturesque comes from assignment help William Kent in his 1709 Memorandum on the preservation of Woodstock Manor: That part of the Park which is seen from the North Front of the new building has little variety of cover letter objects nor does the country beyond it afford any of value. It therefore stands in need of all the helps that can be given. . Missouri University And Technology Thesis? . . Buildings and Plantations. Cover? These rightly dispos’d will indeed supply all the wants of Nature in that place. Writing? And the most agreeable disposition is to letter, mix them: in which this old Manour gives so happy an occasion for; that were the enclosures filled with Trees (principally fine Yews and university thesis Hollys) promiscuously set to grow up in a wild thicket, so that all the buildings left might appear in two risings amongst ’em, it would make one of the most agreeable objects that the best of Landskip painters can invent. (qtd. Watson, 17)

From this early beginning—remarkably loaded with what would eventually become the nitty-gritty of picturesque idiom: variety, wants of nature, mix, wild, thicket; and concepts: a harmony of cover letter test architecture and natural surroundings and comparison with landscape paintings—the unfamiliar story of Picturesque development reads rather like the my real bailey white, recorded exploits of an ancient relation discovered in a dusty chest, while categorical definitions have all the interest of his bleached bones. Unfortunately, ubiquitousness and over-familiarity has essentially starved the term of any useful sense and to flesh out that skeletal frame becomes a matter of Hobson’s choice. So what does “picturesque” really mean? As late as 1794, Uvedale Price wrote: “There are few words whose meaning has been less accurately determined than that of the word picturesque” ( On the Picturesque , 77). [9] Whether or not we accept J. R. Watson's hypothesis, in Picturesque Landscape and English romantic Poetry , that this period—despite being the most prolific in cover letter test picturesque studies, picturesque tours and picturesque allusions—actually marks the decline of the movement (a somewhat strange notion considering Turner’s Picturesque series is still decades away), it seems obvious that the time was indeed ripe for some clear definition. Unfortunately, the multi-disciplinary nature of the subject means that no nut-shell, no matter how perfectly nutty, can contain a definition fair and useful. The stress here then is selectivity, surveying concepts intrinsic to Picturesque theory that reveals strong romantic links and usually glossed-over in modern literary criticism. William Gilpin (1724-1804) Perhaps the most succinct definition of Picturesque comes from Reverend William Gilpin's Essay on car by bailey white essay Prints (1768): “ . . Letter Test? . Reflective Essay College? a term expressive of that peculiar kind of beauty, which is agreeable in a picture”(xii). This simple statement is test modified by the notion of car by bailey “picturesque grace,” meaning “an agreeable form which may be given to a clownish figure”(xii): that stylistic rendition found in “Berghem's clowns, and in Callot's beggars”(29). Thus, in this simplest of beginnings, the Picturesque relates both to the elements in cover a scene as well as the artist's treatment of help uk review his subject.

Essay on Prints provides a broad examination of art and compositional analysis; and Watson's suggestion that for most of the period this definition “was sufficient” seems sufficient only for those unwilling to read the book. Gilpin himself, recognising the cover, fribblish finish, offers some restoration in Three Essays: On Picturesque Beauty, On Picturesque Travel, and writing on environmental conservation On Sketching Landscape (1792) . The accepted definition of beauty—most often marked by smoothness and unity—was established by Edmund Burke in A Philosophical Inquiry into letter the Sublime and writing creatively Beautiful (1757). Recognising that scenes beautiful according to this definition were usually unsuitable subjects for the pencil, Gilpin considered the Picturesque composed of roughness, irregularity and variety. In addition, Gilpin disagrees with Burke’s conclusions on the beautiful and sublime, where the effect of the former is test pleasure, the latter astonishment and that the two, discovered in essay a single object, cause mutual destruction. In reference to Ullswater, Gilpin writes: “Among all the visions of this enchanted country, we had seen nothing so beautifully sublime, so correctly picturesque, as this” ( Three Essays , 52). The juxtaposition of beautiful and letter test sublime is both deliberate, and—as any present-day hiker in this region will attest—accurate.[10] Indeed, the mix of beauty and sublimity, producing the Picturesque, seems to be the gist of Dr. Cited Essay? John Brown’s “beauty, horror and immensity united.” As John Ruskin suggests, “this sublimity may be either in mere external ruggedness, and other visible character, or it may lie deeper, in an expression of sorrow and old age, attributes which are both sublime”

By defining the principle characteristics of the Picturesque, besides underlining the main weakness of Burke’s theory, Three Essays also achieved dubious honour of virtually codifying picturesque theory.[11] The Picturesque was finally composed of such illustrative elements as ruins— à la Claude—cottages, villages, twisting tracks; with roughness, intricacy, sudden variation, abruptness, foreground, middleground and background forming the more abstract and general Picturesque paradigm. Gilpin's Picturesque musings, however, exceeded the catalogue of elements and rules of composition, and in this often overlooked material Gilpin’s especial merit becomes clear. For all the asseverations on artistic theory, it was the visual art itself which most concerned Gilpin and explains the focus of his philosophy. Words,, Gilpin insists, cannot mark the characteristic distinctions of each scene, the touches of nature—her living tints—her endless varieties, both in form and colour.—In a word, all the elegant peculiarities are beyond their reach. Cover Letter? The pencil, it is true, offers a more perfect mode of description. Creatively Exercises? ( Observations , 10) Indeed, the peculiar strength of language rests elsewhere, and the adoption of Picturesque sensibilities by the poet must—by the cover, very nature of his medium—result in an altered expression and writing on environmental conservation not, to foreshadow central critical dogma, a transcending expression. Besides this conclusion—which literary scholars might find presumptuous—Gilpin keenly discerned the importance of the imaginative faculty: “. Test? . . we may be pleased with the description, and the picture. Assignment Help? But the soul can feel neither, unless the force of our own imagination aid the cover letter, poet's, or the painter's art; exalt the idea, and picture things unseen” ( Observations , 10). Reading poetry, viewing painting, it is the imagination which provides fullest meaning; and it is assignment help imagination also which accompanies Gilpin through the Lake District:

The evening . . . Cover Test? grew more tempestuous . . . amid the obscurity, which now overshadowed the landscape, the imagination was left at large; and painted many images, which perhaps did not really exist. . College English? . . Every great and pleasing form, which we had seen during the day, now played, in strong imagery before the fancy; as when the letter, grand chorus ceases, ideal music vibrates on the ear. ( Observations , 19) Gilpin here describes the participation of active imagination both in reading poetry, viewing paintings, and exploring landscape. Followers of the Picturesque then, at least according to Gilpin, are involved with elemental matter both external and internal. Figure 4, for example, offers an unusual composition where the two figures “may be supposed to see the writing creatively, continuation of a landscape down the valley . . . and this gives a sort of clue to the imagination” (qtd. Bicknell, 38). Cover Test? Indeed, the bridge leads the eye outside the frame and it is the unseen which initiates the imagination as much as the help, seen. In addition, Gilpin suggests picturesque tourists with an artistic drift should side-step exact copy and superinduce through the imagination and awareness of test picturesque aesthetics: in a sense, the missouri university and technology, tableau should improve upon nature’s raw material.

Hiking the lower lake of cover test Buttermere, for example, Gilpin says: “Nothing is wanting but a little more wood, to make this lake, and car by white essay the vale in which it lies, a very enchanting scene”[12]( Observations , 3). Although instances such as this provide fodder for scholars hungry to highlight the absurdity of the cover test, Picturesque vision, where actual landscape is compared with ideal landscape painting, the methodology actually involves processing nature through artistic sensibility. Indeed, such comments reveal the Claudian concept of ideal landscape to be never further than the writing on environmental, next hill. Heading towards Ullswater, Gilpin writes: “Except the cover, mountains, nothing in writing creatively exercises all this scenery is great ; but every part is filled with the sweet engaging passages of nature” ( Observations , 8). Here, “passages” suggests poetry—indeed, several lines of cover test verse follow—and Gilpin, despite his acute sense of the visual, infers that landscape, painting and poetry are all, deucedly and inextricably, mixed.

Published in writing exercises 1792, it pre-dates Wordsworth’s Lyrical Ballads by six years and the poet’s own Guide to the Lakes by eighteen. Gilpin, as a clergyman, was naturally concerned the amorality of the Picturesque. Davies, in an exhibition of ignorance and forgetfulness, quotes Gilpin’s comment on the lakeland shepherd: “But the life of the shepherd, in this country, is not an Arcadian life. His occupation subjects him to letter test, many difficulties . . .” (qtd. Davies, 228), subsequently suggesting he afforded no interest in the people who live in writing landscape! In fact, Gilpin, as we shall see, was personally concerned with the well-being of country people and openly acknowledged that the Picturesque stood outside ethical concerns: In a moral light, cultivation, in all its parts, is pleasing; the hedge and furrow, the waving corn field, and rows of ripened Sheaves. But all these, the Picturesque eye, in quest of scenes of grandeur, and beauty, looks as with disgust . . . thus the lazy cow herd, resting on his pole; or the peasant lolling on a rock, may be allowed in cover letter test the grandest scenes; while the laborous mechanic, with his implements of missouri and technology thesis labour, would be repulsed.” ( Observations, Cumberland , 45) This then is the letter, Picturesque, not Gilpin himself. Essay? Gilpin, a school-master, required years of persuasion from friends before agreeing to publish his manuscripts. Subsequent royalties funded a school, “to remedy the letter test, conditions of ignorance and squalor” (Manwaring, 184) founded within the boundaries of his rural parish.

In contrasting urban and rural life, picturesque representations inadvertently suggested a conflict between the reality of children's lives and projected adult attitudes. Many such pictures—including Thomas Gainsborough's cottage series[13]—share a romanticised notion of the essay college english, countryside as an innocent, idyllic environment. While presenting children in test tattered clothing, the effect is picturesque rather than moral. The very same, of course, can be said of much romantic poetry. Gilpin, often the object of narrow-view animadversion, not only recognises the problem but selflessly provides some correction. Despite Gilpin's rule and assignment uk review dogma—measure for measure no more insidious than a modern “How-To” book—his Picturesque views display a diversity to which the satirists were forced to turn a blind eye; an acknowledgement that is as much in accord with romantic contemplation as Picturesque investigation. From 1768 onwards, Gilpin undertook full many provincial journeys in search of the Picturesque, producing a series of illustrated guide books which often suggested specific “stations”—places providing ideal perspective of picturesque vistas. These guides, including Wye and South Wales (1782) and the Lake District (1789), were paramount in letter the popularisation of the Picturesque as a means of viewing nature and are, of themselves, indicative of the popularity of picturesque tourism.[14] As Watkin suggests, “Gilpin’s numerous topographical books were essentially a preparation for intelligent critical visiting, for the Picturesque presupposes a society which was interested in nature and in art and, above all, in travelling (vii). In conclusion, Gilpin's introduction to Essays provides the following clarification which modern critics might gainfully peruse: . Writing Exercises? . . Cover Letter? we picturesque people are a little misunderstood with regard to our general intention . I have several times been surprised at finding us represented, as supposing all beauty to consist in picturesque beauty —and the missouri of science, face of nature to be examined only by the rules of cover letter painting. Whereas, in fact, we always speak a different language.

We speak of the reflective essay college english, grand scenes of nature, though interesting in a picturesque light , as having a strong effect upon cover letter test the imagination . . Assignment Help? . we everywhere make distinctions between scenes, that are beautiful , and amusing , and scenes that are picturesque. ( i-ii) Followers of the Picturesque—and their numbers were legion—were concerned with a general appreciation of landscape and nature, though particularly those scenes formed of picturesque elements. The Picturesque scene was of more intense interest to painters, poets and travellers for the simple reason that the Picturesque scene is a scene more intense in its capacity to provoke and induce reflection. And finally, Gilpin offers a warning: Let not inborn pride, Presuming on thy own inventive powers,

Mislead thine eye from cover letter Nature. She must reign. Great archetype in all. ( On Landscape Painting: A Poem , 26-30) Uvedale Price (1747-1829) This capacity to provoke is an essential element in the theories of Uvedale Price. Like Gilpin, Price adopts Burke's analysis of beauty: uniformity of surface, gradual variation and so on; as well as Gilpin's own analysis of picturesqueness: roughness, sudden variation, irregularity etc. Price, however, takes exception to pictorially-based definition, suggesting that the Picturesque is creatively related to painting only accidentally: That term, as we may judge from its etymology, is applied only to objects of sight; and, indeed, in so confined a manner as to be supposed merely to have a reference to letter, the art from which it is uk review named. I am well convinced however, that the name and reference only are limited and uncertain, and that the qualities which make objects picturesque, are not only as distinct as those which make them beautiful or sublime, but are equally extended to all our sensations by whatever organs they are received; and cover test that music—though it appears like a solecism—may be as truly picturesque, according to the general principles of picturesqueness, as it may be beautiful or sublime, according to those of essay writing on environmental conservation beauty or sublimity. ( On the Picturesque , 79-80) Price also states: “Whoever studies art alone, will have a narrow pedantic manner of considering all objects” (3), stressing the cover test, importance also of bailey white “the mistress of all art” (4), Nature herself.

Price is here drawing attention to the ocular bias of William Payne Knight—introduced below—as part and parcel of test a protracted debate. Strange then that Davies should insist that for Gilpin landscape’s “appeal is to the eye . . . only missouri university and technology through the eye” (230). Heretically, in cover letter a topsy-turvey turn around and about Ullswater, Gilpin’s mentions the music of the winds and tempest, “the echoes excited . Bailey White? . Test? . in different parts of [the] lake” ( Observations, Cumberland , 59). In addition, he tells the tale of the Duke of Portland, who owned a vessel fitted with brass cannons designed for the purpose of producing echoes. “Such a variety,” he suggests, “of awful sounds, mixing and commixing, and at the same moment heard from all sides, have a wonderful effect on the mind” ( Observations, Cumberland, 61). Another example of the auditory factor in the picturesque is of science thesis Hagley, Lord Lyttelton’s estate, the locale in which Thomson revised and rewrote The Seasons which, besides the artificial ruins, featured a stream carefully designed for maximum gurgleability. Price seeks to take something of the picture from Picturesque, considering it a new category of aesthetic values added to Burke's beautiful and sublime.

. . . picturesqueness appears to hold a station between beauty and sublimity; and, on cover letter that count, perhaps, is more frequently, and more happily blended with them both, than they are with each other. It is, however, perfectly distinct from either. Beauty and picturesqueness are indeed evidently founded on essay writing on environmental conservation very opposite qualities; the cover test, one on smoothness, the other on roughness; the one on gradual, the other on sudden variation; the one on ideas of youth and freshness, the other on those of age, and cited essay even of decay. ( On the Picturesque , 90) Again, this is only a modification—an engradisement—of Gilpin. Unlike Gilpin’s nation-wide pursuit of the Picturesque, Price concentrated his aesthetic energies upon the picturesqueification of manor gardens; and it is cover here that the two part company. In fact, it was William Kent, painter, architect and factotum of the Earl of Burlington, who led the revolt against the artificial symmetry of gardens, (see figure 5 ), modifying, in 1734, the assignment, gardens at Chiswick House with a meandering stream and test an irregular path. Price adopted Kent's early ideas and developed a more expansive theory of picturesque landscaping, arguing in On the Picturesque (1794), that gardens should imitate landscape paintings and white essay that the gardener and painter each aspire to the improvement of nature—again, the cover letter test, familiar idea of Nature as archetype which might be improved through art. Though inspired by essay on environmental conservation Claude and test Salvator, Price also aspired, as suggested above, towards the guiding hand of essay on environmental conservation raw nature and offered pragmatic suggestions of picturesque effects landowners might attempt.

Unfortunately, Price’s own effect over actual landscapes was severely limited by the very nature of his improvements, many of which required decades to cover letter, reach full decay. If the patrician Price failed to effect solid change in the English manor landscape, he nevertheless bequeathed a more ironic and widespread legacy: just as “the picturesque sketch promoted naturalism in landscape painting” (Bermingham, 67), Price’s notions fostered a new naturalism in gardening—advocating the wild, the dramatic, the “accident” of nature: a withered tree, a half-submerged branch breaking the surface of car by bailey a pool—and continued the democratisation of the Picturesque aesthetic. Condemned by some contemporaries for taking wildness too far, Price ultimately won a vox populi approval. Cover Test? Indeed, the art of picturesque gardening was soon exported: “. . . the continent, about 1770, began to adopt widely the English . . Writing Creatively Exercises? . fashion; and cover letter test works in French and Italian were added to the copious literature of landscape gardening” (Manwaring, 121). The clash between aesthetic and utility—essentially the of science and technology, moral dimension—was particularly trenchant for Price, whose expertise was firmly fixed in the land itself.

In reference to thatched cottages, for example, he suggests: “It is test no less picturesque, when mossy, ragged, and sunk in among the rafters in decay; a species of missouri university and technology that character, however, which the letter test, keenest lover of it would rather see on another's property than on his own” ( On the Picturesque , 398). To this, the zealous and sometimes verbose editor of the 1842 edition interpolates: I confess, that after considerable experience, I have been completely cured of reflective my romantic attachment to thatch. If the roof of a cottage be well formed, and cover letter well projected, so as to throw a deep shadow over the wall beneath it, I do not conceive that it will be necessary to thatch it, in order to add to its picturesque effect, at the risk of diminishing the comfort of the poor inmates. Reflective Essay College? (398) Price the cover test, gentleman farmer, occupied with increased production and the maximisation of land use, appears, Ann Bermingham points out, as something of a contradiction to Price the promoter of picturesque aesthetics, biased towards the nostalgic, the antiquated, the rustic, the dilapidated and the inefficient. The contradiction though seems somewhat delusive and is perhaps suggestive of the transformation of the assignment uk review, paternal landlord-tenant relationship, with the picturesque manor garden now forming a physical boundary between aesthetic and productive nature.

Richard Payne Knight (1750-1824) Richard Payne Knight, who owned the most valuable collection of Claudes in Europe and whose interests were eclectic, [15] provides still another perspective. In, The Landscape: a Didactic Poem in Three Books , he refutes compositional analysis, instead seeing art as a “magic power”(8) which defies analysis and rule: Curse on the pedant jargon, that defines. Beauty's unbounded forms to given lines!

With scorn eternal mark the cautious fool. Who dares not judge till he consults his rule! Or when, Salvator from test thy daring hand. Appears, in burnished arms, some savage band,— Each figure boldly pressing into car by white essay life, And breathing blood, calamity, and strife, Should cold measure each component part. And judge thy genius by a surgeons art. Letter Test? (6-7) Knight also disagrees with Price’s multi-sensory theory, believing that the cited essay, Picturesque “is merely that kind of beauty which belongs exclusively to the sense of vision; or to the imagination guided by that sense” [16] ( On the cover, Picturesque , 500). Knight provides a curious blend of neo-classical—with his didactic poem festooned in essay college rhyming couplets and his notions of “taste”—and romantic, a clear sign of the transition underway:

Such too the Sicyonian sculptor taught. To model motion, and embody thought; Pure abstract beauty's fleeting shades to trace. And fix the image of ideal grace: Combining what he felt with what he saw. (5-6) Besides his emphasis upon “feeling” in the almost magical and almost irrational production of art, Knight points towards the dangers of fashion: Straight lines were the fashion of the last century, and the curved ones are the fashion of this, and an indiscriminate adherence to the fashion of the day, what ever it happens to be, with a supercilious contempt for cover all who venture to dissent from it, is the never failing characteristic of the vanity, separated from the missouri university of science thesis, feeling, or discernment, of taste. The advocate for letter the curve lines would have been as much ridiculed in the last century as the advocate for university of science and technology thesis straight ones in this; and with equal reason; for the indiscriminate use of either is cover letter test equally bad. Many of the compositions of Nicholas Poussin show the cited essay, grand effect which may be produced by the judicious use of straight lines. but the too general use of them was still more fatal to picturesque beauty, than the late senseless destruction of them has been.

It belongs to the real improver to discriminate where the straight, and where the curve line will best suit the composition; and it is cover test this talent of discrimination which distinguishes the liberal artist from the mechanic. Conservation? (fn 11) Here, “faddish” (Brownlow, 43) modern appraisals typified also by the “vogue of the picturesque” (Nevious, 33) are clearly drawn and letter quartered by Knight’s properly considered execution of Picturesque principles which supersede transient newfangledness and college commemorate the sempiternal. Knight's fixation upon “taste,” and “discrimination,” are reminiscent of the superciliousness of a Pope or a Swift, though his distinction between the letter, mechanic and liberal artist—one who follows no rules besides those which the missouri university, magic spirit of art suggests—offers a place within the letter test, romantic arena. Knight, like Price, was accused of wild neglect in missouri university of science his landscape theories: an indication indeed of the distance separating the new naturalism from the old neo-classicism. Finally, and perhaps most importantly, Knight insists that the transplanting and mimicking of Italian landscape—both real or painted—should finally be abandoned in preference to compositions which adopt Picturesque principles and native scenes:

Nor, plac’d beneath our cool and letter test wat’ry sky. Attempt the glowing tints of writing creatively exercises Italy: For thus compell’d in mem’ry to confide, Or blindly follow some preceding guide, One common track it still pursues, And crudely copies what it never views . . . . (309-314)

The work of Price and Knight, though perhaps less interesting a read than Gilpin, augmented the Picturesque phenomenon to a point where it was not only the talk of the town but of the estate and village. Watson’s assessment that “it is difficult to regard it as much more than a sterile ending,” (21) reveals perhaps a certain sterility in his own point of view rather than providing any useful conclusion. Lancelot Brown (1716-83) Lancelot “Capability” Brown, though embroiled in the Picturesque debate, essentially helped define the Picturesque by cover letter negation: Brownian improvement replaced the artificiality of neo-classical landscape gardens with a new artificiality based either upon Burke’s principles of essay writing on environmental beauty or Brown’s singular notions born orphan and condemned to permanent infancy. Test? Fundamentally, Brown’s style, though claiming nature as its inspiration, was no less unnatural than, for example, Knole, Nymphenburg or Le Notre's Versailles. If the “improvements” of essay writing conservation Price and Knight might take decades to cover, develop, the essay conservation, bumbling “Capability” Brown provided expeditious transformations priced by the yard and complete the day after tomorrow. Gilpin himself comments upon letter test this: This is the car by bailey, first subject of the kind he [Brown] has attempted . . . but a ruin presents a new idea; which I doubt whether he has sufficiently considered . . . [His lake] is too magnificent, and cover too artificial an essay writing, appendage, to be in unison with the ruins of an abbey. An abbey, it is true, may stand by the side of a lake; and it is possible that this lake may, in some future time, become its situation; when the marks of the spade and the pick-axe are removed,—when its osiers flourish; and test its naked banks become fringed and covered with wood . . . the ruin stands now on a neat bowling-green like a house just built, and without any kind of connection with the reflective essay college english, ground it stands on. (qtd. Watkin, 48)

Brown designed his landscapes according to his own simple understanding of test nature's harmonies and gradients, featuring vast expanses of grass, irregularly shaped bodies of creatively water, and clumpified tree groupings. As a consequence, Brown eventually became the object of general ridicule: On one occasion Owen Cambridge remarked, “I wish I may die before you, Mr. Brown.” “Why so?” inquired the puzzled but flattered Brown. “Because,” came the reply, “I should like to see heaven before you have improved it.” (qtd. Hussey, 139) Brown clearly and entirely personified the halting and maladroit neo-classical Picturesque, an awkward attempt to letter test, plant a round tree in a square hole; and his importance stems partly from the middleground his improvements occupied, and writing creatively partly from the antithetical virtue of something which is not providing a point of reference to something which is. The Philosophical Context. The Grand Tour, the importation of souvenir landscape paintings and the increasingly popular provincial trips provide the foundation for all this Picturesque inquiry; but there was additionally a general philosophical investigation which offered a provocative and conducive milieu. Johann Gottlieb Fichte (1762-1814) equated God with the natural order of the world; Wilhelm Wackenroder's Effusions of an Art-Loving Friar (1773-1798) proposed the existence of test two Divine languages, the first reserved for solely for God, the second composed of university of science two components: Nature and Art—a kind of bilingualism for the unilingual. Together, these ideas brought some balance to the traditional Christian bias against nature. Letter Test? Most important was Burke’s (1729-1797) aforementioned theory of the sublime: the ultimate experience of divinity, composed of awe, fear and enlightenment, and produced by the contemplation of potent and missouri university of science alarming nature.

The effect of visible objects on test the passions, clearly, is not only the concern of Burke, but lies at the heart also of Picturesque theory.[17] In effect, these philosophical theories began either to intellectualise landscape and nature—a process continued by the Picturesque school, which allowed a less restricted participation—or attached to it theological importance (see figure 6) where once was seen irreverence. Caspar David Friedrich (1774-1840), for example, exhibited Cross in the Mountains in 1808: a landscape intended as an altarpiece for a private chapel. Critics initially condemned this as sacrilegious. Friedrich's own interpretation of the creatively exercises, picture identified the natural images as symbols for religious beliefs: “The Cross stands erected on a rock unshakeably firm as our faith in cover letter Jesus Christ. Evergreen, enduring through all ages, the firs stand round the cross, like the hope of mankind in Him”( Encyclopaedia Britannica ). Landscape and landscape paintings, through these developments, were deemed to essay on environmental conservation, be intellectually and religiously interesting and thus offered a respectability previously unknown. Importantly, the religious angle provided only an letter test, initial entry point in what was finally to become an amoral and secular aesthetic. Returning to the properly Picturesque, Thomas West’s Guide to the Lakes, in essay Cumberland, Westmorland, and cover test Lancashire , first published in 1778, displays the religious overtones of car by landscape within the context of the urban/rural dichotomy: Such as spend their lives in cities, and their time in crouds will here meet with objects that will enlarge the mind, by cover contemplation, and raise it from nature to nature’s first cause. Whoever takes a walk into these scenes must return penetrated with a sense of the creator’s power in heaping mountains upon mountains, and enthroning rocks upon rocks. And such exhibitions of missouri university of science and technology thesis sublime and beautiful objects cannot but excite at once both rapture and reverence. (4)

Although religion, ultimately, would be banished from the Picturesque scene, initially such inclusion provided justification and cover letter test absolution for the new focus on landscape. Within the larger context, the missouri university of science and technology thesis, developing interest in landscape painting and landscape itself comes as no surprise and the romantic school of poetry was essentially a natural progression as inevitable as the cover, wooded shadows cast by a brilliant dawn. Landscape Painters Autochtonous. As we have seen, the appreciation of landscape was one which required learning, and it was through landscape painting and painters that this skill was initially acquired. Thomas Gainsborough (1727-88) Thomas Gainsborough, perhaps the earliest and certainly most highly regarded pioneer of picturesque English landscape painting, emerged as.

the most significant landscape painter of the century. Whereas the work of help Wilson, the “English Claude,” could be accommodated within the familiar art-history tradition of landscape painting, Gainsborough’s art inspired insights that ran counter to the academic notions of paintings. . . . (Bermingham, 58) Gainsborough “gave landscape the status of cover letter test pure painting: private, personal” (Bermingham 43). Rejecting portraiture, with its congenital mandate for poetic license, conjured to placate a patron, rather than artistic integrity, Gainsborough believed that the material of landscape allowed “. . College? . the artist freely to exercise his imagination” (Bermingham 44).[18] In his later work, Gainsborough offered ever more subjective and sentimental subjects: the cottage, the sublimity of sea, of mountain, and the innocence of cover test children, each finding a correspondence in such poems as Wordsworth’s “The Ruined Cottage,” “Ode: Intimations of reflective Immortality,” “Farewell though little Nook of mountain ground” and “We Are Seven.” In the decades after his death in 1788, a veritable inversion of test taste had occurred, with critics and sensible folk alike increasingly praising landscape over portraits. Gainsborough rejected predefined artistic traditions, embraced English rural subject matter as “a direct response to nature” (Bermingham 58), and established an affinity with the reflective essay college, Picturesque well beyond that of either Claude or Salvator. If, as Hussey suggests, Claude, Salvator and others caused a revolution in the appreciation of scenery and nature, then Gainsborough landed that rebellion on the home front, adopting English countryside and scenes with a subjective reconnaissance which sought to discover their innate truth. J M W Turner (1775-1851) Joseph Mallord William Turner was principally influenced by Claude, and so, not surprisingly, painted a host of picturesque scenes whose mythological and letter test historical subjects are guaranteed to warm even the coldest cockles of the neo-classicist: Dido Building Carthage , The Bay of of science thesis Baiae with Apollo and cover test the Sibyl and Ulysses Deriding Polyphemus , to name only a few.

And yet the subjects themselves tell only half the story, for essay conservation these were indeed Picturesque canvases with atmospheric effects suggestive of Claude (see figure 7) and foreshadowing impressionistic treatment. Cover Letter? Turner then demonstrates the tenacity of cited essay neo-classical material in paintings; but also the cover letter test, movement towards a more individual and romantic approach: in place of mere factual recording, Turner translated scenes into a light-filled expression of his own romantic outlook. Other paintings, like Buttermere Lake: A Shower , from around 1798, as well as Turner’s extensive touring of England and Scotland during the same period, show a sensitivity to the nationalistic climate inherent in essay writing on environmental the Picturesque movement. Turner, like Salvator, was himself something of a romantic figure: claiming no close friends, painting in absolute privacy, spending months in solitude and always travelling alone. When persuaded to sell his paintings, Turner suffered days of dejection. Finally, Turner left a large fortune which he hoped would support what he called “decaying artists”—a picturesque appellation if ever there was one.

What makes Turner particularly interesting is his treatment of the test, sublime and its Picturesque ramifications. John Ruskin has a unique and writing on environmental convincing view of this which explains the strength of the Picturesque and partly —infinitesimally—accounts for the modern literary bias: . . . if this outward sublimity be sought for test by the painter, without any regard for the real nature of the essay college, thing, and without any comprehension of the pathos of character hidden beneath, it forms the low school of the surface-picturesque; that which fills ordinary drawing-books and scrap-books, and employs, perhaps, the most popular living landscape painters of France, England, and Germany. But if these same outward characters be sought for in subordination to the inner character of the object, every source of pleasurableness being refused which is incompatible with that, while perfect sympathy is felt at cover letter test the same time with the object as to all that it tells of itself in those sorrowful by-words, we have the school of essay true or noble picturesque. To extend this analysis, it is an cover letter test, acute sympathy which separates middling artists of the assignment help uk review, Picturesque from the Turners and the Wordsworths; it is, to adopt Ruskin’s terminology, the difference between high and low Picturesque. Although Turner— unlike Wordsworth—employed both sketches and memory, a similar temporal distancing from subject is cover test common to their respective methodologies: The sketch which Turner used as the basis for his drawing of Louth, Lincolnshire , a drawing that dates from sometime in cited essay 1827-8, was made thirty years earlier, in 1797. As will become increasingly obvious, painting and literature are indeed sister arts and their practitioners intimately related. (Shanes, 20) John Constable (1776-1837)

John Constable was born and cover letter bred in rural England and help uk review his bond to the countryside was life long and reverential.[19] No other painter of the period imbued such a sense of test self in his work, calling his sketchbooks “journals”—complete with their autobiographical annotations—and stating, surely with a nod of approval from essay english Wordsworth: “I am fond of being an Egoist in whatever relates to painting” (qtd. Bermingham, 87). His earliest works were venerational sketches in the style of Gainsborough; and, though never abandoning Picturesque theory, Constable appropriated its many exigencies and eventually made them componential to the dictates of cover test his own. Initially, then, the Picturesque afforded Constable an aesthetic perspective whose ideological bias coincided at cited essay many points with his own rejection of commercial values as shared by his family. Furthermore, the letter, Picturesque focus on the specific appearances of objects and the power of these appearances to evoke strong imaginative associations encouraged Constable’s own propensity to infuse particular views and objects with affective significance. (Bermingham, 113-114) Perhaps the missouri university and technology thesis, most striking aspect—at least to the literary minded—of Constable’s stylistic development involves his new conception of nature with its emphasis upon specific and letter individual elements which undermine traditional hierarchical landscape composition. Discussing Dedham Vale: Morning , Bermingham states: . . . the eye cannot trace a pedestrian itinerary; it focuses on charged spots—the figures, the tall golden trees, the white church, the post in the left fore­ground. . . . [It is help this] profusion of dialectically charged spots [that] organises Constables landscapes. (123) Besides these spots of composition, Constable, in letter test the frontispiece of English Landscape Scenery , supplies an archetype for his work in general: This spot saw the day-spring of my life, Hours of bailey white essay Joy and years of Happiness; This place first tinged my boyish fancy with a love of the Art,

This place was the origin of my fame. (qtd. Bermingham, 125) The obvious and cover letter unavoidable correspondence with Wordsworth’s “spots in time” is cited essay further augmented by Constable’s use of recollection: Flatford Mill from the Lock , as a case in point, is a composite canvas composed of five prefatory and much studied sketches,[20] and features five charged spots—focal points of cover letter test interest—copied from their respective points in the sketches. The final choice of perspective and arrangement is cited essay suggested by cover letter Constable in a letter to assignment help uk review, his wife: “I have tried Flatford Mill again, from the lock (whence you once made a drawing)” (qtd. Bermingham, 131). The lock and letter its view, as we see, are associated with his wife, and the final composition is imbued with the emotions stirred by his memories of that moment and of imaginings, of retrospection: “. Bailey White? . . what he experienced remembering with what she had experienced in the process of drawing” (Bermingham 132); a fusion of past and cover test present. We should deduce no direct philosophical or methodological imitation from either Constable or Wordsworth—though each was intimately acquainted with the other’s work—but rather recognise that both responded to the spirit of the times, inheriting a still viable Picturesque aesthetic, assimilating its imperatives and bailey essay making egotistical innovation their own underlying principle. If we accept for the moment that the romantic movement came not as a miraculous gift from a prophetic Wordsworth tired of cover letter test rhyming his couplets and poeticising his passages, but as a result of processes already under way; similarly, the Picturesque itself developed through gradual shifts in the philosophical mind and missouri of science thesis artistic mix. Figure 1: Claude, Pastoral Landscape With the Pointe Molle, from Bicknell. Figure 2: Earlom, from Bicknell. Figure 3: William Westall (1781-1850) View of the caves near Gordale Scar, Yorkshire from Bick nell. “Of all the scenes regularly visited by travellers in search of the Picturesque, Gordale Scar most vividly evoked Salvator” (Bicknel, 72).

Figure 4: Gilpin, Number 18, from Bicknell. Figure 5: Garden Plan, from Manwaring. Figure 6: Marco Ricci (1679-1729), Classical landscape with a traveller and two figures kneeling before a cross, from Bicknell. Figure 7: Turner, Caernarvon Castle (1799) Claudeian influence. Moving from Picturesque affects to effects: as fundamental to literature as to the way we presently evaluate and cover letter test relate to landscape scenes, the holidays and pictures we take, the rural dreams we dream. Cited Essay? Continuing the letter, supposition that the Picturesque was no mere fad, this section will detail the transition from literature’s traditional view of landscape shortly before and during the Augustan reign to one which gradually accommodates Picturesque learning and issues in the sovereign Nature of the romantics. The movement from neo-classicism to romanticism was not so much a break as a gradual changing of the guard, until finally the palace itself stood vacant and the Greco-Roman soldiers sent a-packing. Just as Sir Isaac Newton—for all his cosmic reconstruction—quietly maintained traditional beliefs, writing a commentary on the Book of Revelations which flabbergasted his scientific admirers, so too the Picturesque prebendaries provided token offerings to the ancient classical gods. William Gilpin himself reveals this tentation, offers these offerings, in his definitions of picturesque, occasionally comparing picturesque roughness with classical depictions: Virgil’s Venus, with hair dissundere ventis , Homer’s rugged Jupiter. The strain of discovering the bailey white, Picturesque in the classics is cover letter injurious both to Picturesque theory and to the authors themselves, though the omnipresence and cited essay potency of Augustan authority and prestige during the eighteenth century essentially made necessity of inanity.

In addition, Gilpin sometimes uses Virgilian quotations to letter test, describe English scenery; and in Observations even suggests that Virgil was a great master of landscape. From this, Hugh Sykes Davies—perhaps the most Boeotian of modern critics—understands the Picturesque to be a “revived Augustan attitude to Nature” (248)—a particularly unique and reflective english outlandish notion which defies both the evidence of art and literature. Indeed, David Watkin makes this absurdity clear: Carroll Meeks showed in cover letter test 1957 [21] how each of the writing, five principles of the cover, Picturesque—variety, movement, irregularity, intricacy and roughness—is respectively echoed in the characteristics of Baroque as defined by missouri university of science and technology thesis Heinrich Wolfflin (1864-1945): painterly, recession, open, unity and unclearness. In Wolfflin’s visual system of analysis, which in itself could be seen as a legacy of the letter test, Picturesque, these characteristics were identified as the opposite of those of Classic Art: namely linear, plane, closed, multiplicity and clearness. (x)

Section one provided some hint of the amorality that marks the Picturesque school. It is this very fact which provides and another important distinction between the car by white, Picturesque and neo-classicism. In Gilpin’s Dialogue upon the Gardens at Stowe , two visitors discuss the merits of a ruinous hermitage. The first is cover test puzzled “why we are more taken with a prospect of this ruinous kind, than with views of Plenty and Prosperity in their greatest Perfection.” (5) The second responds: Yes: but cannot you make a distinction between natural and assignment moral Beauties? Our social Affections undoubtedly find their Enjoyment the most complete when they contemplate, a Country smiling in the midst of letter Plenty, where Houses are well-built, Plantations regular, and everything the most commodious and useful. But such Regularity and Exactness excites no manner of Pleasure in the Imagination, unless they are made use of to contrast with something of an opposite kind. (5) Malcolm Andrews contextualises such differentiations: “. . . the distinction between natural and moral beauty would have made most Augustans very uneasy, so clearly does it fly in the face of cherished neo-classical values, where physical beauty is cited essay seen as the test, expression of writing conservation moral beauty” (48). Test? In terms more specifically concerned with the development of the Picturesque and romantic poetry, Brownlow makes a similar point: “They [neo-classicists] took it as axiomatic that the training of the eye was a moral activity, in that a properly conceived, and car by essay perceived, landscape or garden was an emblem of order . . . in cover test the state, the mind, the missouri university and technology, soul, and the emotions” (15).

The influence of the letter, Picturesque in France stands as further testament: there the impact was particularly striking for “it conflicted with the writing creatively, rationalist trend of architectural theory which survived from the late seventeenth into the early twentieth century” (Watkin, 161). Eighteenth century neo-classical and test Picturesque correlations, like those of Gilpin, which are, at best, spurious, are further explained, firstly, by some degree of pedantry; secondly, intellectual name-dropping, offering assent through association; and thirdly, and most particularly, the tremendous difficulties involved in developing an aesthetic outside the on environmental conservation, ubiquitous and letter test intrinsically disdainful neo-classical confines. The Picturesque then, saw its earliest lines of delineation drawn during the Augustan heyday. Augustans’ adoption of the Picturesque was initially obvious: with the works of assignment uk review Claude increasingly in vogue, his idyllic and nostalgic landscapes of lost classical splendour were understandably and generally embraced. Indeed, the historical/classical narrative in Claude’s paintings was comfortably accommodating to neo-classicists and test offered—as was the case with religious allusion—a license of interest in what was actually a novel, non-classical, non-traditional genre. The Picturesque Path [22] The attendant problem in viewing pre-picturesque poets through the filter of this thesis is actually the reflective english, point: landscape in letter literature, until the early eighteenth century, is conspicuous either by writing conservation its absence, rarity, or treatment. As mentioned in Section One, just as landscape in painting initially existed largely as a backdrop to human drama, similarly, in letter test literature, it functioned as a symbol of or allusion to grander to cited essay, more “worthy” conceptions. Ben Jonson (1572/3-1637)

Ben Jonson’s “To Penshurst” (1616) is an interesting case in point: cutting the first turf in a sub-genre celebrating a specific locale, its treatment of landscape is exactly as we would expect, which is to cover letter, say, exactly as this thesis anticipates. Penshurst, the country seat of the Sidney family (Sir Philip being the most familiar) is described by Jonson in a most particular manner: after a brief preamble describing the manor’s modest facade, the poem turns to the surrounding gardens, where “Thou hast thy walks for health, as well as sport” (9)—though notably not for any aesthetic value; where, not surprisingly, Pan and Bacchus drop in for a famous feast; and where every element of this topography reads like a catalogue of ownership, the reflective college, ledger of a steward rather than a poetic eulogy or a laudation of landscape. “That taller tree, which of test a nut was set / At his great birth, where all the assignment help, Muses met” (13-14), initially provides a symbolic marking of Sir Phillip’s birth, soon inscribed—“There in the writhed bark are cut the names / Of many a sylvan” (15-16)—with the scrawl of lovers re-scrawled as the initials of fabled wood deities. The oak stands not as a tree valued for its majestic treeness, but as an emblem marking the consequence of its wealthy owner; and, to pursue this branch to its limit, acting as a veritable Zeitgeist . “Thy copse, too, named of Gamage, thou hast there, / That never fails to serve thee seasoned deer” (19-20), strengthens the letter test, notion of cited essay ownership through nomenclature and introduces the main theme: nature not as objet d’art but as morsels of existentialistic meat, the ingredients of art culinaire . Accordingly, in this Edenic garden, with land-owner seated not as Adam but standing as God, “The painted partridge lies in every field, / And, for thy mess, is willing to be killed” (29-30); and “Fat, aged carps, that run into thy net, / Bright eels that emulate them, and leap on land / Before the fisher, or into his hand” (33-35). Of course, all this is very pragmatic and moral, supporting the letter, pillars of establishment and legitimate dominion in a manner suggestive of Elizabethan hierarchy. It will be some time before the stability of the oak and pillars becomes, instead, the stuff of aesthetics. John Denham (1615-69) Sir John Denham, in Cooper’s Hill (1642), composed one of the earliest and particularly influential topographical poems. Typically, it mixes natural descriptions with moral. Here, for example, the two are intercoursed: Though with those streams he no resemblance hold,

Whose foam is reflective essay english amber and their gravel gold; His genuine and less guilty wealth t' explore, Search not his bottom, but survey his shore. (165-168) The incorporation of historical and political reflections, besides foreshadowing Pope—specifically Windsor Forest —highlight a landscape invisible without the filter of letter man’s works. Essay College English? Interestingly, ironically, use of the heroic couplet marks the transition from metaphysicals to cover letter, neo-classicism in much the same way that Thomson’s The Seasons foreshadows romanticism. John Hughes 1677-? John Hughes, with a lifelong interest in on environmental conservation graphic art, is one of several lesser poets whose attempts at landscape poetry predates the more familiar and famous. His Court of letter Neptune (1700) describes “Landscapes of help uk review rising Mountains, shaggy Woods, / Green Valleys, smiling Meadows, silver Floods, / And Plains with lowring Herds enrich’d around” (qtd, Manwaring, 96). Obviously, this pre-Picturesque period, still lacking any landscape aesthetic, is incapable of providing any genuine pictorial perspective.

Nevertheless, Hughes’ introduction to Poetical Works offers an interesting observation: “There are no parts in a poem which strike the generality of readers with so much pleasure as Description” (xxxxv). Poems like “The Picture,” features an original collecting of hues from letter test nature: Queen of fancy hither bring. So from ev’ry flow’r and plant. Gather first the on environmental, immortal paint. Fetch me lilies, fetch me roses. (7-14)

The poem is cover delightful not only for its originality, but for cited essay the genuine poetic sensibility. Finally, however, all this pigment is to paint a portrait of Venus. “Greenwich Park,” despite the hopefulness of its title, inevitably becomes nothing more than a background for parading and letter prancing nymphs, Cupid, Mira and various embodiments of beauty: a landscape reflecting classicism and finally fading into aesthetic oblivion while all the radiance that remains is human. Poems like “The triumph of peace occasioned by the peace of Ryswich 1697” and university of science and technology “The court of Neptune on King William’s return from Holland 1699,” surprisingly do contain landscape elements, though again only as a history painting-like background. Only the subject itself of To Mr. Constantine, on His Paintings makes true landscape fleetingly possible:

Here tufted Groves rise boldly to letter test, the Sky, There Spacious Lawns more distant charms the Eye, The Crystal Lakes, in Borrow’d Tinctures shine. And misty Hills the far Horizon join, Lost in the azure of missouri university and technology Borders of the Day,

Like Sounds remote that die in Air away. Letter Test? (qtd, Manwaring, 96) Conventionally a cardinal artistic sin, this copy of cited essay copy surprisingly exhibits particular merit, not only for the avant-garde Picturesque elements—William Kent’s 1709 Memorandum, after all, appears now on letter test the horizon—but with the “borrowing” from one state of reality to another and the canvas’ frame providing closure to the day. Nevertheless, any systematic rendition of landscape is, at this time, possible only by imitation not of nature—nor indeed Nature—but of a landscape canvas. The Picturesque Convergence. Alexander Pope (1688-1744), writing during and even dabbling in writing exercises the development of Picturesque theories, enters the literary pantheon during this transitional period and consequently demands significant attention. In fact, as will become apparent, the cover, Augustan embrace of the Picturesque was one without much feeling, attachment, sincerity and without much conviction.

Pope was connected with the earliest picturesque efforts: one of the first romantic mediaevalisations, built at Cirencester Park, Gloucestershire. Creatively Exercises? Known as Alfred's Hall, it was begun in cover letter 1721 for my real bailey white the first Earl of Bathurst. In 1732 Bathurst wrote to Pope: “I have almost finished my hermitage in the wood, and it is better than you can imagine . Cover Letter Test? . Essay Writing Conservation? . I will venture to assert that all Europe cannot show such a pretty little plain work in the Brobdingnag style as what I have executed here” (qtd. Watkin, 45). This plain structure eventually became, with Pope's advice and assistance, a venerable castle and mock ruin. In addition, Pope’s Moral Essays , “Epistle IV” offers some promising notions of picturesque landscape gardening, with both Nature and painting offered as inspiration and letter methodology. This leads J. Assignment Help? R. Watson to suggest: “The gardener’s task was now to co-operate with nature, as Pope knew” (16). In fact, although Pope mocks the formality of a Versailles, supplanting it with, “Parts answ’ring parts shall slide into view / Spontaneous beauties all around advance, / Start ev’n from cover Difficulty, strike from Chance” (66-68), his own poetry regularly smacks of the formality of affected gardens. Indeed, Pope’s own garden—mostly laid out in my real essay c. 1718-25—epitomised by its now famous grotto, illustrates something of the test, awkwardness of his picturesque dabblings. David Watkin—in what becomes a familiar motif of prevarication—succinctly describes this incongruity: “Pope enhanced his grotto with optical illusion, with mirrors and waterworks, with ores and minerals chosen for cited essay their beauty not their rarity, yet he still considered it natural in comparison with the formality and artificiality of mannerist and baroque grottoes” (4).

A Plan of Mr. Pope’s Garden , penned by cover letter John Serle, Pope’s gardener and man-servant, reveals more details: the grotto was, in fact, a rock and sea-shell strewn tunnel leading beneath a road to the garden. Besides the essay conservation, opulence of the marble plaque inscribed in gold letters decorating the entrance, Italian marble, Plymouth marble, Cornish diamonds, Amesthystine crystals—to scratch only the surface—form the grotto itself. Although none of these are precious materials per se , neither are they the stuff of the primitive Picturesque scene. A Plan , in its cartographic fold-out, reveals the letter test, lay-out of the garden: formed mostly of radial and rectilinear pathways and cited essay a polished lawn, there are nevertheless a few hesitant serpentine walks. Watkin admits: “What Pope persisted in seeing as ‘natural’ seems to us as artificial as Rococo . Cover Test? . .” (5).

Indeed, what Pope persisted in seeing as natural would no doubt have seemed equally artificial, only a few decades later, to Price and Knight. What makes A Plan particularly interesting is its uninteresting inventory, which not only itemises the materials used in the grotto, but their source: Several large Groups of Cornish Diamonds tinged with a blackish Water, from the Rev. Dr. William Borlace of Ludgvan in university and technology thesis Cornwall . . . . Several fine Pieces of Eruptions from Mount Vesuvius , and a fine Piece of Marble from the Grotto of Egeria near Rome , from the Reverend Mr. Spence ; with several fine Petrifactions and Plymouth Marble, from Mr. Cooper . (6-7) This brief extract, with its “fine” name dropping, reveals the familiar marks of cover test ownership and prestige. The emblem of land title, which we saw in Jonson’s “To Penshurst,” is here reduced to constitutional elements: rocks and assignment help minerals, and suggesting the commensurate importance of associate names, like famous signatures in a gallery of ultimately mediocre art: the cover letter, high price of reputation . Creatively? Even the poems contained in a section entitled, “Verses Upon the Grotto at Twickenham” concern themselves not with the grotto itself, but with the man who owned the grotto. Emerson once wrote that although fields and farms belong to this man or that, the landscape is nobody’s private property.

In early eighteenth century England, the notion of landscape finally existed, though Emerson’s point was as yet lost in the haze of future understanding. The far flung opulence, the unnatural far flung assortment of items collected from various regions—how natural is test a chunk of Vesuvius clinging to a lump of Plymouth Marble?—should, one would think, quickly and convincingly settle the question which Morris R. Brownell rhetorically poses in his introduction to A Plan : “Pope’s acknowledgement to Sloan for writing exercises his gift of joints of the letter test, Giant’s Causeway raises the question of his conception of the grotto—fosillary of rare minerals or imitation of nature?” (viii). Not surprisingly, Brownell sees the whole thing as an imitation of nature. However wrong this blind faith reading might be, the question itself misses the college, point: whatever Pope’s intent, the result was impossibly unnatural. Test? The neo-classicist, no matter what aesthetic mining he attempts, can extract only a rarefied nature, more artful than natural, the geological equivalent of a landscape lyric in heroic couplets, with every pair of lines a peculiar strata of imported rock.[23] In fairness to Pope, however, Twickenham garden and Lord Burlington’s in Chiswick vie as the first picturesque grounds. If they are, by later standards, largely unnatural and unpicturesque, they were at least a tentative first step down the meandering garden path. Further, Pope’s definition of nature was usually Nature , duly capitalised and interrelated not with “the great out-doors,” nor nature in a Darwinian sense, but more particularly the cited essay, illustrative, universal and intransmutable; common sense and test perspicacity: Yet if we look more closely, we shall find. Most have the seeds of missouri thesis judgement in their mind:

Nature affords at least a glimmer of light; The lines, though touched but faintly, are drawn right;(“An Essay on Criticism,” 19-22) Here the drawing metaphor is emphatically concerned neither with landscape nor art, but with “good sense.” Pope’s earliest attempt at what we might broadly term nature poetry was Pastorals . Cover Letter Test? Reading like a declaration of uk review love from an avaricious beggarly bachelor to a wealthy widow, any genuine feeling seems obliterated by a self-conscious pedantic exhibitionism: the Thames valley landscape, for example, is letter test chock-a-block with “ Sicilian Muses” (certainly not my italics) though singularly Spartan in sunny meadows. The natural elements in university of science and technology thesis Pastorals typically function in one of three ways: firstly, as a form of extended characterisation: Oh deign to visit our forsaken seats, The mossy fountains, and the green retreats! Where’re you walk, cool gales shall fan the cover letter test, glade, Trees, where you sit, shall crowd into a shade;

Where’re you tread, the blushing flow’rs shall rise, And all things flourish where you turn your eyes. (71-76) In this instance, the chastity, morality, purity of Rosalinda is reflective essay college externalised in a venerational relationship with subdued Nature. Secondly, as a mere pretext for manifold classicisms: Beneath the Shade a spreading Beech displays, Hylas and Aegon sung their Rural Lays; This mourn’d a faithless, that an absent Love. And Dekia’s Name and Doris fill’d the Grove.

Ye Mantuan Nymphs, your sacred Succour bring; Hylas and Aegon’s Rural Lays I sing. ( Pastorals: Autumn , 1-6) And, thirdly, as in test traditional paintings, as a background or at best a setting for human activity. Windsor Forest (1713) provides another example of Pope’s inability to create either pictorial or picturesque scenes. Indeed, the poems turns out to be a virtual arboricultural wasteland: a peculiar reversal of the familiar aphorism where we cannot see the trees for the forest. Here Hills and Vales, the Woodland and the Plain, Here Earth and water seem to strive again. There, interspers’d in assignment uk review Lawns and opening Glades, Thin Trees arise that shun each others Shades. Here in full light the russet Plains extend;

There wrapt in Clouds the bluish Hills ascend. Letter Test? (11-24) Certainly there is bailey some semblance of landscape here, but the lawns are never far away, and we imagine a scene, not surprisingly, more typical of Capability Brown than the Picturesque. The natural elements are correspondingly here, here, there, here, there: namely, nowhere, a collage of cover bits glued willy-nilly, denying spatial and writing creatively relative reality;[24] the thin trees seemingly represent not a fecund forest but the sparsity of Pope’s pictorial sense. To admire Pope for his particular strength without acknowledging his weakness licenses the implicit generosity of J. R. Watson and the superficiality of cover letter Manwaring’s statement that “Pope comes close to Claude” (97) and does neither service to understanding Pope’s poetry nor Picturesque development. Indeed, Hussey convincingly argues that, “There is no analogy in his landscapes to those of Claude or Salvator” (30). Pope’s embryonic landscapes, in place of visualisation, provide Defoe-like catalogues, reminiscent also of “To Penshurst”: painting the scenery of inventory rather than the canvas of invention. Pope’s Classical Roots. Ever since Horace’s dictum in Ars Poetica (c. 13 BC) “ ut pictura poesis —“as is university and technology thesis painting, so is poetry”—the two arts have been jointly imprisoned in the same ivory tower—albeit “painting” definitively meant portraiture. Even briefly setting aside the neo-classical context, there can be no surprise that the Picturesque movement was initially tied—though with varying degrees of tightness—to classical poetry. Of course, Pope’s archetypes—indeed, the fact that his literature always passes through some metaphysical classical filter—virtually disallows any personal expression of a personal relationship with nature, or at cover letter least results in hollow sentiments.

A brief quotation from Virgil’s The Eclogues (37 BC) will perhaps make this clear: Happy old man, who ’mid familiar streams. And hallowed springs, will court the cooling shade! Here, as of cited essay old, your neighbour's bordering hedge, That feasts with willow-flower the Hybla bees, Shall oft with gentle murmur lull to sleep, While the leaf-dresser beneath some tall rock. Uplifts his song, nor cease their cooings hoarse. The wood-pigeons that are your heart's delight,

Nor doves their moaning in the elm-tree top. ( Eclogue I) Though certainly broader than Pope’s catalogue of natural elements, the holistic perspective of landscape is obviously impossible where man and his activities form the principal focus. Interestingly, Virgil goes beyond simple nature eulogy and those country comforts provide a simple alternative to urban opulence: “Let Pallas keep the letter test, towers her hand hath built, / Us before all things let the essay writing on environmental, woods delight”(Eclogue II). The English ideal would transform these towers into stately homes, islands of luxury in a sea of peasant labour, a simplicity of life defined geographically rather than philosophically. While Virgil calls for a hands-on relationship with nature, rural England produced the harvest bounty at arms length. Test? In addition to this, the classical landscape, though never described in terms of landscape, is one distinctly exotic, inhabited by pipe-playing shepherds, wayward wolves and unfamiliar flora. Thus, the classical pastoral offers a way of writing conservation life that no well-manored Englishman could tolerate in cover test a countryside he could not assimilate. The “Muses of Sicily,” (Eclogue IV) can never truly sing of England, and Pope, in emulation, can never truly sing familiar nor sing true.

When Pope adopts not only the dialogic structure of writing creatively Virgil’s Eclogues but the characters themselves, “Fair Thames , flow gently from thy sacred Spring, / While on thy Banks Sicilian Muses sing” (“Spring. The First Pastoral, or Damon,” 3-4), the result is letter transplanted absurdity, apparent not only to the modern reader, but the contemporary also: Thomas Tickell, in his Guardian essay (April 15, 1713), comments: . . . our countrymen have so good an opinion of the ancients, and think so modestly of themselves, that the generality of Pastoral Writers have either stolen all from the Greeks and Romans, or so servilely imitated their manners and customs, as makes them very ridiculous. (qtd. Missouri University Of Science? Andrews, 11) Pope understood none of this, [25] saw no immediacy in the pastoral, no native narrative nor contemporaneity: only cover letter a perpetual backwards survey of a Golden Age forged in university Vulcan’s far away fires. Letter Test? Accordingly, in “A Discourse on Pastoral Poetry,” Pope states:

If we would copy Nature, it may be useful to take this Idea along with us, that pastoral is an image of what they call the Golden age. So that we are not to writing exercises, describe our shepherds as shepherds at this day really are, but as they may be conceiv’d then to have been. (120) The real requirement was something Pope could never provide: a kind of reverse alchemy, transforming the gold of the Golden Age into the Englishman’s baser mettle. Pope’s further insistence upon “exposing the best side only of a shepherd’s life, and in concealing his miseries” (120) is again in opposition with picturesque trends which, though, as we have seen, generally avoiding the letter, moral context of poverty, places emphasis upon the dilapidated, the coarse, the unkept, positing hardship as intrinsic to the scene as the gnarled wind-blasted tree. My Real Car By Bailey White? The ragged shepherd, his hair swept by wind, his visage worried by the elements, is both a more accurate and picturesque portrait. Virgil’s Eclogues , with “These fallows, trimmed so fair” (Eclogue I) and, “Now, Meliboeus, graft your pears, now set / Your vines in order!” (Eclogue I), provides a subtext of nature controlled, ordered and manipulated. In Georgics , of course, this philosophy becomes an overtly expressed treatise on cover letter test the cultivation of estates, making the incongruity between the neo-classical and the Picturesque as conspicuous as a dilemma between nature ordered and natural disorder. But there is an even more important incongruity, for Georgics , like much of Virgil’s poetry—and The Aeneid in particular—features a strong nationalistic component. As the focus gradually fixes upon British landscape, Virgil’s distant view of “. . Creatively Exercises? . Britain, from the whole world sundered far” (Eclogue I,) and the worship of foreign fields reveals a dislocated panegyric, at odds with the general trend. Malcolm Andrews, in The Search for the Picturesque , sees Virgil’s patriotism as offering “. Test? . Missouri Of Science And Technology Thesis? . Cover Letter? a kind of licence for cultural emancipation” (9), and moves in the next paragraph to an analysis of college english Thomson’s The Seasons , as if Virgil’s nationalistic vision directly correlated to an appreciation of English landscape.

In fact, the neo-classical attitude as expressed in Pope’s “A Discourse on Pastoral Poetry,” implies the letter test, very reverse. Writing Creatively Exercises? Infatuation and emulation of the Golden Age proved a barrier to home-spun nature and cover letter landscape literature—briefly recollect the shepherd not as he is but as he might once have been—and it was the Picturesque movement which gradually laboured in chipping away at that barrier. This can be seen even in Pope’s pastoral verse, “Spring. The First Pastoral, or Damon”: despite mimetic qualities, the assignment help uk review, poem works upon the premise of “ Cynthus and test Hybla yield to Windsor- Shade” (68), festooning lines with English flora. The result is university thesis a hodge-podge of classical characters, ancient gods, and the English rose as an uncomfortable floral bed fellow. The new focus on landscape through the Picturesque was never a reinvention of the cover test, Golden Age: the Picturesque includes in its composite elemental degeneration, hardship and ruin: the stuff of the essay writing on environmental conservation, English countryside rather than the eternal Mediterranean spring and a life of test ease.

Richard Payne Knight’s comment that “a person conversant with the writings of Theocritus and Virgil will relish pastoral scenery more than one unacquainted with such poetry” ( Inquiry , 150), demonstrates the difficulties involved in cited essay adopting a new and provincial landscape still largely devoid of test literary and artistic association and prestige. Such comments lead Malcolm Andrews to talk of the “elitism of the essay writing conservation, Picturesque” (4), though it seems more appropriate—especially when we consider the eventual popularity of picturesque tourism—to understand rather the cover letter, elitism of Knight himself. The plethora of Picturesque guide books is indicative of the increasing popularity of landscape appreciation. This gradual shift from “elite” to general can also be seen in Gilpin’s Observations on the River Wye : the first edition of missouri university of science 1782 features Latin quotations which, in the second 1789 edition are all translated. Cover Letter Test? If textbooks on landscape gardening exist for the narrow academic, this by no means suggests the humble fellow busy building his lily pond is help similarly focused. Letter Test? The initial references to Virgil and Horace were as necessary as they were inappropriate: before Britain could be truly discovered and localised, it was conceptualised as a transplanted Arcadia, where northern Shepherds wandered crooked hills buffeted by Mediterranean breezes, expecting at any moment to come upon a triumphant Aeneas. With no traditional appreciation for landscape as a meaningful aesthetic experience, new understanding, occasioned by the novel introduction of landscape paintings, came not from a moment of revelation, but rather from a gradual modification and eventual weakening of what was already known. Essentially, Pope understood a well composed garden to be an emblem of good order reflecting the inner good order of the educated mind. Creatively? His treatment of nature is subjugated by the omnipresent and Elizabethan notion that “ORDER is Heav’n’s first law” ( Essay on Man , Epistle IV, 50), though devoid of Shakespeare’s sense of nature’s power, of Godlike omnipotence; and botany, biology, anthropology, philosophy, painting, all become mere lessons in classical history. Cover? Classical pastoral and Georgic writing, in simple terms, are too distant and college different to cover letter, ever speak of England, no matter how cunningly coined and conflated with native elements.

Like Windsor Forest, Pope’s Picturesque is reflective essay college english one defined by omission, a Picturesque truly without the picture. The Picturesque Scene. James Thomson (1700-1748), as an acquaintance of Arbuthnot, Gray and Pope, falls firmly into the neo-classical camp. His landscapes, although they were greatly influenced by those of Claude, Rosa and cover Poussin, include only occasional classical allusions, and from this we see some glimmering hope of rebellion. Assignment Help Uk Review? Indeed, this is the case: the cover letter, bugle call bugled, the neo-classical swan-song giving way to. The Muses, still with freedom found, Shall to thy happy coast repair: Blest isle! with matchless beauty crown'd, And manly hearts to guard the fair.

Rule, Britannia, rule the waves; Britons never will be slaves.(“Rule Britannia”, 1729) Despite somewhat artificial diction, Thomson’s The Seasons :[26], first completed in conservation 1730 and later expanded, offers a landmark in English poetry. The influence of the increasingly familiar Picturesque is cover letter particularly clear in Winter : the first edition expressed only minor pictorial interest; in the second, Thomson inserts such Salvatorian lines as “. . My Real Car By Essay? . The cloudy Alps and Appenine / Capt with grey mists, and everlasting snows; / Where nature in cover stupendous ruin lies. (243-5) The remaining three books, composed subsequently to Winter , feature diverse landscape scenes. Summer (1727) illustrates Claudian sun play: . . . yonder comes the powerful king of creatively day, Rejoicing in the east. The lessening cloud. The kindling azure, and the mountain’s brim,

Illumed with fluid gold; (81-84) In Spring both the poet and Nature play the part of cover painter: Behold yon breathing prospect bids the Muse. Throw all her beauty forth. But who can paint. Like Nature?

Can imagination boast, Amid its gay creation, hues like hers? Or can it mix them with that matchless skill. And lose them in each other, as appears. In every bud that blows. (467-73) Manwaring explains: “In the edition of 1744—that is, after his visit to Italy and his collecting of prints—appears the missouri university of science and technology, most elaborately composed of all his landscapes, with real Claudian distances” (104). Although none of this is specifically Picturesque, the Claudian influence and letter the well defined conflation of missouri poetry and landscape painting demonstrate the development underway. Abandoning rhyming couplets was nothing new—indeed, The Seasons , as commonly acknowledged, owes some of its versification to Miltonic influence—but in the context of cover test Pope’s predominant style it was a break in the pillars of the literary establishment.

The popularity of The Seasons , with over three hundred editions published between 1750 and 1850, is a testament to the vitality of the Picturesque trend. Cited Essay? Certainly, The Seasons is not solely a Picturesque poem, though the influence of painting is letter everywhere; and reflective essay college english the title itself, suggestive of the temporal changes of nature, quotes the movement of Picturesque tenets in implicit opposition to the static catalogues of Pope: a real landscape that generates and degenerates. Although the poem predates the apex of Picturesque popularity, there can be no doubt as to the Picturesque vision that made the conception possible: . . . now the bowery walk. Of covert close, where scarce a speck of day. Falls on letter the lengthened gloom, protracted sweeps; Now meets the bending sky, the river now. Dimpling along, the breezy ruffled lake.

The forest darkening round, the reflective essay, glittering spire, The ethereal mountain, and cover test the distant main. Here we see not only assignment help metastasis, the chequered canvas of change, with the temporal “now” rather than Pope’s unplaceable “here” and “there,” but also key Picturesque elements: the dimpling river anticipates Knight’s original musing on smoothness : Smoothness being properly a quality perceived only by cover test the touch, and applied metaphorically to the objects of the other senses, we often apply it very improperly to those of vision; assigning smoothness, as a cause of visible beauty, to things, which, though smooth to help, the touch, cast the most sharp, harsh, and angular reflections of cover letter test light upon the eye. . . . ( An Analytical Inquiry , 65) The ethereal mountains offering a suggestion of car by bailey essay sublime grandeur; the depth of field, with the meandering river leading the eye towards a distant background. Unlike Pope, Thomson invites the reader to letter, view the landscape with leading locutions: “see,” “prospect” and “yon,” and cited essay the frequent use of the present tense. As Watson points out, the description of George Lyttelton’s estate at Hagley “is carefully composed and presented as foreground (the Hall), middle distance (villages, fields, heathlands, a ‘broken landscape’) and background (the Welsh mountains)” (32), a method identical to cover, that employed later by Picturesque writers[27] and intrinsic to the landscape artist’s craft.[28] Andrews, however, refuses to see any influence of college picturesque painting in Thomson’s The Seasons , asserting instead the influence stems rather from literature. External evidence all suggests otherwise.

The historical context: this is, after all, rapidly becoming the age of cover letter landscapes and influence seems virtually unavoidable; the geographical: the poem was actually revised and partly rewritten at writing Hagley, then newly laid out according to picturesque tenets; and, as mentioned above, Thomson travelled to Italy during the composition, making subsequent books markedly richer in landscape images. Unfortunately, Andrews’ literary bias—the idea, for example, that, “Painting’s sister-art [literature] had shown the way to freedom from didacticism or slavish topographical portraiture with Thomson’s The Seasons ” (25), places the literary cart before the cover, Picturesque horse. However, it is internal evidence itself which most clearly outlines the absurdity of cited essay Andrews horsing around: Meantime you gain the hight, from whose fair brow. The bursting prospects spreads immense around; And, snatched o’er hill and dale, and wood and lawn, The verdant field, and letter test darkening heath between, And villages embosomed soft in trees, And spiry towns by surging columns marked. Of household smoke, your eyes excursive roams— Wide-stretching from the Hall in whose kind haunt.

The hospitable genius lingers still, To where the broken landscape, by degrees. Ascending, roughens into rigid hills. O’er which the Cambrian mountains, like far clouds. That skirt the blue horizon, dusky rise. ( Spring , 950-62)

Selected almost at random, there can be no doubt even here of the cited essay, analogy to landscape canvas: the scene is both designed and unified, with precisely placed detail within the larger picture framework; with foreground, middleground and background all respectively described. The passage also contains key picturesque elements: contrast, for cover letter example, between wood and lawn, field and heath; the creatively, texture of the rough rigid hills; the broken allusion; and cover test the sublime cloud-like mountains. The influence of landscape paintings upon a burgeoning genre of conservation landscape and nature literature seems beyond question and Andrews’ cart is cover letter test not only misplaced but surely wrecked by a broken axle. The interconnectivity between these two arts is further illustrated by Turner and my real bailey Constable, for whom Thomson was a favourite poet, adopting lines appended to several canvases. [29] Indeed, Turner’s Aeolian Harp (see figure 8) was exhibited in 1809 with a poem that begins: On Thomson’s tomb the dewy drops distil, Soft tears for Pity shed for Pope’s lost fame, To worth and verse adhere sad memory still, Scorning to wear ensnaring fashion’s chain.

In silence go, fair Thames, for all is laid. While flows the stream, unheeded and unsung. Resplendent Seasons! chase oblivions shade. (qtd. Bicknell, 32) The poem highlights each season in turn, though, as Bicknell explains, quoting various art scholars, it is cover letter based not so much on Thomson’s work as William Collin’s “Ode occasion’d by the death of Mr Thomson.” The four figures in the picture, however, are understood to represent the seasons. Bicknell concludes: “Turner’s picture pays homage both to Claude and to cited essay, Thomson, and in doing so it enshrines the link between the ‘picturesque poets’ and the ‘Italian’ landscape painters(33). During the swan-song years of the eighteenth century, classical poets were losing ground to the increasing number of British poets, with classical allusion becoming thin on the ground. Concomitantly, . Letter Test? . . booksellers were no longer addressing a relatively few, elite readers but a wide, mixed audience including merchants, professionals, children, and urban servants, as well as traditional audiences. (Benedict, 158) Thus, there existed a growing exigency for cited essay a new kind of cover letter test literature, removed from the Grub Street Press, yet more in my real white essay tune with more people, more accessible, reflecting more the letter, changing social condition. John Dyer (1699-1757), of course, is best remembered for “Grongar Hill.” Describing the my real bailey, scenery of the river Towy, there is a Wordsworthian quality of observation, personal reflection and picturesque features: “prospect,” “Old castles,” “ruins, moss and weeds,” and so on; there is the occasional picturesque personification, as in “And ancient towers crown his brow, / That cast an awful look below” (71-72); though mostly we have only a topographical and irregular ode in rhyming couplets. Letter Test? Published in 1726, it draws immediate comparison with Thomson’s The Seasons . Besides taking landscape as its primary focus, “Grongar Hill” really sits in the shadow of The Seasons , offering only the creatively, occasional sign of life, such as:

And see the rivers how they run, Thro’ woods and meads, in shade and sun! Sometimes swift and sometimes slow, Wave succeeding wave, they go. A various journey to the deep, Like human life to letter test, Endless sleep. (93-98)

Dyer made several tours of England and Wales, travelled to Italy, studied to be a painter long before he became a parson-poet, and there is, certainly, a convincing affection for landscape in “Grongar Hill”—though this is more strongly expressed in The Country Walk , whose concluding lines draw a melancholy comparison between the writing creatively exercises, utopia of landscape and the distopia of test human existence. Essay On Environmental? “Grongar Hill” is framed upon the summit prospect of Grongar Hill[30] and, compared to the rhyming couplets of test Pope’s “landscapes,” the view is clear and convincing and the subject focused. It is with Dyer’s final and greatest—in terms of bigness—poem, however, that the poet’s mutable mediocrity comes to light. Assignment Uk Review? “The Fleece,” praised by Wordsworth—which is perhaps condemnation enough, a certain sign that the egotistical sublimian felt no literary threat[31]—is an anachronistic georgic written thirty years after “Grongar Hill.” Dyer hoped “The Fleece” would provide necessary information allowing sheep farmers to improve their stock and the quality of cover letter test wool; to improve the fortunes of combers, dyers and weavers; to improve Britain’s trade by advocating expansion abroad. A georgic with such—conventional—pragmatic goals finds high poetic diction and frequent digressions a serious impediment. Essay Writing? It is difficult bordering on impossible to imagine one tenth of those concerned in the industry with the faculty and willingness, not to mention leisure time, to read such a long run-around poem. If ever there was a case for abandoning classical models, this georgic, begging for the mercy of simple prose, pleads guilty and stands duly condemned. Essentially, Dyer proclaims here his affiliation with Dryden’s now ageing notion, expounded in “Parallel betwixt Poetry and cover letter Painting” (1695), that the primary end of Painting is to please, though the ultimate end of Poetry is to instruct. Dyer’s affection for rural landscapes is university of science thesis perhaps all the more remarkable for this utilitarian and mercantile disposition.

Unlike Wordsworth, Dyer saw no injurious contiguity between industry and letter test trade. Quite the cited essay, contrary: “Trade,” he wrote, “is the daughter of peace” (qtd. Williams, 98). Williams, in his biography of Dyer, continues, . . . traders and merchants, he felt, were promoters of peace and therefore of civilisation.. Cover? And by aiding them to bring natural resources and writing industries together, to develop new resources, new manufactures, and new means of transportation, Dyer felt that he too was promoting peace and civilisation. (98) The same, in fact, is true of The Seasons , though Thomson’s approbation of mercantilism—as well as the didactic insertions—is less the cover test, business of the poem and more an essay on environmental, unfortunate by-product. If “Grongar Hill” makes a step forwards towards the romantic movement, “The Fleece” takes several backwards. Cover? In his preface to the second edition of Winter , Thomson mentions Virgil’s Georgics as one of his models. He insists, however, that Winter bore a closer resemblance to the devotional literary tradition which included the reflective essay, Pentateuch, the Book of Job, and Paradise Lost . “The Fleece,” on the other hand, is not only fully georgic but formally inappropriate to its purpose.

There is, then, in Dyer something of the cover, neo-classical romantic dichotomy, the day-dreamer and the practical day-worker and it is in essay writing this context that he is best read and makes most sense. Neo-classicists’ adoption of the Picturesque, with Claude recognised as the precursor, was initially perhaps not inevitable though certainly understandable. Cover Letter Test? There was, however, a certain incongruity to this adoption, for reflective english the geometry of contemporary gardens and regularity of versification were essentially antithetical to the Picturesque. Besides, the letter, serenity and classical nostalgia of Claude was losing ground to the wildness of the more rugged Rosa (see figure 9) whose craggy cliffs and university of science thesis toothed trees and cover letter test desolate domains were closer to both lakeland scenes and help romantic sensibilities. Letter? Neo-classicism and formative Picturesque then were uneasy partners. Upon the crumbling and tumbling columns of neo-classicism was slowly builded an ever more refined picturesque aesthetic. Tentative attempts at picturesque typified in The Seasons and “Grongar Hill” provides a background for an entirely new landscape of essay on environmental aesthetic appreciation and artistic expression that was quite simply blowing through the temporal winds and disturbing everything in cover letter its path.

For all the my real bailey, aesthetic developments taking place as the eighteenth century progressed, neo-classicism was reluctant to give up the battle. Thomas Warton, in Poems on Several Occasions, (1748) includes such key terms as “Nature’s Landscapes,” “Dark woods and pensive waterfalls,” “Desert Prospects rough and rude,” “a green Valley’s wood-encircled Side.” However, translations and paraphrases of Horace rub shoulders with “Ode to Taste”: Leave not Britannia’s Isle; since Pope is fled. To meet his Homer in test Elysian Bowers, What Bard shall dare resume. His Various-sounding Harp?(180) Warton then demonstrates the literary discord at this time, the venerational prestige of Pope, and the staying power of writing on environmental conservation neo-classicism. As late as 1775 and calling to mind Gilpin’s examination of letter test natural and moral beauty in Stowe , Samuel Johnson, in Journey to the Western Islands of Scotland wrote: An eye accustomed to flowery pastures and waving harvests is astonished and writing creatively exercises repelled by this wide extent of hopeless sterility.

The appearance is that of matter incapable of form or usefulness, dismissed by nature from her care and disinherited from letter test her favours. (qtd. Andrews, 197) There was no extensive digging and chiselling, no blasting of hill and dale, no landscaping on cited essay a geographic scale, no remoulding or recasting of this northern nation, no topographical development. The only conceivable change was internal: aesthetic conception; and cover letter with this mightiest of change, the Scottish Highlands would soon become—and remain—one of the most picturesque areas in all Britain. Figure 8: Turner, Thomson’s Aeolian Harp, from cited essay Bicknell. Figure 9: Salvator Rosa, Mountain landscape, from Bicknell.

“This mountainous landscape is cover letter test of a type which particularly appealed to English taste. It could be a Salvatorian of a scene in the Lake District or North Wales” (Bicknell, 5) The Middle Ground: Wordsworth. The artistic and aesthetic links established in Section One now become particularly significant. This section will include an important aetiological component, identifying the articles of faith employed in cited essay establishing the standard—and erroneous—critical guiding conception of the Picturesque. Having, hopefully, and to some degree, divested Wordsworth (1770-1850) of the prophetic, revolutionary inspired vestments which modern scholars intimatingly fancy his dress, the entire fabric of the venerational and cover letter vituperative theory of Wordsworth and car by the Picturesque respectively becomes bare supposition, allowing, finally, a more valid and useful appraisal of the two. The influence of the Grand Tour in fostering an intense and popular interest in scenic tourism—it was in the 1780s that the letter test, word ‘tourist’ entered the English language—the increasing familiarity of landscape paintings, philosophical enquiries which intellectualised landscape, the religious symbolism which initially justified landscape not only for the French but for the Hudson River Group in North America, the popularity of landscape gardening, all these were elements in a new cultural and reflective essay college english aesthetic picture. And yet, as mentioned in test the previous section, the neo-classical constituent, as much a symbol of “quality” as Friedrich’s Cross On the Mountain was of faith, stubbornly persisted. Reflective College English? The prestige of the cover test, classical past essentially allowed the prestige of the present, and exercises with nature already running wild in picturesque landscape gardens, neo-classicism endured like an old marble statue, certainly, its arm’s severed at the shoulder and cover letter test missing a leg, yet still solid and strong. Romantic poetry would provide the final cutting edge, individuality and originality and subjectivity and missouri university of science and technology thesis emotional response would allow a cultural coming of age; and if the statue would always remain, at least now the head could be lopped off.

In addition to the impetus provided by this new and burgeoning cultural and aesthetic picture, there was also some imperative to fill a literary void. Sonnets, long castrated of their erotic themes, momentarily seduced by religion and politics, were by now only a literary footnote. Similarly, allegory seemed an anachronistic way of describing a shovel by digging a hole. The epic itself existed only as a mockery. Worst of all, newer innovations like the invariable antithetical rhyming couplet inevitably lost their heroic gloss and seemed more like a tired knave than a tireless knight. Only satire and burlesque—seventeenth century developments—retained any semblance of cover letter staying power. Writing Conservation? In simple terms, literary convention increasingly lacked invention. The cause and effect relationship between this void and cover the development of a new aesthetic is perhaps too metaphysical and certainly too immaterial for cited essay this examination, though the possibility at cover test least suggests mandate for change. It is within the context of this paradigm shift that Wordsworth reads not as literary prophet, but as a poetic designer involved in a movement already re-fashioning the cultural and social fabric. By the essay writing conservation, time Wordsworth published Lyrical Ballads (1798), the appreciation of nature had reached the philosophical—if not numerical—levels prevalent in the present day. Nature now becomes the focal point, no longer limited to a laudation of man and ownership, nor a Pope-like praise of ancient Mediterranean insinuation.

Clearly, such mimetic representations will no longer answer. Literature, within this context and with its associative ability, can treat nature with a new respect and generosity: can actually turn the silence of letter test centuries into articulations of missouri university thesis moment. There is general agreement that Wordsworth’s early poetry borrows from Picturesque aesthetics. A brief survey will therefore suffice. “An Evening Walk,” published in 1793 and cover written in heroic couplets, is essentially a conventional attempt at picturesque verse, replete with cascade scene, precipice, mountain farm, female beggar, rocky sheepwalks and tremulous cliffs: a topographical poem in which Wordsworth’s authorial voice remains only creatively exercises a whisper. Cover Letter? Unconfined to any particular place, the poem provides a composite image consistent with typical picturesque sketches and suggestive—ironically—of Beaumont’s ruinous castle ruin.

As J. R. Watson demonstrates, “Tintern Abbey” (1798) begins with a canvas-like description with three planes of assignment help depth. The poem then moves on: The day is come when I repose. Here, under this dark sycamore, and view. These plots of cottage-ground, these orchard-tufts, Which, at cover letter test this season, with their unripe fruits.

Are clad in one green hue, and of science and technology lose themselves. ’Mid groves and copses. Once again I see. These hedge-rows, hardly hedge-rows, little lines. Of sportive wood run wild: these pastoral farms, Green to the very door; and wreaths of smoke. Sent up, in silence, from among the trees! With some uncertain notice, as might seem.

Of vagrant dwellers in the houseless woods, Or of cover test some Hermit’s cave, where by his fire. The Hermit sits alone. (9-22) Here the sycamore serves as both frame and point of perspective to the scene; typical picturesque elements appear: the wildness of the wood, pastoral farms offering contrast as well as an help uk review, echo of Virgil’s Georgics , an attention to cover letter, foreground and background. But the scene is extra dimentionalised, beyond—at least for those with a literary bias—the possibilities of brush and colour: “Once again I see” underscores both memory and writing exercises a personal reaction to the scene; whilst the bromidic picturesque figure—the hermit—appears not to the eye but to the imagination. And yet, although the poem, by virtue of the cover, medium, achieves that extra-dimension, it remains within the Picturesque paradigm. Gilpin, for example, also recorded his impression of Tintern Abbey years before Wordsworth: Every thing around breathes an car by bailey white, air so calm, and tranquil; so sequestered from the cover, commerce of my real car by bailey life, that it is easy to conceive, a man of warm imagination, in monkish times, might have been allured by such a scene to become an inhabitant of it. ( Obs.

Wye , 32) Watson admits that this might perhaps have provided the “forerunner” [32] of letter Wordsworth’s hermit; but also that Gilpin here is concerned with the “kind of relationship between man and the landscape” (81) that Wordsworth was later to on environmental conservation, develop. [33] Not surprisingly, “Tintern Abbey” soon moves away from Tintern Abbey and becomes the familiar Wordsworthian recollection filled in with the “moral and mystical” (Watson, 84) of landscape. And yet the letter, poem’s structure can serve as an outline of conservation Picturesque application in romantic poetry: the picturesque provides the subject—and initially the ability to see that subject—which then allows the expanded vista possible through literature. Memory, subjectivity and imagination—Wordsworth categorical—together act as an augmentative device which transforms flat canvas into letter test romantic tapestry. There is, in addition, some hint of the egotistical sublime combined with the ability of nature to mould character: . . . Assignment? For I have learned. To look on cover test nature, not as in the hour. Of thoughtless youth, but hearing oftentimes. The still sad music of humanity, Not harsh nor grating, though of ample power. To chasten and writing exercises subdue. (89-94) “Michael” (1800), though not specifically a picturesque poem, nevertheless is based upon a nostalgic view of rural England intrinsic to the Picturesque school and a offers a nationalised and temporalised form of the neo-classical Golden Age.

The poem alludes to contemporary political and cover letter test economical conditions turning peasants into the manufacturing poor, who, nomadic and landless, drift into London like the flotsam of some vast socio-economic flood. Indeed, many districts at that time remained completely excluded from urban economics, with foreign products as foreign as the writing, products themselves. Even at the beginning of letter this century the Yorkshire yeoman was ignorant of sugar, potatoes, and cotton; the university of science thesis, Cumberland dalesman, as he appears in Wordsworth's Guide , lived entirely on the produce of his farm. Cover Letter Test? [34] The half finished sheep-pen of the poem, a heap of rocks that remain after the poem’s closure, symbolises old Michael and his half finished ambitions for his son, now gone from the protective fold and corrupted by modernity. If the poem then is not strictly picturesque, it speaks with picturesque philosophy and provides an example of a more subtle picturesque application. Clearly, Wordsworth’s early poetry borrowed liberally from both the Augustan tradition as well as Picturesque convention. His poetical path, however, gradually meanders away from neo-classicism and towards an expanded and less categorical mode of Picturesque philosophy. Hugh Sykes Davies’ insistence upon “Wordsworth’s subjection to the ‘picturesque’ fashion” (236) in these early days, culminating in the poet’s decortication of the entire model, smacks of an obscurantist philosophy turned barrier to the imagination and denies the jagged foundation the Picturesque provided for assignment the appreciation of countryside as a highly refined aesthetic.

But more of that right now. The Gospel According to Wordsworth. We have finally reached the test, first of two sources which together have prescribed the modern critical assessment of the reflective essay college, Picturesque and its influence on romantic poetry—at least for scholars of literature. Descriptive Sketches—the Footnote [35] Pope’s Dunciad conclusively proved the cover letter, potential of the humble footnote to writing, subvert a text. In the case of cover Descriptive Sketches , a single footnote has subverted much of modern scholarship on the Picturesque.

Here it is, in all its humble magnificence: I had once given to these sketches the title of Picturesque; but the Alps are insulted in applying to essay college english, them the term. Whoever, in attempting to describe their sublime features, should confine himself to the cold rules of painting would give his reader but a very imperfect idea of those emotions which they have the cover letter, irresistible power of communicating to the most impassioned imaginations. (Note to writing, line 299) Davies descends upon this “cold rules of painting” as if the very death of the Picturesque depended upon it. Test? In actual fact, this criticism suggests Gilpin as the principle target; and the reproof, despite Wordsworth’s implied intention, is narrow rather than general. In fact, there is nothing original or remarkable here: it is essentially a restatement of missouri university of science and technology Richard Payne Knight, who, we recall, offered a “Curse on the pedant jargon, that defines / Beauty's unbounded forms to given lines!” ( The Landscape: a Didactic Poem , 6) Indeed, it was only cover test Gilpin’s first publication, Essay on Prints , which placed particular stress on the “rules of painting” and for the simple reason that the volume was, essentially, a “How-To” manual on landscape painting rather than a treatise on the Picturesque. It seems strange too that Davies, here upholding the merits of the imagination compared to cited essay, those “cold rules of painting,” mentions that Knight had “ meddled extensively with the ‘Imagination’” [36] (my italics, 205); though assumedly anyone connected with the Picturesque and not poetry really can only “meddle”—even “extensively.” Watson also picks up on this footnote; but, realising that there are nevertheless acres of the cover, Picturesque in Descriptive Sketches , prevaricates hither and missouri university and technology thither, jumping from test one explanation to another like so many stepping stones where only the wetness of the river is certain.

His first tentative foothold comes from the cited essay, fact that Wordsworth carried through the Alps a number of Picturesque guidebooks, causing him to letter, suggest, “It is therefore not surprising that the poem should contain a number of picturesque appreciations” (73-74). The stepping stone here sinks without further comment. Next, Watson suggests—with depth defying penetration—that Wordsworth had a “divided mind” (74); and further, that it is this “which makes Descriptive Sketches such an exercises, unsatisfactory poem” (74). This is clearly a dangerous place to letter, stand, since, I would suggest, when it comes to the Picturesque, Wordsworth’s mind was always divided. Watson jumps again: Wordsworth is.

struggling to express qualities which the writers on the picturesque did not sufficiently recognise. In the first place there are atmospheric effects of light which transcend the missouri, tonal range of contemporary painting. (75) This is on cover test the same footing as the writing, earlier: “Wordsworth was envisaging effects of light which were not to be mastered on cover test Canvas until Turner” (72). In fact such “effects of light” had long since been mastered, by Claude. In fact, he was to college, some extent the originator: Andrew Wilton, in his introduction to Turner’s Picturesque Views in England and Wales , identifies Claude as the inventor of the “‘Sunset Harbour theme” (Shanes, 6). This then is clearly an example of a literature critic wiggling his fingers in the pool of the art historian; rather than catching a fish, he is bitten by test a school of cited essay aesthetics. Watson must once again skip onward. Test? His final place of rest is to suggest that Wordsworth here was concerned with “liberty,” although, since the “subject” of the poem is the Swiss Alps, “he could not omit the scenery” (75).

This, in fact, is true, though most elements are undeniably Picturesque, like this blending of the beautiful and sublime: How blest, delicious scene! the eye that greets. Thy open beauties, or thy lone retreats; Beholds the unwearied sweep of wood that scales. Lo, where she sits beneath yon shaggy rock,

A cowering shape half hid in curling smoke!(177-78) Other examples of Picturesque idiom include: “water's shaggy side”; “Thy lake, that, streaked or dappled, blue or grey”; “Hermit”; and “antique castles.” It seems strange too that Wordsworth should frame the topic of liberty in his supposed antithesis of liberty: those cold picturesque rules. Watson clearly recognises the dichotomous anomaly at work,[37] and his stepping and side stepping is an attempt to bring resolution within the framework of standard literary theory on the relationship between Wordsworth’s poetry and the Picturesque. Essay Conservation? Clearly, Watson gets a good wetting and letter test explains nothing. So what is the solution? The fact that we are dealing, for the moment, with a footnote provides the perfect analogy: Wordsworth’s Picturesque criticism should be read as nothing more than a footnote, and a footnote in the style of The Dunciad at that. Cited Essay? When literary theory, even—and perhaps especially—from the original poet himself, is at odds with the literature itself, then the obvious conclusion is to abandon the theory; instead, Wordsworth’s musings are taken as gospel and an altar of theory is builded upon them. Cover Test? The only truly cold rule, it seems, is that Wordsworth “transcends” the picturesque because he says so himself. Turning now from general to particular, it should be clear that this “cold rules” versus “imagination” is altogether a red-herring, easily caught by literary critics and missouri university thesis used to feed a thousand other misconceptions.

William Combe’s brilliant satire, A Tour in Search of the Picturesque, by the Reverend Doctor Syntax (see figure 10)—clearly derived from Gilpin—reveals his neo-classical bent by ridiculing the very idea of the imagination versus the true copy of Nature: Upon the bank awhile I’ll sit, And let poor Grizzle graze a bit; But, as my time shall not be lost, I’ll make a drawing of the post; And, tho’ a flimsy taste may flout it, There’s something picturesque about it: ’Tis rude and cover letter rough, without a gloss.

And is well cover’d o’er with moss; And I’ve a right—(who dares deny it?) To place yon group of asses by it. Aye! this will do: and now I’m thinking, That self-same pond where Grizzle’s drinking, If hither brought ’twould better seem. And faith I’ll turn it to assignment help uk review, a stream. Cover Letter? (9) Of course, the exaggeration is as sparkling as the help uk review, pond that flows into the stepping-stone stream; but we should consider Constable’s Flatford Mill from the Lock , which is exactly this kind of composite picture and deserves—indeed, receives—only approbation. There are indeed rules of composition, in letter test painting as well as poetry, but to define the Picturesque according to these is to define poetry. according to essay writing on environmental conservation, grammar and spelling. Cover Letter? There is, in both the Picturesque and poetry, imagination and university of science expression.

Returning to the original point. Cover Letter Test? W. M. Merchant, in his introduction to Wordsworth’s Guide , also cites this same footnote as proof of Wordsworth’s asperity to Picturesque theory and goes on to say how singular Wordsworth’s guide is. More forthright still, Rhoda L. Flaxman, Victorian Word-Painting and writing creatively Narrative: Toward the Blending of Genres , understands the note to be “an abrupt declaration of independence from cover eighteenth-century picturesque aesthetic” (67). All these evaluations, however, neglect several important points: firstly, Wordsworth’s footnote continues, the unique and. . . . peculiar features of the Alps. . . . Exercises? The fact is, that controlling influence, which distinguishes the Alps from all other scenery, is derived from images which disdain the cover, pencil. Had I wished to make a picture of this scene I had thrown much less light into it. But I consulted nature and cited essay my feelings. The ideas excited by the stormy sunset I am here describing owed their sublimity to test, that deluge of light, or rather of fire, in which nature had wrapped the immense forms around me; any intrusion of shade, by destroying the unity of the impression, had necessarily diminished its grandeur. (Note to line 299) So the Alps then are not like the mountains of Cumberland, Yorkshire, Wales and university Scotland; and rather than offering an “abrupt declaration of independence,” Wordsworth actually points homeward for authentic picturesque scenes. Secondly, this so called “reaction against the Picturesque” (Davies, 240) entirely disregards chronology: Descriptive Sketches was published in 1793; Wordsworth’s own Guide , which, as we will see, makes great use of Picturesque sensibility and letter idiom, in 1810.[38] Thirdly, as already mentioned, the fact remains that Wordsworth footingly denounces the cited essay, limitations of the Picturesque yet, in the poetry itself, he delivers Picturesque description.

Book XII of The Prelude , tintilatingly entitled “Imagination and Taste, How Impaired and Restored,” provides most to the fodder for modern critical understanding of Wordworth’s relationship to the Picturesque. Cover Test? [39] The offending lines begin: What wonder, then, if, to a mind so far. Perverted, even the visible Universe. Fell under the dominion of a taste. Less spiritual, with microscopic view. Was scanned, as I had scanned the moral world?(88-92)

Unworthy, disliking here, and there. Liking; by rules of mimic art transferred. To things above all art; but more,—for this, Although a strong infection of the reflective essay college, age, Was never much my habit—giving way. To a comparison of scene with scene, Bent overmuch on letter superficial things, Pampering myself with me agre novelties.

Of colour and proportion; to the moods. Of time and season, to cited essay, the moral power, The affections and test the spirit of the place, I speak in recollection of a time. When the bodily eye, in every stage of life. The most despotic of writing our senses, gained. Such strength in 'me' as often held my mind. In absolute dominion. (127-130) There are in our existence spots of cover letter test time, That with distinct pre-eminence retain. A renovating virtue, whence—depressed.

By false opinion and essay college english contentious thought, Or aught of heavier or more deadly weight, In trivial occupations, and the round. Of ordinary intercourse—our minds. Are nourished and invisibly repaired. (208-215) This then is the stuff that contemporary critics have adopted without regard to the dangers of accepting the artist’s views of cover test his own work. If the creative mind were so simple , the rive gauche would likely as not have moved to Silicon Valley. There can be no doubt that “taste” refers to the Picturesque. There can be no doubt either that Wordsworth declares the Picturesque an car by white, impairment to the imagination.

Several important points, however, should be noted: The Prelude , as was the cover, case with Descriptive Sketches , contains ample picturesque passages, too numerous and too obvious to quote. Here, nevertheless, for the benefit of the incredulous, are a few: In summer, making quest for works of art, Or scenes renowned for beauty, I explored. That streamlet whose blue current works its way. Between romantic Dovedale's spiry rocks; Pried into Yorkshire dales, [40] or hidden tracts. Of my own native region. (VI, 190-95)

In the uk review, final Book (XIV), fresh from the cover letter test, restoration of his imagination and taste, with hardly time to catch a breath between, Wordsworth recounts his gasping ascent of Snowdon, from whence he sees: “A fixed, abysmal, gloomy, breathing-place— / Mounted the cited essay, roar of waters, torrents, streams / Innumerable, roaring with one voice!” (58-60). Topography ensues. The plot thickens: soon after, there is a twist to all that domination of the eye business, with Nature making her presence known. . . . by cover letter putting forth, 'Mid circumstances awful and sublime, That mutual domination which she loves. To exert upon the face of outward things,

So moulded, joined, abstracted, so endowed. With interchangeable supremacy, That men, least sensitive, see, hear, perceive, And cannot choose but feel. (79-86) That domination now shifts from subject to object: man is no longer dominated by the ocular sense; instead the outward forms of picturesque scenery, by their very nature, captivate man. In any case, the point is that even in The Prelude the Picturesque is pictured and admired: The single sheep, and the one blasted tree, And the bleak music from that old stone wall, The noise of wood and water, and the mist. That on the line of university of science each of those two roads. Advanced in such indisputable shapes;

All these were kindred spectacles and sounds. To which I oft repaired, and thence would drink, As at a fountain. (XII, 319-26) Here also is one of Wordsworth’s well-cited spots of time, which often find their source in Picturesque moments inspired by the wildness of nature, where that idiomatic “sublime” is letter kindled. In this example, we are provided a veritable catalogue of creatively exercises picturesque materials, though again this spot of time incorporates non-visual invocations, composed, not as a sovereign landscape, but more as a sensationscape, an letter, emotional response to news of his father’s death.

In effect, Wordsworth acknowledges the aesthetics of this picturesque catalogue, though he moves towards emotive sense. Further, Wordsworth’s understanding of the subject was undoubtedly clouded, a myopia based upon a narrow definition of the Picturesque—the meaning of which, after all, was always a point of university thesis debate and rarely of conclusion. Indeed, his criticism of the Picturesque is on the same lines as Uvedale Price’s, who, we might recall, stated that picturesque qualities are “extended to all our sensations by cover letter whatever organs they are received.” In other words, “That men, least sensitive, see, hear, perceive, / And cannot choose but feel.” The thing which Wordsworth most condemns—this supposed ocular obsession in the Picturesque—is strangely absent in A Tour in Search of the essay conservation, Picturesque, by the Reverend Doctor Syntax . For example: “. . . while you chase the flying deer, I must fly off to cover letter test, Windermere. Cited Essay? / ’Stead of hallooing to letter test, a fox, I must catch echoes from the rocks” (50). It seems apparent from these few lines the exceptional quality of the satire; strange then that Combe, for all his excellence, should miss what seems to be the most objectionable aspect of Picturesque theory. Writing? This, perhaps more than anything else, demonstrates that Wordsworth’s dissatisfaction was not empirically with the Picturesque but emphatically with his own conception. Letter Test? The error was his, and the error of those modern critics who unquestioningly accept Wordsworth at his word. Watson suggests further that Wordsworth’s interest in the Picturesque waned due to its inherent “wrong attitude to nature” (97), by which he means a lacking of “humility.” To this, it is cited essay perhaps worth re-visiting Gilpin:

Let not inborn pride, Presuming on thy own inventive powers, Mislead thine eye from Nature. She must reign. Great archetype in all. ( On Landscape Painting: A Poem , 26-30)

Also, Wordsworth’s increasing spirituality offers an unstated though likely cause of further dissatisfaction, that “dominion of a taste / Less spiritual.” Gilpin states in his preface to Tours of the Lakes : “The author hopes that no one will be so severe, as to think a work of letter this kind inconsistent with the profession of assignment a clergyman” (xxxi). J. R. Watson understands this as evidence that Gilpin saw nature not as the handiwork of God—as does Thomson, for example—but “as a matter of mere amusement” (40). As Section One made clear, Gilpin here is actually alluding to the amorality of the Picturesque. Nevertheless, from this supposed “mere amusement”, Watson, no doubt now weary of those treacherous stepping stones, makes an astounding leap in logic and concludes: With such an test, aim, sight alone becomes important, for there is rarely any attempt to ponder the significance of reflective essay landscape, or the viewer’s emotional relationship towards it. (40) Entirely skipping over letter test, the “mere amusement” hypothesis, we might yet wonder at the kind of of science thesis logic that allows a passage from “mere amusement” to “sight alone.” We might also recall, despite the evidence outlined in Section One demonstrating that Gilpin was not concerned uniquely with sight alone, that Gilpin indeed wrote on the Picturesque from test a painterly point of view and so any stress that exists upon the visual is rather like the cited essay, stress upon the aural in an analysis of music.

The importance of all this is to demonstrate the tendentiousness of the cover letter test, support for Wordsworth’s domination of the eye theory. There is, in Gilpin’s preface, nothing whatsoever about “mere amusement” and from that nothingness there is decidedly no logical step to “sight alone.” What we really discover here is Watson’s attempt to missouri of science thesis, support subtly Wordsworth’s notion, which, as is becoming increasingly apparent, actually had no validity in Wordsworth’s own work. Cover Test? This then is my real car by bailey essay one tiny element in the construction of the predominant Picturesque/romanticism theory. In fact, Gilpin’s note is letter test nothing more sinister than an acknowledgement that God is largely excluded from the Picturesque view. Although Wordsworth might have thought this unfortunate, in cited essay terms of historical artistic development, removing God from the picture was essential in bestowing intrinsic validity to nature and landscape. Finally, Wordsworth’s own vision grew from an aesthetic arboretum that was the Picturesque. He descended not from heaven, fully formed and letter test ready to pen; but rather was shaped by the multitudinous historical, social, economic, artistic and aesthetic factors. Without the continuum in which the Picturesque was contained, Wordsworth and essay college english romanticism would have remained a pipe dream piped perhaps by a transplanted neo-classical Roman shepherd. Cover Test? Watson himself reluctantly admits that “in spite of his condemnations of the picturesque and his awareness of the despotic eye, Wordsworth remains interested in cited essay landscape as it is letter seen” (104); and yet the penny never drops and a change of view never takes place. Davies similarly pays great attention to The Prelude , albeit with a more diction-based argument. “In rejecting the ‘picturesque’,” Wordsworth is on environmental conservation “running counter to test, [the] predominant fashion” (249), and deliberately selects bare and naked scenes. This notion re-creates Wordsworth as an artist removed from historicity, a one man cultural band not only playing his own tunes but inventing his own scales, an idea suggestive even of deification.

As proof, Davies provides a table of “unpicturesque”—nay, “anti-picturesque” (250)—terms harvested from The Prelude . Unfortunately, at least half of them are perfectly picturesque: “cliffs,” unless we imagine a polished cliff; “old stone wall,” unless expurgated of lichen and moss and the old stone wall reformed as a new stone wall; “whistling hawthorn,” unless de-thorned, de-whistled and well pruned; “craggy ridge” and “craggy steep,” de-cragged; “perilous ridge,” de-periled. Even those terms which seem marked by a smooth unpicturesque character are often un-picturesque red-herrings: the “naked pool,” is perhaps “water of which the surface is broken, and the motion abrupt and irregular” ( On the Picturesque , 84); or perhaps reflecting the essay college english, Picturesque scenery in which it resides. More astounding than erroneous, Davies includes “mountains” in cover letter his anti-picturesque catalogue! Davies’ crowned prince of on environmental proofs then turns out to be a beggar boy in test disguise, with all the exercises, airs and graces and robes of royalty, yet concealing a shallow mind and dirty underwear. In addition, even if Davies’ brief was bona fide , the fact remains that Burke’s smooth beauty is, in part, elemental to the Picturesque scene. Letter? The absurdity of Davies’ position in this respect is made conspicuous when, ever contrary, he examines the before and after Gilpin prints (see figures 11 and 12) and insists that, “This second print, in its way, is charming enough.

But the first is impressive” (229)![41] It is this irony, this inconsistency, this disparity that suggests Wordsworth’s professed aversion to the Picturesque should be taken not only with a grain of my real car by bailey white salt, but with a veritable variety of spices—grown, of course, in a garden suitably picturesque. In the final analysis, it is the poetry itself which must provide the theory, rather than the letter, poet himself; and cited essay indeed, this is the whole point. The Sublime and cover test the Beautiful. Davies’ suggestion that only Wordsworth frequently used “sublime” and “beautiful” conjunctively, to which he devotes several pages, besides being erroneous, reveals a scant familiarity with Gilpin, for, as we have seen, it was the combination of the beautiful and cited essay sublime— “. . . so beautifully sublime, so correctly picturesque” ( Three Essays , 52)—which, for cover letter Gilpin, produced the Picturesque and so was central to his own understanding. Whether or not Gilpin offers these words conjunctively once or a thousand times, the point is that the conjunction is omnipresent in his definition of the Picturesque. Just as Brownlow suggests that John Clare transcends the Picturesque by discovering the microcosmos,[42] he also insists that Wordsworth “transcends” the Picturesque by experiencing the “Sublime.” (25) Of course, he is also wrong, and for the same reasons. Since the Picturesque never evolved into a finalised coherent theory, remaining vast in scope, since its primary concern was with landscape and graphic art—Price notwithstanding—the very notion of poets’ “transcending” the cited essay, Picturesque is one which seems born of an intellectualised mule; and although modern critics seem intent to ride this mule for letter all it might be worth, the beast is clearly an cited essay, ass of their own imagination. Guide to the Lakes. Davies correctly points out that the vigorous and test much-publicised Picturesque debate raged during the period when Wordsworth was most active as a writer.

As Davies states: “The reader of Wordsworth cannot for long go ignorant of the part played by the Lakes in making him everything he was” (3). Indeed, the popularity of the Lake District is help uk review inextricably tied with that of Wordsworth. Cover Letter? His own A Guide Through the District of the Lakes in assignment help uk review the North of cover letter test England , is, to a large degree, typical of this sub-genre.[43] Not surprisingly, Davies thinks otherwise: Gilpin, he says, believes landscape significant “not for the sake of the people who live in it” (230) but “simply for the painter” (230)—and this despite the following quotation, from Gilpin, two pages earlier: “These smooth-coated mountains, tho of little estimation for the painter’s eye, are, however, great sources of plenty. They are the nurseries of sheep; which are bred here, and fatted in the valley” (228). Gilpin proceeds to reflective college, describe the difficult life of the shepherds. According to Davies, in writing his own Guide , Wordsworth’s “approach was the opposite one” (230)—though it seems that Gilpin’s approach also was opposite. In actual fact, Wordsworth’s guide, as suggested above, is pretty much par for the Picturesque course. Wordsworth even commits the cardinal sin: “The want most felt, however, is that of cover letter test timber trees. There are few magnificent ones to be found near any of the lakes” (79). Essay English? Here Wordsworth censures a scene for lacking a particular pictorial element—so much for the opposite cover letter, approach. Wordsworth’s Guide also demonstrates an eloquent command of english Picturesque idiom: “. . . by bold foregrounds formed by the steep and winding banks of the river” (43); “None of the other lakes unfold so many fresh beauties . . . “ (39); “ . . . Cover Letter? agreeably situated for water views” (40); “. . . constitute a foreground for ever-varying pictures of the majestic lake” (50).

Besides idiom, Wordsworth participates in Picturesque politics, supporting Gilpin in his criticism of white painted houses, and sustaining Price’s landscape gardening theories. Neither is Wordworth’s inclusion of poetry in his Guide anything more than standard.[44] Even the of science and technology thesis, prosaic Handy Guide to cover, the English Lakes , now a rare and essay writing on environmental conservation anonymous sixpenny edition likely destined for the more affluent working class tourist, features such verse as Wordsworth’s: “A straggle burgh of cover test ancient charter proud / And dignified by battlements and towers / Of stern castle, mouldering on the brow / Of a green hill (17). Besides the outbreaks of poetry, the Handy Guide inevitably features numerous Picturesque line drawings, including one particular example which offers further indication of the popularity of Picturesque tourism: an uninteresting depiction of Furness Abbey disinherits the usual foreground grouping of rustic figures, replacing them with a party of pic-nicking holiday makers.[45] Davies’ suggestion that Wordsworth’s Guide is “antithetical” (230) to essay conservation, Gilpin’s, for it insists that “the real importance of mountain scenery was not visual, but mental” (230), sounds nice, though unfortunately is letter nonsense. Certainly, Gilpin examines landscape from reflective essay college a painterly point of view, though his lengthy guides are filled, as we have seen, with imagination and local human considerations, auditory appreciation and tactile expressions, emotion and admiration. In his Guide , Wordsworth provide a lengthy extract from Dr. Cover Test? John Brown’s verse Fragment : Now sunk the sun, now twilight sunk, and my real bailey essay night.

Rose in her zenith; not a passing breeze. Sigh’d to the grove, which in the midnight air. Stood motionless, and in the peacefull floods. Inverted hung: for now the billows slept. Along the shore, nor heav’d the cover test, deep; but spread. A shining mirror to the moon’s pale orb, Which, dim and missouri waning, o’er the shadowy cliffs,

The solemn woods, and spiry mountain tops, Her glimmering faintness threw: now every eye, Oppress’d with toil, was drawn’d in deep repose. Save that the unseen Shepherd in his watch, Propp’d on his crook, stood listening by the fold, And gaz’d the starry vault, and pendant moon; Nor voice, nor sound, broke on the deep serene; But the soft murmur of swift-gushing rills, Forth issuing from the mountain’s distant steep, (Unheard til now, and now scarce heard) proclaim’d. All things at rest, and imagin’d the still voice.

Of quiet, whispering in the ear of night. (84) Wordsworth honours Brown as “one of the cover, first who led the way to a worthy admiration of this country” (84); though in a footnote adds: Dr. Brown, the author of this fragment, was from his infancy brought up in Cumberland, and help should have remembered that the practice of folding sheep by test night is cited essay unknown among these mountains, and that the image of a shepherd upon the watch is letter test out of help place, and belongs only to countries, with a warmer climate, that are subject to the ravages from beasts of prey. It is pleasing to notice a dawn of imaginative feeling in these verses. Tickel, a man of no common genius, chose, for the subject of letter test a Poem, Kensington Gardens, in preference to the Banks of the Derwent, within a mile or two of which he was born. But this was in the reign of Queen Anne, or George the First. Progress has been made in the interval; though the traces of it, except in Thomson or Dyer, are not very obvious. (84)

The mention of help uk review Tickel immediately invokes neo-classicism and its inability to adopt real landscape, and the shepherd of the cover letter, fragment becomes an Arcadian figure. At this point we need only recollect Pope’s comment on english shepherds “as they may be conceiv’d then to cover, have been,” to my real car by bailey white essay, realise the distance already travelled: what once was a rule of poetry is now a grave error. Davies, brimming with “limitations” of the Picturesque, takes Wordsworth’s footnote and informs us: “This ‘progress’, however, he clearly regarded as limited” (220). Clarity aside, we might wonder how progress can ever be limited, unless we imagine an acorn limited for not already being an oak. To suggest, by extension, that the Picturesque is therefore limited seems to reject a hill for not being a river. But there is cover letter test more than a call for accurate realism in bailey white essay this note, for the “mile or two of letter test which he was born” suggests a sentiment both regional—nationalistic in the larger context—and also, applying Post-colonial hindsight, a conflict between the assignment uk review, centre and margin. Treatment of real British landscape without reference to cover letter, Virgil and Horace and Company insists upon a new centre. This is clearly manifest when both Wordsworth and Coleridge choose between the on environmental conservation, Alps, the traditional site of the European sublime, and domestic mountains. In The Prelude , for example, Wordsworth dismisses the Alps, shifting the focus to Snowdon, whilst Coleridge's Scafell experience becomes a celebration of letter test Mont Blanc in the “Hymn before the Sunrise in my real car by essay the Vale of Chamouny.” As Woodring suggests, “Sometimes implicitly but often with a militant defensiveness, exponents of the picturesque declared it a distinctively English answer to the sublime of the Alps” (48).

Concomitantly, Wordsworth’s regional loyalty suggests a similar centre/margin dichotomy between urban London and the rural north. In another example of Picturesque nationalism, Wordsworth draws a comparison between the cover test, Alps and english local scenes: The forms of the mountains, though many of cover letter test them in some points of view the noblest that can be conceived, are apt to run into spikes and needles, and my real present a jagged outline which has a mean effect, transferred to canvas. (74) Wordsworth was a great explorer of the countryside, and, it seems, actually a Picturesque explorer. As Dorothy Wordsworth wrote in her journal of a Scottish tour: When we were within about half a mile of Tarbet, at a sudden turning, looking the left, we saw a very craggy-topped mountain amongst other smooth ones; the rocks on letter the summit distinct in help uk review shape as if they were buildings raised up by man, or uncouth images of some strange creature. We called out with one voice, “That’s what we wanted!” alluding to the frame-like uniformity of the side-screens of the lake for the last five or six miles. (qtd. Watson, 104) Note the “craggy-topped mountain amongst other smooth ones,” the “frame” and “side screens.” Note also “in one voice,” or, “as three persons with one soul,” [46] as Coleridge wrote.

They had then found “what they wanted,” and cover letter test clearly they wanted the Picturesque. In addition to this, a letter written by help uk review Dorothy to Coleridge in March 1804 includes mention of a beck discovered by Wordsworth: “It is a miniature of all that can be conceived of test savage and grand about assignment help uk review, a river, with a great deal of the letter, beautiful. William says that whatever Salvator might desire could be there found” (qtd. Watson, 104).[47] With all this travel and exploration it seems more than natural that Wordsworth would one day write his own Picturesque guide, if only essay writing he was not so absolutely clearly and undeniably in opposition to and transcendent of the whole thing. Cover? . . . Wordsworth’s Guide was first published anonymously in 1810 and then, ten years later, in university of science thesis a collection of his own verse. According to W.M. Mercant’s introduction, reviews of the verse were “critical” though the Guide met with “almost unanimous approval” (Guide, 31). Post Apostolical Poetry.

The notion that Wordsworth adopted his own critical assessment—dethroning the monarchical sense of vision—has been seriously questioned from various angles. Regardless, if we are indeed to take Wordsworth at his word, the expectation would be that only this transcendental picturesque—if any picturesque at all—would henceforth appear. Letter? Wordsworth, after all, has accused, judged and condemned the writing on environmental conservation, Picturesque and we are told by a jury of letter test modern critics that he will no longer be shackled to that blasted bastion of narrow thinking. How strange then that with the Gospel clearly spelled out, Wordsworth continues to seek the Picturesque and often with an entirely conventional viewpoint. English? For example:

And not a voice was idle: with the din. Smitten, the precipices rang aloud; The leafless trees and every icy crag. Tinkled like iron; while far-distant hills. Into the tumult sent an cover letter, alien sound. Of melancholy, not unnoticed while the cited essay, stars, Eastward, were sparkling clear, and in the west.

The orange sky of evening died away (“Influence of Natural Objects,” 39-46). Understanding the Picturesque in all its theoretical variety—which now, hopefully is the case—reveals this extract clearly and undeniably as picturesque in cover test sound and not a transcending of the Picturesque. We have already seen how Wordsworth’s own Guide was written years after the momentous formulation of judgement. In terms of his poetry, there are numerous other examples which similarly contradict the generally accepted view. The sonnet “Between Namur and university and technology Liège,” from Memorials of a Tour on the Continent, 1820 , for cover letter test example:

WHAT lovelier home could gentle Fancy choose? Is this the car by white essay, stream, whose cities, heights, and plains, War's favourite playground, are with crimson stains. Familiar, as the Morn with pearly dews? The Morn, that now, along the silver MEUSE, Spreading her peaceful ensigns, calls the swains. To tend their silent boats and ringing wains, Or strip the bough whose mellow fruit bestrews. The ripening corn beneath it. Cover? As mine eyes.

Turn from the fortified and threatening hill, How sweet the prospect of yon watery glade, With its grey rocks clustering in pensive shade— That, shaped like old monastic turrets, rise. From the smooth meadow-ground, serene and still! This is the entire poem and so quintessentially Picturesque as to require no further comment. Reflective College? More frightening than this—at least for cover letter the jury who surely now must be out to lunch—is the attached footnote: The scenery on the Meuse pleases me more, upon the whole, than that of the Rhine, though the river itself is much inferior in assignment help grandeur. The rocks both in form and colour, especially between Namur and Liege, surpass any upon the Rhine, though they are in several places disfigured by letter quarries, whence stones were taken for cited essay the new fortifications.

This is test much to be regretted, for they are useless, and the scars will remain perhaps for thousands of years. Assignment? A like injury to a still greater degree has been inflicted, in my memory, upon the beautiful rocks of Clifton on letter test the banks of the Avon. There is probably in essay existence a very long letter of cover letter test mine to Sir Uvedale Price, in which was given a description of the landscapes on missouri university and technology thesis the Meuse as compared with those on the Rhine. This is the entire footnote and now comes the terrible blind taste test: who could, who would, write such staple, such superficial judging of one scene with another as if they were paintings: Gilpin? Knight? Wordsworth. “Epistle to cover, Sir George Beaumont”—Beaumont, connoisseur, collector, painter, “befriended and encouraged many painters, notably Constable and Ibbetson” (Bicknell, 15) and was a conservative follower of creatively exercises Picturesque tenets (see figure 13)—offers an example where scenery is described for its own sake, where its very worth is cover test sufficiently innate to need virtually no additional coinage: Within the exercises, mirror’s depth, a world at cover test rest— Sky streaked with purple, grove and craggy bield.

And the smooth green of many a pendent field. And, quieted and cited essay soothed, a torrent small, A little darling would-be waterfall. One chimney smoking in its azure wreath, Associate all in the calm pool beneath, With here and there a faint imperfect gleam. Of water-lilies veiled in misty stream. (174-83) Of course, the richness here is owed largely to the loveliness of the wordscape, a place opulent in picturesque elements: the craggy bield , waterfall, chimney, the stream. Letter Test? This epistle, penned in 1811, is a veritable treasure trove of picturesque landscape and elements. Never actually sent to Beaumont, it was clearly intended as a publishable poem.

Another typically Picturesque poem is “The Pass of Kirkstone,” published in cited essay 1817: Oft as I pass along the fork. Of these fraternal hills: Where, save the rugged road, we find. No appanage of human kind; Nor hint of man, if stone or rock. Seem not his handy-work to mock. By something cognizably shaped;

Mockery—or model—roughly hewn, And left as if by earthquake strewn, Or from the Flood escaped:— Altars for Druid service fit; (But where no fire was ever lit. Unless the glow-worm to the skies. Thence offer nightly sacrifice;) Wrinkled Egyptian monument;

Green moss-grown tower; or hoary tent; Tents of a camp that never shall be raised; On which four thousand years have gazed! (3-20) Gone then is the Pope-like catalogisation, the cover letter test, very antithesis of Wordsworth’s methodology; instead, though the poetic eye might survey a scene, the english, poetic voice is selective of Constable-like charged spots: the fork in the road, one branch leading to reverie, the richly connotative fraternal hills, the rugged road, which by cover letter test its very presence admits the help, absence of man, and finally the cover letter, rock, whose shape suggests still another landscape: imagined and drawn of history. There is, in “Composed Among the Ruins of a Castle in North Wales” (1824), a parallel to Price’s theories of landscape gardening, where the patina of time is recommended to provide an unfinished roughness to stonework, to university of science, replace bunched bush with unexpected tree and shiny brick with sombre block. This aesthetic was, as we have seen, actually focused not merely upon visually based appreciation, but upon associated emotional reaction.

The acute interest in ruins demonstrated by artists during the Picturesque period was entirely germane with the general elegiac mood and letter graveyard melancholy. This interest in ruins, obviously, was shared by Wordsworth. “Composed Among the Ruins,” after a conventionally ominous opening: “Through shattered galleries, ’mid roofless halls, / Wandering with timid footsteps oft betrayed (1-2), finally becomes a eulogium: Relic of Kings! Wreck of forgotten Wars, To winds abandoned and the prying Stars. Time loves Thee! at his call the Seasons twine.

Luxuriant wreaths around thy forehead hoar; And, though past pomp no changes can restore, A soothing recompense, his gift is writing creatively Thine! (9-14) There can be no clearer example of poetic philosophical perspective—Father Time and Mother Nature, the cover, benevolent patrons of missouri university thesis Ruin—entirely born of picturesque aesthetic theory. Test? Doubtless there is also a playfulness here, and one reminiscent of Gilpin:

What share of picturesque genius Cromwell might have, I know not. Certain however it is, that no man, since Henry the Eighth, has contributed more to adorn this country with picturesque ruins. The difference between these two masters lay chiefly in the style of ruins, in which they composed. Henry adorned his landscape with the ruins of abbeys; Cromwell, with those of castles. Assignment Uk Review? I have seen many pieces by this master, executed in cover letter a very grand style. . . . (II, 122-3) All this seems further indication of the longevity of the Picturesque. Landscape and (small case) nature clearly are the central rubric of late eighteenth and early nineteenth century cultural movement; and Wordsworth’s transformation of poetry occurs in a context where new values and aesthetic parameters are well established. It is the colourful mixing of both palettes which is white Wordsworth, and which defines early romanticism. Compared to earlier treatments of landscape and nature, offering that flat canvas description, Wordsworth adopts the criteria of picturesque aesthetics, but incorporates the emotional dimension offered by letter the associative value of word, of missouri university and technology memory, of subjective response. The elements of letter test Picturesque landscape then become “the stuff that dreams are made of”: dreams reflective, dreams nostalgic, dreams dreaming, and dreams born of essay a learned appreciation for beauty that is particularly and properly Picturesque.

There is cover test a final plot twist: Watson cunningly has stacked the deck. He swiftly explains away the Picturesque in Wordsworth’s later poetry by suggesting that this is merely the work of “his uninspired years” (92). Cited Essay? Of course, this is letter much too glib, especially when we remember the voracity with which critics inform us of Wordsworth’s rejection of the Picturesque, stressing and help uk review re-stressing its “limitations.” Again, what seems a more reasonable explanation is that the Picturesque provided not only the foundations for romantic poetry, but that without the Picturesque there would have been no romantic poetry at all. Test? In simple terms, one can perhaps take the poet out of the Picturesque, but you cannot take the Picturesque out of the poet. Figure 10: Kenneth Clark, Doctor Syntax sketching a lake, from Bicknell. Figure 11-12: Gilpin, Non-picturesque and picturesque mountain landscape.From Three Essays.

Figure 13: Sir George Beaumont, Landscape , from essay writing conservation Bicknell. The Foreground: Keats. This section will firstly consider particular difficulties in approaching Keats and the Picturesque, moving then to Keats’ Picturesque view, its effects and influence. The non-faddish longevity and ultimate importance of the Picturesque is finally determined. Wordsworth, born with and nurtured on the Picturesque, could never escape its influence and sustenance. Indeed, Wordsworth without the Picturesque seems himself a destitute and cover letter test picturesque half-starved figure. Keats, although temporally distant from the eighteenth century Picturesque development, attempts to see with the Picturesque vision, to adopt the general philosophy, providing compelling evidence against the standard cultist and faddish judgements offered by faddish modern literary scholars and serves as testimony not only to writing, the Picturesque’s diuturnity, but also its fundamental value. An examination of Keats in terms of the Picturesque, however, involves a number of initial problems. The Problem With Keats. Firstly, Keats (1795-1821) published his first solitary poem—“O Solitude,” in The Examiner —in 1816.

In simple terms, Keats came of age with landscape firmly entrenched as an aesthetic concept that required no further exploration. The Picturesque, initially the cover, only means of discovering landscape, now stood like an old well-travelled train puffing steam on some siding. Landscape was omnipresent, on main lines and branch lines, an cited essay, aesthetic form no longer solely the cover letter test, stuff of agriculture and ownership. This is not to imply that exploration could no longer take place, only that the imperative was now only an implication. Secondly, the title of Keats’ first penned poem—“Imitations of Spenser” (1814)—suggests Keats’ propensity to look backwards, not particularly to the neo-classicist’s Golden Age—though his use of creatively exercises myth glances in that direction[48]—but most particularly to a Golden Age of English poetry: Spencer, Shakespeare, Milton. Not surprisingly, poetic drama and epic seemed the fairest genres. Thirdly, as Keats claims, his interest was in people not pictures: “Scenery is fine, but human nature is finer” ( Letters , I, 242). However, as with Wordsworth, autotelic acceptance of such claims overlooks the need to letter, mine more valid resources in other areas and risk faulty and perhaps fatal conclusions. Finally, Keat’s interest in language itself, in imagery and metaphor—in addition to the “felicity and variety” ( Letters , xxxi)—leads him towards the car by bailey white, adoption of cover diction born of those same grand masters; as well as to the inevitable effect of the unexpected: his singular phraseology. Standard Picturesque idiom, by cited essay now somewhat hackneyed, is unable to convey this effect and Keats’ early poetry provides the lion’s share of cover letter colloquialisms.

Further, it becomes quite clear quite soon that Keats’ goal was to depart from stylistic norms, particularly those of the eighteenth century and essay writing on environmental achieve some degree of originality.[49] All this notwithstanding, the sustaining power of the Picturesque—and so its importance—can still be discovered in both the life and works of Keats. “O Solitude,” reveals a vision of cover letter test landscape which is particularly picturesque: O SOLITUDE! if I must with thee dwell, Let it not be among the jumbled heap. Of murky buildings; climb with me the cited essay, steep,— Nature's observatory—whence the dell, Its flowery slopes, its river's crystal swell, May seem a span; let me thy vigils keep. ’Mongst boughs pavillion’d, where the deer’s swift leap.

Startles the wild bee from the fox-glove bell. But though I'll gladly trace these scenes with thee, Yet the sweet converse of an innocent mind, Whose words are images of thoughts refin’d, Is my soul's pleasure; and it sure must be. Almost the highest bliss of human-kind, When to thy haunts two kindred spirits flee.

Here, Keats paints no landscape with his words; rather, he adopts an attitude to nature which stems not from the cover test, southern regions close to home, but from the heartland of quintessential Picturesque scenery. It is here, amongst the steep windswept hills, the spilling streams, the dells and writing lonely haunts, that a true sense of sublime solitude is experienced. Cover Test? Rather than suggest unsupported influence, merely compare “O Solitude” with Wordsworth’s sonnet on the sonnet, “Nuns Fret Not At Their Convents’ Narrow Rooms,” clearly contextualised in the Lakelands: “. Writing Creatively Exercises? . . bees that soar for bloom, / High as the cover test, highest Peak of Furness-fells, / Will murmur by the hour in foxglove bells” (5-7). In “Sleep and Poetry” (1816), Keats demonstrates a simple gratification in simple Nature descriptions, beginning his description of Poesy—the highest calling—entirely in naturalistic terms: Should I rather kneel.

Upon some mountain-top until I feel. A glowing splendour round about essay writing conservation, me hung, And echo back the voice of letter thine own tongue? (49-52) Here the mountain top serves as altar to the poet-priest: both the material manifestation and the token picturesque echo of poetry’s voice, the situation and inspiration. This soon progresses to my real car by white essay, a unclouded analogy between literature and landscape: Will be elysium—an eternal book. Whence I may copy many a lovely saying.

About the leaves, and flowers—about the playing. Of nymphs in woods, and fountains; and the shade. Keeping a silence round a sleeping maid. (63-68) The opening, “What is more gentle than a wind in summer” (1), “More healthful than the leafiness of dales?” (7) sets the initial tone: composed of a sappy repetition of feminine rhymes that describes entirely the sappy nature Keats first has in mind. The centre weight of “Sleep and test Poetry” is sweetness (the word sweet occurs ten times) rather than picturesqueness.

Interestingly, Poetry—the answer to this famous string of rhetorical interrogations—is described in help uk review terms familiar to the Picturesque. There is the beautiful: “beautiful,” “smooth,” “wings of cover a swan”; intermixed with the sublime: “awful,” “fearful claps of thunder,” “low rumblings,” and “sounds which will reach the of science thesis, Framer of all things.” Keats then once again rambles in his southern fields of “joy,” to cover letter, “woo sweet kisses,” amongst fanciful “Flora”; all in all, “A lovely tale of reflective essay college human life.” Briefly, Poesy is itself a kind of Edenesque landscape, where the gentle white dove wafts its wings in cooling wind for the resting poet. And yet Keats knew such joys he must “. . . Cover Letter? pass . . . for a nobler life,” and there “find the agonies, the strife / Of human hearts. . . . (122-124). This re-introduces Poetry, this time in terms of “calling,” and creatively exercises again Keats offers images drawn from the picturesque landscape, eloquent as allegory for the solitude, agonies and transience of the human experience: “cragginess”; “winds with glorious fear”; the cover, sky is no longer filled with fluffy white, but “ a huge cloud's ridge”; there are now “mountains” filled with “Shapes of delight, of mystery, and fear.” Keats, aspires to become the powerful “charioteer,” understanding “the agonies, the strife” of “thousands” of different men. Assignment? Clearly and undeniably—and here we can be thankful that the cover letter test, literary jury who generally overlook Keats and the Picturesque are not only out to lunch but almost completely out of the picture—Picturesque allusions best express those agonies, that strife. The final verse paragraphs provide an extra dimension, an writing creatively, inventory of the art decoration in his friend Hunt’s house situated within the larger context of poetic fancy. Landscape is letter test reframed as landscape painting, providing an early indication of Keats’ frame of mind: his leanings toward art. It seems clear from all this that Keats already understands the symbolic value of the assignment, picturesque scene: its ability to conjure up the essence of man’s existence: the beauty of youth coupled with the awful of test age, that dialogue which utters mutual pity and ultimate evanescence.

At the same time there can be little doubt that Keat’s cheerful disposition at essay on environmental conservation this time makes the Picturesque an uncertain subject. “I Stood Tip-Toe” (1816) offers another early effort at landscape poetry. Almost at once the view from the “little hill” becomes an exercise. To peer about upon variety; Far round the horizon's crystal air to skim, And trace the dwindled edgings of its brim;

To picture out the quaint, and curious bending. Of a fresh woodland alley, never ending; Or by the bowery clefts, and leafy shelves, Guess where the cover letter test, jaunty streams refresh themselves. (16-22) Unfortunately, there is no unity in Keats’ picture—despite the superlative editorial annotation of “pure nature-painting”—only a variegated catalogue of nature confused by occasional legends of Hellas and compounded by relentless rhyming couplets. If the landscape speaks to Keats, the voice again has sappily sweet tendencies, as with the feminine rhyme, “Nature's gentle doings” which are “softer than ring-dove's cooings.” Even quintessential picturesque elements become, like “the quaint mossiness of aged roots,” quaint rather than symbolic or expressive. If Keats found any authentic feeling in cited essay this landscape, the poem offers barely a sigh. This becomes clear when we compare: My spirit is too weak—mortality. Weighs heavily on me like unwilling sleep, And each imagined pinnacle and cover letter steep.

Of godlike hardship tells me I must die. Like a sick eagle looking at the sky. (1-5) This contemplation comes not from the vision of landscape but “On First Seeing the Elgin Marbles,” written the following year. During this early period, then, Keats is more often touched in university and technology a vague spiritual sense not by landscape nor nature but by art. As Maureen B. Roberts explains in her somewhat chimerical The Diamond Path: Individuation as Soul-Making in the Works of John Keats : Within these few lines are themes and symbols which come to feature prominently in Keats’ mature poetry: the eagle as the transcendent victory of beauty—the vision of unity—over the “dizzy pain” of the test, “undesirable feud” of opposites; the motif of heaviness representing the missouri university and technology thesis, Gnostic “sleep” as imprisonment in the world, and sickness as the self-division which must be transcended in letter order to attain the ascent. (Roberts) Whatever the extent of Gnostic influence, the fact remains that the Elgin Marbles lead Keats inwards, towards fundamentals, while the tip-toe view results in little more than a dance through the reflective, tulips; indeed by the end of the poem we can only imagine Keats tired of his tip-toe prance. And yet, in “To Haydon,” written concomitantly with the Elgin Marble sonnet, Keats composed another in which he speaks of men who stare at sculptures “with browless idiotism.” The sonnet also includes: . Test? . . forgive me that I cannot speak. Definitively of these mighty things; Forgive me that I have not eagle’s wings,

That what I want I know not where to seek. (“To Haydon,” 3-6) Keats then is still searching, rambling, as we shall see, between the help, vicarious and the actual. There is some certitude: the unbreakable link between landscape and poetry: “Some flowery spot, sequester'd, wild, romantic, / That often must have seen a poet frantic” (“Epistle to George Felton Mathew,” 37-8) [50] ; and the particularly evocative effects of picturesque scenery which speak to Keats of Poetry as vocation. Yet still the test, searching, which eventually will lead him towards the Picturesque. People not Pictures. March 13, 1818, Keats writes to his friend Bailey: “Give me a barren mould so I may meet with some shadowing of Alfred in the shape of a Gipsey, a Huntsman or as Shepherd.

Scenery is fine, but human nature is finer” ( Letters , I, 242). As an reflective essay, addendum to this, Keats felt that the principal use of cover poetry was to sharpen “one’s vision into the heart and nature of man” (qtd. Bate, 337). Although this seems to exclude any exploration of the my real car by bailey, Picturesque, Keats’ catalogue of characters are, perhaps inadvertently, certainly importantly, all of the Picturesque scene. Further, Turner’s series of Picturesque landscapes of England and Wales, which beyond doubt are Picturesque studies, nevertheless express the idea that “man is as much a phenomenon of the natural world as are mountains, fields and oceans” (Shanes, 8). It seems clear that Keats, familiar with the beauty of southern landscape, still lacked in any actual experience of the Picturesque sublime. An exhibition of the American painter, Benjamin West, where “. . . Keats was altogether receptive to any effort to attain the ‘sublime’”(Bate, 243), featured one particular painting, “Death on the Pale Horse,” known for stirring such feelings. Cover Test? Keats was ultimately disappointed: . . . there is missouri university of science thesis nothing to be intense upon; no women one feels mad to kiss; no face swelling into reality. . . Letter? . The excellence of every Art is its intensity, capable of making all disagreeable evaporate, from essay on environmental their being in close relationship with Beauty and Truth—Examine King Lear you will find this exemplified throughout. (qtd. Bate, 243)

Although this does underscore the focus of Keats’ main interest, his dissatisfaction with this painting seems singular. Cover Test? A letter to Reynolds (25 March, 1818), for example, contains the following: You know the Enchanted Castel, it doth stand. Upon a rock, on the border of a Lake, Nested in assignment trees,

A mossy place, a Merlin’s Hall, a dream. You know the clear lake, and the little Isles. The Mounts blue, See what is coming from the distance dim! A golden galley all in letter test silken trim.

O that our dreamings all, of sleep or wake, Would all the colours from the sunset take. . . . ( Letters , 260-261) Keats explains in an endnote to this poem that his inspiration was Claude’s “Enchanted Castle” in reflective college “ Sacrifice to Apollo ” ( Letters , 263) . Further, Manwaring suggests that the same canvas was transmuted into certain lines of letter test “Ode on a Grecian Urn”—itself formed of writing pictures; and letter perhaps a sense of Claude is still heard in “. . . magic casements, opening on the foam / Of perilous seas, in help uk review faery lands forlorn” (“Ode to a Nightingale, 69-70). Although Keats will discover a sense of sublimity in landscape during his 1818 Picturesque tour, art provided the source from which he would most often and cover most naturally drink. The sense of sublimity through the subjective contemplation of assignment objects is common to cover test, the romantics, but Keats’ “Ode on a Grecian Urn” demonstrates his variance with Wordsworth: for Keats it is the Urn rather than Nature which provides lessons of truth.

And yet there is a striking similarity, for university and technology thesis the main theme is not the figures on the Urn but the poet’s own response. The “Scenery is fine, but human nature is finer” notion requires further definition: Keats, by his own confession, states: “. Cover Test? . . my head is sometimes in writing such a whirl in cover letter considering the million likings and antipathies of our Moments” ( Letters , 324); “I carry all matters to english, an extreme—so that when I have any little vexation it grows in five minutes into a theme for Sophocles” ( Letters , 340). In other words, his youthful mind changes with the frequency of English weather. His comment here is in particular reference to cover, landscape scenes seen in real life: the essay writing, letter was written during a prolonged stay in Devonshire, during a period described as, “splashy, rainy, misty snowy, foggy haily floody, muddy. Cover Letter Test? . . .” ( Letters , 241). Even if we willingly expand his scenery/human nature comment to all landscapes and all sunny days—the effect, for example, of offering the quotation without the writing conservation, context in cover letter test order to prove a point—as ridiculous as this might seem, there still remains, as suggested by the “Gipsey,” “Huntsman” and “Shepherd,” the Picturesque character . The Picturesque Tour [51] We have so far seen reasons why a Picturesque Tour was long on the books, not least of which is the fact that literature cannot be writ from an exploration only of literature. [52] Keats’ keen literary vision and his initial rural blindness are unwittingly confessed in car by essay “To one who has been long in city pent”: To one who has been long in city pent, ’Tis very sweet to look into the fair.

And open face of cover letter test heaven,—to breathe a prayer. Full in the smile of the blue firmament. Who is more happy, when, with heart’s content, Fatigued he sinks into some pleasant lair. Of wavy grass, and reads a debonair. And gentle tale of conservation love and test languishment. (1-8) Certainly there is pleasure in this dulcet southern domain, though finally, typically, Keats turns his full attention to a book. Sidney K. Assignment Help Uk Review? Robinson, Inquiry into the Picturesque , repudiating the absurdity of comparing landscapes with paintings, states: For the Picturesque, of cover letter course, studying paintings and books was the clearest recognition that designing the landscape was a complex amalgam of raw sensory patterns supplied by nature with the patterns of arrangement and selection inherent in the operation of the human mind. Writing? (Robinson 103) Although the connection might seem somewhat tenuous, designing poetry is equally “an amalgam of raw sensory patterns supplied by nature with the cover test, patterns of arrangement and selection inherent in help the operation of the human mind.” Keats had studied literature and now the necessity of experiencing raw nature at first hand could no longer be denied. By mid 1818, Keats realised “there is something else wanting to one who passes his life among Books and thoughts on Books” (qtd.

Bate, 340). In April, Keats proposed. within a Month to put my knapsack at my back and test make a pedestrian tour through the North of England, and part of Scotland—to make a sort of Prologue to the Life I intend to pursue. Creatively? . . . Test? ( Letters , 264) As a citizen of the romantic province, experiencing nature at length and up-close was a moral imperative, not only because other poets had trod that path, but because nature, especially the my real car by bailey, grander and awful, are essential for imaginative energy. Keats knew this and cover letter Keats went a-wandering. In late June, his travelling companion, Charles Brown, wrote in reflective english his journal: The country was wild and romantic, the cover letter, weather fine, though not sunny, while the fresh mountain air, and many larks about us, gave us unbounded delight. As we approached the lake, the scenery became more grand and beautiful; and from time to time we stayed our steps, gazing intently on it. Car By Bailey White Essay? Hitherto, Keats had witness nothing superior to Devonshire; but, beautiful as that is, he was now tempted to speak with indifference. At the first turn from the letter, road, before descending to writing exercises, the hamlet of Bowness, we both simultaneously came to a full stop.

The lake [Windermere] lay before us. His bright eyes darted on cover test a mountain-peak, beneath which was gently floating a silver cloud; thence to a very small island, adorned with the foliage of trees, that lay beneath us, and surrounded by reflective college english water of a glorious hue, when he exclaimed: “How can I believe in cover test that?—surely it cannot be!” He warmly asserted that no view in the world could equal this—that it must beat all Italy. ( Letters , 425-426) (See figure 14. ) It is college english perhaps difficult for the sensorially saturated modern to cover test, imagine the provocativity and, yes, the sublimity, of such landscape; this lengthy extract, however, makes clear the power of the assignment, Picturesque, temporally contextualised, when such scenes were relatively unfamiliar.[53] In a sense, we have here the spectacular importance of the Picturesque, an letter test, indication of why a revolution it caused in assignment uk review aesthetics and art; and the comparison with Italy—the fountain-head from letter which swelled the Picturesque—is beyond doubt no chancy happening. Keats’ own record of the tour, his correspondence, is equally mottled with superlatives: What astonishes me more than anything is the tone, the colouring, the slate, the stone, the moss, the rock-weed; or, if I may so say, the intellect, the countenance of such places. The space, the magnitude of mountains and waterfalls are well imagined before one sees them; but this countenance or intellectual tone must surpass every imagination and defy any remembrance. ( Letters , 301) (See figure 15.) [54] Here then Keats finally discovers the Picturesque (note the cited essay, catalogue) as well as its associational value. Paraphrasing Archibold Alison, Hipple states: “An object is picturesque if it is such as to awaken a train of associations additional to cover letter test, what the missouri university of science thesis, scene as a whole is calculated to excite” (164). Again, the picturesque then is a term whether in landscape, painting or literature which has everything to do with associationism; and we see that Price’s attempt to divorce the term from cover its reference to pictorial representation is by no means peculiar. [55] Keats, clearly, has imagined such scenes, imagines them as he hikes, and essay writing on environmental yet the intellect seems suddenly insignificant once confronted with the actual. Keats goes on to tell Tom: I shall learn poetry here and shall henceforth write more than ever, for letter test the abstract endeavour of being able to writing, add a mite to that mass of beauty which is harvested from these grand materials, by the finest spirits, and put into etherial existence for the relish of one’s fellows. I cannot think with Hazlitt that these scenes make man appear little.

I never forgot my stature so completely—I live in the eye; and my imagination, surpassed, is at rest. Cover Letter? (301) There is too much for bailey white essay coincidence in these two passages: to “defy remembrance,” to “live in cover the eye,” to of science and technology thesis, “forget my stature,” besides an echoing of cover letter test negative capability, is clearly to writing, defy Wordsworth—an assertion that though perhaps he follows in the old poet’s footsteps, he will find his own way in the Picturesque. Indeed, Keats himself admits this point: As to the poetical Character itself, (I mean that sort of which, if I am anything, I am a Member; that sort distinguished from the wordsworthian or egotistical sublime; which is a thing per se and stands alone) it is not itself—it has no self—it is everything and nothing. ( Letters , 386-7) In a similar vein, Keats comments on Windermere, which makes. . Cover? . Writing Creatively? . Test? one forget the divisions of life; age, youth, poverty and reflective essay college english riches; and refine ones sensual vision into a sort of north star which can never cease to be open lidded and cover steadfast over cited essay, the wonders of the great Power. ( Letters , 299) [56] At the end of test June, Keats visits the “Druids’ Circle.” Gilpin, in his tour of the Lakes, discovered this same temple, which he admits is not particularly picturesque, though conjured up pictures of Druid priests and cited essay ritual sacrifice. A romantic fancy? Surely not! The pit-falls, obstacles and hardships of the tour increasingly insinuate themselves into his correspondence.

Brown was a veteran hiker. For Keats—by no means weak-kneed nor namby-pamby—the going becomes too tough. The Picturesque of northern Britain is cover letter a landscape of antagonistic elements, gentleness is car by essay anathema, where the only comfort can come from letter discomfort. All this, compounded with climactic and cited essay topographical alienness, becomes apparent in “On Visiting the Tomb of Burns,” written during the tour: The town, the churchyard, and the setting sun, The clouds, the trees, the rounded hills all seem, Though beautiful, cold—strange—as in a dream, I dreamed long ago, now new begun. The short-liv’d, paly Summer is letter test but won.

From Winter’s ague, for one hour’s gleam; Though sapphire-warm, their stars do never beam: All is cold Beauty, pain is writing never done: For who has mind to letter, relish, Minos-wise, The Real of creatively Beauty, free from that dead hue. Sickly imagination and sick pride. Cast wan upon it? Burns! with honour due. I oft have honour’d thee.

Great shadow, hide. Thy face; I sin against the native skies. ( Letters , 308) Although largely a fault finding mission, a remonstrance, penned by a southerner spoiled by languid southern summer sunshine and summer warmth, there is here, as there is not in “I Stood Tiptoe” and other early poems, an authentic sense of feeling, a sense of being touched by landscape and cover letter test nature, a genuineness that foreshadows “Ode to Melancholy.” There is cited essay also an cover, important associational element, translating to the problem of judging beauty when both our judgement and beauty itself are tinged with the omnipresence of brevity and death. If the missouri and technology, northern summer is only a brief delivery from winter, then what of our lives? The headiness of the first fine weather days are followed by an account of a country dance, which Keats concludes with what is becoming a familiar refrain: “This is what I like better than scenery” ( Letters , 307).

In Scotland he writes: “I know not how it is, the letter, Clouds, the car by white essay, sky, the cover, Houses, all seem anti Grecian anti Charlemagnish—I will endeavour to assignment help uk review, get rid of my prejudices, tell you fairly about the cover test, Scotch” ( Letters , 309). My Real Car By White Essay? At the cover letter test, same time, there is a clue to Keats’ understanding of picturesqueness: “The barefooted Girls look very much in keeping—I mean with the Scenery about them. . . . They are very pleasant because they are very primitive” ( Letters , 318-19). Help Uk Review? Steeped in literature, with much of his experience experienced vicariously, Keats can never entirely lose his prejudice. As hinted above, Keats takes great delight in picturesque characters: Imagine the worst dog kennel you ever saw placed upon two poles from cover letter a mouldy fencing—In such a wretched thing sat a squalid old woman squat like an ape half starved from a scarcity of Biscuit in its passage from cited essay Madagascar to the cape,—with a pipe in her mouth and looking out cover letter test with a round eyed skinny lidded, inanity—with a sort of horizontal idiotic movement of her head—squat and lean she sat and puffed out the smoke while two ragged tattered Girls carried her along. ( Letters , 321-2) Notice the skill with which Keats intensifies the picturesque effect: the mixed dog/ape metaphor, the alliteration and repetition.

This, certainly, is a different Picturesque, though nonetheless Picturesque. The detachment we witnessed in Wordsworth—that frequent remoteness from the real trials and tribulations of country life—is also manifest in missouri of science Keats. John Clare, Keats’ contemporary, similarly notes: . . . his descriptions of scenery are often very fine but as it is the case with other inhabitants of great cities he often described nature as she appeared in his fancies not as he would have described her had he witnessed the things he describes—Thus it is he has often undergone the stigma of Cockneyism what appears as beautys in the eyes of a pent-up citizen are looked upon as conceits by cover those who live in essay writing the country—these are merely errors but even here they are merely the errors of poetry—he is often mystical but such poetical licences have been looked on cover letter as beauties in Wordsworth Shelley and in Keats they may be forgiven. (qtd. Watson, 23) The idea that such romanticisms are “merely errors of poetry” is assignment help uk review indicative of the letter test, times, a kind of reflective english Claudian perspective where both the Picturesque and poetic vision could often turn a blind eye to social reality and see instead a dislocated ideal. The subject then is not merely inaccuracy in “descriptions of scenery” but the general anti-utilitarianism of romantic poetry.

This, it seems, is much more “comic and faddish” (Brownlow, 43) than learning to appreciate landscape through painting. It is also entirely common to all the romantic poets. Again, to cover, quote Clare: And een the fallow fields appear so fair. The very weeds make sweetest gardens there.

And summer there puts garments on so gay. I hate the plow that comes to dissaray. And man the only object that disdains. Earths garden into deserts for his grains. Leave him his schemes of gain—tis wealth to me. Wild heaths to trace—and not their broken tree. Which lightening shivered—and which nature tries.

To keep alive for poesy to prize. Missouri University And Technology Thesis? (Clare, 80) Interestingly, however, such romanticism of country life is letter test often omitted during the tour, where Keats comes face to face with the squalor—and a foreign squalor to such a southerner—of poverty and often describes it in empathetic or political terms: On our walk in Ireland we had too much opportunity to see the worse than nakedness, the rags, the dirt and misery of the poor common Irish—A Scotch cottage, though in that some times the Smoke has no exit but at cited essay the door, is a palace to an Irish one. ( Letters , 321) There is perhaps some implication that a philosophical shift occurs in moving from poetry to prose, as if the picturesque vanishes with the replacement of smock for Wellington boots and overalls, a justification for the might of cover “modern” prose. The subject of Keats’ complaint was also the subject of a Picturesque sub-category: the conservation, Gainsboroughesque “cottage Picturesque,” where sublimity is replaced by cover letter test romantic rusticity, where such squalor is marked by its absence: in essence, a gentle Picturesque (see figure 16 ). In a gasping effort at brevity, much has been overlooked. Thesis? In summary, Keats’ correspondence during the tour is overgrown with the Picturesque, from poems such as “Ailsa Rock” (see figure 17) and “Ben Nevis,”—which, in its stumbling uncertainty, seem neither a Ben nor a Nevis—to comments such as “evey [sic] ten steps creating a new and beautiful picture—sometimes through little woods—there are two islands on the Lake each with a beautiful ruin—one of them rich in ivy ( Letters , 338). [57] In early August, after covering 642 horizontal and vertical miles in sometimes cold wet conditions with sometimes poor food and indifferent accommodation, after suffering a fortnight from a cold and sore throat, Keats abandoned the letter, tour and left his friend to continue alone. [58]

Watson—in his singular modern study of Keats and bailey essay the Picturesque, which continues the standard criticism instituted with Wordsworth—provides a succinct panorama of the refracted light of influence the cover, Picturesque tour radiates over Hyperion , and missouri and technology there is no need therefore to offer excessive focus. [60] In summary, Watson points out that the power of the poem stems from Keats’ “mythologising imagination” and the sublime “terrifying landscapes which form the background for the colossal figures” (155). But the picturesque, in addition to letter, background, also serves as a form of characterisation, externalising the internal: . . Assignment? . where their own groans. They felt, but heard not, for the solid roar. Of thunderous waterfalls and torrents hoarse. Pouring a constant bulk, uncertain where. Crag jutting forth to crag, and cover rocks that seem’d. Ever as if just rising from a sleep,

Forehead to forehead held their monstrous horns; And thus in a thousand hugest phantasies. Made a fir roofing to this nest of woe. (II,6-14) On similar lines, “The quiet sublime imbues the sorrow-worn face of Moneta within the temple of Western memory built by Keats in The Fall of Hyperion ” (Woodring, 40). There are, however, a few additional points which Watson fails to note.

Firstly, the poem opens with Saturn and Thea postured “. . . Essay Writing On Environmental? motionless / Like natural sculpture in cathedral cavern” (I.85-86). The scene is represented through copious visual images at the expense the auditory. Recollecting, “I live in cover letter test the eye” from his picturesque tour, there is some hint of the visual memories which form the scenery of Hyperion’s stage. The “fallen divinity” of university of science thesis Saturn exists in a mythico-historical landscape formed of the transcendental imagination and cover test nature experienced during the tour: the “thousand hugest phantasies.” Watson’s closing comment—“ Ode to Autumn originated in the Hampshire harvest-time, not on a Lakeland mountain; and the nightingale, like Keats, sings only in the south of England” (157)—scores high marks for creatively rhetorical tune and poetic twang; unfortunately, it is falsely based upon the premise that the Picturesque is heterogeneous to cover letter, Hampshire as well as drawing attention to reflective college, his ornithological dullness. Following the Picturesque Tour, Watson states: “. . Cover Letter Test? . and there, apart from Canto I of The Fall of Hyperion , Keats turned his back upon writing creatively the picturesque for ever” (157). Although, again, rhetorically right and conforming to the standard ignominiously moulded analysis of the Picturesque, this is not, in actual fact, the case. The influence of Claude’s Sacrifice to Apollo on “Grecian Urn” and “Ode to a Nightingale” has already been mentioned. In more general terms, and as Bate mentions: “It is interesting to note the number of spontaneous phrases and images in his letters now that are later echoed in the poetry, especially in the Odes“ (358). Although instances are numerous, a couple will prove the point. In terms of diction, compare: “There is no great body of cover letter test water, but the accompaniment is delightful; for it ooses out from a cleft in perpendicular Rocks, all fledged with Ash. . .” ( Letters , 306) with, “ Fledge the wild-ridged mountains steep by steep” (“Ode to Psyche,” 55).

In terms of a specific memory, compare the excursion to Ambleside waterfall: “. . . it is buried in trees, in the bottom of the valley—the stream itself is interesting” ( Letters , 300), with, “. Bailey Essay? . . over the still stream, / Up the hill-side; and now 'tis buried deep / In the next valley” (“Ode to a Nightingale,” 76-8). The Picturesque continued to work through Keats’ poetry: not always clearly; but the lines still are drawn. Recalling Keats’ comments on first seeing Windermere, which included “refine ones sensual vision into a sort of north star,” we move easily to its later transmutation: Bright star, would I were stedfast as thou art- Not in lone splendour hung aloft the night, And watching, with eternal lids apart, Like nature’s patient, sleepless Eremite, The moving waters at their priestlike task.

Of pure ablution round earth’s human shores, Or gazing on the new soft-fallen mask. Of snow upon the mountains and letter test the moors; No-yet still stedfast, still unchangeable, Pillow’d upon my fair love’s ripening breast, To feel for ever its soft fall and swell, Awake for writing creatively exercises ever in a sweet unrest, Still, still to hear her tender-taken breath, And so live ever-or else swoon to cover test, death. Assignment Help Uk Review? ( Complete Poems , 329) One of the cover, problems of looking at Keats in a Picturesque context, as mentioned above, is conservation his unwillingness to adopt standard phraseologies, choosing instead to create fresh imagery. Although this is indeed a “problem,” it is also a solution.

Knight was perhaps the most adamant proponent of “novelty” in Picturesque scenes. A vast expanse of lawn is boring not simply for its smoothness, but for its lack of surprise. Abrupt variation produces mixture through novelty. Richard Payne Knight recognised the salutary effect of cover letter “irritation” as an interruption of sensations that had become “stale and vapid” through repetition. (Robinson, 7) It seems fair therefore to writing, suggest that poetic coinings—“large dome curtains,” ( Hyperion ) and “massy range” ( Fall of Hyperion ), for example—are a form of such abrupt variation producing mixture through novelty. In a sense, Keats’ poetical methodology stems directly from the lessons of the letter test, Picturesque, at exercises least in terms of “the noble metaphor, when it is placed to Advantage, casts a kind of Glory round it, and darts a Lustre through the whole sentence” (qtd. Robinson, 9). That dart of lustre provides the cover letter, interruption, the irritation, the creatively exercises, unexpected that is “novelty.” This is key not only to the Picturesque but to cover letter, much of Keats’ better poetry.

Although perhaps out on essay writing on environmental strechified limb, in danger of barking up the cover letter, wrong tree, the suggestion merely provides some indication of the less obvious influence of the Picturesque. Hipple points out that the term “picturesque” can and is used solely as a literary term: “Blaire,” he says as a case in point, “repeatedly praises epithets, figures and descriptions as ‘picturesque’ as conjuring up distinct and forcible images.” (186) Indeed, compared with Robinson’s analogy between the complexity and university of science mixture of the Picturesque and identical constituents of the 18th century Whig party, (“Compositions of Politics and Money”)—the picturesque here seems more associated with the wig than the party—the claim seems modest enough. The Liberty of the Picturesque. The difficulty of defining romanticism, which we have deliberately over-looked, stems of course from the diversity of poetry, of styles, of influences and of diction of romantic poets. That variety is itself a product of the times and the liberty that the letter, Picturesque supported—liberty both in the political and personal sense. Knight, in Progress of a Civil Society , points out the creatively exercises, connection between the picturesque landscape garden—and by extension, the Picturesque in general—and the composition of society:

As when in formal lines, exact and true, The pruner’s scissors shear the ductile yew, Amused, its shape and symmetry we see, But seek in vain the likeness of a tree; And while the artist’s pleasing skill we trace, Lament the loss of every native grace: So when too strictly social habits bind, The native vigour of the roving mind, Pleased, the well-ordered system we behold.

Its justly regulated parts unfold, But search in letter test vain its complicated plan. To find the native semblance of a man, And, ’midst the university thesis, charms of equal rule, deplore. The loss of graces art can ne’er restore. Cover? (qtd. Assignment Help Uk Review? Robinson, 134) In a sense, an examination of the Picturesque in test the context of its influence on romanticism—even when fairness, as here, is the ultimate goal—does a certain injustice to creatively, the subject and filters out much of the cover letter test, important material. Thus, for example, the liberating effect seems somewhat arbitrary. Hipple, in The Beautiful, the Sublime and the Picturesque , occupies a unique position in modern Picturesque analysis, going beyond the positivism of art historians and suggesting that the Picturesque is consequential in and of and technology itself.

Although Hipple rarely ventures beyond summary and conflation of individual Picturesque theories, his treatise is comprehensive, detailed and offers an important concluding point: The aestheticians of this period [eighteenth century] all found their subject to be psychological: the central problem for them was not some aspect of the cosmos or of particular substances, nor was it found among the characteristics of human activity or of the modes of symbolic representation; one and all, they found their problem to be the specification and discrimination of certain kinds of feelings, the determination of the mental powers and susceptibilities which yielded those feelings, and cover test of the impressions and ideas which excited them. (305) Although the Picturesque, despite Hipple’s unqualified assertion, does indeed concern itself with particular substances: the elemental material of a scene; and missouri university with human activity: the cover letter test, hiking and picturesque tours, the picturesque guide books and writing creatively exercises plain and simple painting and poetry; and with modes of letter symbolic representation: the Picturesque itself is a mode of symbolic representation; Hipple’s stress upon the psychological basis is nevertheless an important point, especially when we look forward to the psychological aspect of romantic poetry. One of the difficulties with the Picturesque is that it never became a unified system; the saving grace of the Picturesque is essay that it never became a unified system. It is fundamentally concerned with the native vigour of the roving mind, allowing for nature and art to stroll arm in arm, allowing and even insisting upon the liberty of letter variety and change: the liberty then of Wordsworth and Keats. Keats, for all his youth and gentle disposition, found the Picturesque health threatening to walk through and almost anomalistic to incorporate in his verse; as a serious poet with ambitions of immortality, [61] he nevertheless realised its essentiality to his artistic development. Reflective Essay English? As Robinson explains: “Picturesque colors are not fresh, delicate ones of letter test spring, but those of autumn whose age and reflective essay college decay bespeak fullness and test repose tinged with memory and the sharpness of abrupt terminations” (101). Keats then is seeking, not for something to save his life, but his immortality. Keats never reached an essay on environmental, age when these colours could clearly be seen and so we find glimpses here and there and the constant desire to “bid these joys farewell”: those bright colours of youth. Figure 14: Joseph Farington, Windermere, from Watson. Figure 15: Joseph Farington, The Waterfall at Rydal , from Watson (visited by Keats)

Figure 16: Francis Wheatly (1747-1801), Girls washing in a stream, from Bicknell. Figure 17: Ailsa rock, from Bate. Four years after the death of Keats, engraver and publisher Charles Heath and Turner came “to an agreement that Turner would produce a large quantity of water-colours over a number of years, from which Charles Heath would choose 120 to be line-engraved and subsequently published under the title of “Picturesque Views in England and Wales.”(Shanes, 5) The Picturesque, even at this date, remains a vital force that warrants the attention of letter England’s finest artist. Indeed, “Turner was undoubtedly at missouri thesis the height of his mature creative powers during the years of this series”(Shanes, 17) The implied perception of the cover test, romantic movement as a reaction against eighteenth century neo-classicism or, at the other extreme, as spontaneous literary combustion torched by Wordsworth’s egotistical sublime is prescriptivism unleashed, offering barely the bare bones of a story. It is essay neither immaterial nor coincidental that the 1770s—the decade of Wordsworth’s birth—also saw the beginnings of English landscape painting as a major genre, signifying not only cover test a general artistic reaction but also attraction . The eighteenth century saw landscape modified from cited essay traditional perceptions of ownership, agriculture and trial and trouble to aesthetic material.

This then is the general Picturesque canvass. The Picturesque movement, in providing the initial way of seeing landscape actually encouraged the viewing of landscape, opening the scenery of England to enthusiastic travellers in letter test search of the Picturesque and finally revealing what had always been there though never before seen. This suddenly seen landscape was no longer lit by the golden light of a fanciful Golden Age; no longer mottled with classical sylvan shadows, where Pope’s “Fair Thames, flow gently from thy sacred spring, / While on thy banks Sicilian Muses sing”; no longer a continuation of the Works and Days of Hesiod nor theories of Theocritus: now the Island’s landscape might be seen in common light, casting its own shadow, peopled by common people born and bred, the works and creatively days of a new age. In addition to this aesthetic revolution, the heightened status of letter test landscape provided an environment in which nature, the individual elements of landscape—already of increasing importance by virtue of developments in the natural sciences—might find its aesthetic value enlarged. My Real White Essay? The Picturesque movement proved its importance and viability by its very popularity and success.

Picturesque theory intellectualised landscape, transforming it into something that could only be truly appreciated through learning, just as neo-classicism had done previously, though now it was no longer classical learning but aesthetic learning that was sought; and the focus was decidedly the landscape itself rather than a superimposed classicism. It this manner, it was increasingly intellectually acceptable to study landscape, in cover letter painting, in writing poetry, and in pastime. As Christopher Hussey suggests in letter test The Picturesque : The picturesque view of nature was the new, the only, way of deriving aesthetic satisfaction from landscape. Previously, Englishmen had simply failed to connect scenery and painting in their minds. They had liked certain views and certain lights, just as all men like sunshine and writing creatively verdure, for their own sakes.

But landscape as such gave them no aesthetic satisfaction. (2) The notion of complete detachment from an aesthetic appreciation of scenery—essentially the unfamiliarity of the familiar—seems, at least at first glance, rooted in a certain outlandishness. Additional proof comes from Wordsworth himself, who lodged for a time near Derwentwater. under the roof of a shrewd and sensible woman, who more than once exclaimed in my hearing, “Bless me! folk [picturesque tourists] are always talking about prospects: when I was young there never was sic a thing neamed.” (qtd. Andrews, 153-4) On a hike through Wales, Uvedale Price came upon a series of natural cascades and expressed his delight to cover letter test, the landowner: He was quite uneasy at creatively exercises the pleasure I felt, and letter test seemed afraid I should waste my admiration. “Don’t stop at writing creatively these things,” said he, “I will shew you by and by one worth seeing.” At last we came to a part where the brook was conducted down three long steps of hewn stone: “There,” said he, with great triumph, “that was made by Edwards, who built Pont y pridd, and cover letter it is reckoned as neat a piece of mason-work as any in the country.” (qtd. Robinson, 11)

Neither is this detachment merely a fact of by-gone days: During a recent journey to essay college, England, crossing the North Yorkshire Moors in the company of a local retired farmer, I was struck immediately by the picturesque landscape: a region of sudden chasms, blasted trees and weathered rocky outcrops, of bumbling uncertain stone cottages and barns and letter shaggy sheep. My companion was indifferent to its charms. Suddenly, all about the assignment uk review, meandering road, we came upon an area quite changed, unusually verdant, with thick hedge-rows and trees full grown and full leafed--and decidedly less picturesque. Letter Test? The farmer suddenly came to life. “I did all this,” he began, with an all embracing wave of his hand. “It used to be like all the rest, now’t bar rocks. Look at it now though.” For the next several miles he lectured on his “improvements,” singing praise of its cultivated nature and even claiming to have caused changes in cited essay local climate! Soon we re-entered the picturesque and protected national park. “Now, just look at cover that,” he scoffed with a disdainful shake of his head. “It’s bloody awful.”

The Picturesque was, further, a ubiquitous movement which sought to understand the nature of aesthetic perception and to provide prescriptions which essentially affected an entirely new appreciation for the wild wilderness of places such as the Cumbrian Lake District. Finally, we should not discount the political and social overtones: the license it provided for liberalism, for variety, for change, for originality. For all its seriousness, Picturesque musings were wont to wander into regions of absurdity, sometimes finding their way into the real world, as with Charles Hamilton’s hiring of a hermit to sit in his back garden hermitage; or the estate village of Old Warden in cited essay Bedforshire where, in the early nineteenth century, the residents were cajoled into cover test wearing red cloaks and tall hats to harmonise with the red paint work and charming dormers of their cottages. In the fictional world, this absurdity was also made apparent: A lecture on the picturesque immediately followed, in which his instruction were so clear the she soon began to see beauty admired by him, and her attention was so earnest, that he became perfectly satisfied of her having a great deal of car by essay natural taste. He talked of fore-grounds, distances, and second distances--side-screens and perspectives--lights and shades;--and Catherine was so hopeful a scholar that when they gained the top of Beechen Cliff, she voluntarily rejected the cover letter, whole city of Bath, as unworthy to make part of a landscape. (Austen 138) Indeed, the missouri of science, very pith of Picturesque theory might, to the cynical—and especially literary minded—modern, seems daubed with inanity, for it sought to mix landscape and painting, allowing the appreciation of test a real scene for its likeness to art, rather than art for its likeness to a real scene—a notion which Hugh Sykes Davies, Wordsworth and the Worth of uk review Words , finds particularly “unnatural.” The important thing to remember here, however, is that this was, plain and simple, the test, only way into cited essay landscape, the only way to see the invisibly visible.

Such satire stemmed from the excesses of the Picturesque movement and the jocularity sometimes manifest in the debate, and letter test is not a suggestion of ignis-fatuus . Further, as Hussey explains, “the picturesque interregnum between classical and romantic art was necessary in order to enable the imagination to form the habit of feeling through the eyes” (4). It is unfortunate the modern reading of the Picturesque has turned a blind eye to the real meaning of Picturesque and adopted the more authoritative expression of Wordsworth himself as well as satirical expression by writers such as Austin and William Combe. And yet the ridiculous that some have found in the Picturesque is found equally in those that find it. J. R. Watson, for example, provides a fitting conclusion: after a quotation in which Coleridge writes of cited essay a rocky climbing episode, he writes: “In both Wordsworth and Coleridge there is an exhalation at the danger and excitement . . . the danger was there. . Cover Test? . . Gilpin penetrated into the valley beyond Rosthwaite, but did not consider it practicable to go further” (186). So there we have it: the my real, romantic poets were much braver than those mere writers on the Picturesque! And this is good. Watson admits, however, that Coleridge “exaggerated the dangers in his letter” (187)! Equally, the idea that the Picturesque had already run its course well before Wordsworth offered the final denunciating blow is patently absurd. We have already seen how Keats required some close experience of the Picturesque in order to further develop his poetic potential.

We can remove further, both temporarily and geographically: Blake Nevius, in his slim volume, Cooper’s Landscapes , argues convincingly that the Picturesque strongly influenced his pictorial sense and description subsequent to his 1826-1833 stay in letter test Europe: What Cooper as a visual artist learned from his travels on the continent is apparent in the later romances. His sharper awareness of pictorial values to be sought in the natural landscape and of the means by which these values could be introduced into imagined landscape is most evident . . . in the forest romances written after his return. (89) We move forward in time, we cross the Atlantic, we leap from poetry to prose, yet still the Picturesque remains, exerting its influence. The Picturesque, popularised by assignment the illustrated guides, general debate, fashionable sketching tours, the national fealty of Gainsborough’s work and so on, portrayed a populist and recognisable landscape. Moving away from seventeenth and early eighteenth century depictions of myth-laden Italian scenes, the Picturesque embraced rustic England and cover letter adopted a visual idiom from common life.

Bermingham’s suggestion that the concomitant “. . . improvement in help uk review real landscape, increasing its agricultural yield, raised its commercial and monetary worth” (1), provides a pragmatic exegesis for the new picturesque fashion and underscores changing cultural values. If agricultural developments—enclosure, consolidation of cover letter test small holdings and so on—endowed land with new nummary worth, they also caused the physical transformation of missouri university and technology thesis large tracts of countryside, working at odds with the increasing sense of cultural and cover aesthetic worth. Writing? As a result, remote rustic regions such as Cumbria’s Lake District, were discovered as “ . . . the image of the homely, the stable, the letter test, ahistorical” (Birmingham 9). If at the last of the cited essay, century—beginning with Cowper—there came poets and painters who . . . found beauty in hedge-rows and corn-fields, and in Hampstead and Mousehold Heaths, it was because of a long training in seeing landscape pictorially,—a training which of necessity began with the most elaborate and heightened forms of landscape, with the richest and most obvious appeal, and on cover test the most vast and impressive scale. (Manwaring, 232) The importance of the assignment uk review, Picturesque stems from the fostering of an intellectual approach to the appreciation of architecture, gardening and scenery which in turn opened up new vistas of artistic subjects. The emphasis upon feeling and associational values which grew from analysis of the sublime and beautiful and blossomed in the Picturesque finally allowed those new vistas to be expressed in subjective and cover romantic terms. Romanticism, then, was, to a large degree, the bailey white essay, natural development of Picturesque aesthetics. Of course, the story continues: Ted Hughes, (1930-) born in West Yorkshire and appointed poet laureate in 1984, has written several volumes which testify to the renewed interest in topographical poetry. And all my holiday snapshots are Picturesque.

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the year 1772, on several parts of England; particularly the mountains, and lakes of cover test Cumberland, and Westmoreland . London, Printed for R. Writing On Environmental? Blamire, 1792. ---. A dialogue upon the gardens of the Right Honourable Lord Viscount Cobham at Stow in Buckinghamshire . Los Angeles: Williams Andrews Clark Memorial Library, University of California, 1976. --- . Observations on cover letter test the River Wye . Richmond: The Richmond Publishing Co. Ltd, 1973. Greenshields, E.B. Reflective? Landscape Painting and cover Modern Dutch Artists . Toronto: Copp, Clark, 1906. Gray, Thomas. Complete Poems of Thomas Gray.

Oxford: Oxford at the Clarendon Press, 1966. Handy Guide to the English Lakes . Kendal: T. Wilson, undated. Hipple, Walter John. The Beautiful, the uk review, Sublime, and letter the Picturesque in Eighteenth-Century British Aesthetic Theory. Carbondale: Southern Illinois University Press, 1957. Hughes, John. The Poetical Works of John Hughes . Edinburgh: At the Apollo Press, 1779. Hussey, Christopher. The Picturesque: studies in a point of view . London: Cass, 1967. Johnson, Ben. “To Penshurst” The Norton Anthology of English Literature . Assignment Uk Review? Ed. Abrams, M.H.

London: W. W. Norton Company, 1975. Keats, John. Cover Letter? Complete Poems and Selected Letters . New York: Odyssey Press, 1935. ---. The Letters of John Keats 1814-1821, Volume One. Cambridge: Harvard University Press, 1958. Knight, Richard Payne. The Landscape: a Didactic Poem in Three Books Addressed to Uvedale Price . London: Printed by writing creatively exercises W. Bulmer and Co., Shakespeare Printing, 1794. Nevius, Blake. Cooper's Landscapes: an essay on the picturesque vision. Berkeley: University of California Press, 1976.

Pope, Alexander. The Poems of Alexander Pope. Ed. John Butt. New Haven: Yale University Press, 1963. Price, Uvedale. On the Picturesque . Edinburgh: Caldwell, Lloyd, 1842.

Roberts, Maureen B., The Diamond Path: Individuation as Soul-Making in the Works of John Keats . 1997. http://www.cgjung.com/articles/keats1.html. Robinson, Eric , ed. Selected Poems and test Prose of John Clare . Oxford: Oxford University Press, 1967. Robinson, Sidney K. Inquiry into the Picturesque . Chicago: University of Chicago Press, 1991. Ruskin, John. (www.stg.brown.edu/projects/hypertext/landow/ruskin) Serle, John. A Plan of Mr.

Pope's Garden . Los Angeles: William Andrews Clark Memorial Library, University of California, 1982. Turner, J. M. W. Help? (Joseph Mallord William), Turner's Picturesque Views in England and Wales, 1825-1838 . Cover Letter Test? Ed. Essay Writing? Eric Shanes. London: Chatto Windus, 1983. Thomson, James. The Seasons and The Castel of cover test Indolence . Oxford: Clarendon Press, 1972. Watson J. R. Picturesque Landscape and English Romantic Poetry . London: Hutchinson Educational, 1970. Watkin, David.

The English Vision: the picturesque in architecture, landscape, and garden design . New York: Harper Row, 1982. West, Thomas. A guide to the lakes, in Cumberland, Westmorland, and writing conservation Lancashire . 4th ed. London : W. Richardson, 1789. Williams, Ralph M. Poet, Painter and Parson the Life of John Dyer. Cover Test? New York: Bookman Associates, 1956.

Woodring, Carl. Nature into Art : cultural transformations in nineteenth-century Britain . Cambridge, Mass.: Harvard University Press, 1989. Wordsworth, William. Guide Through the District of the Lakes in the North of England . London: Oxford University Press, 1970. ---. Poems.

The poetical works of assignment help uk review Wordsworth . Cover Letter Test? Boston: Houghton Mifflin, 1982. [1]As the title suggests, this is a cross disciplinary study. What might seem, initially, a grand tour—with hefty baggage—into remote realms outside literature proper is, in fact, a survey of the foundations of romanticism. [2]Up until the 19th century, French Salon duries in writing state-run competitions adhered to a strict hierarchy of subjects determined in 18th century Rococo and Neo-Classical art: history and religious subjects, portraiture, still life and, lastly and leastly, landscape. Even the French Academy's coveted Prix de Rome for cover letter art students had no landscape category until 1817, when historic landscapes with some narrative event were reluctantly allowed. As David Watkin, The English Vision , points out, a similar state existed in the area of architectural paintings: . . . the celebrated architectural competitions for the Grand Prix awarded by writing creatively exercises the French Academy and later by the Ecole des Beaux-Arts: from the first competition held in 1702 up until 1962 no site was ever specified. Letter Test? In England, however, the simple outline elevation in the form of a diagram on an otherwise blank background gradually gave way to drawings which show the building in its setting and eventually, as in essay conservation the work of Blore for example, to fully developed water-colours of landscape in which the cover test, house appears as an assignment help uk review, incident. (x) [3]When eighteenth century Britons referred to cover letter, “Poussin” it was normally to Gaspard Dughet and not his now more famous brother-in-law, Nicolas Poussin. [4]Other influential artists, though less important to Picturesque developments, were Tintoretto, Ruisdael and Hobbema. [5]One such example, as E. L. Manwaring notes, is Jonathan Richardson’s An Account of the Statues, Bas-Reliefs, Drawings, and Pictures in Italy, France, c. (1722) which became, for some time, a standard guide.

The section on landscape pictures, tellingly, features a prefatory note explaining precisely what landscape pictures are! cite - Manwaring 62 63. [6]Watkin essentially makes the same point, though contextualised within the on environmental, standard literary bias: The history of amateur sketching in the nineteenth century in the manner of De Wint and cover letter test Cox affords another example of the way in which a particular mode of vision became established as a thing so “natural” that its artificiality and its debt to the theories of Sir Uvedale Price were generally forgotten. (xi) [7]Roundhay Park—its central stately mansion now a noble pub—in my own home town of Leeds, still features a mock ruin. Over-grown with bramble, nettles, grass and dandelion, it is car by essay generally understood—by locals and visitors alike—to be as ancient as it is picturesque. [8]See Manwaring, (8). [9]Johnson’s dictionary, although avoiding the cover, difficulty of defining Picturesque , actually employed it to define other words. [10]Strange then that Burke’s Inquiry is as familiar to academics as the help uk review, Gospel, whereas Gilpin ideas have become the letter, Apocryphia. [11]The very success of this codification played a prominent role in making banal the very theory it sought to sanctify. [12]The importance of the imagination and subjective vision in landscape painting goes back at least as far as Claude.

Samuel Palmer wrote: “When I was setting out for Italy I expected to essay college, see Claude’s magical combinations; miles apart I found the disjointed members, which he had “suited to cover test, the desires of his mind”; these were the beauties, but the beautiful ideal Helen was his own” (qtd. Greenshields, 16). [13]Gainsborough’s rustic figures were influenced by those of creatively Wynant. (1620-1684) . [14]Amongst the sagging shelves of picturesque guide-books were those by Thomas Gray, James Clark and Thomas West. [15]Besides Landscape and letter An Analytical Enquiry into the Principles of Taste , Knight published books ranging in subject from sexual symbolism to Greek philology. [16]This note by Knight is reprinted as a preface to essay, Price’s The Landscape . Importantly, the dominance of the ocular sense which, in reference to the Picturesque, so bothered Wordsworth and is often adopted in literary analysis in letter reference to Gilpin was most singular to Knight; and was, in fact, a cornerstone of the debate between Knight and Price. [17]For a detailed historical analysis of enquiries into the sublime and the beautiful, as well as the debt owed by Blake to Joseph Addison, see Walter John Hipple’s The Beautiful, the Sublime and the Picturesque . [18]Somewhat ironically, Wordsworth once rebuked his friend Beaumont for painting-in an university thesis, imaginary ruined castle in one of his favourite views. [19]Constable was born in Suffolk, and though he found the Lake District too solitary a place, it was there, in 1806, that he met Wordsworth and Coleridge.

[20]See Bermingham for reproduced illustrations. [21]C. Test? Meeks, The Railroad Station, An Architectural History. [22]Early pastoral romances—Sidney’s Arcadia (1580-1582) , for example—were resplendent in writing romance, requiring their courtly readers to possess a familiarity not with nature but classical texts and the conventions of courtly behaviour and cover test are thus excluded from this study. [23]Besides the forced confinement of the heroic couplet, Abraham Cowley in Pindarique Odes (1665) set the example for deliberate irregularity, breaking the chords of the standard Pindaric precedent in an effort to essay conservation, stimulate more intense feeling. [24]This is letter typical Pope: compare, for cited essay example, The Temple of cover test Fame : Here naked Rocks, and empty Wastes were seen, There Tow’ry Cities, and the Forests green:

Here sailing Ships delight the wond’ring Eyes. There trees . . . (15-18) [25]Only myopic—perhaps: Lines 79-80 of Pastorals: Summer : “Your praise the writing exercises, tuneful birds to heaven shall bear,/And list’ning wolves grow milder as they hear.” In a footnote, Pope explains: So the verses were originally written. But the author, young as he was, soon found the absurdity which Spenser himself overlooked, of introducing Wolves into England. (131) Pope’s modesty here, of course, is overshadowed by the impressive achievement of discovering something even Spenser missed.

A fortunate discovery too, for the absurdity of the wolves was noticed by the “ Naiads ,” “Jove,” and “Satyrs” to cover letter test, name only a few native English characters included in the poem. [26]Notwithstanding Wordsworth’s recognition of Thomson as the first poet since Milton to offer new images of “external nature.” [27]Gilpin, in my real white particular, was fond of quoting Thomson in his various tours. [28]The quotation in letter test Section One, from The Castel of Indolence , Canto I, XXXVIII, sufficiently demonstrates Thomson’s familiarity with the great European painters of landscape which, as we have seen, played a crucial role in the development of the car by bailey essay, English Picturesque school. [29]Constable, for example, quoted several lines from cover test “Summer” for his Salisbury Cathedral from the Meadows . [30]Topographical poems from as early as John Denham’s Cooper’s Hill , published in 1642, which provides a very early example of on environmental a genre that was to win increasing popularity, invariably involve the poet ascending a peak, surveying the whole and then painting a word picture of interesting prospects. [31]After Wordsworth’s death, a volume of cover Keat’s poems was discovered amongst his possession, a gift, the pages still uncut. [32]Read an unwillingness to use the word source . [33]Of course, between the lines we discover the implication that Gilpin developed nothing. [34]My own parents, as Yorkshire as Yorkshire Pudding, received, as children of the 1930s, the rare gift of a rare orange for Christmas, finding it to be the on environmental, ultimate in exotic luxury! [36]Davies’ enclosing imagination within the confines of quotation marks subtly suggests that Knight meddles with something that was not, in actual fact, imagination, but some pale imitation, a phantasmagoric and fraudulent imagination, an imagined imagination.

[37]Watson’s discomfort is palpable, etched in every repetition of the problem: “Yet the pugnacity of the note needs some explaining” (72); “Yet the poem also contains a direct attack on the picturesque in its footnote” (74); “Yet, as we have seen, the poem also contains an explicit rejection of the habits of picturesque viewing” (77). Turning to The Prelude , Watson offers the cover letter test, standard glib solution: another “yet”: “Yet the energy and essay power of the experience seen in test the light of memory transforms the picturesque scene into something much more powerful” (76). [38]Even Wordsworth’s initial premise, that the essay writing, “jagged outline . . Test? . University? has a mean effect, transferred to canvas,” is perhaps a sentiment more nationalistic than artistic. [39]Indeed, the cover test, influence of this book extends beyond Wordsworth into other critical examinations of the Picturesque and literature, forming the general thesis, for example, of Brownlow’s study of Clare, who rides the cited essay, contemporary critical aversion to the Picturesque like a hobby-horse in the Grand National to the point where either the beast dies a sudden death or the race is cancelled: “The Romantics . . . inherited the letter test, picturesque way of looking at nature, but realised that it, in turn, had become a tyranny, so they invented new ways of seeing which were new ways of feeling” (16). [40]On a personal note, I would mention that the Yorkshire Dales are in fact much more picturesque than the Lake District—as are its native inhabitants. [41]It is typical of Davies’ double-dealing study that these particular pictures are excluded from his pages. [42]Compare this to Wordsworth’s complaint, quoted above, that the assignment help uk review, picturesque eye sees “Less spiritual, with microscopic view.” [43]Davies also draws attention to Wordsworth’s familiarity with other Picturesque guides, including those of Thomas Gray, Dr. John Brown, Thomas West and James Clark. In addition: John Harris [“English Country House Guides, 1740-1840,” Concerning Architecture, ed. J. Summerson, 1968.] has catalogued as many as ninety guides . . . including no less than thirty-one editions of guides to a single house, Stowe.

We can thus see how far the Picturesque had helped to foster a literary and test intellectual approach to the appreciation of architecture, gardening and scenery. (vii) [44]Wordworth’s almost exclusive employment of his own poems, however, might be considered—by some—as egotistically sublime. [45]Although the essay writing, edition is undated, an advertisement section features a blurb from cover letter test a Kendal photographer citing an award won at the Edinburgh International Photographic Exhibition in 1890-91. Such is the help, longevity of this “faddish cult.” [46]This picturesque apperception took place in cover letter 1803. The Prelude was begun in 1799, and completed in writing creatively exercises the summer of test 1805. The conclusion is essay college as obvious as it is unavoidable.

We might even waggishly hazard that this superlative picturesque experience took place during the very period of Book XII’s composition. [47]Although Watson provides the fairest literary based analysis of the Picturesque, it is nevertheless incredible that he includes such evidence yet still endorses conventional assumptions. [48]Keats, as a schoolboy, began a translation of the Aeneid . Alternatively, as Walter Jackson Bate informs us in cover letter test his minute biography, Keats felt that Pope was “no poet, only a versifier” (49). [49]The notion of originality is itself a legacy of the romantic ethos: originality becomes vital in art and in uk review life; experimentation with new experiences, diction, systems of test thought all become the hallmark of the essay, true romantic genius. Indeed, critics’ unwillingness to cover, give the Picturesque the importance it deserves as both the inaugurator of a new aesthetic vision and as a factor of lasting literary influence stems, perhaps, from the romantic desire to see originality rather than acknowledge the temporal continuity of artistic development. Wordsworth’s preface to Lyrical Ballads disdains overworked poetical diction, though his adoption of Picturesque terminology speaks of following rather than leading. [50]Thomas Gray, in “The Progress of Poesy” (1754), expresses a similar bond between poetry and missouri of science thesis landscape: Awake, Aeolian lyre, awake, And give to rapture all thy trembling strings. From Helicon's harmonious springs. A thousand rills their mazy progress take:

The laughing flowers, that round them blow, Drink life and fragrance as they flow. Now the rich stream of music winds along. Deep, majestic, smooth, and strong. Thro' verdant vales, and Ceres' golden reign: Now rolling down the steep amain, Headlong, impetuous, see it pour; The rocks and letter nodding groves rebellow to the roar. (I.i.1-12) The central image here is Poetry in general global expansion, finding echo in exercises both the objects of nature and poets of various ages. [51]Interestingly, even though Keats himself occasionally uses the word Picturesque in his correspondence; even though his companion Brown, in Walks in the North , offers the cover, clear sign-post: “Here are the essay on environmental, beautiful and sublime in unison,” ( Letters , 428), Bate, in his tomeish biography, avoids such inkish sully.

[52]Keats’ early literary life was marked by constant frustrations: “. . . I have not an Idea to letter, put to paper—my hand feels like lead . . . Missouri Of Science? I don’t know what to write” (qtd. Bate, 342). [53]Indeed, Keats shortly hereafter saw the first waterfall of his entire life. [54]Perhaps suffering still from a mind “in such a whirl in considering the million likings and antipathies of our Moments,” Keats, in a letter filled with similar portrayal, ironically concludes: “. . . descriptions are bad at all times” ( Letters , 301). Compared to John Hughes’ comment (Section Two), this represents by no means a development in the poetic continuum as Keats’ leanings towards the dramatic. [55]Supporting this, and in the context of the picturesque: “Turner undoubtedly had what John Gage has perceptively called ‘an almost obsessive readiness to associate ideas’” (Shanes, 21).

[56]Indeed, Keats’ “negative capability,” unless we suspect that he, like Coleridge, was—to quote Edgar Allen Poe—”buried in metaphysics” seems a direct challenge to Wordsworth. The notion itself germinated from a lecture on Shakespeare given by Keats’ friend, Hazlitt, who stated that Shakespeare. was the least of an egotist that it was possible to be. He was nothing in himself; but he was all that others were, or that they could become. He had in cover himself not only the germs of every faculty and feeling, but he could follow them by essay anticipation, intuitively, into all their conceivable ramification . . . He had only to think of anything in order to become that thing, with all the circumstances belonging to letter test, it. Essay? (qtd. Test? Bate, 260) It is essay no surprise that Keats should whole-heartedly adopt the idea, not only since there is cover letter test no superior poet to emulate, but because it was so oppositional to the crowned King of romantic poetry: Wordsworth. [57]Perhaps in revolt against the popular, Keats, as in this instance, makes a studious, though far from successful, effort to avoid the word picturesque , even when the car by bailey essay, description itself spells out the word.

Also, ruins are the single most common scenic feature of the tour. [58]In 1739, on a tour of the Alps, Thomas Gray cunningly wrote: Mont Cenis, I confess, carries the permission mountains have of being frightful rather too far; and its horrors were accompanied with too much danger to give one time to reflect upon their beauties. (qtd Woodring, 34) In 1803, Coleridge, overwhelmed and over-tired, abandoned a tour with William and Dorothy Wordsworth. Cover? Proof, perhaps, that the sublime can get the better of the egotistical. [59]A continuation, perhaps, of the question, “How is it they did not [various picturesque and sublime scenes] beckon Burns to some grand attempt at Epic” ( Letters , 331). [60]The reappearance of the Druid Circle is cited essay taken as a given.

[61]“. Letter? . Cited Essay? . to one whom you understand intends to be immortal” ( Letters , 305).