John Keats and the Loss of Romantic Innocence
Rodopi, 1996 - 194 páginas
John Keats and the Loss of Romantic Innocence traces Keats's use of an Appolonian metaphor. Of the nearly 150 works listed in Jack Stillinger's standard edition, approximately half contain references to the god of nature and of art. What emerges are three distinct phases in Keats's aesthetic development. From his initial fondness for bower imagery and the pastoral voices of Spenser and Hunt, to the Neo-Platonism of his poems about art and imagination, to his ultimate rejection of romantic idealism, Keats and his Apollonian metaphor are rarely separated. The poet's dismissal of romantic idealism is ultimately a rejection of Blake's God, Coleridge's of Germanism, Wordsworth's Nature, Byron's Hellenism, and Shelley's Supernaturalism. The young poet dies aware of the excesses of his empirically oriented pleasant smotherings and idealistic realms of gold. He accepts a world without Apollo and his entourage, a world unembellished by art and other gilded cheats.
Comentarios de la gente - Escribir un comentario
No encontramos ningún comentario en los lugares habituales.
Apollo Apollonian appears appreciate argues artistic beauty become begins Book bower bright chapter clear considered continues created critical dark death delight describes dream earlier early earth Endymion English essence evidence experience explains expression eyes face fair Fall fancy feel final fire George gilded give glory golden happy heaven hope human Hunt Hyperion ideal ideal world imagery images imagination immortal inspiration John Keats Keats's knowledge later leave Letters light lines look mean metaphor mind moon native fire nature never night notes offers once pain pastoral physical pleasant smotherings pleasure poem poet poet's poetic poetry reality realize reference represents says seems seen sense silver Sleep song sonnet soul spirit stanza suggests sweet tell thee theme things thou thought Titans University visions wings wonder write written young