DOCSLIB.ORG

The 'Aching Pleasure' of John Keats's Poetry 1818-1820 Ellen Nicholls

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The 'Aching Pleasure' of John Keats's Poetry 1818-1820 Ellen Nicholls 1 The ‘Aching Pleasure’ of John Keats’s Poetry 1818-1820 Ellen Nicholls Registration Number: 150227988 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts & Humanities School of English February 2019 2 Abstract This thesis investigates how John Keats explores the diverse and continually shifting relationships between pleasure and pain. It considers how far Keats engages with, advances, and departs from a medical understanding of affective experience by thinking about how poetry becomes the means by which Keats tests, explores, and experiments with the idea that pleasure and pain are intrinsically linked. This study hones in on Keats’s most productive years of poetic composition, between 1818 and 1820, as a period in which Keats intensely experimented with poetic form and genre even as he experienced a painful decline in health. Through a new formalist and reader response approach, this thesis shows how the nuances of poetic language and the subtle manipulations of poetic form are the spaces through which Keats navigates the dynamic nature of ‘aching Pleasure’ (‘Ode on Melancholy’, 23). The opening chapter focusses on weeping in Isabella, analysing the liminal status of tears as psycho-physiological manifestations that encompass both the pleasures and pains of the mind and body. The second chapter continues to look at selfhood and grief in Hyperion. A Fragment, focussing on the figure of Saturn to discuss how Keats tests the notion that identity can be shaped and perfected by pain and loss. Chapter three moves away from individual suffering to investigate how The Fall of Hyperion and The Eve of St Agnes situate the reader on the outside of spectacles of pleasure and pain, highlighting the unsettling pleasure experienced during the act of observing another’s encounter with anguish or delight. In chapter four, the uncertain and ‘bitter-sweet’ (Lamia, I, 59) ‘truth’ status of pleasure is explored in Lamia; a poem that teasingly provokes analytical choice-making at the same time as it refuses to take sides. The final chapter looks at Keats’s 1819 spring odes to show how numbness is not an experience that is analogous to the annihilation of all feeling, but a sensation that incorporates the elusive tinglings of pleasurable pain. Keats’s poetry never defines a single theory of how pain and pleasure intermingle. Instead, it relishes in exploring painful pleasure as an uncertain affective state, demonstrating the inexhaustible diversity of human experience. This thesis shows how Keats’s profoundest insights and most intellectually challenging lines of poetry occur at those moments when the young poet attempts to ‘unperplex bliss from its neighbour pain’ (Lamia, I, 192). 3 Acknowledgements I wish to thank my primary supervisor, Dr Madeleine Callaghan, for her invaluable guidance and substantial support throughout my thesis. Thanks also go to my second supervisor Dr Katherine Ebury for her thought-provoking responses to this project and for her advice on how to approach a medical reading of Keats’s works. I consider myself especially privileged to have received the generous and insightful feedback of Professor Michael O’Neill for my second chapter on Hyperion. I am also very grateful to my girlfriend, Daisy Ferris, for her careful proofreading and her unwavering support and understanding. This project was funded by the Wolfson Foundation. 4 Table of Contents Page Introduction: ‘Welcome Joy, and Welcome Sorrow’ ………………………………………………………………………………………… 5-28 Chapter One: ‘She Weeps alone for Pleasures not to be’: The Science and Romance of Tears in Isabella; Or, the Pot of Basil ……………………………………………………………………………………….. 29-64 Chapter Two: ‘[H]orrors, Portion’d to a Giant Nerve’: The Pain of Saturn’s ‘Soul-Making’ in Hyperion: A Fragment ………………………………………………………………………………………. 65-101 Chapter Three: ‘Ach[ing] to See’: Spectacles of Pain and Pleasure in The Fall of Hyperion and The Eve of St Agnes ……………………………………………………………………………………… 102-137 Chapter Four: Confusing ‘Intrigue with the Specious Chaos’: The Impurity of Pleasure in Lamia ……………………………………………………………………………………… 138-176 Chapter Five: ‘Pain had no Sting, and Pleasure’s Wreath no Flower’: Numbness as Painful Pleasure in Keats’s Spring Odes ……………………………………………………………………………………… 177-215 Conclusion: Keats’s ‘Voyage of Conception’ ………………………………………………………………………………………. 216-222 Bibliography ………………………………………………………………………………………. 223-241 5 Introduction: ‘Welcome Joy, and Welcome Sorrow’ Welcome joy, and welcome sorrow, Lethe’s weed and Hermes’ feather; Come today, and come tomorrow, I do love you both together! I love to mark sad faces in fair weather, And hear a merry laugh amid the thunder. Fair and foul I love together (‘Welcome Joy, and Welcome Sorrow’, 1-7).1 The interdependency of pleasure and pain is a central preoccupation in the poetry of John Keats. Keats explored the animating and changing relationships between these ostensible contraries, welcoming joy and sorrow as equally desirable sensations and as feelings that repeatedly come ‘both together’. Keats shared in the conviction of his poetic contemporaries that ‘Joy & Woe are woven fine’ and that ‘Under every grief & pine / Runs a joy with silken twine’.2 But unlike Blake, Wordsworth, Coleridge, Shelley, and Byron, Keats’s belief in the ‘sweetness of the pain!’ (‘Welcome Joy, and Welcome Sorrow’, 23) was informed and enriched by first-hand encounters with dissecting, medicating, and surgically operating upon the diseased and ailing body in an often extreme state of suffering. Keats’s apprenticeship as an apothecary; his medical training and duties as a surgeon’s dresser at the united hospitals of St. Thomas and Guy’s; and his painful and suffocating experiences nursing his mother Frances and brother Tom through terminal pulmonary tuberculosis, were defining encounters with pain that appear to be far removed from any trace of delight. And yet the young poet believed that misfortune offered man ‘the pleasure of trying the resources of his spirit’ (John Keats: Letters I, 186),3 ardently pursuing the idea that ‘branchèd thoughts’ are ‘new grown with pleasant pain’ (‘Ode to Psyche’, 52) so that suffering is counterpointed by the pleasure of personal, intellectual, and imaginative growth. Keats embraced medicine as a branch of knowledge that was compatible with his poetic ambitions. While he resisted the taxonomic and axiomatic logic of those 1 John Keats, John Keats The Complete Poems, ed. by John Barnard, 3rd edition (London: Penguin Group, 1988). All poems will be cited from this edition and are cited parenthetically hereafter. 2 William Blake, ‘Auguries of Innocence’, 59 and 61-62, in William Blake: The Complete Poems, ed. by Alicia Ostriker, Penguin Classics (London: Penguin, 1977). 3 John Keats, The Letters of John Keats, 1814-1818, ed. Hyder Edward Rollins, 2 vols. (Cambridge, MA: Harvard University Press, 1958). All citations are indicated parenthetically hereafter. 6 disciplines that classified existence into certain and distinct states of being, Keats gained from medicine a relish for exploring, speculating upon, and thinking deeply about the life of sensations, even as he acknowledged the inherent unknowability of embodiment and of man’s internal existence. Critics repeatedly recognise that pleasure and pain are inextricably bound in Keats’s imagination, but none have yet teased out in a full-length study the ways in which Keats characterises and explores their relation. This thesis redresses this gap, arguing that Keats utilises his poetry as a site of experimentation in which he tests how far it is possible to ‘unperplex bliss from its neighbour pain’ (Lamia, I, 192) and thereby show how tightly the gordian knot of ‘aching Pleasure’ (‘Ode on Melancholy’, 23) is wound. ‘Gross Slang of Voluptuousness’ During his lifetime, Keats was characterised as a poet of pleasure who unthinkingly and irresponsibly indulged in imagining and articulating experiences of sensuous delight. Contemporaneous responses to the publication of Poems in 1817 and Endymion in 1818 attacked Keats’s poetry for its ‘gross slang of voluptuousness’,4 associating the ‘uncouth language’ of Keatsian pleasure with Leigh Hunt’s bourgeois,5 liberal politics and the cockney school of ‘loose, nerveless versification’.6 In particular, Endymion’s sexualised imagery and crude language were obscenely direct: Keats did not shy away from describing the young hero’s arousal at the ‘slippery blisses’ (Endymion, II, 758) of the moon goddess’s lips or from depicting the Latmian shepherd swooning after he has ‘Drunken from Pleasure’s nipple’ (Endymion, II, 869). John Gibson Lockhart’s anonymous review of Endymion in Blackwood’s Edinburgh Magazine famously derided such sensory luxuriousness, labelling Keats as a ‘fanciful dreaming tea-drinker […] without logic enough to analyse a single idea’.7 Lockhart’s review echoed Byron’s more cutting remark that Keats is ‘always frigging his imagination’ and creating poetry of ‘mental masturbation’.8 Like Lockhart, Byron considered Keats to be an immature poet who solipsistically and mindlessly indulged in the private pleasures of the imagination without thinking through how poetry might help both the reader and poet to gain 4 Endymion was anonymously attacked for its ‘gross slang of voluptuousness’ in a June 1818 review in the British Critic, which can be found in Keats: The Critical Heritage, ed. by G. M. Matthews (London: Routledge & Kegan Paul Limited, 1971), pp. 91-96
Load more

Recommended publications
  • Welcome to Neverland! I Hope Each of You Are As Excited As I Am to Embark on a New Grand Year. This Year, I Encourage Everyone T
    Welcome to Neverland! I hope each of you In August, I began the second semester of my are as excited as I am to embark on a new Grand senior year at UTC and I am year. This year, I encourage everyone to chase anxiously countng down the their dreams through hard work and dedicaton. days. Right now, I am taking Though the 2020-2021 term may look a litle microbiology, plant morpholo- diferent than normal, that just means we’ll gy, and physics; so far I have need to get creatve! Even a global pandemic learned that I do not care for plants. I have al- can’t stop Rainbow Girls. ready submited my vet school applicatons to a variety of schools and, hopefully, I will hear some- During the quarantne, I have been busier thing by February! I have an interview already than ever! I work as a nurse at an animal ER on scheduled for UTK so wish me luck! the weekends; afer COVID hit, I began working full tme because our clinic was overwhelmed with cases. Thankful- I hope each of you are staying healthy and safe during ly, I work with a great group of people so the added hours these uncertain tmes. Though we cannot have our weren’t too bad. Even though I have been able to cut back typical fall events, I hope to be back to ofcial visits in to part-tme again, you can stll fnd me in the ICU Friday no tme! My thoughts are with you and always remem- through Sunday doing what I love and treatng patents.
    [Show full text]
  • The Streak of Sadness in Keats' Poetry: Understanding Meaning
    The streak of sadness in Keats’ poetry: understanding meaning through his structures and lexis Dr. Sukanya Saha VSWC, Chennai Tamilnadu India Abstract Keats‟ short and tragic life left him with fewer options to enjoy and celebrate the colours of nature and fruits of love. His odes communicate a host of emotions which strived to find expression. Keats‟ preoccupation with self, his fear of pain and death, his unfulfilled desires of love, his tendency to escape from the agonising present to nature or to a world of fancy are some predominant emotions which find their place in different forms in his poetry. Through all his odes, there runs a streak of sadness which connects his odes in a very eloquent manner. The sorrow reverberates throughout his odes in different fashion and haunts the reader in the same way as it haunted Keats himself. Keats‟ poetry has been a subject of appreciation and criticism both. The genuineness with which he voiced his feelings capture attention. Keats did not obscure his writing by adding complex tropes or intellectual allusions and employing intricate structures. Agreeable rhythmic patterns, simplistic structures and lexis retain interest and are prime reason for the admiration of his odes. The present paper studies the theme of sadness in Keats‟ odes. As we go through his famous odes we understand how his world was revolving around his lone self, its fears, desires and wishes. We also understand the way he handled sadness and pain and wished to escape repeatedly. The paper is an attempt to observe the structure and lexis of his odes and understand a connection between his style and theme.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses To see as a God sees : ctions of self in the works of P.B. Shelley and John Keats. Sandy, Mark How to cite: Sandy, Mark (1997) To see as a God sees : ctions of self in the works of P.B. Shelley and John Keats., Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1712/ 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 'To see as a God sees' Fictions of the Self in the Works A thesis submitted in December 1997 for the degree of Ph. D to the University of Durham By Mark Sandy. (Department of English Studies) The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged.
    [Show full text]
  • 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
    [Show full text]
  • A. Forbes Mackay 1908-1909 Dr
    The Diary of A. Forbes Mackay 1908-1909 Dr. Allister Forbes Mackay on board the Nimrod a few days after the return from the South Magnetic Pole. The Diary of A. Forbes Mackay. 1908-1909 -1- Dr. Allister Forbes Mackay. This diary and its accompanying material are excerpted from Manuscripts in the Royal Scottish Museum Edinburgh, part 2. William S Bruce papers and diary of A Forbes Mackay. Arranged, edited and with an introduction by Joy Pitman. Information Series. Natural History 8. Edinburgh: Royal Scottish Museum, March 1982. This version is ‘By Kind Permission of National Museums Scotland.’ This edition of 100 copies was issued by The Erebus & Terror Press, Jaffrey, New Hampshire, for those attending the SouthPole-sium v.2 Craobh Haven, Scotland, 1-4 May 2015. Certain images and footnotes were not included. Printed at Savron Graphics Jaffrey, New Hampshire April 2015 INTRODUCTION by Joy Pitman LISTER FORBES MACKAY was born on February 22, 1878, in Carskey, Southend, A Argyllshire, son of Colonel Alexander Forbes Mackay and Margaret Isabella (Innes) Mackay. While his parents were in India, he was brought up in Campbeltown. The family later moved to Edinburgh, where he attended George Watson’s College. Mackay did biological work under Professor Geddes and D’Arcy Thomson at Dundee. He served as a trooper in South Africa and later with Baden Powell’s police. After returning to graduate from Edinburgh in 1901 as M.B., CH.B., he went back to the front as a civil surgeon. Later he entered the Navy as a surgeon, but retired after four years to join Shackleton’s Antarctic Expedition.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Dialogical Odes by John Keats: Mythologically Revisited
    ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 4, No. 8, pp. 1730-1734, August 2014 © 2014 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.4.8.1730-1734 Dialogical Odes by John Keats: Mythologically Revisited Somayyeh Hashemi Department of English, Tabriz Branch, Islamic Azad University, Tabriz, Iran Bahram Kazemian Department of English, Tabriz Branch, Islamic Azad University, Tabriz, Iran Abstract—This paper, using Mikhail Bakhtin’s theory of dialogism tries to investigate the indications of dialogic voice in Odes by John Keats. Indeed this study goes through the dialogic reading of ‘Ode to a Nightingale’, ‘Ode on a Grecian Urn’, ‘Ode to Psyche’, and ‘Ode on Melancholy’, considering mythological outlooks. Analyzing Keats’s odes through dialogical perspective may reveal that Keats plays a role of an involved and social poet of his own time. Moreover, Keats embraces the world of fancy and imagination to free himself from sufferings of his society. Keats’ odes are influenced by expression of pain-joy reality by which he builds up a dialogue with readers trying to display his own political and social engagement. Applying various kinds of mythological elements and figures within the odes may disclose Keats’s historical response and reaction toward a conflicted society and human grieves in general. Index Terms—Bakhtinian dialogism, Keats’ Odes, pain, pleasure, mythology I. INTRODUCTION John Keats as one of the major poets of Romanticism, composed multiple popular poems and his odes gained the most attention of them. Going through his odes, it appears to the reader that Keats attempts to deal with different interpretation of pain and pleasure concepts.
    [Show full text]
  • SPRING 2019 Newsletter of the Washington Chapter of the Wildlife Society
    P a g e | 1 The WashingtonTHE WASHINGTON WILDLIFER WildliferSPRING 2019 Newsletter of the Washington Chapter of The Wildlife Society MESSAGE FROM THE PRESIDENT Lisa Dowling Spring 2019 In This Issue: Spring has sprung in Washington and we have been busy bees. As we dust Message from the President ..............................................1 off our field gear and get ready for the Joint Annual Meeting Roundup .......................................2 2019 field season it’s always nice to 2020 Joint Annual Meeting ...............................................3 take stock of the multitude of contributions our hard work brings 2019 Election Results .........................................................3 to the wildlife management and New Artwork for WATWS ...............................................3 conservation. In a profession as diverse as wildlife management and Appreciation for Joint Meeting Financial Support ........4 conservation, we are fortunate to Student and Early Career Professional Incentives.........4 have a community of members that span the full spectrum. Scholarships and Grants ....................................................4 From working directly with wildlife, to managing their associated habitats, to fueling the research engine, to Awards and Recognition ....................................................5 synthesizing science into education and outreach, to being Get to Know Your Board .................................................5 on the front lines of driving wildlife-related policy and Northwest
    [Show full text]
  • John Keats 1 John Keats
    John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy.
    [Show full text]
  • 236201457.Pdf
    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 óðéᴦɂǾȦɁЕࣻɥ਽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¬ì쮵±­¶°© 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´
    [Show full text]
  • 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.
    [Show full text]