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From Place to Presence: Landscapes
 and Transcendence

Ranging from the Transcendental and Romantic writing of the nineteenth century through the
experimental verse of Gerard Manley Hopkins and the iconic depictions of westward expansion
in the landscape painting of Thomas Cole (and the Hudson River School), to the rural poetics
of Robert Frost, this article argues that poets, like painters, must not merely sketch or describe the
sublime or transcendental nature of a scene; they must capture its visual and emotional impact,
and – through some artistic device – reenact its transcendence to move the reader or observer from
place to presence.

