Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- Editorial Principles: Towards the Ecocritical Editing of Renaissance Texts
- Introduction
- PART I Cosmologies
- PART II The Tangled Chain
- PART III Time and Place
- Seasons
- Country Houses
- Gardens
- Pastoral: Pastures, Meadows, Plains, Downs
- Georgic: Fields, Farms
- Forests, Woods, Parks
- Heaths, Moors
- Mountains, Hills, Vales
- Lakes, Rivers, Oceans
- PART IV Interactions
- PART V Environmental Problems in Early Modern England
- PART VI Disaster and Resilience in the Little Ice Age
- Appendix A Industrialization and Environmental Legislation in the Early Anthropocene: A Timeline
- Appendix B Further Reading: A Bibliography of Environmental Scholarship on the English Renaissance
Mountains, Hills, Vales
from PART III - Time and Place
Published online by Cambridge University Press: 05 June 2019
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- Editorial Principles: Towards the Ecocritical Editing of Renaissance Texts
- Introduction
- PART I Cosmologies
- PART II The Tangled Chain
- PART III Time and Place
- Seasons
- Country Houses
- Gardens
- Pastoral: Pastures, Meadows, Plains, Downs
- Georgic: Fields, Farms
- Forests, Woods, Parks
- Heaths, Moors
- Mountains, Hills, Vales
- Lakes, Rivers, Oceans
- PART IV Interactions
- PART V Environmental Problems in Early Modern England
- PART VI Disaster and Resilience in the Little Ice Age
- Appendix A Industrialization and Environmental Legislation in the Early Anthropocene: A Timeline
- Appendix B Further Reading: A Bibliography of Environmental Scholarship on the English Renaissance
Summary
The sublime is generally regarded as an eighteenth-century concept, formulated by the philosophers Immanuel Kant and Edmund Burke. Nevertheless, early modern writers and painters such as Roelant Savery had intimations of the “pleasing horror” that dramatic landscapes could inspire. The following poem appears within a collection of religious verse, which might invite an allegorical reading of the wilderness it depicts. As a Jesuit priest who travelled widely throughout the Continent and England, Southwell may have been better acquainted with actual wilderness than many of his contemporaries. In 1578, he walked from Paris to Rome and this poem is likely based on his crossing of the Alps.
Source: British Library Add MS 10422, 26v–28v; with emendations from Moenie (1595), 27–30.
A Vale there is enwrapped with dreadful shades,
Which thick ° of mourning pines shrouds from the sun,
Where hanging cliffs yield short and dumpish ° glades,
And snowy floods with broken streams do run;
Where eye-room ° is from rock to cloudy sky,
From thence to dales with stony ruins strawed, °
Then to the crushed water's frothy fry,
Which tumbleth from the tops where snow is thawed;
Where ears of other sound can have no choice,
But various blust'ring of the stubborn wind In trees,
in caves, in straits with diverse noise,
Which now doth hiss, now howl, now roar by kind;
Where waters wrestle with encount'ring stones,
That break their streams and turn them into foam,
The hollow clouds full fraught with thund'ring groans,
With hideous thumps discharge their pregnant womb.
And in the horror of this fearful ° choir
Consists the music of this doleful place;
All pleasant birds their tunes from thence retire,
Where none but heavy notes have any grace.
Resort there is of none but pilgrim wights,°
That pass with trembling foot and panting heart;
With terror cast in cold and shudd'ring frights,
They judge° the place to terror framed by art.
Yet nature's work it is, of art untouched,
So strait indeed, so vast unto the eye,
With such disordered order strangely couched,
And so with pleasing horror low and high,
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- Literature and Nature in the English RenaissanceAn Ecocritical Anthology, pp. 292 - 306Publisher: Cambridge University PressPrint publication year: 2019