John Keats (P. 788) Literary Analysis (P. 789)

Total Page:16

File Type:pdf, Size:1020Kb

John Keats (P. 788) Literary Analysis (P. 789) “When I Have Fears That I May Cease to Be” John Keats John Keats (p. 788) (1795-1821) Those who leave a lasting imprint on the world do not always live long. When the life of a groundbreaking figure is cut short, it leaves the world asking, What more might this person have achieved, if only he or she had lived longer? John Keats is such a figure. Although he died at age twenty-five, Keats left his indelible mark on literature, and this makes us wonder what more he might have accomplished had he lived longer. A Defender of Worthy Causes Unlike his contemporaries Bryon and Shelley, John Keats was not an aristocrat. Instead, he was born to working-class Londoners. As a child, he received attention for his striking good looks and his restless spirit. Keats developed a reputation for fighting, but always for a worthy cause. It was not until he and his school-master’s son, Charles Cowden Clarke, became friends that Keats developed an interest in poetry and became an avid reader. From Medicine to Poetry In 1815, Keats began studying medicine at a London hospital. He had already begun writing poetry, but he earned his pharmacist’s license before abandoning medicine for the literary world. In 1818, he published his first major work, Endymion, a long poem that critics panned. Their negative reviews were due in part to Keats’s association with the radical writer Leigh Hunt. The reviews also reflected the uneven quality of the verse itself. Despite the critical rejection, Keats did not swerve from his new career. Instead, he began writing the second of his long poems, Hyperion, a work he was never to complete. A Year of Sorrow and Joy The year 1818 was significant for Keats in other ways as well. He lost his brother Tom to tuberculosis, but he also met the light of his life, Fanny Brawne, to whom he became engaged. The next year, 1819, was a period of feverish creativity. In just nine months, fired by grief, new-found love, and his own encroaching illness, Keats wrote the poems for which he is most famous, including “The Eve of St. Agnes,” “La Belle Dame sans Merci,” and his odes. Each is recogniZed as a masterpiece. An Early Death Keats’s engagement to Fanny and his burst of creativity might have been the prelude to a happy, productive life. Instead, Keats found his health deteriorating. RecogniZing that like his brother, he had tuberculosis, Keats moved to Italy, hoping that the warmer climate would reverse the disease. Sadly, that hope proved false, and in 1821, his battle with tuberculosis ended with his death. Keats wrote his own epitaph, which stresses the brevity of his life: “Here lies one whose name was writ in water.” A Legacy of Beauty Despite his early death and the fact that he composed his most important works in the space of just two years, John Keats remains one of the major influences in English poetry. Although he knew Percy Bysshe Shelley, he did not share Shelley’s rebellious spirit, nor did he believe in using poetry for political statements. Keats worked as a pure artist who labored under the banner of beauty. He found in beauty the highest value our imperfect world could offer, and he put its pursuit at the center of his poetry. In masterful verse, he eXplored the beauty he found in the most ordinary circumstances. At the same time, Keats was profoundly sensitive to the deep contradictions of life—of the sadness that every joy contains and the emptiness of every fulfillment. Although his best-remembered line is “Beauty is truth, truth beauty,” the poem in which it appears, “Ode on a Grecian Urn,” implicitly contrasts the froZen world of a painted scene with the world of change and decay in which we live. For Keats, striving after what can never be attained was perhaps the true poetic task. Literary Analysis (p. 789) The Ode An ode is a lyric poem, characterized by heightened emotion, that pays respect to a person or thing, usually directly addressed by the speaker. • The Pindaric ode (named for the Greek poet Pindar) falls in groups of three stanZas, one of which differs from the other two. Pindar’s odes celebrated victors at the Olympic Games. • Roman poets later developed the Horatian ode, which contains only one type of stanZa. • The irregular ode has no set pattern Keats created his own form of the ode, using ten-line stanZas of iambic pentameter (lines containing ten beats with a repeated pattern of unstressed-stressed). Often those stanzas begin with a heroic quatrain (four lines rhymed abab), followed by a sestet (six lines rhymed in various ways). “When I Have Fears That I May Cease to Be” John Keats Comparing Literary Works In his odes, Keats follows the tradition of paying respect to something. Yet his odes reveal as much about him as they do about his subjects. In “Ode to a Nightingale,” for instance, Keats finds himself caught by his longing for ideal beauty—a longing he cannot fulfill in real life. As you read, compare how each work dramatizes a conflict in the speaker. Analyze how the conflict is brought on by longings for what is far away. “When I Have Fears That I May Cease to Be” (p. 792) John Keats When I have fears that I may cease to be Before my pen has gleaned my teeming brain, gleaned v. collected from bit by bit, Before high-piled books, in charactery,1 as when gathering stray grain after a Hold like rich garners2 the full ripened grain; harvest 5 When I behold, upon the night’s starred face, Huge cloudy symbols of a high romance, teeming adj. filled to overflowing And I think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, 10 That I shall never look upon thee more, Never have relish in the fairy power Of unreflecting love—then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink. __________________________________________________________________ 1. charactery written or printed letters of the alphabet. 2. garners storehouses for grain. .
Recommended publications
  • Towards a Poetics of Becoming: Samuel Taylor Coleridge's and John Keats's Aesthetics Between Idealism and Deconstruction
    Towards a Poetics of Becoming: Samuel Taylor Coleridge’s and John Keats’s Aesthetics Between Idealism and Deconstruction Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV (Sprach- und Literaturwissenschaften) der Universität Regensburg eingereicht von Charles NGIEWIH TEKE Alfons-Auer-Str. 4 93053 Regensburg Februar 2004 Erstgutachter: Prof. Dr. Rainer EMIG Zweitgutachter: Prof. Dr. Dieter A. BERGER 1 TABLE OF CONTENTS PAGE DEDICATION .............................................................................................................. I ACKNOWLEDGMENTS ........................................................................................... II ABSTRACT ............................................................................................................... VI English........................................................................................................................ VI German...................................................................................................................... VII French...................................................................................................................... VIII INTRODUCTION Aims of the Study......................................................................................................... 1 On the Relationship Between S. T. Coleridge and J. Keats.......................................... 5 Certain Critical Terms................................................................................................
    [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]
  • Keats in His Poem Endymion to Describe Sexual Ecstasy Keats: Biographical / Historical Context It Is Not Certain When the Poem Was Written
    Bright star! would I were steadfast as thou art Bright star! would I were steadfast as thou art— steadfast: unwavering, resolute Not in lone splendour hung aloft the night And watching, with eternal lids apart, Like nature's patient, sleepless Eremite, Eremite: a Christian hermit or recluse The moving waters at their priestlike task Of pure ablution round earth's human shores, Or gazing on the new soft-fallen mask Of snow upon the mountains and the moors— No—yet still steadfast, still unchangeable, Pillowed upon my fair love's ripening breast, To feel for ever its soft fall and swell, Awake for ever in a sweet unrest, Still, still to hear her tender-taken breath, And so live ever—or else swoon to death. swoon was used by Keats in his poem Endymion to describe sexual ecstasy Keats: Biographical / Historical Context It is not certain when the poem was written. Some suggest it was written in October 1818 and say it was about Isabella Jones, but most argue it was written in July 1819, on another visit to the Isle of Wight (where he wrote On the Sea in 1816), and that it was about Fanny Brawne. Look at the contextual information below and consider how you might we apply it to a reading of the poem. In June 1818 Keats wrote the following in a letter to his brother Tom, describing Windermere in the Lake District. ‘the two views we have had of [the lake] are of the most noble tenderness – they can never fade away – they make one forget the divisions of life; age, youth, poverty and riches; and refine one’s sensual vision into a sort of north star which can never cease to be open-lidded and stedfast over the wonders of the great Power.’ Do you think this is sufficiently convincing to argue the poem was inspired by the Lake District rather than the Isle of Wight? As for who the poem was inspired by there are, as alluded to above, two theories: Robert Gittings believes that the lover that Keats is referring to is Mrs Isabella Jones, with whom Keats supposedly had an affair.
    [Show full text]
  • Alexis Krahling Ms. Gelso Brit Lit 3 March 14, 2014 How Does the Poem “When I Have Fears That I May Cease to Be” Relate To
    Krahling)2) ) Alexis Krahling Ms. Gelso Brit Lit 3 March 14, 2014 How does the poem “When I Have Fears That I May Cease to Be” relate to John Keats background and biography? The background of a person’s discuses a person’s past life and the experiences they went through. The biography of a person’s life is the story of a real person’s life written by someone other than that specific person. In “When I Have Fears That I May Cease to Be” by John Keats, published in 1848, parts of Keats background and biography are seen. Keats’s poem was written during the literary time period of Romanticism. Romanticism was a time when writers emphasized feeling and when individual experiences were highly valued. Keats expresses his feelings and his individual experiences in life in “When I Have fears That I May Cease to Be.” In the poem, Keats expresses his fear of dying before he accomplishes his goals and before he sees a specific woman again. He talks about how he feels alone in the world and how love and fame have no value. Knowing about John Keats’s life helps one understand the poem “When I Have Fears That I May Cease to Be” because it relates to John Keats’s background and biography by expressing his fears of death, his past experiences with death, and Keats’s ambitious attitude. John Keats was a well-known British author who wrote poems, like “When I Have Fears That I May Cease to Be”, during the Romantic Period.
    [Show full text]
  • Some Remarks on Keats and His Friends
    SOME REMARKS ON KEATS AND HIS FRIENDS By SIR ROBERT ARMSTRONG-JONES, C.B.E., M.D., D.L. LONDON, ENGLAND HE function of poetry is to of short stature, with a long and oval express and embody beautiful face, arresting features even to the and elevated ideas in language casual passer-by, every lineament that can stir the emotions and strongly cut and delicately alive. His Tit has an orderly, methodical wayhead of was well shaped, his eyes were presenting its creations, generally with dark, sensitive, large and glowing. His metrical and rhythmic periods. Ebe hair was golden brown, thick and curly. poet is a creator, who begins with the Severn said his eyes were like the hazel concrete and leads on to abstract eyes of a wild gipsy maid. Haydon said thought, so as to arouse pleasurable he had an eye that had an inward look sentiments in combination with a feel­ perfectly divine like a Delphic priestess ing of power, wonder, curiosity, respect, that had visions. affection, exaltation and love or some­ He was born on October 31, 1795, in times of envy and hatred. a posting-house, the Swan and Hoop, Probably no poet has ever kindled now 85 Moorgate, London; opposite a deeper feeling of pity and sympathy the entrance to Finsbury Circus, and for than Keats, mingled as this has been this accident he was taunted as the with a compelling admiration for his “cockney” poet as contrasted with the brilliant but short life’s work, shorter “Lakists.” His father, Thomas Keats, than that of any noted English poet.
    [Show full text]
  • John Keats 1795—1821
    FHS English Department ENGLISH LITERATURE John Keats 1795—1821 Assessment: Paper 3 Poetry Section B Specified Poetry One essay question from a choice of two (30 marks) 1 hour AOs AO1 Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression AO2 Analyse ways in which meanings are shaped in literary texts AO3 Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received Poems Studied ‘To Sleep’ ‘O Solitude! if I must with thee dwell’ ‘Ode to Psyche’ ‘On First Looking into Chapman’s Homer’ ‘Ode on a Grecian Urn’ ‘On the Sea’ ‘Ode to a Nightingale’ ‘In drear-nighted December’ ‘Ode on Melancholy’ ‘On Sitting Down to Read King Lear Once Again’ ‘Bright Star! would I were steadfast as thou art’ ‘When I have fears that I may cease to be’ ‘To Autumn’ ‘The Eve of St Agnes’ Terminology Internal rhyme: An exact rhyme (rather than rhyming vowel sounds, as with asso- nance) within a line of poetry: "Once upon a midnight dreary, while I pondered, Allusion: Unacknowledged reference and quotations that authors assume their weak and weary." readers will recognize. Meter: The number of feet within a line of traditional verse. Example: iambic pen- Anaphora: Repetition of the same word or phrase at the beginning of a line tameter. throughout a work or the section of a work. Octave: The first eight lines of an Italian or Petrarchan sonnet, unified by rhythm, Apostrophe: Speaker in a poem addresses a person not present or an animal, in- rhyme, and topic.
    [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]
  • POPULARIZING CHAUCER in the NINETEENTH CENTURY by Charlotte C
    POPULARIZING CHAUCER IN THE NINETEENTH CENTURY by Charlotte C. Morse Charles Cowden Clarke (1787–1877), Charles Knight (1791–1873), and John Saunders (1810–1895) were the most effective boosters of Chaucer’s common readership before the university in the mid-1860s took over the care and promotion of Middle English language and literature, includ- ing Chaucer.1 All three popularizers came of age in the wake of the French Revolution, which reinforced and magnified whatever nationalist impulses were already at work in nascent pan-European Romanticism. Ideas of a people united by shared culture rather than by allegiance to a king made the invention and promotion of a literary tradition a desideratum for every nation. Thanks especially to J. G. Herder, the nationalism produced by and in reaction to the French Revolution gave language a newly impor- tant role in defining the nation and granted exceptional political value to the nation’s literary and folk culture for its capacity both to unify and to stimulate continuing negotiation with tradition, essential to the per- petuation of the national community.2 In England the Revolution exerted contrary pressures, to reaction or to reform. Those in favor of reform understood that the political class, those with political rights, had to expand. Some asserted literacy as a basic human right.3 In this yeasty atmosphere, Cowden Clarke and Knight came of age; Saunders came to manhood in the run-up to the Reform Bill of 1832. All three identified with the reformist politics of the early decades of the century, when Henry Brougham, later Chancellor, led the parlia- mentary committee that aimed to improve mass education in England.4 The three popularizers believed that Chaucer’s poetry, like Shakespeare’s drama, should belong to all Englishmen.
    [Show full text]
  • Fernando Pessoa As English Reader and Writer
    MARIANA GRAY DE CASTRO Pessoa and Keats abstract: This article examines the dialogue between Fernando Pessoa and the English romantic poet John Keats (1795-1821). It begins by exploring Pessoa’s poetic engagement with Keats's verse, before moving on to an analysis of his assimilation of Keats's most influential aesthetic ideas, above all those of the chameleon poet and negative capability, which I argue were a significant, yet hitherto largely unex- plored, influence on Pessoa’s heteronymic invention. keywords: influence, Pessoa, Keats, private library Several of Fernando Pessoa’s poems, particularly his adolescent production in English, as well as his ideas about poetry, are indebted to his immersion in Eng- lish Romantic era literature during his formative years. This article will explore Pessoa’s creative and theoretical debt to the poet-critic John Keats (1795-1821), following in the footsteps of pioneering studies about this fertile dialogue by such critics as George Monteiro, Maria Irene Ramalho de Sousa Santos, and 1 Antonio M. Feijo. It will begin by examining an instance of poetic influence, before going on to consider Pessoa’s wider assimilation, in the context of his thinking on the heteronyms, of Keats’s aesthetic ideals. Pessoa’s reading diary of 1903, when he was fifteen and sixteen years old, reveals his voracious consumption of Keats over several months, and in the 2 same year he selected Keats’s Poetical Works as part of a school prize. This book is still present in his personal library, together with a number of critical studies of romantic literature, plus a biography of Keats.
    [Show full text]
  • © in This Web Service Cambridge University Press Cambridge University Press 978-1-108-06687-7
    Cambridge University Press 978-1-108-06687-7 - Recollections of Writers: With Letters of Charles Lamb, Leigh Hunt, Douglas Jerrold, and Charles Dickens Charles Cowden Clarke and Mary Cowden Clarke Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-06687-7 - Recollections of Writers: With Letters of Charles Lamb, Leigh Hunt, Douglas Jerrold, and Charles Dickens Charles Cowden Clarke and Mary Cowden Clarke Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-06687-7 - Recollections of Writers: With Letters of Charles Lamb, Leigh Hunt, Douglas Jerrold, and Charles Dickens Charles Cowden Clarke and Mary Cowden Clarke Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-06687-7 - Recollections of Writers: With Letters of Charles Lamb, Leigh Hunt, Douglas Jerrold, and Charles Dickens Charles Cowden Clarke and Mary Cowden Clarke Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-06687-7 - Recollections of Writers: With Letters of Charles Lamb, Leigh Hunt, Douglas Jerrold, and Charles Dickens Charles Cowden Clarke and Mary Cowden Clarke Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-06687-7 - Recollections of Writers: With Letters of Charles Lamb, Leigh Hunt, Douglas
    [Show full text]
  • “The Burden of the Mystery”: Keats's Reflections on Religion and Death
    ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 11, No. 4, 2015, pp. 18-24 www.cscanada.net DOI:10.3968/7660 www.cscanada.org “The Burden of the Mystery”: Keats’s Reflections on Religion and Death Fatimah A. Alotaibi[a],* [a]Department of English Language and Literature, Imam Muhammad Fatimah A. Alotaibi (2015). “The Burden of the Mystery”: Bin Saud University, College of Languages and Translation, Riyadh, Keats’s Reflections on Religion and Death. Studies in Saudi Arabia. Literature and Language, 11(4), 18-24. Available from: *Corresponding author. http://www.cscanada.net/index.php/sll/article/view/7660 DOI: http://dx.doi.org/10.3968/7660 Received 26 July 2015; accepted 18 September 2015 Published online 26 October 2015 Abstract INTRODUCTION Long time has passed since John Keats died but still his Not all people breathing their last are able to leave a literary heritage continues to inspire numerous researchers. legacy so powerful to be remembered long afterwards. The reason of such interest in Keats’s personality is the Men of art usually have more opportunities not to be sunk universality of themes that he encapsulated in his poetry. into oblivion. Moreover, even among artists and poets Keats’s works incorporate the fears and strivings to grasp future generations hardly remember even half of them. all mysteries of the universe illustrating impermanence It is not the same case with John Keats, as during his of life and strength of human spirit. Especially the poet dramatic short life the poet managed to leave a remarkable explored the topics of death and religion creating his literary heritage that is still remembered by the modern works “On Death”, “To Autumn”, “Written in Disgust community of researchers as well as among the ordinary of Vulgar Superstition”, “God of Meridian”, Why Did I public.
    [Show full text]
  • “Quiz 2 on John Keats”
    Subject: ENGLISH Class: B.A. Part 1 English Hons., Paper-2 Topic: QUIZ 2 ON JOHN KEATS Lecture No:91 By: Prof. Sunita Sinha Head, Department of English Women’s College Samastipur L.N.M.U., Darbhanga Email: [email protected] Website: www.sunitasinha.com Mob No: 9934917117 “QUIZ 2 ON JOHN KEATS” 1. Blake, Wordsworth, Coleridge, Byron, Shelley and Keats are sometimes called the Big Six English Romantic poets. Who was the youngest? Lord Byron William Wordsworth John Keats Percy Bysshe Shelley 2. Charles Cowden Clarke described 5th May, 1816 as the red-letter day in the life of his friend, John Keats. Why? Keats's first poem was published Keats received an apothecary's license Keats first met Fanny Brown Keats' first volume of poems was published 3. John Keats was condemned as a member of "The Cockney School" of poets. Who coined that derogatory phrase? John Wilson Croker Leigh Hunt P. B. Shelley John Gibson Lockhart 4. 'Bright Star' was a famous love sonnet by Keats. To whom was the poem addressed? Lady Jennings Fanny Brown Queen Elizabeth Isabella 5. John Keats is renowned today as a writer of odes. How many odes did he write? 6 56 28 108 6. "Beauty is Truth, Truth Beauty" is considered to summarise Keatsian aesthetics. In which poem did John Keats write the line? Ode to Autumn Ode to a Nightingale Bright Star Ode on a Grecian Urn 7. 'Ode to Psyche' is believed to be the first ode written by John Keats. Who is Psyche? A Hindu goddess A Babylonian goddess An Egyptian goddess A character in 'The Golden Ass' by Apuleius 8.
    [Show full text]