Jo Hn K Ea Ts , Se Lected Poems

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Text Title: (a) Text Title: (a) Worksheet title Refers to linksWorksheet on www.crossref-it.info title John Keats, Selected poems: (a) Odes Refers to links on www.crossref-it.info Lesson focus: To look at similarities Discussion ideas: Allocate the and differences in the language, tone other five great odes to and structure of Keats' odes. pairs/groups: . Ode on A Grecian Urn . Ode to a Nightingale Opening exercise: Remind the class of what an ode is and the . Ode on Indolence associations with this form. Ode to Psyche . Ode to Melancholy crossref-it.info/articles/397/ode and use the following questions as Students create a glossary of terms prompts for discussion: including What are the qualities of this Odes . The Romantic ode poem that make it an ode? . Lyrical What does Keats use as his main . Iambic pentameter subject matter in this ode? (a) . Celebratory Identify the poetic techniques . Ceremonious : Keats uses and their impact . Apostrophe What appear to be Keats . Elevated style personal feelings in this ode? Why do you think Keats chose to . How does Keats use this poetic form so often? communicate these feelings? From memory name the six 'great odes' that Keats wrote. Recreative task: Compose an ‘Ode to Keats’ employing as many of Textual examination: Re-read the following as possible: Ode to Autumn and recap its meaning . References to Greek crossref-it.info/textguide/john-keats- mythology selected-poems/40/2987 . References to nature crossref-it.info/textguide/john-keats- . Personification selected-poems/40/2989 . Use of the imperative Annotate all the features of form . Words with negative and structure: connotations. Letter the rhyme scheme . Scan the lines for length and Critical task: Plan an essay rhythm addressing the following: . Count the stanza lines How do Keats' odes reflect the , Selected poems , Selected Highlight the distinctive diction and world of nature? imagery in each stanza. See if you can identify any of the following: Extension task: Go through . Alliteration each of the odes and find . Assonance and sibilance A description of a place or object . Onomatopoeia Identify . Hyperbole . Keats’ contemplation arising . Simile from the place or object . Personification described Analyse the impact of the three . His personal or spiritual questions in this poem insight arising out of this. How does the mood and tone of the contemplation. poem change throughout the three John Keats John stanzas? ©2016 crossref-it.info .

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View metadata, citation and similar papers at core.ac.uk brought to you by CORE ź ±·±± ź ɷ˂ʎɁŽ í ù ± ¸ ± ¹ ô å í ð å ò žɥɔȣȶȹª Ode on Indolence ᝲ ᴥȰɁ̝ᴦ ࠞюඩˢ ᴥ੪Ұᴦ ᴥ˧ᴦ ˹Ode on Indolence ఊጶᣵɂǾႆȁȪȗ޴ͶȻԇȪȲ˧ᐐɥѓɆЫɁ۫Ɂ ȾߨȫȦɔɞǾমᰅᇒȗɁᠲɥ࢛ɆȹȗɞǿͽֿȾўȨɟȲ΍ɁᐥբᴥŽÔèåù ôïéì îïô¬ îåéôèåò äï ôèåù óðéî®žᴦɂǾȦɁЕࣻɥ਽ӎɋ߳Ȣ឴ቺȻɕ᛻țɞǿ Óï¬ ùå ôèòåå çèïóôó¬ áäéåõ¡ Ùå ãáîîïô òáéóå Íù èåáä ãïïìâåääåä éî ôèå æìï÷åòù çòáóó» Æïò É ÷ïõìä îïô âå äéåôåä ÷éôè ðòáéóå¬ Á ðåôìáíâ éî á óåîôéíåîôáì æáòãå¡ Æáäå óïæôìù æòïí íù åùåó¬ áîä âå ïîãå íïòå Éî íáóñõåìéëå æéçõòåó ïî ôèå äòåáíù õòî» Æáòå÷åìì¡ É ùåô èáöå öéóéïîó æïò ôèå îéçèô¬ Áîä æïò ôèå äáù æáéîô öéóéïîó ôèåòå éó óôïòå» Öáîéóè¬ ùå ðèáîôïíó¬ æòïí íù éäìå óðòéçèô¬ Éîôï ôèå ãìïõäó¬ áîä îåöåò íïòå òåôõòî¡ ¨Ode on Indolence¬ìì®µ±¶°© ᴥ±ᴦ ź ±·±² ź Ȉ˧̷Ɂ̪᫜ȉɥ۫ȾᩐȫȦɔɞᚐའɂǾ˧ᐐɥȈɮʽʓʶʽʃɁ᫒ȉᴥì® ±¶º ŽÔèå âìéóóæõì ãìïõä ïæ óõííåòéîäïìåîãåž» ì® ¶°ºŽôèå ãìïõäóžᴦȺӿɒᣅ ɒǾፅɔ՘ɞȦȻȺɕȕɞǿȦɁ஽ Ode on Indolence Ɂɸʴʁɬ᭛Ɂ۫ᴥì® µº ੔ᴻȻȪȹ۫ట఼ۃŽá íáòâìå õòîžᴦɂǾ˧ᐐɥᖃɞᴹᯏ۫ᴻȕɞȗɂᴹ ɁमҾɥ౓ȲȬȦȻȾȽɞǿ²± ȦȦȺǾɸʴʁɬ᭛Ɂ۫Ⱦ૫ȞɟȲ̷࿎ЅȻȗ șպሗɁɮʫ˂ʂɥႊȗɞ OdeonaGrecianUrnȻ Ode on Indolence ȻɁ ᩖɁ᪨ȳȶȲᄾᤏཟȾႡ৙ȪȲȗǿҰᐐȾȝȗȹɂǾᝂ̷ɂ৊Ѕӌɥႊȗȹ۫ Ɂ̷࿎ɥႆᐐȨȽȟɜᅓҰȾ֣ɆҋȪǾयɜɁ˰ႜɋɁՎоɥ᭐șǿȳȟǾ˨ ऻᐐȺɂǾᝂ̷ᴥɁျॴᴦɂᅓҰȾးɟҋȲ̷࿎ȻɁպԇɥઑɒǾ˧ᐐɥѯȲ ȗᆀɁधЅȻȪȹᖃɝՍɠșȻȬɞǿOde on a Grecian Urn Ɂᝂ̷ɁᝁɒɂǾ ᄠᐼȽȦȻȾǾ̷࿎ȲȴȟЫɁᆀɁ˰ႜȾᣝԵȬɞȦȻȺ༆țȹȪɑșᴥìì® ´´´µºŽÔèïõ¬ óéìåîô æïòí¬ äïóô ôåáóå õó ïõô ïæ ôèïõçèô ¯ Áó äïôè åôåòîéôùº Ãïìä Ðáóôïòáì¡žᴦǿȦɟȾߦȪȹǾ˧ᐐɥ۫˨ɋᣜȗᣌȰșȻȬɞ Ode on ઔȽমᰅᇒȗɁ᜘ᕹȾɕȞȞɢɜȭᴥìì® µ¹ږIndolence Ɂᝂ̷Ɂ᭐ȗɂǾयɁ ¶°ºŽÖáîéóè¬ ùå ðèáîôïíó¬ æòïí íù éäìå óðòéçèô¬ ¯ Éîôï ôèå ãìïõäó¬ áîä îåöåò íïòå òåôõòî¡žᴦǾȰșዊԨȾկțɜɟȰșȾɂ᛻țȽȗǿ²² ȽȯȽɜǾ ᝂ̷ɂ˧ᐐɋɁ๡ȪȟȲȗঢ়ᅔȾસțɜɟȹɕȗɞȞɜȺȕɞᴥìì® ³³³´
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June 2021 Newsletter
Registered Charity: 1147589 THE KEATSIAN The Newsletter of the Keats Foundation, Spring 2021 Donations Keats Foundation wishes to acknowledge with very many thanks the following generous donations and bequests: Justin Barnard, Keatsian, a legacy of £1000. Kiyoshi Nishiyama, Professor Emeritus of Waseda University, Tokyo, Japan, a donation of £100. Peter Phillips, a donation of £150. Brenda Walton in memory of her friend, Janet Cheshire, a donation of £100. Time to renew your subscription to the Keats Foundation As we gear up to bring the Keats Foundation out of the period of Covid restrictions, we are busy planning future events. Later this year, in November, we hope to stage The John Keats Anniversary Lecture (in London’s Guildhall), followed the same evening by the premiere of Emily Hall’s choral settings of lines from some of Keats’s poems. And for next year we are planning our seventh Keats Conference at Keats House, Hampstead, on 20-22 May 2022 - as well as an Eve of St Agnes event at Keats House in January 2022, the Annual John Keats Lecture and the Birthday wreath laying ceremony at Westminster Abbey. We hope to be able to produce more videos of readings of Keats’s poetry and to stage a performance featuring readings of letters between Keats, Fanny Brawne and Fanny Keats. We have plenty of activities planned, and your subscription makes it possible for us to prepare and stage them. A year’s Steadfast Supporter membership costs £28 (if you use PayPal) or £25 (if you pay by cheque). Please go to our website page: https://keatsfoundation.com/support/ Our Policy on privacy and holding information is set out on the Keats Foundation website here: https://keatsfoundation.com/privacy-policy/ Keats Foundation Anniversary Lecture Provisional plans are in place for The John Keats Anniversary Lecture to be held at Guildhall, London, in November 2021.
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Keats' Great Odes and the Sublime
Keats’ Great Odes and the Sublime by Daniel Leach First published in December 2009 by the Schiller Insti- a revolutionary youth movement, which consciously tute here. understood itself to be championing the view of Man and his relationship to nature, God, and his fellow men, When John Keats died in Rome on Feb. 23, 1821, at that was embodied in the American Revolution, and in the age of 25, the world lost one of the greatest poetic deadly conflict with the opposite, oligarchical view, as geniuses it had ever known, and although much of what represented by the reactionary forces arrayed at the would undoubtedly have been his greatest work was Congress of Vienna in 1815. unfinished, and as much scattered about in, or only This movement included Keats, as well as Percy hinted at in his letters, his published works contain Shelley, Leigh Hunt, and the essayist William Hazlitt, some of the greatest treasures in among others. The political at- the history of art and the pinna- mosphere in which they worked cle of Classical poetry in the was a brutal, repressive one, English language—his “Great reminiscent of the McCarthyite Odes.” witch hunts of the 1950s, di- These works have continued rected against anyone espousing to inspire every generation since “republican” sympathies, which his death, despite numerous Keats most emphatically did changes, mostly for the worse, with his first widely circulated in popular tastes, attesting to poem, “Written On the Day Mr. their grounding in universal Leigh Hunt Left Prison.” Hunt principles of the human spirit. had been imprisoned for insult- Although volumes have been ing the Prince Regent and, as written about them individually, one of the boldest of the circle of they have been poorly under- reformers who operated a philo- stood, precisely for that reason.
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Konturen V (2014) 85 Say Goodbye, Cy, to the Shores of Representation
Konturen V (2014) 85 Say Goodbye, Cy, to the Shores of Representation: Towards an Abstract Romanticism Forest Pyle University of Oregon This essay is concerned with the ways in which the works of Cy Twombly, especially those paintings that refer to and draw their impetus from the poetry of Shelley and Keats, elaborate an impulse towards abstraction already latent in Romanticism itself. Forest Pyle is Professor of English Literature at the University of Oregon. His work explores the problems and possibilities posed by aesthetic experience, particularly in the context of Romantic and post-Romantic literature. His first book, The Ideology of Imagination: Subject and Society in the Discourse of Romanticism, examines the ideological workings and implications of the Romantic concept of the imagination from Wordsworth and Coleridge through George Eliot. He has recently published Art's Undoing: In the Wake of a Radical Aestheticism (Fordham, 2014). The title I have fashioned for this essay incorporates the title of Cy Twombly’s magnificent painting, “Say Goodbye, Catullus, to the Shores of Asia Minor.” By appropriating it in this manner, I am afraid I have done violence to the elegiac tone and classical elegance of Twombly’s title and risked making it an annoyingly precious riff on epistemic shifts in art and literary history. I don’t know whether or not Twombly has passed to what Percy Shelley in his magnificent late elegy Adonais called “the abode where the Eternal are,” but the painter’s death in 2012 has made critical goodbyes and reckonings inevitable. I am certainly not in a competent position disciplinarily to offer any such critical reckoning; but I am much moved by many of Twombly’s pictures.
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A Dialogical Nature of Structure in Keats's Odes As a Circular Escape from Pain to Pleasure: a Bakhtinian Perspective
International Journal of Linguistics and Literature (IJLL)) ISSN(P): 2319-3956; ISSN(E): 2319-3964 Vol. 3, Issue 2, Mar 2014, 63-74 © IASET A DIALOGICAL NATURE OF STRUCTURE IN KEATS’S ODES AS A CIRCULAR ESCAPE FROM PAIN TO PLEASURE: A BAKHTINIAN PERSPECTIVE SOMAYYEH HASHEMI & BAHRAM KAZEMIAN Department of English, Tabriz Branch, Islamic Azad University, Tabriz, Iran ABSTRACT Using Mikhail Bakhtin’s concept of dialogism as a theoretical starting point, this thesis investigates the manifestations of dialogic voice in Odes by John Keats. In fact, this study attempts to examine the dialogic reading of “Ode to a Nightingale”, “Ode on Grecian urn”, “Ode on Indolence”, “Ode to Psyche”, “To Autumn” and “Ode to Melancholy”, through structural viewpoints. A scrutiny upon Keats's odes through dialogical perspective may reveal that Keats is a social and an involved poet of his time. Moreover, Keats as an escapist poet chooses the world of fancy and imagination to free himself from conflicts of his society. His odes are associated with expression of joy-pain reality through which Keats in a close dialogue with readers tries to display his own social and political engagement. Examining allusions, ironies and paradoxes, all the elements of structure, may show Keats’s historical response toward a troubled society. KEYWORDS: Dialogism, Dialogue, Keats`s Odes, Pain, Pleasure, Structure INTRODUCTION John Keats wrote many poems but his five odes are his prominent works. In his odes, he tries to convey a multiple meaning of pleasure and pain to the reader. His continuous and circular swinging from joy and pleasure to grief and pain highlights an emphasis on a need for a negotiation and communication with the reader.
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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.
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An Ekphrasis by CS Lewis
Inklings Forever: Published Colloquium Proceedings 1997-2016 Volume 10 A Collection of Essays Presented at the Tenth Frances White Ewbank Colloquium on Article 72 C.S. Lewis & Friends 6-5-2016 An Ekphrasis by C. S. Lewis: “On a Picture by Chirico” Joe R. Christopher Tarleton State University Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation Christopher, Joe R. (2016) "An Ekphrasis by C. S. Lewis: “On a Picture by Chirico”," Inklings Forever: Published Colloquium Proceedings 1997-2016: Vol. 10 , Article 72. Available at: https://pillars.taylor.edu/inklings_forever/vol10/iss1/72 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever: Published Colloquium Proceedings 1997-2016 by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. An Ekphrasis by C. S. Lewis: “On a Picture by Chirico” by Joe R. Christopher Joe R. Christopher is a Professor Emeritus of English, Tarleton State University, Stephenville, Texas. His and Joan Ostling’s C. S. Lewis: Writings about Him and His Works (1974) is one of the earliest and most comprehensive bibliographic studies of secondary materials on Lewis. His C. S. Lewis (1978), for the Twayne Authors Series, is a survey of Lewis’s prose writings. He has published many essays on Lewis since then. I. THE EKPHRASTIC POEM Let me begin at a personal level.
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Escapism, Oblivion, and Process in the Poetry of Charlotte Smith and John Keats
East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2013 Escapism, Oblivion, and Process in the Poetry of Charlotte Smith and John Keats. Jessica Hall East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/honors Part of the English Language and Literature Commons Recommended Citation Hall, Jessica, "Escapism, Oblivion, and Process in the Poetry of Charlotte Smith and John Keats." (2013). Undergraduate Honors Theses. Paper 62. https://dc.etsu.edu/honors/62 This Honors Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Escapism, Oblivion, and Process in the Poetry of Charlotte Smith and John Keats Thesis submitted in partial fulfillment of Honors By Jessica Hall The Honors College Midway Honors Program East Tennessee State University April 12, 2013 _____________________________ Dr. Jesse Graves, Faculty Mentor Hall 2 CONTENTS INTRODUCTION……………………………………………………………………. 3 CHAPTER ONE……………………………………………………………………… 5 CHAPTER TWO……………………………………………………………………… 18 CHAPTER THREE…………………………………………………………………… 45 CONCLUSION………………………………………………………………………... 55 WORKS CITED………………………………………………………………………. 57 Hall 3 Introduction Charlotte Turner Smith and John Keats have not often been considered together; on those occasions that they have, it has been in the most peripheral and narrow ways. There is ample cause for this deficiency in critical comment. Smith and Keats wrote, in many respects, from opposite ends of the Romantic spectrum. In her immensely popular Elegiac Sonnets, Smith— sometimes lauded as the first British Romantic poet—perfected the prototype of the ode form M.H.
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He Sang the Story' Narrative and Poetic Identity in Keats's Work
Durham E-Theses `He Sang the Story' Narrative and Poetic Identity in Keats's Work YAO, HUEY-FEN,FAY How to cite: YAO, HUEY-FEN,FAY (2011) `He Sang the Story' Narrative and Poetic Identity in Keats's Work, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3350/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ‘He Sang the Story’ Narrative and Poetic Identity in Keats’s Work Huey-fen Fay Yao PhD in English Studies Durham University 2011 Table of Contents Declaration, statement of copyright, and acknowledgements…………………iii Abstract…………………………………………………………………………v Note on Texts……………………………………………………………….......vii Introduction………………………………………………………………………1 Chapter One: Narrative Beginnings: ‘I stood tip-toe upon a little hill’ and ‘Sleep and Poetry’…… …………………………….……………………….…..26 Chapter Two: ‘Imagination’s Struggles’: The Quest for Beauty and Poetic Identity in Endymion ….………………………………..…………………….…62 Chapter Three: Digressions in ‘Isabella’: Keats as a Modern Narrator………..
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Sensory Imagery and Aesthetic Affect in the Poetry of Keats, Hopkins, and Eliot
UNLV Theses, Dissertations, Professional Papers, and Capstones 2009 Sensory imagery and aesthetic affect in the poetry of Keats, Hopkins, and Eliot Clare Louis Gerlach University of Nevada Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Comparative Literature Commons, and the English Language and Literature Commons Repository Citation Gerlach, Clare Louis, "Sensory imagery and aesthetic affect in the poetry of Keats, Hopkins, and Eliot" (2009). UNLV Theses, Dissertations, Professional Papers, and Capstones. 80. http://dx.doi.org/10.34917/1377188 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. SENSORY IMAGERY AND AESTHETIC AFFECT IN THE POETRY OF KEATS, HOPKINS, AND ELIOT by Clare Louis Gerlach Bachelor of Arts University of Nevada, Las Vegas 2001 Master of Arts University of Nevada, Las Vegas 2003 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Philosophy Degree in English Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas December 2009 THE GRADUATE COLLEGE We recommend that the dissertation prepared under our supervision by Clare Louis Gerlach entitled Sensory Imagery and Aesthetic Affect in the Poetry of Keats, Hopkins, and Eliot be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy English V.
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Creative Mutability in John Keats's Odes by Afroditi Domasi A
Creative Mutability in John Keats’s Odes By Afroditi Domasi A dissertation submitted to the School of English, at the Aristotle University of Thessaloniki, in partial fulfillment of the requirements for the degree of Master of Arts. MA in English and American Studies Dissertation Supervisor: Dr Maria Schoina Thessaloniki February 2020 Table of Contents Abstract………………………………………………………………………………..1 Introduction……………………………………………………………………………2 I. Pursuing Inspiration: “Ode on Indolence” and “Ode to Psyche”…………………..14 II. Mutability and the Artifact: “Ode on a Grecian Urn”…………………………….30 III. Pain into Creativity: “Ode to a Nightingale” and “Ode to Melancholy”………...40 IV. The Limits of the Cycle: “To Autumn”………………………………………….53 Conclusion……………………………………………………………………………61 Works Cited…………………………………………………………………………..63 Domasi 1 Abstract The notion of mutability according to the pre-Socratic philosophers, subjects everything in the world to constant change, regardless of ethical categories. It also relates to the concepts of fluidity and necessity. For the Romantics, it manifests chiefly in poetry. One can trace its influence in the odes of John Keats, especially when read in a specific sequence. In the “Ode on Indolence,” the poet fluctuates between inactivity and mental stimulation chiefly inspired by thoughts of poetry, while in the “Ode to Psyche” he resolves to restore a forgotten ideal through his poetry. Next in my analysis is the “Ode on a Grecian Urn,” in which he temporarily steps back from his role as a poet and becomes a recipient of art, contemplating mutability in the artifact. “Ode to a Nightingale” and “Ode on Melancholy” constitute poems of inner contemplation; in the former Keats contemplates the end of mutability in human mortality while being in a trance-like state; in the latter, this same feeling translates to melancholy in the conscious everyday experience.
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Keats and the Dynamics of Form
KEATS AND THE DYNAMICS OF FORM by DIANNE TIEFENSEE A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of English) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1986 Dianne Tiefensee, 1986 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the The University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. (Department of English) The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date: August 1986 ABSTRACT Of the many topics which have fascinated Keats's readers, three are remarkable for the continuing disputes they incite: the cause and nature of the prodigious and rapid development through which Keats firmly established himself in the ranks of great English poets in such an incredibly short time; Milton's influence on the Hyperion poems; and the origins of the distinctive Keatsian ode. The rapidity and extensiveness of Keats's development can be partially attributed to the process of discovery through writing which renders his earlier works the most important influence upon his later work. His ideas and his craftsmanship developed in tandem, enabling him to combine and alter traditional forms to suit his unique purposes — as, for example, he combines and modifies ode and sonnet forms to create odes which are innovative and unique.
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