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The Measure of Paradise

Topography in Eighteenth-Century Poetry

Bibliographic Data

ID16003431
AuthorsJ Foster (0000-0002-2601-1539, corresponding author), John Wilson Foster
Year1975
Volume9
Issue2
Pages232-232
Publication date1975-01-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueEighteenth-Century Studies (JOURNAL)
Journal identifiersISSN: 0013-2586 • E-ISSN: 1086-315X
PublisherJSTOR (PUBLISHER)
DOI10.2307/2737599
OpenAlexW2322145348
LanguageEN
Citations received2

DISCUSSIONS ABOUT VISUAL COMPOSITION in eighteenth-century have mostly been concerned with the influence on the of landscape painting and landscape gardening. Nonetheless, several critics have sought to redress the balance by claiming that the principles and practice of visual composition were generated from within the itself. C. V. Deane, for example, tries to demonstrate that methods of composition in landscape are analogous to, and often identical in aim with those of landscape painting, but purely poetic in substance and execution.' While I do not think Deane is altogether convincing on the difference between poetic and pictorial composition, I believe he is correct in claiming that the larger design of eighteenth-century landscape poems is not wholly or primarily derived from painting or gardening. Apart from anything else, what Deane calls prospect poetry was well established as a genre before the popularity in England of landscape painting and gardening became widespread during the third and fourth decades of the century. The possibility remains, however, that there were external influences on visual composition in poetry, but that they came from elsewhere than from painting and gardening. The line of inquiry I

Art · Art history · Data mining · Literature · Measure (data warehouse · Paradise · Poetry · Computer Science · Historical Art and Culture Studies

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Unique citing works2
Citations per year0.18
Citation span2015 - 2023 (9)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 2

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