Christopher Ricks
- Published in print:
- 1984
- Published Online:
- October 2011
- ISBN:
- 9780198128298
- eISBN:
- 9780191671654
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128298.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
In this book, the author argues for the importance of embarrassment in human life and for the value of works of art which help us deal with embarrassment by recognizing and refining it. As a poet and ...
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In this book, the author argues for the importance of embarrassment in human life and for the value of works of art which help us deal with embarrassment by recognizing and refining it. As a poet and a man, John Keats was especially sensitive to, and morally intelligent about, embarrassment. This study demonstrates the particular direction of his insight and moral concern to acknowledge embarrassability and its involvement in important moral concerns.Less
In this book, the author argues for the importance of embarrassment in human life and for the value of works of art which help us deal with embarrassment by recognizing and refining it. As a poet and a man, John Keats was especially sensitive to, and morally intelligent about, embarrassment. This study demonstrates the particular direction of his insight and moral concern to acknowledge embarrassability and its involvement in important moral concerns.
Jennifer Radden
- Published in print:
- 2002
- Published Online:
- October 2011
- ISBN:
- 9780195151657
- eISBN:
- 9780199849253
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151657.003.0020
- Subject:
- Philosophy, General
This chapter discusses two poems by John Keats — “Ode of Melancholy” and “What the Thrush Said.” Keats knew much suffering and died while still a young man. Consumptive and weak, he experienced many ...
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This chapter discusses two poems by John Keats — “Ode of Melancholy” and “What the Thrush Said.” Keats knew much suffering and died while still a young man. Consumptive and weak, he experienced many phases of despondency and moodiness. By the time he received recognition for his work, he was seriously ill with tuberculosis. The ode on melancholy starts with the world of darkness and pain, so vividly described that we are reminded that Keats wrote from personal experience. His evocation of the dual aspects of melancholy, the stress on the paradox uniting sensual pleasure, energy, and vitality, on the one hand, and despair, suffering, and passivity, on the other, elevates his writing on melancholy to a place beside that of Elizabethan authors.Less
This chapter discusses two poems by John Keats — “Ode of Melancholy” and “What the Thrush Said.” Keats knew much suffering and died while still a young man. Consumptive and weak, he experienced many phases of despondency and moodiness. By the time he received recognition for his work, he was seriously ill with tuberculosis. The ode on melancholy starts with the world of darkness and pain, so vividly described that we are reminded that Keats wrote from personal experience. His evocation of the dual aspects of melancholy, the stress on the paradox uniting sensual pleasure, energy, and vitality, on the one hand, and despair, suffering, and passivity, on the other, elevates his writing on melancholy to a place beside that of Elizabethan authors.
Thomas McFarland
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198186458
- eISBN:
- 9780191674556
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186458.003.0003
- Subject:
- Literature, 19th-century Literature and Romanticism
Making life masks — which represented how something was when it was living — and making death masks — the counterpart that accounts for a being's impressions when they had died, was not an uncommon ...
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Making life masks — which represented how something was when it was living — and making death masks — the counterpart that accounts for a being's impressions when they had died, was not an uncommon practice during the nineteenth century, especially since photography had yet to become a more efficient trend. Because John Keats lived a relatively short life, both his life mask and his death mask look almost exactly alike. It is also important to note that the fact that these masks exist represents the commitment and strength of ‘the Keats circle’ — the support group which played no small part in Keats's intellectual development. Because these two masks possess the same features, these serve as significant figures in accounting for Keats's existence.Less
Making life masks — which represented how something was when it was living — and making death masks — the counterpart that accounts for a being's impressions when they had died, was not an uncommon practice during the nineteenth century, especially since photography had yet to become a more efficient trend. Because John Keats lived a relatively short life, both his life mask and his death mask look almost exactly alike. It is also important to note that the fact that these masks exist represents the commitment and strength of ‘the Keats circle’ — the support group which played no small part in Keats's intellectual development. Because these two masks possess the same features, these serve as significant figures in accounting for Keats's existence.
Herbert F. Tucker
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199232987
- eISBN:
- 9780191716447
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232987.003.0005
- Subject:
- Literature, Poetry
British postwar epic disclosed fissures of faction within a national unity that had been artificially constrained by two decades' steady pressure from the enemy without. With the lifting of that ...
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British postwar epic disclosed fissures of faction within a national unity that had been artificially constrained by two decades' steady pressure from the enemy without. With the lifting of that pressure Scottish, Welsh, Dissenting, and female perspectives gained a fresh purchase. A new generation of Romantic poets broke with their elders' revolutionary/reactionary formation by breaking down the master narrative of trauma and healing that went with it. Instead, epic became a stylistic option, a manipulable and marketable repertory of forms. The Regency became an epic era of special effects, including Moore's epic-scented entertainment, Hunt's hedonist indulgence on Dantesque premisses, the epic resonance that Keats miraculously achieved without benefit of plot, and Shelley's utopian art of permanent revolution spinning outside history. To crown all, Byron's radical transvaluation of the genre both summed the tradition to date and, by the thoroughness of an inimitable celebrity irony, threatened to put an end to epic as his countrymen had known it.Less
British postwar epic disclosed fissures of faction within a national unity that had been artificially constrained by two decades' steady pressure from the enemy without. With the lifting of that pressure Scottish, Welsh, Dissenting, and female perspectives gained a fresh purchase. A new generation of Romantic poets broke with their elders' revolutionary/reactionary formation by breaking down the master narrative of trauma and healing that went with it. Instead, epic became a stylistic option, a manipulable and marketable repertory of forms. The Regency became an epic era of special effects, including Moore's epic-scented entertainment, Hunt's hedonist indulgence on Dantesque premisses, the epic resonance that Keats miraculously achieved without benefit of plot, and Shelley's utopian art of permanent revolution spinning outside history. To crown all, Byron's radical transvaluation of the genre both summed the tradition to date and, by the thoroughness of an inimitable celebrity irony, threatened to put an end to epic as his countrymen had known it.
Yohei Igarashi
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781503610040
- eISBN:
- 9781503610736
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9781503610040.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
How can Romantic poetry, motivated by the poet’s intense yearning to impart his thoughts and feelings, be so often difficult and the cause of readerly misunderstanding? How did it come to be that a ...
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How can Romantic poetry, motivated by the poet’s intense yearning to impart his thoughts and feelings, be so often difficult and the cause of readerly misunderstanding? How did it come to be that a poet can compose a verbal artwork, carefully and lovingly put together, and send it out into the world at the same time that he is adopting a stance against communication? This book addresses these questions by showing that the period’s writers were responding to the beginnings of our networked world of rampant mediated communication. The Connected Condition reveals that major Romantic poets shared a great attraction and skepticism toward the dream of perfectible, efficient connectivity that has driven the modern culture of communication. Samuel Taylor Coleridge, William Wordsworth, Percy Shelley, and John Keats all experimented with their artistic medium of poetry to pursue such ideals of speedy, transparent communication at the same time that they tried out contrarian literary strategies: writing excessively ornate verse, prolonging literary reading with tedious writing, being obscure, and questioning the allure of quickly delivered information. This book shows that the Romantic poets have much to teach us about living in—and living with—the connected condition, as well as the fortunes of literature in it.Less
How can Romantic poetry, motivated by the poet’s intense yearning to impart his thoughts and feelings, be so often difficult and the cause of readerly misunderstanding? How did it come to be that a poet can compose a verbal artwork, carefully and lovingly put together, and send it out into the world at the same time that he is adopting a stance against communication? This book addresses these questions by showing that the period’s writers were responding to the beginnings of our networked world of rampant mediated communication. The Connected Condition reveals that major Romantic poets shared a great attraction and skepticism toward the dream of perfectible, efficient connectivity that has driven the modern culture of communication. Samuel Taylor Coleridge, William Wordsworth, Percy Shelley, and John Keats all experimented with their artistic medium of poetry to pursue such ideals of speedy, transparent communication at the same time that they tried out contrarian literary strategies: writing excessively ornate verse, prolonging literary reading with tedious writing, being obscure, and questioning the allure of quickly delivered information. This book shows that the Romantic poets have much to teach us about living in—and living with—the connected condition, as well as the fortunes of literature in it.
Porscha Fermanis
- Published in print:
- 2009
- Published Online:
- March 2012
- ISBN:
- 9780748637805
- eISBN:
- 9780748652181
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748637805.001.0001
- Subject:
- Literature, Poetry
John Keats is generally considered to be the least intellectually sophisticated of all the major Romantic poets, but he was a more serious thinker than either his contemporaries or later scholars ...
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John Keats is generally considered to be the least intellectually sophisticated of all the major Romantic poets, but he was a more serious thinker than either his contemporaries or later scholars have acknowledged. This book provides a major reassessment of Keats' intellectual life by considering his engagement with a formidable body of eighteenth-century thought from the work of Voltaire, Robertson, and Gibbon to Hutcheson, Hume, and Smith. The book re-examines some of Keats' most important poems, including The Eve of St Agnes, Hyperion, Lamia, and Ode to Psyche, in the light of a range of Enlightenment ideas and contexts from literary history and cultural progress to anthropology, political economy, and moral philosophy. By demonstrating that the language and ideas of the Enlightenment played a key role in establishing his poetic agenda, Keats' poetry is shown to be less the expression of an intuitive young genius than the product of the cultural and intellectual contexts of his time. The book contributes to one of the most important current debates in literary scholarship — the understanding of the relationship between the Romantic period and the Enlightenment of the eighteenth century.Less
John Keats is generally considered to be the least intellectually sophisticated of all the major Romantic poets, but he was a more serious thinker than either his contemporaries or later scholars have acknowledged. This book provides a major reassessment of Keats' intellectual life by considering his engagement with a formidable body of eighteenth-century thought from the work of Voltaire, Robertson, and Gibbon to Hutcheson, Hume, and Smith. The book re-examines some of Keats' most important poems, including The Eve of St Agnes, Hyperion, Lamia, and Ode to Psyche, in the light of a range of Enlightenment ideas and contexts from literary history and cultural progress to anthropology, political economy, and moral philosophy. By demonstrating that the language and ideas of the Enlightenment played a key role in establishing his poetic agenda, Keats' poetry is shown to be less the expression of an intuitive young genius than the product of the cultural and intellectual contexts of his time. The book contributes to one of the most important current debates in literary scholarship — the understanding of the relationship between the Romantic period and the Enlightenment of the eighteenth century.
Emily Rohrbach
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780823267965
- eISBN:
- 9780823272440
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823267965.001.0001
- Subject:
- Literature, Poetry
Whereas Romantic studies often have focused on British Romanticism in its relations to the past—Romanticism as ruins, memory, and mourning—Modernity’s Mist draws attention to an understudied aspect: ...
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Whereas Romantic studies often have focused on British Romanticism in its relations to the past—Romanticism as ruins, memory, and mourning—Modernity’s Mist draws attention to an understudied aspect: Romanticism’s future-oriented poetics. This book explores the epistemological uncertainties that arise from the sense of an unknowable futurity at the outset of the nineteenth century. It situates that uncertainty in relation to an intellectual history of changing concepts of time and to the shifting historiographical debates in the late eighteenth and early nineteenth centuries, when the future was newly characterized both by its radical unpredictability and by the unprecedented speed with which it approached. In the work of John Keats, Jane Austen, Lord Byron, and William Hazlitt, Modernity’s Mist describes a poetic grammar of future anteriority—“what might will have been”—the imagining of the historical present as opening up a range of interpretive and dramatic possibilities, whereby the present becomes a process that will always remain incomplete. While historicist critics often are interested in what Romantic writers and their readers would have known, Modernity’s Mist is interested in why they felt they could not know the historical dimensions of their own age, and it describes the poetic strategies they used to convey that sense of mystery. In the poetic grammar of anticipation, these writers do not simply reflect the history of their time; their works make available to the imagination a new way of thinking about the historical dimensions of the present when faced with the temporal situation of modernity.Less
Whereas Romantic studies often have focused on British Romanticism in its relations to the past—Romanticism as ruins, memory, and mourning—Modernity’s Mist draws attention to an understudied aspect: Romanticism’s future-oriented poetics. This book explores the epistemological uncertainties that arise from the sense of an unknowable futurity at the outset of the nineteenth century. It situates that uncertainty in relation to an intellectual history of changing concepts of time and to the shifting historiographical debates in the late eighteenth and early nineteenth centuries, when the future was newly characterized both by its radical unpredictability and by the unprecedented speed with which it approached. In the work of John Keats, Jane Austen, Lord Byron, and William Hazlitt, Modernity’s Mist describes a poetic grammar of future anteriority—“what might will have been”—the imagining of the historical present as opening up a range of interpretive and dramatic possibilities, whereby the present becomes a process that will always remain incomplete. While historicist critics often are interested in what Romantic writers and their readers would have known, Modernity’s Mist is interested in why they felt they could not know the historical dimensions of their own age, and it describes the poetic strategies they used to convey that sense of mystery. In the poetic grammar of anticipation, these writers do not simply reflect the history of their time; their works make available to the imagination a new way of thinking about the historical dimensions of the present when faced with the temporal situation of modernity.
Jack Stillinger
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780195130225
- eISBN:
- 9780199855209
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195130225.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
Using the 180-year history of Keats’s “Eve of St. Agnes” as a basis for theorizing about the reading process, this book explores the nature and whereabouts of “meaning” in complex works. A proponent ...
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Using the 180-year history of Keats’s “Eve of St. Agnes” as a basis for theorizing about the reading process, this book explores the nature and whereabouts of “meaning” in complex works. A proponent of authorial intent, the author argues a theoretical compromise between author and reader, applying a theory of interpretive democracy that includes the endlessly multifarious reader’s response as well as Keats’s guessed-at intent. The author also ruminates on the process of constructing meaning, and posits an answer to why Keats’s work is considered canonical, and why it is still being read and admired.Less
Using the 180-year history of Keats’s “Eve of St. Agnes” as a basis for theorizing about the reading process, this book explores the nature and whereabouts of “meaning” in complex works. A proponent of authorial intent, the author argues a theoretical compromise between author and reader, applying a theory of interpretive democracy that includes the endlessly multifarious reader’s response as well as Keats’s guessed-at intent. The author also ruminates on the process of constructing meaning, and posits an answer to why Keats’s work is considered canonical, and why it is still being read and admired.
Nicholas Roe
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198186298
- eISBN:
- 9780191674495
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186298.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
This book sets out to recover the lively and unsettling voices of Keats's poetry, and seeks to trace the complex ways in which his poems responded to and addressed their contemporary world. It offers ...
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This book sets out to recover the lively and unsettling voices of Keats's poetry, and seeks to trace the complex ways in which his poems responded to and addressed their contemporary world. It offers new research about Keats's early life opening valuable new perspectives on his poetry. Two chapters explore the dissenting culture of Enfield School, showing how the school exercised a strong influence on Keats's imaginative life and his political radicalism. Imagination and politics intertwine through succeeding chapters on Keats's friendship with Charles Cowden Clarke; his medical career; the ‘Cockney’ milieu in which Keats's poems were written; and on the immediate controversial impact of his three collections of poetry. The book reconstructs contexts and contemporary resonances for Keats's poems, retrieving the vigorous challenges of Keats's verbal art which outraged his early readers but which was lost to us as Keats entered the canon of English romantic poets.Less
This book sets out to recover the lively and unsettling voices of Keats's poetry, and seeks to trace the complex ways in which his poems responded to and addressed their contemporary world. It offers new research about Keats's early life opening valuable new perspectives on his poetry. Two chapters explore the dissenting culture of Enfield School, showing how the school exercised a strong influence on Keats's imaginative life and his political radicalism. Imagination and politics intertwine through succeeding chapters on Keats's friendship with Charles Cowden Clarke; his medical career; the ‘Cockney’ milieu in which Keats's poems were written; and on the immediate controversial impact of his three collections of poetry. The book reconstructs contexts and contemporary resonances for Keats's poems, retrieving the vigorous challenges of Keats's verbal art which outraged his early readers but which was lost to us as Keats entered the canon of English romantic poets.
Thomas McFarland
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198186458
- eISBN:
- 9780191674556
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186458.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
This book surveys the poetic endeavour of John Keats and urges that his true poetry is uniquely constituted by being uttered through three artificial masks, rather than through the natural voice of ...
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This book surveys the poetic endeavour of John Keats and urges that his true poetry is uniquely constituted by being uttered through three artificial masks, rather than through the natural voice of his quotidian self. The first mask is formed by the attitudes and reality that ensue from a conscious commitment to the identity of poet as such. The second, called here the Mask of Camelot, takes shape from Keats's acceptance and compelling use of the vogue for medieval imaginings that was sweeping across Europe in his time. The third, the Mask of Hellas, eventuated from Keats's enthusiastic immersion in the rising tide of Romantic Hellenism. Keats's great achievement, the book argues, can only be ascertained by means of a resuscitation of the defunct critical category of ‘genius’, as that informs his use of the masks. To validate this category, the volume is concerned throughout with the necessity of discriminating the truly poetic from the meretricious in Keats's endeavour. The book constitutes a criticism of and a rebuke to the deconstructive approach, which must treat all texts as equal and must entirely forego the conception of quality.Less
This book surveys the poetic endeavour of John Keats and urges that his true poetry is uniquely constituted by being uttered through three artificial masks, rather than through the natural voice of his quotidian self. The first mask is formed by the attitudes and reality that ensue from a conscious commitment to the identity of poet as such. The second, called here the Mask of Camelot, takes shape from Keats's acceptance and compelling use of the vogue for medieval imaginings that was sweeping across Europe in his time. The third, the Mask of Hellas, eventuated from Keats's enthusiastic immersion in the rising tide of Romantic Hellenism. Keats's great achievement, the book argues, can only be ascertained by means of a resuscitation of the defunct critical category of ‘genius’, as that informs his use of the masks. To validate this category, the volume is concerned throughout with the necessity of discriminating the truly poetic from the meretricious in Keats's endeavour. The book constitutes a criticism of and a rebuke to the deconstructive approach, which must treat all texts as equal and must entirely forego the conception of quality.
Morton D. Paley
- Published in print:
- 2003
- Published Online:
- October 2011
- ISBN:
- 9780199262175
- eISBN:
- 9780191698828
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199262175.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
The interrelationship of the ideas of apocalypse and millennium is a dominant concern of British Romanticism. The Book of Revelation provides a model of history in which apocalypse is followed by ...
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The interrelationship of the ideas of apocalypse and millennium is a dominant concern of British Romanticism. The Book of Revelation provides a model of history in which apocalypse is followed by millennium, but in their various ways the major Romantic poets—Blake, Wordsworth, Coleridge, Byron, Keats, and Shelley—question and even at times undermine the possibility of a successful secularization of this model. No matter how confidently the sequence of apocalypse and millennium seems to be affirmed in some of the major works of the period, the issue is always in doubt: the fear that millennium may not ensue emerges as a significant, if often repressed, theme in the great works of the period. Related to it is the tension in Romantic poetry between conflicting models of history itself: history as teleology, developing towards end time and millennium, and history as purposeless cycle. This subject matter is traced through a selection of works by the major poets, partly through an exposition of their underlying intellectual traditions, and partly through a close examination of the poems themselves.Less
The interrelationship of the ideas of apocalypse and millennium is a dominant concern of British Romanticism. The Book of Revelation provides a model of history in which apocalypse is followed by millennium, but in their various ways the major Romantic poets—Blake, Wordsworth, Coleridge, Byron, Keats, and Shelley—question and even at times undermine the possibility of a successful secularization of this model. No matter how confidently the sequence of apocalypse and millennium seems to be affirmed in some of the major works of the period, the issue is always in doubt: the fear that millennium may not ensue emerges as a significant, if often repressed, theme in the great works of the period. Related to it is the tension in Romantic poetry between conflicting models of history itself: history as teleology, developing towards end time and millennium, and history as purposeless cycle. This subject matter is traced through a selection of works by the major poets, partly through an exposition of their underlying intellectual traditions, and partly through a close examination of the poems themselves.
Michael O'Neill
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780198122852
- eISBN:
- 9780191671579
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198122852.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
In this wide-ranging study the author examines the phenomenon of the ‘self-conscious poem’ — that is, a poem concerned with poetry or, more centrally if often connectedly, a poem that displays ...
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In this wide-ranging study the author examines the phenomenon of the ‘self-conscious poem’ — that is, a poem concerned with poetry or, more centrally if often connectedly, a poem that displays awareness of itself as a poem — in the work of the major Romantic poets: Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats. The book freshly illuminates many famous lyrics and longer poems and re-values less regarded works such as The Excursion. For the author, self-consciousness is allied to the new status granted to poetry by the Romantics. His closely attentive readings suggest that self-consciousness in Romantic poetry often accompanies exploration of, even anxiety about, poetry's significance. Yet his emphasis falls on the imaginatively productive ends to which such exploration and anxiety are put. An extended coda looks at the bequest of Romantic self-consciousness to post-Romantic writers. It offers chapters comparing Yeats and Stevens, discussing later Auden's scepticism about poetry, and exploring the affecting intricacies of Amy Clampitt's Voyages: A Homage to John Keats. Throughout, the author challenges recent accounts of Romanticism by placing at the centre of his study poetry's imaginative and aesthetic value.Less
In this wide-ranging study the author examines the phenomenon of the ‘self-conscious poem’ — that is, a poem concerned with poetry or, more centrally if often connectedly, a poem that displays awareness of itself as a poem — in the work of the major Romantic poets: Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats. The book freshly illuminates many famous lyrics and longer poems and re-values less regarded works such as The Excursion. For the author, self-consciousness is allied to the new status granted to poetry by the Romantics. His closely attentive readings suggest that self-consciousness in Romantic poetry often accompanies exploration of, even anxiety about, poetry's significance. Yet his emphasis falls on the imaginatively productive ends to which such exploration and anxiety are put. An extended coda looks at the bequest of Romantic self-consciousness to post-Romantic writers. It offers chapters comparing Yeats and Stevens, discussing later Auden's scepticism about poetry, and exploring the affecting intricacies of Amy Clampitt's Voyages: A Homage to John Keats. Throughout, the author challenges recent accounts of Romanticism by placing at the centre of his study poetry's imaginative and aesthetic value.
John Kerrigan
- Published in print:
- 2001
- Published Online:
- September 2011
- ISBN:
- 9780199248513
- eISBN:
- 9780191697753
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199248513.001.0001
- Subject:
- Literature, Shakespeare Studies
This book's chapters reproduce essays on such major figures as Sir Philip Sidney and John Milton, but also less celebrated writers, including Thomas Carew and — in a new piece — William Drummond, to ...
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This book's chapters reproduce essays on such major figures as Sir Philip Sidney and John Milton, but also less celebrated writers, including Thomas Carew and — in a new piece — William Drummond, to reconfigure the familiar and help extend the canon. Shakespeare looms large; his plays and poems, and his influence on Keats, are the subject of half the book. But themes and issues are pursued from the 1580s to the late Restoration. The book reassesses the nature of early modern texts — their production and reconstruction by writers, printers, theatre companies, and readers — and their relationship with socio-political circumstance. This book shows what criticism can do when closely engaged with verbal fabric and form. It concentrates on drawing out the distinctive qualities of poems and plays.Less
This book's chapters reproduce essays on such major figures as Sir Philip Sidney and John Milton, but also less celebrated writers, including Thomas Carew and — in a new piece — William Drummond, to reconfigure the familiar and help extend the canon. Shakespeare looms large; his plays and poems, and his influence on Keats, are the subject of half the book. But themes and issues are pursued from the 1580s to the late Restoration. The book reassesses the nature of early modern texts — their production and reconstruction by writers, printers, theatre companies, and readers — and their relationship with socio-political circumstance. This book shows what criticism can do when closely engaged with verbal fabric and form. It concentrates on drawing out the distinctive qualities of poems and plays.
Thomas McFarland
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198186458
- eISBN:
- 9780191674556
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186458.003.0002
- Subject:
- Literature, 19th-century Literature and Romanticism
For this chapter, we assume two significant configurations — one is represented by the Mask of Camelot while the other accounts for the various understandings, social agreements, and psychological ...
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For this chapter, we assume two significant configurations — one is represented by the Mask of Camelot while the other accounts for the various understandings, social agreements, and psychological guesses which comprise a figure called John Keats. Because John Keats, in this context, is treated merely as text or as a literary figure, the character can assume a number of different traits, such as the possession of intense sexual passion. Looking, on the other hand, on the Mask of Camelot, we realize that the central male figure in ‘The Eve of St. Agnes’ called Porphyro also has this immense inclination to sexual desires. Porphyro serves as a mask that justifies John Keats's sexual frustrations. It is important to note, however, that both these characters are taken as nothing more than something to intentionally attract a reader's attention, regardless of their contrasting traits.Less
For this chapter, we assume two significant configurations — one is represented by the Mask of Camelot while the other accounts for the various understandings, social agreements, and psychological guesses which comprise a figure called John Keats. Because John Keats, in this context, is treated merely as text or as a literary figure, the character can assume a number of different traits, such as the possession of intense sexual passion. Looking, on the other hand, on the Mask of Camelot, we realize that the central male figure in ‘The Eve of St. Agnes’ called Porphyro also has this immense inclination to sexual desires. Porphyro serves as a mask that justifies John Keats's sexual frustrations. It is important to note, however, that both these characters are taken as nothing more than something to intentionally attract a reader's attention, regardless of their contrasting traits.
Thomas McFarland
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198186458
- eISBN:
- 9780191674556
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186458.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism
As the churning of Keats's genius is seen as another exhibition of his tendency to be inclined to his too-muchness, this, in a way, differs from other such expressions. As too-muchness is brought ...
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As the churning of Keats's genius is seen as another exhibition of his tendency to be inclined to his too-muchness, this, in a way, differs from other such expressions. As too-muchness is brought about by Keats's almost excessive energy and desire to experience life and his awareness of what little time he has, the churning of his genius emerged from his seemingly numerous attempts at finding the most appropriate channel on which he could concentrate and attain a sustainable goal. Such churning is therefore evident in Keats's exploration of word play and experimentation with certain stanzaic patterns. In exploring the excerpts and looking into his experiments in the styles and repetitions in which he wrote his poems, these efforts should therefore not be separated from the way he had produced his more prominent works.Less
As the churning of Keats's genius is seen as another exhibition of his tendency to be inclined to his too-muchness, this, in a way, differs from other such expressions. As too-muchness is brought about by Keats's almost excessive energy and desire to experience life and his awareness of what little time he has, the churning of his genius emerged from his seemingly numerous attempts at finding the most appropriate channel on which he could concentrate and attain a sustainable goal. Such churning is therefore evident in Keats's exploration of word play and experimentation with certain stanzaic patterns. In exploring the excerpts and looking into his experiments in the styles and repetitions in which he wrote his poems, these efforts should therefore not be separated from the way he had produced his more prominent works.
Thomas McFarland
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198186458
- eISBN:
- 9780191674556
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186458.003.0007
- Subject:
- Literature, 19th-century Literature and Romanticism
After taking a closer look into the churning of Keats's genius and exploring the consequences and effects of his too-muchness, one may find it in some ways amazing that he was still able to achieve ...
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After taking a closer look into the churning of Keats's genius and exploring the consequences and effects of his too-muchness, one may find it in some ways amazing that he was still able to achieve such force and excellence in his more prominent odes and poems. Despite the minimum psychic space he was provided with, the economic stress, and the pressures brought on by his various frustrations and passions, we are able to examine how Keats's genius enabled him to find the appropriate space and time to produce such great works. In this chapter, the author attempts to explore two aspects of Keats's genius — focus and form — and how Keats was able to make the most of resources already provided.Less
After taking a closer look into the churning of Keats's genius and exploring the consequences and effects of his too-muchness, one may find it in some ways amazing that he was still able to achieve such force and excellence in his more prominent odes and poems. Despite the minimum psychic space he was provided with, the economic stress, and the pressures brought on by his various frustrations and passions, we are able to examine how Keats's genius enabled him to find the appropriate space and time to produce such great works. In this chapter, the author attempts to explore two aspects of Keats's genius — focus and form — and how Keats was able to make the most of resources already provided.
Michael O'Neill
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199299287
- eISBN:
- 9780191715099
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199299287.003.0003
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter on Yeats explores the work of his mid-to-late career. It begins by examining ‘Ego Dominus Tuus’, a pivotal poem written in a crucial period for Yeats, and one in which he sharpens his ...
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This chapter on Yeats explores the work of his mid-to-late career. It begins by examining ‘Ego Dominus Tuus’, a pivotal poem written in a crucial period for Yeats, and one in which he sharpens his response to Romantic culture by setting that response in dialogue with his evaluation of Dante. It is argued that Yeats's exaltation of Dante for being able to attain ‘Unity of Being’ cannot disguise his recognition of affinity with, and indebtedness to Romantic poets such as Shelley. The chapter's second half explores in detail the nature of Yeats's self-declared status as a ‘last Romantic’ in relation to a number of later poems, including ‘Coole and Ballylee, 1931’ and ‘The Gyres’. Complex intertextual relations are discussed between Yeats and his Romantic precursors (including Keats in his Odes). The chapter concludes with the suggestion that Yeats returns to the Romantics, less for a system of belief than for examples of how to dramatize conflict.Less
This chapter on Yeats explores the work of his mid-to-late career. It begins by examining ‘Ego Dominus Tuus’, a pivotal poem written in a crucial period for Yeats, and one in which he sharpens his response to Romantic culture by setting that response in dialogue with his evaluation of Dante. It is argued that Yeats's exaltation of Dante for being able to attain ‘Unity of Being’ cannot disguise his recognition of affinity with, and indebtedness to Romantic poets such as Shelley. The chapter's second half explores in detail the nature of Yeats's self-declared status as a ‘last Romantic’ in relation to a number of later poems, including ‘Coole and Ballylee, 1931’ and ‘The Gyres’. Complex intertextual relations are discussed between Yeats and his Romantic precursors (including Keats in his Odes). The chapter concludes with the suggestion that Yeats returns to the Romantics, less for a system of belief than for examples of how to dramatize conflict.
Genevieve Liveley
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199588541
- eISBN:
- 9780191741845
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199588541.003.0006
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter explores an unexpected affinity between Romans and Romantics ‘on love’. It shows that one Roman poet in particular appears repeatedly reflected in the writings of the English Romantic ...
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This chapter explores an unexpected affinity between Romans and Romantics ‘on love’. It shows that one Roman poet in particular appears repeatedly reflected in the writings of the English Romantic poets (Coleridge, Wordsworth, Percy Shelley, Byron, Keats) on the subject of love: Ovid, in his Amores, Ars Amatoria, and his Metamorphoses offers an uncannily Romantic image of love — not least of all in his representation of Narcissus. Challenging received readings in which Narcissus is seen as a figure for aesthetic, poetic, and emotional superficiality, it is argued that the Romantic reception of Narcissus reveals hidden depths to this Roman figure, whose love for his own image rather represents a desire for beauty, poetry, and sympathy — a Romantic Narcissus who holds up a mirror to show Romans themselves reflecting Romantics ‘on love’.Less
This chapter explores an unexpected affinity between Romans and Romantics ‘on love’. It shows that one Roman poet in particular appears repeatedly reflected in the writings of the English Romantic poets (Coleridge, Wordsworth, Percy Shelley, Byron, Keats) on the subject of love: Ovid, in his Amores, Ars Amatoria, and his Metamorphoses offers an uncannily Romantic image of love — not least of all in his representation of Narcissus. Challenging received readings in which Narcissus is seen as a figure for aesthetic, poetic, and emotional superficiality, it is argued that the Romantic reception of Narcissus reveals hidden depths to this Roman figure, whose love for his own image rather represents a desire for beauty, poetry, and sympathy — a Romantic Narcissus who holds up a mirror to show Romans themselves reflecting Romantics ‘on love’.
John Kerrigan
- Published in print:
- 2001
- Published Online:
- September 2011
- ISBN:
- 9780199248513
- eISBN:
- 9780191697753
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199248513.003.0003
- Subject:
- Literature, Shakespeare Studies
This chapter discusses works of Keats which present a Shakespearian quality, such as Lucrese. This poem, along with A Lover's Complaint, were ignored by Caroline Spurgeon. These two works of Keats ...
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This chapter discusses works of Keats which present a Shakespearian quality, such as Lucrese. This poem, along with A Lover's Complaint, were ignored by Caroline Spurgeon. These two works of Keats are able to reinforce assumptions about what Keats might correct in terms of what is considered to be distinctively Shakespearian.Less
This chapter discusses works of Keats which present a Shakespearian quality, such as Lucrese. This poem, along with A Lover's Complaint, were ignored by Caroline Spurgeon. These two works of Keats are able to reinforce assumptions about what Keats might correct in terms of what is considered to be distinctively Shakespearian.
Juliette Atkinson
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199572137
- eISBN:
- 9780191722967
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199572137.003.0007
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter considers yet another way in which obscurity was valued: for many Romantic poets, it was a sign of their sophistication, and would be overcome by a later audience who would confer on ...
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This chapter considers yet another way in which obscurity was valued: for many Romantic poets, it was a sign of their sophistication, and would be overcome by a later audience who would confer on them a posthumous fame. Victorian biographers formed the bulk of this ‘posthumous audience’ and possessed an important canonizing function. Richard Monckton Milnes's biography of Keats (1848), Alexander Gilchrist's life of Blake (1863), and Frederick Martin's biography of Clare (1865) place the idea of neglect at the heart of their work. They depict themselves as tireless champions of their cause, and use their authority as patrons to exhort the public to take better care of their literary heritage. These works were therefore as much sincere attempts to resurrect poets as they were an opportunity for the biographers to stake their cultural importance, despite the qualms of other members of the literary sphere.Less
This chapter considers yet another way in which obscurity was valued: for many Romantic poets, it was a sign of their sophistication, and would be overcome by a later audience who would confer on them a posthumous fame. Victorian biographers formed the bulk of this ‘posthumous audience’ and possessed an important canonizing function. Richard Monckton Milnes's biography of Keats (1848), Alexander Gilchrist's life of Blake (1863), and Frederick Martin's biography of Clare (1865) place the idea of neglect at the heart of their work. They depict themselves as tireless champions of their cause, and use their authority as patrons to exhort the public to take better care of their literary heritage. These works were therefore as much sincere attempts to resurrect poets as they were an opportunity for the biographers to stake their cultural importance, despite the qualms of other members of the literary sphere.
