000			03006cam a22003493u 4500
001			77487
003			UtSlPG
005			20260610134808.0
006			m
007			cr n
008			260607r20251909utu|||||o|||||||||||||| d
010			_a10000800
040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aPR
100	1		_aReynolds, Myra, _d1853-1936
245	1	4	_aThe treatment of nature in English poetry between Pope and Wordsworth
250			_a[Second edition]
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2025-12-17
508			_aJamie Brydone-Jack, Karin Spence and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
520			_aThe Treatment of Nature in English Poetry Between Pope and Wordsworth by Myra Reynolds is a literary-critical study written in the early 20th century. It investigates how English writers from the late classical/Augustan period to the early Romantics conceived of Nature, arguing that the celebrated Romantic vision was prefigured throughout the 18th century. Beyond verse, it compares poetry with painting, travel writing, fiction, and gardening to trace a broad cultural shift toward valuing the natural world. The opening of this study frames the 18th century as a transitional era in which older, urban-classical tastes faded while a new, more ardent feeling for Nature slowly gained force; the preface notes new chapters on painting and gardening and asserts that most “Wordsworthian” ideas appeared earlier in germ. A concise review of prior scholarship (from Schiller and Humboldt to Ruskin, Laprade, Biese, Veitch, and Shairp) shows how English 18th‑century evidence has been underread, motivating a study of origins across arts. The first chapter then maps “English classical” poetry (Waller through Pope and into decadence) and demonstrates its dominant traits: a town-loving ethos; dislike or neglect of mountains, the sea, storms, winter, and sky mysteries; preference for tame, cultivated scenes; generalized, bookish description; narrow, conventional similes; decorative personifications; heavy Latin imitation; and a fixed poetic diction of stock epithets. It concludes that this literature treats Nature as servant or foe rather than kin, setting the stage for later chapters that trace the emergence of a new attitude. (This is an automatically generated summary.)
534			_pOriginally published: _cChicago, IL: The University of Chicago Press, 1909
653			_aEnglish poetry -- History and criticism
653			_aNature in literature
856	4		_uhttps://archive.org/details/treatmentofnatur00reynrich/page/n7/mode/2up?view=theater
856	4	0	_uhttps://www.gutenberg.org/ebooks/77487
999			_c118207 _d118207