This book offers a revaluation of Keats' major poetry. It reveals how Keats' work is both an oblique criticism of the dominant attitudes to literature, sexuality, religion and politics in his period, and a powerful critique of the claims of the imagination. For all that he shares the optimistic humanism of progressives like Hazlitt, Leigh Hunt, and Shelley, Keats nevertheless questions the sufficiency of either Art or Beauty. Professor Barnard shows how the notorious attack on Keats as a Cockney poet was motivated by class and political bias. He analyses the problems facing Keats as a second-generation Romantic, his continuing difficulty in finding an appropriate style for 'Poesy', and his uncertain judgement of his own work. The ambiguities and stresses evident in the poetry's treatment of women and sexual love are seen to reflect divisions in Keats and his society. The maturing use of myth from Poems (1817) to The Fall of Hyperion, and the achievement of the major odes are set in relation to Keats' whole career.
ما يقوله الناس - كتابة مراجعة
لم نعثر على أي مراجعات في الأماكن المعتادة.
An early nineteenthcentury poet
Energy and Voluptuousness Poems 1817
Endymion Pretty Paganism and Purgatory Blind
Hyperion Colossal Grandeur
Four medieval love stories
The spring odes 1819
طبعات أخرى - عرض جميع المقتطفات
Anatomy of Melancholy appears attempt Autumn beauty become begins believed Belle Book claims classical clear close Complete contemporary create critics death describes dream earlier early Endymion English Eve of St experience expressed eyes face Fall fancy Fanny fear feelings figures final gives goddess Greek heart human Hunt Hyperion images imagination important intense Isabella John Keats Keats's kind knowledge Lamia Letters lines literary literature living look lovers meaning Melancholy mind myth nature never object once opening pain passage poem poem's poet poetic poetry political possible Psyche published question reach reader reading reality religion Romantic says seems sensation sense sexual sonnet St Agnes stanza story suffering suggests sweet thee things thought tion Titans true truth turns vision whole women Wordsworth write written wrote young