By Glenn Hooper
Commute Writing and eire, 1760-1860 examines a number often British shuttle and travel-writing fabric from the interval 1760 to 1860. starting with an research of the house journey and Ireland's functionality inside it, the booklet then considers the function of the Post-Union tourist, through an research of the impressions shaped by means of Famine writers; the ebook then concludes with an evaluate of these who journeyed to eire within the instant aftermath of Famine. Following a chronological constitution, trip Writing and eire, 1760-1860 deals readings of hitherto under-researched fabric from an important interval in Irish historical past.
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Additional resources for Travel Writing and Ireland, 1760-1860: Culture, History, Politics
Despite these moments within Bush’s text, where the narrator appears to adopt a conventional male perspective of the Irish landscape, converting it into an imaginary economic or erotic realm, he appears largely free of more traditional views for the simple reason that none of these tropes are either sustained or carried through with any conviction. 40 Travel Writing and Ireland, 1760–1860 Rather, Bush seems more keen to engage with the sublime as a spectacle capable of simply arousing the emotions, and appears less concerned that such experience may be evoked, not to mention appreciated, in a country known to Britain largely as a dependency, or as a source of periodic trouble.
Was [initially] too tame and too familiar to furnish the scholar with conclusions of much originality or provide the gentleman with an education of much weight. ’23 And when we read someone like Bush the sense of renewed interest suggested by Ousby is certainly manifest. Not only that, but we also discover that many of the same battles waged by Grand Tourists concerning what was most interesting, or best avoided during their travels around Europe, would be now played out at home: Suppose, for once, we should have a tour historical, in order to realize it, in a manner, to the imaginations of the reader, wrote a little more conformable to the general plan of a tour itinerant.
Of possibly even greater note, though, is his ability to relax in the sense of melancholy that the scene also provokes, detecting in it a reflection of his own higher intelligence and sensitivity. 46 The relationship here envisaged by Bush between the poet-philosopher and the natural environment is hardly a new one, not even by mid-eighteenth-century standards, but that he forges a connection between a type of Irish landscape and such an imaginative response is a radical enough undertaking. As an English traveller, Bush’s attitude towards Irish nature is an interesting one; he regards it as something to be experienced, almost tested, seeing it as a potentially unknown force that can free the emotions by its sudden and unexpected pleasures.