John Keats

John Keats Presentation:

  1. Very close to his siblings all throughout his life
    1. Loss of parents at young
    2. Started to write at the age of 19
    3. Named part of the younger generation of Romantics
      1. At the age of 21
    4. Writing the Odes in 1819, when 24
  2. Writing and Reception
    1. Only 54 poems were written
      1. “Cockney School of Poetry”
      2. Dismissed by Wordsworth
      3. Generally negatively received outside his circle of friends
  3. 1819: The Great Odes
    1. Ode to Psyche, Melancholy, Nightingale, Grecian Urn, Autumn
    2. Ode to a Nightingale
      1. Pulling himself out of life gradually until the nightingal leave
    3. Ode to Melancholy
      1. Don’t fall into melancholy
      2. Confusing the mistress with melancholy
      3. Ever-presenting grief that never leaves his words
  4. Death v.s. Sleep?
    1. A desire to die peacefully
  5. What is the connection between nature and his own life?
    1. Poison? Seeing nature as a destroyer?
  1. How differently does Keats approach Nature?
    1. Nature and Immortality
    2. Last Stanza of To Autumn
      1. Pure sensational, not exactly philosophical
        1. Using all 5 senses
        2. Not giving an idea of Nature, no theorizing
      1. Sensation of experience
        1. Natural to Keats; Coleridge trying to be metaphysical in his long poems and cannot re-create a dream vision after all
        2. Cannot write these poetry is not to impose an ego onto the poem
        3. Pre-Rapheolites, 60 years after Keats’ death, completely based on the idea of Keats
    3. How does the sensational truth react with the idea of “emotions recollected in tranquility”?
      1. Lamia, the beautiful woman who entices man to kill the man
        1. Vanishment, wilderness of reality
          1. Truth = Adam’s dream
        2. Intellectual destructs Imagination
          1. Consciousness of mortality
        3. Retaining the idea of the beauty of nature,
          1. No dissection in Keats’ poetry
          2. If Keats were to live longer, he would stop being a poet and become a philosopher
            1. Juxtaposition between poetry and letters
          3. “The burden of Mystery” = Mortality
          4. Life like a Mansion with many Apartments
            1. Much farther to go into darkness – an experience of paganism
              1. Making Wordsworth unhappy
      2. “A poet is one who has no identities.” – poems coming from experience, what breathes in breathes itself out; poetry in the domain of pure art and imagination
        1. Catalyst of modern poetry – this very idea
        2. Why should art be imitative art?
  2. Ode to a Grecian Urn
    1. Intense moment of almost there – almost fulfillment, almost real
      1. Imagination, the most important thing, still alive
      2. Language replicating senses
        1. Thoughts are exhilarating, but sensations are even better
        2. Heard melodies are heard it can never be unheard, the unheard are sweeter
      3. Immortality of the Urn and the moment captured
        1. Realized into reality
  3. Letter to Richard Woodhouse
    1. “A poet is the most unpoetic among God’s Creatures;” “Poet has no identity”
    2. Byronic versus Keatsian – egotistical v.s. self annihilative
      1. Byronic: Art = Expression of self
        1. Wordsworthian: harmony between self and nature
      2. Keatsian: Art = Escape from the self
        1. Story says so much more than philosophy
        2. It is unimportant what the author intends – A true artist does not care for what the intention is, the art itself is bare, against every reader’s interpretation
        3. Identitatian politics has both problematized and liberated people in history
          1. But we all are born with multiple identities, the multitudes of self-recognition
          2. Relating to Modernist Movement and Postmodern
          3. So much weight is put on written words rather than spoken words
            1. Ownerhsip, authority, of idea, is contained in the Writer instead of the Speaker
        4. Trap of falling into traps
          1. Senses: blind people are more acute in other forms of perceptions
          2. A poet has all the senses fully activated
  4. Letter to George and Georgiana
    1. “—My passions are all asleep from my having slumbered till nearly eleven and weakened the animal fiber all over me to a delightful sensation about three degrees on this side of faintness— ”
      1. Effeminacy, feminine quality discovered inside him the feminine quality
      2. The self has to be killed for artistic creation
        1. The “I” however is the lens
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