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The Grave of John Keats Revisited
The Keats-Shelley Review ISSN: 0952-4142 (Print) 2042-1362 (Online) Journal homepage: https://www.tandfonline.com/loi/yksr20 The Grave of John Keats Revisited Nicholas Stanley-Price To cite this article: Nicholas Stanley-Price (2019) The Grave of John Keats Revisited, The Keats- Shelley Review, 33:2, 175-193, DOI: 10.1080/09524142.2019.1659018 To link to this article: https://doi.org/10.1080/09524142.2019.1659018 Published online: 18 Sep 2019. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=yksr20 THE KEATS-SHELLEY REVIEW 2019, VOL. 33, NO. 2, 175–193 https://doi.org/10.1080/09524142.2019.1659018 ARTICLE The Grave of John Keats Revisited Nicholas Stanley-Price Advisory Committee, Non-Catholic Cemetery for Foreigners, Rome ABSTRACT KEYWORDS Many visitors in the nineteenth century to the grave of John Keats in John Keats; Rome; Rome thought it ‘neglected’ or ‘solitary’ and ‘unshaded’.Today’scritics Protestant cemetery; poet’s often characterize the grave as ‘marginal’, both literally and metaphori- grave; Percy Bysshe Shelley; cally, while ignoring the city authorities’ proposal to demolish it in the Joseph Severn; Romantics 1880s. An analysis of the grave’s original setting and its subsequent renovations suggests instead that it enjoyed a privileged position. Historical descriptions, when considered together with visitors’ accounts – avaluablesourceifusedcritically– and little-known artists’ depictions of Keats’s grave prompt a re-assessment of ideas of its ‘marginality’ and ‘neglect’ in the nineteenth century. The grave lies quite alone, and is evidently much neglected. -
1875, June 29]
[1875, June 29] [From: Pickering, B.M.]1 [To: Lord Alfred Tennyson] 196 Piccadilly W June 29 1875 Sir Several years ago when the books of the late Sir C.W. Dilke2 were sold by auction I purchased a volume containing “The Lover’s Tale”3[.] I unfortunately lent it to Mr. Richard Herne Shepherd4 he expressing a great desire to read it and I at the time believing him a trustworthy person[.] Soon after this I found that he had dishonestly printed this poem from a transcript he had taken from my copy. On that occasion (by paying the printer, when he pretended he could not pay unless he sold copies) I induced him to suppress the copies and he handed me his transcript [Page 2] but either he had a duplicate transcript or a copy of the printed type for I have just discovered that he has a second time put the poem into type[.] Mr. Locker5 mentioned to me that an advertisement 1 Basil Montagu Pickering (1835-1878) was a publisher who specialized in rare books and first editions of nineteenth-century poets (see the Oxford Dictionary of National Biography [ODNB]). Pickering published Tennysoniana in 1866. 2 Charles Wentworth Dilke (1789-1864) was a newspaper editor and writer who, at various stages in his career, contributed to or led such publications as Retrospective Review, London Magazine, The Athenaeum (of which Dilke became editor in 1831), and the Daily News. Dilke had many friends and acquaintances among the literary elite of the country, including John Keats, Leigh Hunt, George Eliot, and Percy Shelley (see ODNB). -
John Keats and Fanny Brawne Pages of an Enduring Love
John Keats and Fanny Brawne Pages of an enduring love Source images: http://englishhistory.net/keats/fannybrawne.html “When shall we pass a day alone? I have Read this short account of John Keats’s and Fanny Brawne’s thwarted love story. had a thousand Keats and Fanny, who were newly neighbours, first met in a troubled time for the poet: his mother had died of tuberculosis, soon to be followed by his youngest brother Tom. The teenaged Fanny was not considered beautiful, but she was spirited and kind and Keats was struck by her coquettish sense of fun. Her family’s financialkisses, difficulties influencedfor her with a strong sense of practicality. However, she did fall for young Keats, who was neither well off nor making money through his writing. Her mother against better economical judgement could not prevent a love match, though not without the opposition of Keats’s friends, the two got engaged. Yet, further obstacles were to come. Keats knew his only hope of marrying Fanny was to succeed in writing, since he was often asked by his brother George for moneywhich loans. Inwith February my1820, however, the couple’s future was threatened by illness: Keats had been troubled by what looked like a cold, but later turned out to be a sign of tuberculosis. He was well aware of his worsening condition so at some point he wrote to Fanny that she was free to break their engagement, but she passionately refused to Keats’s relief: “How hurt I should have been hadwhole you ever acceded soul to what I is, notwithstanding, very reasonable!” In an attempt not to upset the poet with too strong emotions, his friend Charles Brown nursed him diligently and kept Fanny at a distance. -
Victoria Albert &Art & Love Queen Victoria, Prince Albert and Their Relations with Artists
Victoria Albert &Art & Love Queen Victoria, Prince Albert and their relations with artists Vanessa Remington Essays from two Study Days held at the National Gallery, London, on 5 and 6 June 2010. Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Queen Victoria, Prince Albert and their relations with artists Vanessa Remington Victoria and Albert: Art and Love, a recent exhibition at The Queen’s Gallery, Buckingham Palace, was the first to concentrate on the nature and range of the artistic patronage of Queen Victoria and Prince Albert. This paper is intended to extend this focus to an area which has not been explored in depth, namely the personal relations of Queen Victoria, Prince Albert and the artists who served them at court. Drawing on the wide range of primary material on the subject in the Royal Archive, this paper will explore the nature of that relationship. It will attempt to show how Queen Victoria and Prince Albert operated as patrons, how much discretion they gave to the artists who worked for them, and the extent to which they intervened in the creative process. -
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. -
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................................................................................................ -
Unlocking Eastlake Unlocking Eastlake
ng E nlocki astlak U e CREATED BY THE YOUNG EXPLAINERS OF PLYMOUTH CITY MUSEUM AND ART GALLERY No. 1. ] SEPTEMBER 22 - DECEMBER 15, 2012. [ One Penny. A STROKE OF GENIUS. UNLOCKING EASTLAKE UNLOCKING EASTLAKE It may be because of his reserved nature that Staff at the City Museum and Art Gallery are organising a range of events connected to the Eastlake is not remembered as much as he exhibition, including lunchtime talks and family-friendly holiday workshops. INTRODUCING deserves to be. Apart from securing more Visit www.plymouth.gov.uk/museumeastlake to stay up to date with what’s on offer! than 150 paintings for the nation, Eastlake was a key figure in helping the public gain like to i uld ntro a better understanding of the history of wo d uc WALKING TRAILS e e EASTLAKE western art. Through detailed catalogues, W THE simpler ways of picture display, and the Thursday 20th September 2012: : BRITISH ART’S PUBLIC SERVANT introduction of labels enabling free access to Grand Art History Freshers Tour information, Eastlake gave the us public art. YOUNG EXPLAINERS A chance for Art History Freshers to make friends as well as see what lmost 150 years after his Article: Laura Hughes the Museum and the Young Explainers death, the name of Sir Charles Children’s Actities / Map: Joanne Lees have to offer. The tour will focus on UNLOCKING EASTLAKE’S PLYMOUTH Eastlake has failed to live up to Editor: Charlotte Slater Eastlake, Napoleon and Plymouth. the celebrity of his legacy. Designer: Sarah Stagg A Illustrator (front): Alex Hancock Saturday 3rd November 2012: Even in his hometown of Plymouth, blank faces During Eastlake’s lifetime his home city Illustrator (inside): Abi Hodgson Lorente Eastlake’s Plymouth: usually meet the question: “Who is Sir Charles of Plymouth dramatically altered as it A Family Adventure Through Time Eastlake?” Yet this cultural heavyweight was transformed itself from an ancient dockland Alice Knight Starting at the Museum with interactive acknowledged to be one of the ablest men of to a modern 19th century metropolis. -
Reviews 213 Especially Unfortunate for a Collection on Textuality, The
Especially unfortunate for a collection on textuality, the essays are marred by typographical errors (“David Scan Kastan”, “feministm”, “Sommer- ville College”, “modem” for “modern”, “arid” for “and”). ;WUMWN \PMÅZ[\[M\WN ¹[MUQVITºM[[Ia[[PW_\PMQZIOMJ]\QV[WUM ways this is one of the pleasures in reading the volume. McGann’s essay from 1985 asks, “What is the relevance of textual and bibliographical stud- ies to literary intepretation?” and asserts “This is not a question that has been posed in a systematic way very often”. These statements would be unthinkable in the recent essays in the collection, a change due in a large part to McGann’s own work over the last two decades. He suggests that, faced by the same textual feature, literary historians and editors ask differ- ent questions. The former ask “what does this mean?” while the latter ask “is this right or wrong?” McGann’s essay is not about early modern texts, TM\ITWVMJa_WUMVJ]\Q\Q[QV\MZM[\QVO\WZMÆMK\WV\PM_Ia[QV_PQKPMLQ- tors of early modern women have almost always been literary historians ÅZ[\LZI_V\WMLQ\QVOQVWZLMZ\WUISMQVIKKM[[QJTM\M`\[I^IQTIJTMWomen Editing/Editing Women is both an essential primer for any would-be editor of early modern women and a stimulating statement of enduring ques- \QWV[IVLKPITTMVOM[QV\PMÅMTL1\[]OOM[\[IÅMTL_PQKPPI[LM^MTWXML rapidly over some forty years, and provides an exciting picture of both the many questions which have been answered, and those which remain for editors in this vibrant area. Elizabeth Scott-Baumann Stephen Hebron. John Keats: A Poet and His Manuscripts. London: The Brit- ish Library, 2009. -
Eastlake's Scholarly and Artistic Achievements Wednesday 10
Eastlake's Scholarly and Artistic Achievements Wednesday 10 October 2012 Lizzie Hill & Laura Hughes Overview I will begin this Art Bite with a quotation from A Century of British Painters by Samuel and Richard Redgrave, who refer to Eastlake as one of "a few exceptional painters who have served the art they love better by their lives than their brush" . This observation is in keeping with the norm of contemporary views in which Eastlake is first and foremost seen as an art historian and collector. However, as a man who began his career as a painter, it seems it would be interesting to explore both of these aspects of his life. Therefore, this Art Bite will be examining the validity of this critique by evaluating Eastlake's artistic outputs and scholarly achievements, and putting these two aspects of his life in direct relation to each other. By doing this, the aim behind this Art Bite is to uncover the fundamental reason behind Eastlake's contemporary and historical reputation, and ultimately to answer; - What proved to be Eastlake's best weapon in entering the Art Historical canon: his brain or his brush? Introduction So, who was Sir Charles Lock Eastlake? To properly be able to compare his reputation as an art historian versus being a painter himself, we need to know the basic facts about the man. A very brief overview is that Eastlake was born in Plymouth in 1793 and from an early age was determined to be a painter. He was the first student of the notable artist Benjamin Haydon in January 1809 and received tuition from the Royal Academy schools from late 1809. -
IMAGES from the POETRY from 9 Apr 2012 to 24 Nov 2012 10:00-18:00
ILLUSTRATING KEATS: IMAGES FROM THE POETRY From 9 Apr 2012 to 24 Nov 2012 10:00-18:00 "ILLUSTRATING KEATS: Images from the Poetry" The Keats-Shelley House's current exhibition presents a selection of images from major illustrated editions of Keats's poems from 1856 to the present day, telling the story of the interpretation of Keats in a fresh and fascinating way. Price: Entrance to the exhibition is included in the museum's normal entrance fee. Location: Salone. "THE BRONTËS AND THE SHELLEYS - CRAFTING STORIES FROM LIVES": A TALK BY JULIET GAEL ON SATURDAY 10 NOVEMBER AT 16.00 10 Nov 2012 from 16:00 to 18:00 Janice Graham, writing as Juliet Gael, is the author of the critically acclaimed historical novel Romancing Miss Brontë, and is currently working on a follow-up novel that deals with the fascinating lives of the Shelleys. Part literary reading, part discussion, and part work-in-progress seminar, Juliet will address the creative problems involved in romanticising the lives of authors, and will give us some tantalising sneak previews into the process of writing her book about the Shelleys. Everyone is welcome and the museum's normal standard entrance fee applies. Please call on 06 678 4235 or email info@keats to reserve a place. Otherwise just come along on Saturday the 10th of November, and enjoy some refreshments after! To know more about Romancing Miss Brontë please click on the following link:http://www.romancingmissbronte.com/book.html Price: The price is included in the normal entrance fee. Location: Salone. -
Lockhart'smemoirs of the Life of Sir Walter Scott, Bart
Studies in Scottish Literature Volume 38 | Issue 1 Article 16 2012 WRITER, READER, AND RHETORIC IN JOHN GIBSON LOCKHART'S MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART. Gerald P. Mulderig DePaul University Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Mulderig, Gerald P. (2012) "WRITER, READER, AND RHETORIC IN JOHN GIBSON LOCKHART'S MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART.," Studies in Scottish Literature: Vol. 38: Iss. 1, 119–138. Available at: https://scholarcommons.sc.edu/ssl/vol38/iss1/16 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. WRITER, READER, AND RHETORIC IN JOHN GIBSON LOCKHART’S MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART. Gerald P. Mulderig “[W]hat can the best character in any novel ever be, compared to a full- length of the reality of genius?” asked John Gibson Lockhart in his 1831 review of John Wilson Croker’s edition of Boswell’s Life of Johnson.1 Like many of his contemporaries in the early decades of the nineteenth century, Lockhart regarded Boswell’s dramatic recreation of domestic scenes as an intrusive and doubtfully appropriate advance in biographical method, but also like his contemporaries, he could not resist a biography that opened a window on what he described with Wordsworthian ardor as “that rare order of beings, the rarest, the most influential of all, whose mere genius entitles and enables them to act as great independent controlling powers upon the general tone of thought and feeling of their kind” (ibid.). -
Notes and References
Notes and References Prologue: Food Security and the Literary Imagination 1. Jane Austen, Letter to Cassandra Austen, 23 Hans Place, 23–24 August 1814, in Jane Austen (1995), Jane Austen’s Letters, ed. Deirdre Le Faye, 4th edn (Oxford University Press), pp. 281–4 (p. 238). 1 Food Matters 1. Cited in Frank Dikötter (2010), Mao’s Great Famine: The History of China’s Most Devastating Catastrophe, 1958–62 (London: Bloomsbury), unpaginated preliminary pages. 2. Harry Thompson (2011), Peter Cook: A Biography (London: Hachette, 2011; orig. pub. Hodder & Stoughton, 1997), p. 47. 3. Francisco Goya y Lucientes, Saturn Devouring his Son (1819–23), 1.43 m x 81 cm, Museo Nacional Del Prado, Madrid, Spain; Hannibal Lecter first appeared in Thomas Harris’s novel Red Dragon (1981). 4. Maggie Kilgour (1990), From Communion to Cannibalism: An Anatomy of Metaphors of Incorporation (Princeton University Press). 5. See, for example, Bonnie J. W. Martin, Jeri A. Logemann, Reza Shaker and Wylie J. Dodds (1994), ‘Coordination Between Respiration and Swallowing: Respiratory Phase Relationships and Temporal Integration,’ Journal of Applied Physiology 76: 714–23. 6. Suzanne Collins (2009), Catching Fire (New York: Scholastic Press), p. 22. The political use of food and hunger in the Hunger Games trilogy is discussed further in the Epilogue. 7. Colin Tudge (2004), So Shall We Reap: What’s Gone Wrong with the World’s Food – and How to Fix It (London: Penguin; orig. pub. Allen Lane, 2003), p. 34. 8. Daniel Quinn (2009), Ishmael: An Adventure of the Mind and Spirit (New York: Random House; orig. pub. Bantam, 1992).