In this essay I focus on the phenomenon of ‘sitting down’ in Keats's letters and poems. Sitting down, in Keats's personal interactions and poetics, has a range of connotations: these range from exercising individual, focused concentration on the task ahead, to enjoying companionable, shared creativity; from maintaining a certain bedside manner, to establishing a long-distance relationship with siblings; from reluctantly resigning oneself to an invalid existence, to summoning the resourceful energy to compose poetry. For Keats, the expression of sitting down points to the required stillness for the imagination to take flight in poetry, but it also features prominently in self-portrayals throughout his correspondence. This essay demonstrates how sitting down, for Keats, is a transformative act with far more dynamic connotations than is usually assumed.
{"title":"On Sitting Down with John Keats","authors":"Heidi Thomson","doi":"10.3366/rom.2024.0644","DOIUrl":"https://doi.org/10.3366/rom.2024.0644","url":null,"abstract":"In this essay I focus on the phenomenon of ‘sitting down’ in Keats's letters and poems. Sitting down, in Keats's personal interactions and poetics, has a range of connotations: these range from exercising individual, focused concentration on the task ahead, to enjoying companionable, shared creativity; from maintaining a certain bedside manner, to establishing a long-distance relationship with siblings; from reluctantly resigning oneself to an invalid existence, to summoning the resourceful energy to compose poetry. For Keats, the expression of sitting down points to the required stillness for the imagination to take flight in poetry, but it also features prominently in self-portrayals throughout his correspondence. This essay demonstrates how sitting down, for Keats, is a transformative act with far more dynamic connotations than is usually assumed.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141715666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Stephanie Insley Hershinow, Born Yesterday: Inexperience in the Early Realist Novel","authors":"Freya Johnston","doi":"10.3366/rom.2024.0651","DOIUrl":"https://doi.org/10.3366/rom.2024.0651","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141693214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Christine and Rab Barnard, Tamsine’s Diary: The Life and Times of a Devon Gentlewoman, 1808–1863","authors":"Kelvin Everest","doi":"10.3366/rom.2024.0648","DOIUrl":"https://doi.org/10.3366/rom.2024.0648","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141711170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Elizabeth A. Fay, Romantic Egypt: Abyssal Ground of British Romanticism","authors":"Pauline Hortolland","doi":"10.3366/rom.2024.0649","DOIUrl":"https://doi.org/10.3366/rom.2024.0649","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141715547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay proposes an interpretation of Keats’s Odes of 1819 predicated on a reading of the Ode on Indolence. The Ode is shown to be articulating a crisis endemic to Keats’s perception of the foundations of his vocation as a poet. The crisis originates in the poet’s increasing self-doubt regarding his ability to achieve the virtue of `negative capability` he associated with the writers he strove to emulate. Keats’s representation of these anxieties was informed to a significant degree by a recognition that neither the Classical models he revered, nor the Christian faith he had been brought up in, and which played an important role in his formal education, provided a promise of the immortality he craved both for his poetry, and latterly for himself, as his health began to deteriorate. The composition of Ode on Indolence lies at the centre of a matrix of thought within which the other Odes of 1819 unite to become a thematically linked requiem lamenting the demise of Keats’s career as a poet, as well as the fragility of his own mortality.
{"title":"Eden, Arcadia, and the Death of Poetry in John Keats’s Ode on Indolence","authors":"John Williams","doi":"10.3366/rom.2024.0640","DOIUrl":"https://doi.org/10.3366/rom.2024.0640","url":null,"abstract":"This essay proposes an interpretation of Keats’s Odes of 1819 predicated on a reading of the Ode on Indolence. The Ode is shown to be articulating a crisis endemic to Keats’s perception of the foundations of his vocation as a poet. The crisis originates in the poet’s increasing self-doubt regarding his ability to achieve the virtue of `negative capability` he associated with the writers he strove to emulate. Keats’s representation of these anxieties was informed to a significant degree by a recognition that neither the Classical models he revered, nor the Christian faith he had been brought up in, and which played an important role in his formal education, provided a promise of the immortality he craved both for his poetry, and latterly for himself, as his health began to deteriorate. The composition of Ode on Indolence lies at the centre of a matrix of thought within which the other Odes of 1819 unite to become a thematically linked requiem lamenting the demise of Keats’s career as a poet, as well as the fragility of his own mortality.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141691880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Beth Lau, Greg Kucich and Daniel Johnson, Keats's Reading / Reading Keats: Essays in Memory of Jack Stillinger","authors":"Winifred Liu","doi":"10.3366/rom.2024.0650","DOIUrl":"https://doi.org/10.3366/rom.2024.0650","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141698647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay examines Benjamin Robert Haydon's neglected transcripts of John Keats's letters (1845–46). Haydon copied these letters to aid the writing of Richard Monckton Milnes's first biography of the poet, Life, Letters, and Literary Remains, of John Keats (1848). For reasons unknown, however, subsequent critics and scholars have consigned the transcript copies to oblivion without making available their full text (some of which is omitted in Milnes's Life). In addition to the transcripts themselves, Haydon's annotations offer a new insight into his close relationship with Keats. The material will be of interest to many Keats scholars, especially those who wish to explore the complexities of his reception in the mid-nineteenth century and beyond, as well as the friendship between the poet and the painter.
这篇文章探讨了本杰明-罗伯特-海顿（Benjamin Robert Haydon）被忽视的约翰-济慈书信抄本（1845-1846 年）。海登抄写这些信件是为了帮助理查德-蒙克顿-米尔恩斯（Richard Monckton Milnes）撰写第一部诗人传记《约翰-济慈的生平、书信和文学遗作》（1848 年）。然而，不知出于什么原因，后来的评论家和学者将这些抄本遗忘，没有提供其全文（米尔恩斯的《生平》中省略了其中的一些内容）。除了抄本本身外，海顿的注释还让人们对他与济慈的密切关系有了新的认识。许多济慈的学者，尤其是那些希望探究济慈在十九世纪中叶及以后的复杂接受情况以及诗人与画家之间友谊的学者，都会对这些资料感兴趣。
{"title":"‘From his Fellow-countryman’: Keats's Letters Transcribed and Annotated by Benjamin Robert Haydon","authors":"Hiroki Iwamoto","doi":"10.3366/rom.2024.0641","DOIUrl":"https://doi.org/10.3366/rom.2024.0641","url":null,"abstract":"This essay examines Benjamin Robert Haydon's neglected transcripts of John Keats's letters (1845–46). Haydon copied these letters to aid the writing of Richard Monckton Milnes's first biography of the poet, Life, Letters, and Literary Remains, of John Keats (1848). For reasons unknown, however, subsequent critics and scholars have consigned the transcript copies to oblivion without making available their full text (some of which is omitted in Milnes's Life). In addition to the transcripts themselves, Haydon's annotations offer a new insight into his close relationship with Keats. The material will be of interest to many Keats scholars, especially those who wish to explore the complexities of his reception in the mid-nineteenth century and beyond, as well as the friendship between the poet and the painter.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141700673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In an 1817 letter, John Keats mentioned giving a copy of Jane Taylor’s Essays in Rhyme, on Morals and Manners (1816) to his sister Fanny Keats. The reference to Jane Taylor hints at how and why Taylor captured Keats’s interest. Keats acquired Taylor’s book at a moment of peak aspiration when he was struggling to write his long, ambitious poem Endymion, and when he had switched publishers to Taylor and Hessey, the publisher of Jane Taylor and her mother Ann Martin Taylor. With a vision of himself as the publisher of major writers, John Taylor was able to gamble on Keats because the Taylors’ books were steady sellers. This article argues that when Keats read Taylor’s Essays in Rhyme, he read a work that met with a more favourable reception than did his own early work. This article further underscores that the commercial trajectories of the Taylors and Keats were intertwined. The profits from the Taylors’ books served to underwrite the publishing of Keats’s work.
在 1817 年的一封信中，约翰-济慈提到将简-泰勒的《道德与礼仪韵文》（Essays in Rhyme, on Morals and Manners，1816 年）送给了他的妹妹芬妮-济慈。对简-泰勒的提及暗示了泰勒如何以及为何引起济慈的兴趣。济慈获得泰勒的这本书时，正值他为创作雄心勃勃的长诗《恩底弥翁》而苦苦挣扎的巅峰时刻，而他的出版商也换成了简-泰勒和她的母亲安-马丁-泰勒的出版商泰勒和赫西出版社（Taylor and Hessey）。约翰-泰勒将自己视为主要作家的出版商，因此他能够在济慈身上下注，因为泰勒夫妇的书销量稳定。本文认为，当济慈阅读泰勒的《韵文随笔》时，他读到了比自己早期作品更受欢迎的作品。本文进一步强调，泰勒夫妇和济慈的商业轨迹是交织在一起的。泰勒夫妇书籍的利润为济慈作品的出版提供了支持。
{"title":"John Keats, Jane Taylor, and Poetic Ambition","authors":"Judith Pascoe","doi":"10.3366/rom.2024.0645","DOIUrl":"https://doi.org/10.3366/rom.2024.0645","url":null,"abstract":"In an 1817 letter, John Keats mentioned giving a copy of Jane Taylor’s Essays in Rhyme, on Morals and Manners (1816) to his sister Fanny Keats. The reference to Jane Taylor hints at how and why Taylor captured Keats’s interest. Keats acquired Taylor’s book at a moment of peak aspiration when he was struggling to write his long, ambitious poem Endymion, and when he had switched publishers to Taylor and Hessey, the publisher of Jane Taylor and her mother Ann Martin Taylor. With a vision of himself as the publisher of major writers, John Taylor was able to gamble on Keats because the Taylors’ books were steady sellers. This article argues that when Keats read Taylor’s Essays in Rhyme, he read a work that met with a more favourable reception than did his own early work. This article further underscores that the commercial trajectories of the Taylors and Keats were intertwined. The profits from the Taylors’ books served to underwrite the publishing of Keats’s work.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141691413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On Friday 17 July 1818, Keats and Charles Armitage Brown arrived at Inveraray in Scotland, midway through their Scottish walking tour. Here Keats, a passionate theatre-goer, saw for the first time Augustus von Kotzebue’s play The Stranger at a makeshift playhouse inside a barn. Although Keats dedicated a long letter and a poem to this experience the precise location of the barn has never been located, nor has there been discussion of how this performance of The Stranger contributed to Keats’s theatrical experience. In this article I show that the barn-theatre at Inveraray still survives, and suggest how the Stranger performance at Inveraray, heavily ridden with Scottish inflections not present in the playscript, left an impression on Keats. I also point to traces of The Stranger found in later poems such as ‘La Belle Dame sans Merci’.
1818 年 7 月 17 日星期五，济慈和查尔斯-阿米蒂奇-布朗在苏格兰徒步旅行途中抵达苏格兰的因弗拉雷。在这里，热衷戏剧的济慈第一次在谷仓内的临时剧场观看了奥古斯都-冯-科策布的戏剧《陌生人》。虽然济慈为这段经历写了一封长信和一首诗，但谷仓的确切位置却从未被找到，也没有人讨论过《异乡人》的演出如何促进了济慈的戏剧体验。在这篇文章中，我指出在因弗拉雷的谷仓剧院依然存在，并说明在因弗拉雷演出的《陌生人》如何给济慈留下了深刻印象，剧中大量使用了剧本中没有的苏格兰语调。我还指出了《陌生人》在后来的诗作中的痕迹，如《La Belle Dame sans Merci》。
{"title":"Keats and The Stranger at Inveraray","authors":"Winifred Liu","doi":"10.3366/rom.2024.0647","DOIUrl":"https://doi.org/10.3366/rom.2024.0647","url":null,"abstract":"On Friday 17 July 1818, Keats and Charles Armitage Brown arrived at Inveraray in Scotland, midway through their Scottish walking tour. Here Keats, a passionate theatre-goer, saw for the first time Augustus von Kotzebue’s play The Stranger at a makeshift playhouse inside a barn. Although Keats dedicated a long letter and a poem to this experience the precise location of the barn has never been located, nor has there been discussion of how this performance of The Stranger contributed to Keats’s theatrical experience. In this article I show that the barn-theatre at Inveraray still survives, and suggest how the Stranger performance at Inveraray, heavily ridden with Scottish inflections not present in the playscript, left an impression on Keats. I also point to traces of The Stranger found in later poems such as ‘La Belle Dame sans Merci’.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141698033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For obvious reasons, Keats's biographers have focused primarily on the last five months of the poet’s life and on the making of his reputation in the later nineteenth century. They have spent very little time, however, on the two uncertain years that followed the poet’s death when his legacy, largely in the hands of Brown, Taylor and Severn, hung in the balance. As Severn was recovering from Keats's death, he fought to establish his own livelihood as a painter and find an adequate means of memorialising his friend. He was preoccupied with two works of art, The Death of Alcibiades and the headstone for Keats's grave. I argue that these artworks represent complex expressions of Severn's grief and in this sense are both memorials, though Alcibiades disguises its aims in a conventional historical painting. In the strong reading of Hyperion embedded in the picture, Severn finds a way of coming to terms with the traumatic aftermath of Keats's death as well as the critical attacks on his poetry. My recent rediscovery of two key manuscript letters of this time by members of the Keats Circle lends support to the argument.
{"title":"Memorialising Keats: Severn, Headstones and Hyperion","authors":"Grant F. Scott","doi":"10.3366/rom.2024.0646","DOIUrl":"https://doi.org/10.3366/rom.2024.0646","url":null,"abstract":"For obvious reasons, Keats's biographers have focused primarily on the last five months of the poet’s life and on the making of his reputation in the later nineteenth century. They have spent very little time, however, on the two uncertain years that followed the poet’s death when his legacy, largely in the hands of Brown, Taylor and Severn, hung in the balance. As Severn was recovering from Keats's death, he fought to establish his own livelihood as a painter and find an adequate means of memorialising his friend. He was preoccupied with two works of art, The Death of Alcibiades and the headstone for Keats's grave. I argue that these artworks represent complex expressions of Severn's grief and in this sense are both memorials, though Alcibiades disguises its aims in a conventional historical painting. In the strong reading of Hyperion embedded in the picture, Severn finds a way of coming to terms with the traumatic aftermath of Keats's death as well as the critical attacks on his poetry. My recent rediscovery of two key manuscript letters of this time by members of the Keats Circle lends support to the argument.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141698964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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