Abstract
‘Nature’ is a key word at the beginning of the 18 th c. that appear in all fields of knowledge; the term is frequently repeated by literary critics, and thus Pope would advice poets: «First follow Nature, and your Judgment frame/By her just Standards, which is still the same», Essay on Criticism . Under the influence of Descartes, Newton and Locke, the beauty mean harmony, balance and perfect measure. During the fist quarter of 18 th c. the representation of nature wild end up in the Thomson’s poem Winter . Would read the scottish poet in the english original (in his library there is a sample of the 1744 edition), and the poem wild exert considerable influence on the poet from Extremadura, above all in the Odas filosoficas y sagradas .
Highlights
ABSTRACT ‘Nature’ is a key word at the beginning of the 18th c. that appear in all fields of knowledge; the term is frequently repeated by literary critics, and Pope would advice poets: «First follow Nature, and your Judgment frame/By her just Standards, which is still the same», Essay on Criticism
El color verde, ‘this lovely green’, que descubrimos continuamente en sus poemas, aparece como el reflejo de la presencia divina en la naturaleza, como podemos apreciar en la transcripción del primer poema y en las cuatro primeras estrofas del segundo: THE GARDEN How vainly men themselves amaze To win the palm, the oak, or bays; And their uncessant labors see Crowned from some single herb or tree, Whose short and narrow-verged shade Does prudently their toils upbraid; While all the flowers and trees do close To weave the garlands of repose
Fecha de recepción: 11 de diciembre de 2006 Fecha de aceptación: 26 de julio de 2007
Summary
Winter es compuesto en 1725, tras la llegada de Thomson a Londres. El poeta no ha previsto escribir un largo poema religioso y filosófico, pues, estimulado por los versos de Riccaltoun, A Winter’s Day, se contenta con dejar sobre el papel impresiones sueltas, que reunirá poco a poco como las piezas de un puzzle, adaptándolas y organizándolas en un todo coherente. James Thomson anuncia el triunfo de los poemas a la naturaleza con su temprano Winter (1726), y a partir de él se experimenta una floración poética que refleja un contacto más íntimo con la Naturaleza. Describe con complacencia los movimientos de las nubes; éstas, por sus formas, colores, su apariencia blanda o elástica y su movilidad, dan al cielo de Inglaterra o de Escocia una vida, una animación que hacen su contemplación mucho más agradable y poética. Poemas representativos de esta tendencia son los que se ocupan de la «natural description», en la vía abierta por Thomson: «The Enthusiast» (1744) y «Ode to the Evening» (1746) de Joseph Warton, «Ode to Evening» (1747) de William Collins, «Ode on the Spring» (1748) de Thomas Gray. Con Grey y los escritores de la «Graveyard School» (Young, Blair, Hervey, Carter...) la vía de la poesía cambia a unos tonos mucho más lúgubres
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