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• W146512726 abstract "Clare liked to press his publishers with ideas for new projects. In 1 824 he wrote to John Taylor excited by the capacity of the sonnet to respond to the abundance and variety he enjoyed in nature: 1 have made it up in my mind to write one hundred sonnets as a set of pictures on the scenes & objects that appear in the different seasons & as I shall do it soly for amusment I shall take up wi gentle &. simple as they come whatever in my eye finds any inter[est] these things are resolves not merely in the view for publication but for attempts'.1 The sonnets (like the one hundred popular songs Clare had earlier planned to write)2 never did see publication in a unified volume, but his attention was engaged upon the form throughout the 1820s (many of the sonnets he composed were included in 1832's proposed Midsummer Cushion volume) and again from 1832-6, following his move to Northborough. Clare's letter poses questions about the quality of that attention, most crucially about its mediation between nature and accident, and artistic control. Questions crystallize, for instance, around the swiftness with which the movement from 'in my eye' to 'in the view' turns Clare's 'scenes & objects' round from natural into artistic phenomena: does this amount to carelessness, or vitality?The response of Clare's best critics has been that Clare's sonnets' apparent carelessness is the source of their vitality. Most influentially John Barrell has argued that Clare's effort, as manifested in sonnets such as 'Emmonsails Heath in Winter' and 'Beans in Blossom', is to subdue the intrusion of artistic craft, to shape a syntax 'not content to go along with the order which [...] language must inevitably impose' but that 'that attempts instead to conceal it'.3 Thus Clare works against the constraints of language and form to achieve a striking depiction of landscape as 'one complex manifold of simultaneous impressions'.4 More recently, Mina Gorji has illuminated the ways in which Clare's sonnets skilfully delight in 'mess' by embracing a degree of 'artful disorder';5 for Gorji, Clare's sonnets embody an 'art of accident rather than of deliberate design', celebrating 'a landscape shaped by nature and chance, rather than the human hand'.6This is a persuasive path to take, not least because it is the path which Clare himself pointed down. Clare liked to disparage 'art', and the sonnet, a manifestly artificial form, carrying an extensive literary heritage, afforded him scope to do so. As early as July 1820 he wrote to Markham Sherwill, confidently chastising Milton for following the 'rul[es of] art in the construction of the Sonnet just as a architect sets about abuilding', whilst praising Wordsworth, who 'defies all art & in the lunatic Enthuseism of nature [...] negligently sets down his thoughts from the tongue of his inspirer'.7 But I wonder if an approach which judges Clare's art in his sonnets as being purely - if complexly - mimetic does not in some ways sell short a poet whose combinations of 'nature and chance' and 'the human hand' can be more subtly and self-consciously intertwined than he tends to let on. For one thing, it leaves unaddressed the issue of whether the minute attention the sonnets devote to the 'scenes & objects' of the Northamptonshire countryside is matched by Clare's attention to their own individuality as poems. The sheer number of sonnets Clare wrote puts the autonomy of individual poems under pressure, as Barrell implicitly acknowledges when he identifies the syntax he describes as 'the characteristic form [...] of the sonnets that [Clare] wrote in Helpston between about 1 823 and 1832',8 and it is not unreasonable to share in Joseph Phelan's anxiety that the sonnet becomes in Clare's hands 'a kind of default setting for poetry which eventually induces an insensibility to the poetic potential of the form'.9Coleridge is not usually a critic whose tenants are regarded as having much in sympathy with Clare's, but a distinction between 'copying' and 'imitation' he made in a lecture on Shakespeare might prove useful in beginning to isolate some of the trees from the wood. …" @default.
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• W146512726 date "2012-07-01" @default.
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• W146512726 title "Form and Feeling in John Clare’s Sonnets" @default.
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