Visions Beyond Reality: Keat's Poetic Rejection of Enlightenment Philosophy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THE INFLUENCE of MILTON Oi WORDSWORTH's POETRY
THE INFLUENCE OF MILTON Oi WORDSWORTH'S POETRY APPROVED; Major.Professor kI JLJBL4^£,\^Xk\4 Minor Professor ^ Director of the Department of English £**r^Vu De&h of tha^Braduate School THE INFLUENCE OF MILTON ON WORDSWORTH'S POETRY THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By 179878 Luree Burson, B. A* Silverton, Texas August, 1950 N. T. S. C. LIBRARY 179878 TABLE OF CONTENTS Chapter Page I. MILTON'S FAME IN WORDSWORTH'S DAY . 1 II. THE INFLUENCE OP MILTON ON WORDSWORTH'S POLITICAL VIEWS, PROSE, AND EARLY POlTfiT . 34 III. WORDSWORTH'S SONNETS AND SHORTER POEMS IN BLANK VERSE ........... 60 IV. THS PRELUDE AND THE EXCURSION .... 77 V. CONCLUSION .............. 94 BIBLIOGRAPHY ................. 102 iii CHAPTER I MILTON1S FAME IS WORDSWORTH'S DAI Throughout the eighteenth century the literary reputation of Milton had steadily grown, but the poetry of Milton had never been more generally or ardently admired by men of letters than during the time of William Wordsworth* The early romanticists seemed to have been responsible for this. When roaanticisa became the dominant word in English literature, it was only natural that the works of Milton, along with those of Spenser and Shakespeare, should enter upon an era of great popularity. Biographies of Milton were numerous, but the numerous editions of his works give the best basis for proof of his fame during that period. With particular reference to Paradise Lost this can be noted. Here a genuine surprise awaits us, for we find that between 1705 and 1$Q0 Paradise Lost was published over a hundred times! fhe wonder grows when we look at the Faerie Queene. -
The Order of Authors: Degrees of 'Popularity' and 'Fame' in John Clare's Writing
The Order of Authors: Degrees of ‘Popularity’ and ‘Fame’ in John Clare’s Writing ADAM WHITE Abstract: This essay analyses Clare’s essay ‘Popularity in Authorship’, arguing that the work can be seen as a central statement in Clare’s recurrent concern with poetic fame and authorial reputation. By connecting ‘Popularity in Authorship’ with Clare’s sonnets on his Romantic contemporaries (Robert Bloomfield and Lord Byron), the essay contends that Clare’s complex understanding of ‘popular’ and ‘common’ notions of fame helps to bring into focus a distinctive contribution to debates about how authors were received by different audiences in the period. Contributor: Adam White currently teaches in English and American Studies at the University of Manchester, where he obtained his PhD. He has published a number of essays on Romantic poetry, most recently on Robert Burns and John Clare. In 2012 his essay on Leigh Hunt, John Keats, John Hamilton Reynolds, and John Clare was awarded second prize in the Keats-Shelley Memorial Association competition. For The Literary Encyclopedia he has written entries on Lord Byron, John Keats, the Brontë sisters, Charles Dickens, and Thomas Hardy. In a letter of 29 August 1828 to Thomas Pringle,1 John Clare states that ‘I would sooner be the Author of Tam o shanter then of the Iliad & Odyssey of Homer’ (Storey 437).2 It is intriguing that Clare should voice a bold preference for being the author of ‘Tam o’ Shanter’ given that earlier in his career he had in fact been called ‘a second [Robert] Burns’ (Storey 105) after the instant success of his first volume, Poems Descriptive of Rural Life and Scenery (1820). -
Introduction
Introduction The Ladies, I should tell you, have been dealing largely and profitably at the shop of the Muses. And the Hon. Mrs. Norton ... has been proving that she has some of the true ink in her veins, and has taken down several big boys in Mr. Colburn's Great Burlington School. Mrs. Hemans, too, has been kindly noticed by Mr. Murray, and has accomplished the difficult feat of a second edition. Apollo is beginning to discharge his retinue of sprawling men-servants, and to have handmaids about his immortal person, to dust his rays and polish his bow and fire-irons. If the great He- Creatures intend to get into place again, they must take Mrs. Bramble's advice, and "have an eye to the maids." -John Hamilton Reynolds (1832) Although their influence and even their existence has been largely unac knowledged by literary scholars and critics throughout most of the twentieth century, women poets were, as their contemporary John Hamilton Reynolds nervously acknowledged, a force to be reckoned with in early-nineteenth century Britain.1 Not only Felicia Hemans and Caroline Norton but Letitia Elizabeth Landon and Mary Howitt were major players and serious competi tors in the literary marketplace of Reynolds's time. Their poetry was reviewed in the most prestigious journals, respected by discerning readers, reprinted, imitated, anthologized, sung, memorized for recitation, copied into com monplace books, and bought by the public. Before their time, prominent writers such as Joanna Baillie, Anna Letitia Barbauld, Hannah More, Mary Robinson, Anna Seward, Charlotte Smith, Mary Tighe, and others helped to change the landscape of British poetry both in style and in subject matter. -
Times and Tides of Tuberculosis Perceptions Revealed in Literature, Keats to Sontag
TIMES AND TIDES OF Tuberculosis PERCEPTIONS REVEALED IN LITERATURE, KEATS TO SONTAG THOMAS M. DANIEL Medical History Books by Thomas M. Daniel Polio (editor, with Frederick C. Robbins) Captain of Death: The Story of Tuberculosis Pioneers of Medicine and Their Impact on Tuberculosis Drama and Discovery. The Story of Histoplasmosis (with Gerald L. Baum) Wade Hampton Frost. Pioneer Epidemiologist. 1880–1938. Up to the Mountain. John Keats, 1795-1821 Pencil drawing by Shannon Casey TIMES AND TIDES OF TUBErcULOSIS Perceptions Revealed in Literature, Keats to Sontag Thomas M. Daniel 2013 · Fithian Press, McKinleyville California Copyright © 2013 by Thomas M. Daniel All rights reserved Printed in the United States of America The interior design and the cover design of this book are intended for and limited to the publisher’s first print edition of the book and related marketing display purposes. All other use of those designs without the publisher’s permission is prohibited. Cover photograph by Arthur B. McComb, May 3, 1988. Abandoned building of the White Haven Sanatorium. The White Haven Sanatorium opened in 1901 and operated until it closed on March 1, 1956. It housed an average of 617 tuberculosis patients annually. It attempted to provide free or low-cost care for tuberculosis victims of limited means. Published by Fithian Press A division of Daniel and Daniel, Publishers, Inc. Post Office Box 2790 McKinleyville, CA 95519 www.danielpublishing.com Distributed by SCB Distributors (800) 729-6423 library of congress cataloging-in-publication data Daniel, Thomas M., 1928- author. Times and tides of tuberculosis : perceptions revealed in literature, Keats to Sontag / by Thomas M. -
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. -
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 ఊጶᣵɂǾႆȁȪȗͶȻԇȪȲ˧ᐐɥѓɆЫɁ۫Ɂ ȾߨȫȦɔɞǾমᰅᇒȗɁᠲɥ࢛ɆȹȗɞǿͽֿȾўȨɟȲɁᐥբᴥŽÔèåù ôïéì îïô¬ îåéôèåò äï ôèåù óðéᴦɂǾȦɁЕࣻɥӎɋ߳Ȣ឴ቺȻɕțɞǿ 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˧̷Ɂ̪ȉɥ۫ȾᩐȫȦɔɞᚐའɂǾ˧ᐐɥȈɮʽʓʶʽʃɁȉᴥì® ±¶º ŽÔèå âìéóóæõì ãìïõä ïæ óõííåòéîäïìåîãåž» ì® ¶°ºŽôèå ãìïõäóžᴦȺӿɒᣅ ɒǾፅɔɞȦȻȺɕȕɞǿȦɁ Ode on Indolence Ɂɸʴʁɬ᭛Ɂ۫ᴥì® µº ᴻȻȪȹ۫ట఼ۃŽá íáòâìå õòîžᴦɂǾ˧ᐐɥᖃɞᴹᯏ۫ᴻȕɞȗɂᴹ ɁमҾɥȲȬȦȻȾȽɞǿ²± ȦȦȺǾɸʴʁɬ᭛Ɂ۫Ⱦ૫ȞɟȲ̷࿎ЅȻȗ șպሗɁɮʫ˂ʂɥႊȗɞ OdeonaGrecianUrnȻ Ode on Indolence ȻɁ ᩖɁ᪨ȳȶȲᄾᤏཟȾႡȪȲȗǿҰᐐȾȝȗȹɂǾᝂ̷ɂЅӌɥႊȗȹ۫ 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 Ðáóôïòá졞ᴦǿȦɟȾߦȪȹǾ˧ᐐɥ۫˨ɋᣜȗᣌȰșȻȬɞ Ode on ઔȽমᰅᇒȗɁᕹȾɕȞȞɢɜȭᴥìì® µ¹ږIndolence Ɂᝂ̷Ɂ᭐ȗɂǾयɁ ¶°ºŽÖáîéóè¬ ùå ðèáîôïíó¬ æòïí íù éäìå óðòéçèô¬ ¯ Éîôï ôèå ãìïõäó¬ áîä îåöåò íïòå òåôõòᴦǾȰșዊԨȾկțɜɟȰșȾɂțȽȗǿ²² ȽȯȽɜǾ ᝂ̷ɂ˧ᐐɋɁȪȟȲȗঢ়ᅔȾસțɜɟȹɕȗɞȞɜȺȕɞᴥìì® ³³³´ -
Keats, Vendler, Adorno, and the Theory of the Avant-Garde Author(S): Robert Kaufman Source: Critical Inquiry, Vol
Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant-Garde Author(s): Robert Kaufman Source: Critical Inquiry, Vol. 27, No. 2 (Winter, 2001), pp. 354-384 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/1344254 . Accessed: 28/03/2011 22:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=ucpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant-Garde Robert Kaufman Frankfurt school aesthetics has never quite fallen off the literary-cultural map; yet as with other areas of what currently goes by the name theory, interest in this body of work has known its surges and dormancies. -
In Keats's "Negative Capability"
Margaret Ann Fit ; ~patrick The Problem of "Identity" in Keats's "Negative Capability" Keats formulated his idea of negative capability in a way that con tinues to engage our attention. An elusive requirement for success as a poet-a state of mind rather than knowledge or talent-negative capability is still !>Ubject to critical discussion both in literary and psychological journals. All commentaries on negative capability search beyond the particular passage of definition in Keats's letter of December 21 I 27, i:817, to consider what he wrote about the nature of the poet's identity in other letters. One of the passages most often referred to describes the poet as a "chameleon" and suggests that he has no stable identity, but takes on aspects of his surroundings, shift ing into an identification with other things and characters at will. 1 A standard reading of Keats looks beyond his writing to argue that Hazlitt's lecture on Shakespeare and Milton is the source for his chameleon poet, and that Hazlitt's ideas help to explain the implica tions of negative c1pability. This approach emphasizes Hazlitt's con nection between the poet who has "no identity" and the virtue of "disinterestedness", which Hazlitt defined as sympathetic imagina tion. According to this theory, greatness both in art and in moral action stems from the sympathetic character of the imagination, which involves "losing the sense of 'our personal identity in some object dearer to us than ourselves"'.2 The theory establishes an optimistic relationship between practical goodness and accomplishment in the arts. -
Misreading Skepticism in the Long Eighteenth Century: Studies in the Rhetoric of Assent
Misreading Skepticism in the Long Eighteenth Century: Studies in the Rhetoric of Assent By Adam Sneed A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2018 Doctoral Committee: Professor Marjorie Levinson, Chair Professor Gregg Crane Associate Professor Sean Silver Professor Silke Maria-Weineck Adam Sneed [email protected] ORCID iD: 0000-0002-9205-1715 ACKNOWLEDGEMENTS My first thanks must be to the University of Michigan for the opportunity and privilege to pursue the life of the mind. I am deeply grateful for the tremendous and constant support provided by faculty and staff of the UM English Department. I am indebted to the Rackham School of Graduate Studies for two timely dissertation fellowships and to the U-M LSA International Institute for the opportunity to pursue archival research in Scotland. I thank the members of my dissertation committee: Sean Silver for providing a constant model of passionate, creative scholarship; Gregg Crane for first dislodging me from a neo-Kantian, Skeptical perspective; Silke Maria-Weineck for cheering on the polemic; and my wonderful chair, Marjorie Levinson, for supporting and encouraging me at every stage of the dissertation process and for bearing with me as the project evolved over time. I would like to thank my dear friends Samuel Heidepriem, Emily Waples, Logan Scherer, Kristin Fraser Geisler, Ryan Hampstead, Joe Chapman, Anthony Losapio, Sarah Mass, Alice Tsay, Lizzy Mathie, and Amrita Dhar for their love and support through the years in Ann Arbor. Special thanks to my dear friends Kathryne Bevilacqua, John Paul Hampstead, and Julia Hansen, who read and commented on drafts in the final stages. -
Introduction : 'Un Paese Tutto Poetico' – Byron in Italy, Italy in Byron
1 Introduction : ‘Un paese tutto poetico’ – Byron in Italy, Italy in Byron Alan Rawes and Diego Saglia Th e connection between Byron and Italy is one of the most familiar facts about British Romanticism. 1 Th e poet’s many pronouncements about the country (where he lived between 1816 and 1823), its his- tory, culture and people, as well as about his own experiences in Italy and among Italians, are well known and part of his legend. More particularly, Byron’s debauchery in Venice and would- be heroics in Ravenna are often known even to those acquainted with the poet’s biography only in its most simplifi ed versions. In contrast, though the critical panorama has been changing in recent years, serious attention to Byron’s literary engagement with Italy has tended to be discon- tinuous. Yet he wrote much of his greatest poetry in Italy, and under its infl uence, poetry that would have a profound bearing not only on the literature but also the wider culture, history and politics of the whole of Europe, and not least Italy itself. As a result, Byron’s relationship with Italy, and the poetry it pro- duced, speaks to a much broader modern- day audience than simply a literary one. Th is book bears witness to this fundamental fact about Byron’s Italian writings by relating the texts Byron wrote in Italy to numerous features of early nineteenth- century European (and par- ticularly, of course, Italian) culture, and highlighting many of their hugely infl uential contributions to the histories of all kinds of lit- erary and non- literary discourses concerning, for example, identity (personal, national and European), politics, ethnography, geography, religion – even tourism. -
A Poet Dwells in Beauty a Kantian Reading of Keats's Poetry
English Language and Literature Studies; Vol. 4, No. 3; 2014 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education A Poet Dwells in Beauty A Kantian Reading of Keats’s Poetry Chang Zheng1 1 Center of Shakespearean Studies, College of International Studies, Southwest University, Chongqing, China Correspondence: Chang Zheng, College of International Studies, Southwest University, 2# Tiansheng Road, Beibei District, Chongqing 400715, China. E-mail: [email protected] Received: June 2, 2014 Accepted: August 1, 2014 Online Published: August 29, 2014 doi:10.5539/ells.v4n3p46 URL: http://dx.doi.org/10.5539/ells.v4n3p46 Abstract John Keats, the great literary figure of Romanticism in the 19th century, was the one whose name was written in water. This essay tries to approach Keats’s poetry from the perspective of Kant, the forefather of German Classical Philosophy by providing examples to show their great aesthetic features. The features can be summarized as follows:a poet should have negative capability, the ability enabling him to remain an aesthetic distance instead of using literature for utilitarian purpose; the revealing of experience of beauty that intimates the harmony within man’s dual nature as free and physical being; the superiority of man’s cognitive power, especially imagination and fancy, over the power of sensibility; transcendence from the sensory to the supersensible through taste or experience of beauty, and for himself, poetry. Keywords: aesthetic feature, Kant, Keats, philosophy, poetry 1. Introduction John Keats (1795-1821), a great figure in the period of Romanticism in the 19th century, a contemporary of Byron and Shelley, has his uniqueness and brilliance in the history of British literature. -
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.