'There is a science of the aspects of things, as well as of their
nature' - if this dictum of Ruskin is central to his aims in Modern
Painters it points also to the remarkable affinity of creative
effort to record and to interpret the natural world that links him
with Coleridge at the beginning and with Hopkins in the latter half
of the nineteenth century. But the three writers stand in no simple
relation of mere sequence and in this essay, which continues the
exploration of the Romantic and Victorian imagination begun in her
previous book, The Central Self, Dr Ball follows the complex
interrelationships, clash and resolution of ideas by which a
profound shift in nineteenth-century creative vision was effected.
The notebooks and diaries of the three writers together with the
literary work that grew out of or paralleled this material form the
foundation for this illuminating essay, but Dr Ball's enquiry is
necessarily wide-ranging and branches into such wider questions as
the whole critical theory of the pathetic fallacy and the influence
on Coleridge, Ruskin and Hopkins of contemporary science and the
visual arts.
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