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Of the, Comments reported to John Ruskin by the Revd William Kingsley, and published in, ‘Weapon of Offence’? Gloria was hunting for facts about her ancestors tdoec tliic detail tell me for a school project. Turner, J.M.W., Picturesque Views in England and Wales, 1832. Indeed Turner contributed to the promotion of those scenic attractions through his picture books, collections of prints after his paintings celebrating the picturesque coastal scenery of these places. He was also impatient, as we’ve seen, with people who felt they should be able to understand his paintings. The audacity of this degree of painterly innovation was profoundly disturbing to Turner’s contemporaries. Linearly, the writer can develop a narrative, a sequence of linked events chronicling change. And I want to do so through comparing Turner’s graphic painterly language with the language of some Victorian poetry.

This collection of essays explores the rich complexities of the literary gothic in eighteenth- and nineteenth-century Ireland. 20The Sublime was a term that in the 18th century designated a powerful effect on the mind—one that overwhelms the mind’s rational capacity to analyse or understand. He was also impatient, as we’ve seen, with people who felt they should be able to, his paintings. We sense a loss of control; boundaries disappear. Of the Val d’Aosta the Athenaeum reviewer wrote: He has loaded his weapon of offence with such pigments as the Quakers love, and shot a round drab, dove-colour, and dirty white, with only a patch of hot, southern red, in the foreground, to heighten, as it were, the horrors of a snow scene by a few probable touches of fire and sunshine. He finds: ‘Always in Swinburne the pure fluid power of wind and sea sweeps everything before it, just as the cataclysmic rush of avalanche and inundation obliterates the paltry human figures in J.M.W.Turner’s Val d’Aosta’9. wi,t old sea chest. Caliban – French Journal of English Studies est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. He has but one sentence to utter, but one moment to exhibit. Its feral energy is usually out of view. Jesus, Q, and the Dead Sea Scrolls R. E. Murphy [The Dead Sea Scrolls and the Bible, Self présentation, p. J. Delorme, Jésus a-t-il pris la dernière Cène le mardi soir? 1) drop away; the secure landmarks (literally landmarks) dissolve. These sea images are reaching towards the Turnerian Sublime. 11: G.M.Hopkins, 'Study from the Cliff above Freshwater Gate, July 23' (1863). 54Both painter and poet are testing to its limits the magnificent wild incoherency that Ruskin felt was at the heart of the mystery of the sea. Because it bears so closely on the nature of the mystery of sea for Turner I would like to recap now on some of its key premises. Linearly, the writer can develop a narrative, a sequence of linked events chronicling change. The diction is disconcerting, but equally disconcerting is the syntax. His temperamental savagery and his extraordinary technical sophistication, the wild and beautiful worlds he created in his paintings - - these embody the antitheses dramatised by Shakespeare in The Tempest. 9: J.M.W.Turner, Valley of Aosta: Snow Storm, Avalanche and Thunderstorm (1836-7). 6 J.M.W.Turner, Inscription by Turner: Notes on Painting in Relation to Poetry c.1809. 48How does Hopkins come close to Turner then? And yet he was a bristly, combative personality, fiercely competitive and socially abrasive. The Athenaeum reviewer of Snow Storm (14 May 1842) was baffled by the painting’s concentrated confusion: ‘Where the steam-boat is—where the harbour begins, or where it ends—which are the signals, and which the author in the Ariel...are matters past our finding out.’13. The mystery intensifies in proportion to our inability to comprehend and orientate. Furthermore, the painter is restricted in portraying the movement of natural energy—such as the wind : One word is sufficient to establish what is the greatest difficulty to the |painters Art to produce wavy air as some call The Wind ….the Painter to give that wind…must give the cause | as well as the effect, and without which | he would be nothing. VI, p.86. These, together with the dimly figured church in the distance—powerless to act as sanctuary—are the only distinctly identifiable shapes; and it is a matter of minutes, it seems, before the cataclysm effaces them too. %PDF-1.5 %���� With illustrative text by J. Ruskin. Broadly speaking, the writer can expatiate (amplify, embellish) in two ways, linearly and laterally. Discourses on Art, ed R.Wark, Collier - Macmillans, 1966. Everything is swept up into an overwhelming whole, a congregation of natural forces threatening to engulf the fugitive humans cowering in the lower corner of the scene. Turner Bequest, Turner in his later work renders wind, rain and storm by showing the effects of ‘wavy air’ laden with rain, as it blurs and seems to dissolve landscape forms, as in his watercolour of the Pass of Faido descent from the Alps, here reproduced in Ruskin’s drawing from, Fig. The sea, I’ve suggested—borrowing Turner’s phrase—is partly materialized ‘wavy air’, semi-solidified wind. 31The painter cannot expatiate, the writer can. However, if you look closely at the Constable in this exhibition you will see an interesting contrast in his handling of these different areas. 47. Ruskin wrote of the sea’s ‘wild, unwearied, reckless incoherency.’ How do you paint incoherency? © Tate, London. 55The sea’s mercurial nature, its fluctuation between gentle welcoming calm and destructive violence—those antitheses played out in The Tempest—is very evident if we bring together the locations featured at the beginning and end of this talk. No wonder artists have been so often drawn to it. The third, Obscurity, corresponds to Turner’s own signature indistinctness. He mentioned this in a letter to a friend in England. What we have here are distinct or fairly distinct images—reefs, oar, wave, sword, foam, wolves—but the total effect is designedly one of havoc, confusion and indeterminacy : it is akin to Ruskin’s ‘incoherency’. 52Hopkins, as we have seen, was very concerned about the appropriate way to approach his poetry, with the ear as much as with the eye and mind. In Hopkins’s poetry meaning explodes at unpredictable moments during the reading of the text, and can be lost if one relies on the steadily unfolding system of one-to-one reference, where words and phrases are relatively uncontroversial units of signification. 4, plate 21. No wonder artists have been so often drawn to it. There’s some scumbling, and a looser, freer, impressionist handling of the foamy wave tops. Swinburne seems to try to match such effects in his natural description of a wrecking storm at sea.

9 J.D.Rosenberg, ‘Swinburne’, Victorian Studies vol 11 (1967-68), 148.
36Turner was fascinated by the appearance of moving water, as was his champion John Ruskin. This is a standard picturesque composition, with its framing trees and the sea contained in the middle distance. The Deutschland and its passengers met their end in a ferocious storm on a treacherous sandbank called the Kentish Knock; that wrecking sandbank is only about 15 miles out to sea from the placid beach at Margate where Turner learnt to cherish those Thanet skies. Shakespeare, William, The Tempest, Oxford: World’s Classics, 1987.

Turner was very particular about the way his landscapes and seascapes were received. Malcolm Andrews, « Turner and the Mystery of the Sea », Caliban, 52 | 2014, 75-94. The mountains, the fields, the cliffs, the gorges, flow with the rhythms of the turbulent river. 49The intensity of effect managed by Hopkins’s language, and its analogy with Turner’s graphic language may be seen in stanza 13 from his poem The Wreck of the Deutschland. The sea is a dark bituminous mass; its brooding quality is picked up on the right in the arching rain-cloud, as it curves across the top of the picture. 6Turner knew Margate over the period of its transformation from a small Georgian fishing town to a popular seaside resort, with its sea-bathing amenities and scenic attractions.
(ā�$�7��0va��䣬�F�������X�����I4�ɿ�B�j=*d��,#Q�"����ؤU��$��L%�$�q@ku4n�Y��^�;���=Îk:2�$1��~R���r[�ʣ�!�"HP$��T��Ǟ!�#�� �t!/�ΉU�����K��%�n�N�e���?�W��I T|o��z��B��qb�Z��C�ͼ�/��[� �ᵁ �$"�D�ƲY#��`�D���y�s���um��v�Ɖ�E�I�=���i�0xC�79j�^���u!���P�7_��OT�=Ϡ�Wm� �ِW+�byi�*J�D4M�U.�5jl^aO�$4u����ͥ�:j]�s�oqj�m�:q�����w����沀duP���7��8)�Zn�#�;@ђܢB�B�K��C��P��:�V�T#n��e^���M�"�4�n��ϭ�[})x�w8�Gk㏟eI^��A����1�d��n,*�X�F�:{��PYsDF�. Imaging Department © President and Fellows of Harvard College. When asked once where, in Europe, were the loveliest skies, he replied instantly, ‘In the Isle of Thanet.’, Turner knew Margate over the period of its transformation from a small Georgian fishing town to a popular seaside resort, with its sea-bathing amenities and scenic attractions. The diction is disconcerting, but equally disconcerting is the syntax. Ruskin wrote of the sea’s ‘wild, unwearied, reckless incoherency.’ How do you paint incoherency? Yale Center for British Art, Paul Mellon Collection. In respect of the first, Hopkins shared with Turner and Ruskin a fascination with the problems of representing the sea and water generally when in motion. I am going to pick up on one or two of these tensions between the so-called Sister Arts—and they bear on the challenges faced by Turner in his seascapes. I’m choosing poetry in which sea representations have a degree of experimental daring comparable with the language of Turner’s later marine paintings. The burst of light from the cloud’s edge pours down to the left onto the cliff-face. By that word mystery Hopkins said meant not mystery in the conventional meaning—‘an interesting uncertainty’—but mystery as ‘an incomprehensible certainty’. 1) drop away; the secure landmarks (literally. URL : http://journals.openedition.org/caliban/676 ; DOI : https://doi.org/10.4000/caliban.676.

The compression is there in the increased use of compound words where startling partnerships are cemented: ‘flint-flaked’, ‘white-fiery’. W.H.Gardner, Harmondsworth: Penguin, 1963. The mystery of the sea is the conjunction of something materially real and representable (as we saw with the techniques of water painting), and something with unfathomable depths and moods that baffle configuration (Ruskin ‘like trying to paint a soul’). Author: Bram Stoker Publisher: Xist Publishing ISBN: 1681956543 Size: 61.98 MB Format: PDF, Kindle View: 438 Get Books. Confronting his more turbulent seascape, the eye is pulled to and fro.

32Turner not only invoked passages of poetry by well- known poets as an adjunct to his paintings ; he was himself a poet. In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that object which employs it.’. 39I have been considering techniques for representing in paint the material reality of the sea, of moving water. feature a number of the new seaside resorts, Margate included: Notice the terrace of new housing spreading along the shoreline.

I take as an example this extract from his verse drama of 1865. In respect of the first, Hopkins shared with Turner and Ruskin a fascination with the problems of representing the sea and water generally when in motion. All the component features in the scene are woven together, dissolving one into the other.

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