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• W221041085 abstract "Most critical work has tended to understand the relationship of Clare's poetry to the picturesque as antagonistic: John Lucas argues that Clare is 'anti-picturesque', while Scott Hess has more recently attempted to show how Clare 'contests', 'contrasts', 'challenges' or is in opposition to the picturesque mode.1 There seems to be a persistent pattern in scholarly work here: the picturesque is employed only as a means of showing how different Clare's poetry apparently is from such conventional positions of landscape spectatorship.2 One reason for this rather lop-sided debate may be the reluctance of critics to acknowledge that Clare was capable of embracing the picturesque aesthetic, primarily because it can be seen as a 'heartless'3 approach to landscape. The emphasis in picturesque practice on the aesthetic value of a given scene tends to decrease the importance of all other factors, including social and political ones. Lucas has even tried to explain away Clare's work in the picturesque tradition by claiming that the poet was 'trawling for favour among his fashionable authence'.4 This essay will contend that both the picturesque and another, related, key concept of eighteenth-century cultural debate, 'taste', function consistently to give Clare a vocabulary for describing and in the case of the picturesque, a mode of viewing - landscape. Clare continuously uses this vocabulary and point of view in his poems and prose, from the early writing through to the 'middle period'.5 Clare employs the discourse of the picturesque and the idea of 'the man of taste' as a way of fashioning his poetic identity, and this self-fashioning for Clare involves a necessary and wilful distancing of himself from his own social class. The 'picturesque' is notoriously difficult to pin down. It is clear however that William Gilpin's published accounts of his visits to various regions of Britain popularized the picturesque among native tourists in the late eighteenth and early nineteenth centuries.6 It is also clear that Uvedale Price and Richard Payne Knight theorized the picturesque during this period. In Price's essays, the picturesque essentially emerged as a 'middle' aesthetic category between the beautiful and the sublime.7 A brief summary of some of the distinctive features associated with the picturesque would include the following: an emphasis on 'mixture',8 or the combination of varied elements in the landscape view; an attention to individual parts or features of the landscape including rough and irregular objects such as ruins) as they constitute the whole or entire scene; and a complex understanding of the importance of change. Ann Bermingham has made the case that while in many respects hostile to changing social relations within the wider purview of the agricultural revolution, the picturesque is germane to, and in some respects dependent upon, the change produced by natural or non-human forces.9 The picturesque debate of the late eighteenth and early nineteenth centuries in many respects may also be said to form part of the attempt to more accurately define the parameters of taste itself. Taste may be understood as the criteria needed to properly appreciate works of art. The term was subject to much examination in the eighteenth century, from Joseph Addison's Spectator essays to Archibald Alison's Essays on the Nature and Principles of Taste.10 John Clare's Natural History Letters, which were mainly written between 1824 and 1826,11 feature many examples of the poet mobilising what Malcolm Andrews calls a 'vocabulary of discrimination' drawn from these contemporary discussions of taste.12 The following is taken from Natural History Letter III: I always feel delighted when an object in nature brings up in ones mind an image of poetry that describes it from some favourite author [...] a clown may say that he loves the Morning but a man of taste feels it in a higher degree by bringing up in his mind that beautiful line of Thompsons 'The meek eyd morn appears mother of dews' The rustic sings beneath the evening moon but it brings no assosiations he knows nothing about miltons description of it 'Now comes still evening on d? …" @default.
• W221041085 created "2016-06-24" @default.
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• W221041085 date "2009-07-01" @default.
• W221041085 modified "2023-09-24" @default.
• W221041085 title "John Clare: 'The Man of Taste'" @default.
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