Endymion: a Poetic Romance
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The Poetry of John Keats: Lamia, Endymion, Poems 1817, and Poems 1820
Keats’ Poetry: 4 Books The poetry of John Keats: Lamia, Endymion, Poems 1817, and Poems 1820 AN ELECTRONIC CLASSICS SERIES PUBLICATION Keats’ Poetry: 4 Books by John Keats is a publication of The Electronic Classics Series. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylvania State Uni- versity assumes any responsibility for the material con- tained within the document or for the file as an elec- tronic transmission, in any way. Keats’ Poetry: 4 Books by John Keats, The Electronic Classics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File pro- duced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Department of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover Design: Jim Manis Copyright © 2010 - 2012 The Pennsylvania State University is an equal opportunity university. Contents LAMIA .................................................... 6 ENDYMION: ....................................... 27 PREFACE..................................................................28 -
Top Left-Hand Corner
The four novels Hyperion, The Fall of Hyperion, Endymion and The Rise of Endymion constitute the Hyperion Cantos by the American science fiction writer Dan Simmons. This galactic-empire, epic, science fiction narrative contains a plethora of literary references. The dominant part comes from the nineteenth-century Romantic poet John Keats. The inclusion of passages from his poetry and letters is pursued in my analysis. Employing Lubomír Doležel’s categorizations of intertextuality— “transposition,” “expansion,” and “displacement”—I seek to show how Keats’s writings and his persona constitute a privileged intertext in Simmons’s tetralogy and I show its function. Simmons constructs subsidiary plots, some of which are driven by Keats’s most well-known poetry. In consequence, some of the subplots can be regarded as rewrites of Keats’s works. Although quotations of poetry have a tendency to direct the reader’s attention away from the main plot, slowing down the narrative, such passages in the narratives evoke Keats’s philosophy of empathy, beauty and love, which is fundamental for his humanism. For Keats, the poet is a humanist, giving solace to mankind through his poetry. I argue that the complex intertextual relationships with regards to Keats’s poetry and biography show the way Simmons expresses humanism as a belief in man’s dignity and worth, and uses it as the basis for his epic narrative. Keywords: Dan Simmons; The Hyperion Cantos; John Keats’s poetry and letters; intertextuality; empathy; beauty; love; humanism. Gräslund 2 The American author Dan Simmons is a prolific writer who has published in different genres. -
29 Diana and Endymion
29 Seligmann inventory); sold 1914 to (M. Knoedler & Co., London, New York, and Paris); sold March 1922 to John McCormack 1960.6.2 [1884 – 1945], New York; (M. Knoedler & Co., London, New York, and Paris); sold 1924 to William R. Timken [1866 – 1949], Diana and Endymion New York;1 by inheritance to his widow, Lillian Guyer Timken c. 1753 / 1756 [1881 – 1959], New York. Exhibited: L’Art du XVIIIe siècle, Galerie Georges Petit, Paris, 1883 – oil on canvas, 94.9 × 136.8 (37 3/8× 53 7/8) 1884, no. 7, as by Boucher. Loan Exhibition of Paintings by Old Timken Collection Masters, Palace of Fine Arts, San Francisco, 1920, no. 90, as by Boucher. Loan for display with permanent collection, Museum Distinguishing Marks and Labels of Fine Arts, St. Petersburg, Florida, 1966 – 1981, as by Boucher. The Loves of the Gods: Mythological Painting from Watteau to David, On stretcher: in blue crayon, “(5855)”; in blue crayon, “15444”; Galeries nationales du Grand Palais, Paris; Philadelphia Museum paper label, printed “15444”; Nga label of Art; Kimbell Art Museum, Fort Worth, 1991 – 1992, no. 60. Technical Notes: The support is a fine-weight, plain-weave fabric. The tacking margins have been removed, and the painting has been double-lined. There is a vertical seam in the original fabric approxi- mately 24 cm from the left edge. The painting’s original shape was changed radically during an early conservation treatment. The X- radiographs indicate that four fabric inserts were added to the paint- ing to change it from a curvilinear, scalloped shape to a rectangular format. -
Keats Essay Ode to Psyche October 2015 Final
1 Keats, Myth, and the Science of Sympathy Gregory Tate Keywords: Keats, ‘Ode to Psyche’, science, medicine, sympathy, myth Abstract This essay considers the connections between myth and sympathy in Keats’s poetic theory and practice. It argues that the ‘Ode to Psyche’ exemplifies the way in which Keats uses mythological narrative, and the related trope of apostrophe, to promote a restrained form of sympathy, which preserves an objectifying distance between the poet and the feelings that his poetry examines. This model of sympathy is informed by Keats’s medical training: the influential surgeon Astley Cooper and The Hospital Pupil’s Guide (1816) both identify a sensitive but restrained sympathy for patients’ suffering as an essential part of the scientific and professional methods of nineteenth- century medicine. However, while The Hospital Pupil’s Guide claims that mythological superstition has been superseded in medicine by positivist science, Keats’s ode suggests that myth retains a central role in poetry, as the foundation of a poetic method that mediates between imaginative sympathy and objective impartiality. In an 1843 biography of Sir Astley Cooper, one of Cooper’s students, Benjamin Travers, comments of the eminent surgeon that Neither his temperament nor his education had endowed him with a sensitiveness which in any degree disqualified him for the performance of his professional duties on the most trying occasions. In other words, he possessed an insusceptibility, equal to his powers of physical endurance. I mention this to meet the imputation of want of sensitiveness, with which I have heard him 2 reproached. He was not deficient in feeling, although it flowed in a deeper current, out of the reach of ordinary circumstances.1 Travers insists that there was no ‘want of sensitiveness’ in Cooper’s treatment of patients; the professional surgeon was also a man of feeling. -
Dialectical Oscillations in Keats: a Kristevan Reading of Endymion, Hyperion and the Fall of Hyperion
DIALECTICAL OSCILLATIONS IN KEATS: A KRISTEVAN READING OF ENDYMION, HYPERION AND THE FALL OF HYPERION A THESIS PROPOSAL SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÖKHAN ALBAYRAK IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH LITERATURE JANUARY 2019 Approval of the Graduate School of Social Sciences Prof. Dr. Tülin Gençöz Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Prof. Dr. Çiğdem Sağın Şimşek Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Assoc. Prof. Dr. Margaret J-M Sönmez Supervisor Examining Committee Members Prof. Dr. Huriye Reis (Hacettepe Uni., IDE) Assoc. Prof. Dr. Margaret J-M Sönmez (METU, FLE) Prof. Dr. Nazan Tutaş (Ankara Uni., IDE) Assoc. Prof. Dr. Nurten Birlik (METU, FLE) Assoc. Prof. Dr. Nil Korkut Kaykı (METU, FLE) PLAGIARISM I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Gökhan Albayrak Signature : iii ABSTRACT DIALECTICAL OSCILLATIONS IN KEATS: A KRISTEVAN READING OF ENDYMION, HYPERION AND THE FALL OF HYPERION Albayrak, Gökhan PhD, Department of English Literature Supervisor: Assoc. Prof. Dr. Margaret J-M Sönmez January 2019, 422 pages By deploying Kristevan theory, this thesis argues that Keats's poetry oscillates between the semiotic and the symbolic and it asserts that the semiotic threatens to overwhelm the symbolic in Endymion while the poet strives to repress the semiotic in Hyperion poems but it returns and causes the poet to leave these poems as fragments. -
Christian La Cassagnère
Keats’s Gleaming Melancholy: A Reading of Endymion by Christian La Cassagnère It may seem paradoxical to analyse the nature and the work of melancholy in Keats’s poetic creation without concentrating on the celebrated “Ode on Melancholy”, written in May 1819, in the height of the annus mirabilis. And it may seem somewhat provocative to choose instead Endymion, written two years before, in 1817, a notoriously “long poem”, as critics (taking up Keats’s own phrase) usually say to present it— a hardly engaging epithet to the 20th or 21st century poetry reader who shares Ezra Pound’s opinion that “It is better to present one image in a lifetime than to produce voluminous works”. Endymion is thus a poem that Keats’s critics never approach with much happiness and regard, with some condescension, as the product of a juvenile exercise in verse writing: “one of the most diluted poems in a century often given to poetic dilution”, which makes it (in comparison with Keats’s later production, especially that of the odes) “the most atypical of Keats’s major poems”, so that “the admirer of Keats, though prepared to be indulgent to every awkwardness and excess, has never really found the poem as a whole to be as interesting as he secretly thinks he should find it”. I am quoting Walter Jackson Bate who points out as well, in his authoritative book on Keats, the confusing and hardly significant economy of a text in whose making the young, inexperienced poet “kept adding details, snatching at embellishments as mere filler as he dashed forward”, uncertain as to where the composition might lead ( 171-4) . -
Mythology, Greek, Roman Allusions
Advanced Placement Tool Box Mythological Allusions –Classical (Greek), Roman, Norse – a short reference • Achilles –the greatest warrior on the Greek side in the Trojan war whose mother tried to make immortal when as an infant she bathed him in magical river, but the heel by which she held him remained vulnerable. • Adonis –an extremely beautiful boy who was loved by Aphrodite, the goddess of love. By extension, an “Adonis” is any handsome young man. • Aeneas –a famous warrior, a leader in the Trojan War on the Trojan side; hero of the Aeneid by Virgil. Because he carried his elderly father out of the ruined city of Troy on his back, Aeneas represents filial devotion and duty. The doomed love of Aeneas and Dido has been a source for artistic creation since ancient times. • Aeolus –god of the winds, ruler of a floating island, who extends hospitality to Odysseus on his long trip home • Agamemnon –The king who led the Greeks against Troy. To gain favorable wind for the Greek sailing fleet to Troy, he sacrificed his daughter Iphigenia to the goddess Artemis, and so came under a curse. After he returned home victorious, he was murdered by his wife Clytemnestra, and her lover, Aegisthus. • Ajax –a Greek warrior in the Trojan War who is described as being of colossal stature, second only to Achilles in courage and strength. He was however slow witted and excessively proud. • Amazons –a nation of warrior women. The Amazons burned off their right breasts so that they could use a bow and arrow more efficiently in war. -
Written and Visual Culture About the Mosaic of Castulo
JMR 8, 2015 61-79 Written and Visual Culture About the Mosaic of Castulo: The Influence of Lucian’s Works Castulo Mozaiği Hakkında Yazılı ve Görsel Kültür: Lucian’ın Çalışmalarının Etkisi Maria Luz Neira JIMéNEz* (Received 23 January 2015, accepted after revision 28 October 2015) Abstract This paper aims to investigate the new combination of two mythological legends with no apparent connection, the Judgement of Paris and Love of Selene and Endymion, listed as main scenes in a Hispanic mosaic found at Castulo in 2012. With this objective the peculiarities iconographic of both scenes, with an unpublished parallel Selene and Endymion, and their possible relation to different literary versions offered by ancient authors are analyzed, identifying the link between the protagonists of the two scenes on the Castulo mosaic in the works of Lucian, reflecting undoubtedly the semantic transformation of mythology and the influence of Written Culture in Visual Culture, in response to the extent of culture and the line of who commissioned the mosaic with critical ideas of Syrian author. Keywords: Judgement of Paris, Selene/Endymion, roman mosaics, Hispania, Lucian. Öz Bu makale, 2012 yılında Castulo’da bulunmuş olan bir Hispanya mozaiği üzerinde yer alan ana sahnede; birbiriyle açık bir bağlantısı olmayan ‘’Paris’in Kararı, Selene ve Endymion Aşkı’’ gibi iki ayrı mitolojik öykünün birleştirilmesiyle oluşan yeni bir araştırmayı amaçlamaktadır. Bu amaçla, her iki sahnenin ikonogra fik benzerlikleri, Selene ve Endymion’un yayınlanmamış paralelleri ve onların antik yazarlar tarafından sunulan farklı edebi versiyonlarıyla muhtemel ilişkisi, Lucian’ın eserlerinde Castulo mozaiği üzerindeki iki sahnenin kahramanları arasındaki bağlantıyı belirleyerek, şüphesiz mitolojinin anlamsal dönüşüm ve görsel kültürdeki yazılı kültürün etkisini yansıtan özellikleriyle, kültürün kapsamı ile çizgisine ve mozaik hakkında çalışmayı yapan Suriyeli yazarın eleştirisel fikirlerine yanıt olarak analiz edilmiştir. -
Modes and Genres in the Poetry and Letters of John Keats: an Analysis from the Standpoint of Deconstructive Phenomenology and Feminist Discourse
MODES AND GENRES IN THE POETRY AND LETTERS OF JOHN KEATS: AN ANALYSIS FROM THE STANDPOINT OF DECONSTRUCTIVE PHENOMENOLOGY AND FEMINIST DISCOURSE ABSTRACT THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ©octoi of ^ijilosopijp V, : -•• - 'fan IN ENGLISH ^i- ft' I ? *^ BY NAHIDAKHTAR \rt-^\.'^/ u.. WIS" !••'• UNDER THE SUPERVISION OF Dr. SEEMIN HASAN DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2008 ABSTRACT In Keats'S- poetry there is an abundance of women. They are an mtegral part of his poetry and letters. They enter into all aspects of his writing and cannot be contained in a single definition. This thesis examines the changing determinations of women in Keats's creative processes. Keats presents them in individual as well as universal identities. Keats conceives the poetic muse as feminine. In the poems of 1817, the feminine entity is an inseparable part of nature. Nature and natural objects are visualized as feminine. The present work also conducts an intensive study of the feminine power and energy acknowledged by Keats throughout the odes. In each ode, the woman presents the central metaphor. In the 'Ode to Psyche', Psyche is represented as the goddess by the poet whose status has been marginal for a long time. The poet restores the lost status of Psyche. She is the ideal beauty that inspires the poet to create. The nightingale, in the 'Ode to a Nightingale', is a bird that fascinates the poet through its voice. In 'Ode on a Grecian Urn', the urn assimilates the qualities of serenity and maternity. She is a friend and companion to mankind. -
The Ironic Impulse in Keats: Three Poems
SYDNEY STUDIES The Ironic Impulse in Keats: Three Poems GEOFFREY I....rITI.E In the first book of Keats's Endymion: a Poetic Romance, the young prince sits apart with the aged priest of Pan's festival, ignoring the games and dancing ofthe young and the projections of Elysium of the elders. He is lost in a dream which does not include the celebrations orconcerns ofhis people noreven ofhis family (his sister Peona): But in the self-same fixed trance he kept, Like one who on the earth had never stepped. Aye, even as dead-still as a marble man, Frozen in that old tale Arabian) Later, the tranced wanderings ofthe 'Brain-sick shepherd prince' (11,43) in search of his moon-goddess (as she turns out to be), and curious rejection of his own awareness of 'Imagination's struggles, far and nigh, All human' (II, 155-6), bring him to an erotic embrace in dream: he took - oh, bliss! A naked waist: 'Fair Cupid, whence is this?' A well-known voice sighed, 'Sweetest, here am I!' At which soft ravishment, with doting cry They trembled to each other. (II, 712-6) Perllaps aware that the imagination was not struggling very hard here, Keats added: Helicon! o fountained hill! Old Homer's Helicon! That thou wouldst spout a little streamlet o'er These sorry pages! (11,716-9) Later again in his 'fairy journey' (11,352), when Endymion first encounters the apparently mortal Indian Maiden who has strayed from Bacchus's troop, he responds to her roundelay: I cannot choose but kneel here and adore. -
Moon Mythology Suggested Lesson Plan
Moon mythology Suggested lesson plan From the beginning of human existence, people have looked at the sky tried to create order in the stars. Some cultures constructed images of deities and animals from among the stars and told stories through these constellations. The largest celestial body in our night sky is the moon, and because of its prominence many cultures assigned special importance and god-like powers to it. The moon was an early system for tracking time by the lunar month. From childhood story book rhymes to professional scientists, the Moon plays an important part of defining who we are and where we are in the universe. Indeed Armstrong took ‘one small step,’ yet fulfilling the fantasies of millions of people throughout the years, it was a ‘giant leap for mankind.’ This lesson is intended to be used as an in classroom activity that will coincide with the Aurora History Museum’s exhibit for the moon landing’s 50th anniversary. (March 12th2019-July 21st 2019). This lesson is written to third grade standards, but could easily be adapted to younger or older students. Third Grade Colorado Standard: Reading, Writing and Communicating Standard 1.2.a-Students can report on a topic, tell a story, or recount an experience with appropriate facts and relevant, descriptive details, speaking clearly and at an understandable pace. Standard 2.1.a.iii-Students can use key ideas and details to recount stories, including fables, folktales, and myths from diverse cultures; determine the central message, lesson, or moral and explain how it is conveyed through key details in the text. -
De Finibus Bonorum Et Malorum Documentation
De finibus bonorum et malorum Documentation Release Loeb Classical Library, Harvard University Press, vol. XVII, second (revised) edition, 1931 Marcus Tullius Cicero Aug 21, 2018 Cicero: de Finibus 1 Bill Thayer’s Notes 1 1.1 Cicero: de Finibus............................................1 2 The Loeb Editor’s Introduction3 2.1 The Author’s Notes:........................................... 10 3 Book I 11 4 Book II 27 5 Book III 55 6 Book VI 71 7 Book V 89 Bibliography 111 i ii CHAPTER 1 Bill Thayer’s Notes 1.1 Cicero: de Finibus 1.1.1 The text The edition transcribed here is that of the Loeb Classical Library, Harvard University Press, vol. XVII, second (revised) edition, 1931; Latin text with facing English translation by H. Harris Rackham. It is in the public domain pursuant to the 1978 revision of the U. S. Copyright Code, because the copyright expired and was not renewed at the appropriate time, which would have been in 1958 or 1959. (Details here on the copyright law involved.) As usual, I retyped the text rather than scanning it: not only to minimize errors prior to proofreading, but as an opportunity for me to become intimately familiar with the work, an exercise which I heartily recommend. (Well-meaning attempts to get me to scan text, if successful, would merely turn me into some kind of machine: gambit declined.) In the table of contents below, all the Books are shown on blue backgrounds; red backgrounds would indicate that my transcription was still not proofread. The header bar at the top of each webpage will remind you with the same color scheme.