"The Landscape Garden" - читать интересную книгу автора (Poe Edgar Allan)

or plain of the neighboring land; detecting and bringing into practice
those nice relations of size, proportion and color which, hid from the
common observer, are revealed everywhere to the experienced student of
nature. The result of the natural style of gardening, is seen rather
in the absence of all defects and incongruities- in the prevalence
of a beautiful harmony and order, than in the creation of any
special wonders or miracles. The artificial style has as many
varieties as there are different tastes to gratify. It has a certain
general relation to the various styles of building. There are the
stately avenues and retirements of Versailles; Italian terraces; and a
various mixed old English style, which bears some relation to the
domestic Gothic or English Elizabethan architecture. Whatever may be
said against the abuses of the artificial landscape-gardening, a
mixture of pure art in a garden scene, adds to it a great beauty. This
is partly pleasing to the eye, by the show of order and design, and
partly moral. A terrace, with an old moss-covered balustrade, calls up
at once to the eye, the fair forms that have passed there in other
days. The slightest exhibition of art is an evidence of care and human
interest."
"From what I have already observed," said Mr. Ellison, "you will
understand that I reject the idea, here expressed, of 'recalling the
original beauty of the country.' The original beauty is never so great
as that which may be introduced. Of course, much depends upon the
selection of a spot with capabilities. What is said in respect to
the 'detecting and bringing into practice those nice relations of
size, proportion and color,' is a mere vagueness of speech, which
may mean much, or little, or nothing, and which guides in no degree.
That the true 'result of the natural style of gardening is seen rather
in the absence of all defects and incongruities, than in the
creation of any special wonders or miracles,' is a proposition
better suited to the grovelling apprehension of the herd, than to
the fervid dreams of the man of genius. The merit suggested is, at
best, negative, and appertains to that hobbling criticism which, in
letters, would elevate Addison into apotheosis. In truth, while that
merit which consists in the mere avoiding demerit, appeals directly to
the understanding, and can thus be foreshadowed in Rule, the loftier
merit, which breathes and flames in invention or creation, can be
apprehended solely in its results. Rule applies but to the excellences
of avoidance- to the virtues which deny or refrain. Beyond these the
critical art can but suggest. We may be instructed to build an
Odyssey, but it is in vain that we are told how to conceive a
'Tempest,' an 'Inferno,' a 'Prometheus Bound,' a 'Nightingale,' such
as that of Keats, or the 'Sensitive Plant' of Shelley. But, the
thing done, the wonder accomplished, and the capacity for apprehension
becomes universal. The sophists of the negative school, who, through
inability to create, have scoffed at creation, are now found the
loudest in applause. What, in its chrysalis condition of principle,
affronted their demure reason, never fails, in its maturity of
accomplishment, to extort admiration from their instinct of the
beautiful or of the sublime.