{"title":"Introduction: Keats in 1819, Essays in Honour of Michael O’Neill","authors":"S. Wootton","doi":"10.3366/rom.2022.0547","DOIUrl":"https://doi.org/10.3366/rom.2022.0547","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48694800","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":"Andrew Smith The Cambridge Companion to Frankenstein","authors":"A. Mcinnes","doi":"10.3366/rom.2022.0557","DOIUrl":"https://doi.org/10.3366/rom.2022.0557","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45354082","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}
The first draft of Keats’s ‘La Belle Dame Sans Merci’ appears abruptly, seemingly from nowhere, in a letter of April 1819. In this famously inconclusive poem, the knight-at-arms, much like the geographic setting in which his psychological drama plays out, also seems to exist in uncoordinated, self-contained space. This essay seeks to connect the apparently mythical reference points in the ballad to actual places known to Keats. In particular, it examines the prompts and cues that Keats found around him in January and February 1819 during a visit to Chichester and Bedhampton. Our focus is on the imaginatively catalysing effigies of an alabaster knight and lady seen in Chichester cathedral – famous from Philip Larkin’s poem, ‘An Arundel Tomb’ – as well as on the topography of hills, lakes and meads that Keats encountered while staying at Lower Mill in Bedhampton. This essay, then, attempts a ‘placing’ of key elements of ‘La Belle Dame Sans Merci’ in Keats’s lived world. The act allows us to expand and deepen our sense of the complex relationship between physical, imaginative and emotional topographies in Keats’s poetry.
济慈的《美丽的Dame Sans Merci》初稿突然出现在1819年4月的一封信中，似乎不知从何而来。在这首著名的不结束语的诗中，骑士，就像他的心理戏剧所处的地理环境一样，似乎也存在于不协调的、独立的空间中。这篇文章试图将民谣中明显的神话参照点与济慈所知的实际地点联系起来。特别地，它研究了济慈在1819年1月和2月访问奇切斯特和贝德汉普顿期间在他周围发现的提示和线索。我们的重点是在奇切斯特大教堂看到的一位富有想象力的雪花石膏骑士和女士的肖像——这是菲利普·拉金的诗《一个艾伦德尔的坟墓》中著名的——以及济慈在贝德汉普顿的下磨坊逗留期间遇到的山丘、湖泊和草地的地形。因此，这篇文章试图将《美丽的圣母院》的关键元素“放置”在济慈的生活世界中。这一行为使我们能够扩展和加深我们对济慈诗歌中物质、想象和情感地形之间复杂关系的感知。
{"title":"Haggard and woe-begone: The Arundels’ Tomb and John Keats’s ‘La Belle Dame Sans Merci’","authors":"Richard Marggraf Turley, Jennifer S. Squire","doi":"10.3366/rom.2022.0551","DOIUrl":"https://doi.org/10.3366/rom.2022.0551","url":null,"abstract":"The first draft of Keats’s ‘La Belle Dame Sans Merci’ appears abruptly, seemingly from nowhere, in a letter of April 1819. In this famously inconclusive poem, the knight-at-arms, much like the geographic setting in which his psychological drama plays out, also seems to exist in uncoordinated, self-contained space. This essay seeks to connect the apparently mythical reference points in the ballad to actual places known to Keats. In particular, it examines the prompts and cues that Keats found around him in January and February 1819 during a visit to Chichester and Bedhampton. Our focus is on the imaginatively catalysing effigies of an alabaster knight and lady seen in Chichester cathedral – famous from Philip Larkin’s poem, ‘An Arundel Tomb’ – as well as on the topography of hills, lakes and meads that Keats encountered while staying at Lower Mill in Bedhampton. This essay, then, attempts a ‘placing’ of key elements of ‘La Belle Dame Sans Merci’ in Keats’s lived world. The act allows us to expand and deepen our sense of the complex relationship between physical, imaginative and emotional topographies in Keats’s poetry.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48738070","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}
Robert Gittings once suggestively identified a possible connection between Keats’s circumstances, living in Wentworth Place in the Spring of 1819, and a detail from the ‘Ode to Psyche’. Drawing especially on the Keatsian writings of Michael O’Neill, this essay seeks speculatively to relate the representation of experience in the great odes more generally to the idiosyncratic nature of life in the double-house, shared at first with the Dilkes and then with the Brawne family. It also explores the particular significance of Shakespeare’s Troilus and Cressida within this culminating moment of Keats’s career, and the role of the play in his thinking about the ‘poetical character’ as exemplified in the odes.
罗伯特·吉廷斯（Robert Gittings）曾暗示济慈1819年春天住在温特沃斯广场（Wentworth Place）的情况与《精神颂》（Ode to Psyche）中的一个细节之间可能存在联系。这篇文章特别借鉴了迈克尔·奥尼尔的济慈式作品，试图推测性地将伟大颂歌中的经验表现更普遍地与双屋生活的特殊性质联系起来，双屋生活最初与迪尔克斯一家共享，然后与布朗一家共享。它还探讨了莎士比亚的《特洛伊洛斯》和《克雷斯达》在济慈职业生涯的这一巅峰时刻的特殊意义，以及该剧在济慈对“诗意人物”的思考中所起的作用。
{"title":"Keats’s Noises Off","authors":"S. Perry","doi":"10.3366/rom.2022.0548","DOIUrl":"https://doi.org/10.3366/rom.2022.0548","url":null,"abstract":"Robert Gittings once suggestively identified a possible connection between Keats’s circumstances, living in Wentworth Place in the Spring of 1819, and a detail from the ‘Ode to Psyche’. Drawing especially on the Keatsian writings of Michael O’Neill, this essay seeks speculatively to relate the representation of experience in the great odes more generally to the idiosyncratic nature of life in the double-house, shared at first with the Dilkes and then with the Brawne family. It also explores the particular significance of Shakespeare’s Troilus and Cressida within this culminating moment of Keats’s career, and the role of the play in his thinking about the ‘poetical character’ as exemplified in the odes.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42371967","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":"Jonathan Mulrooney Romanticism and Theatrical Experience: Kean, Hazlitt, and Keats in the Age of Theatrical News","authors":"D. Taylor","doi":"10.3366/rom.2022.0555","DOIUrl":"https://doi.org/10.3366/rom.2022.0555","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44476715","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}
Scholarship on Keats’s fascination with Milton has tended to focus on his response to Paradise Lost. This article sheds new light on Keats’s engagement with Milton by exploring the significance of his reading of Samson Agonistes with Charles Armitage Brown during their walking tour of North England and Scotland in the summer of 1818. I suggest that Milton’s rendering of human suffering in Samson Agonistes answered Keats’s previous doubts about Milton’s ability to ‘think into the human heart’, enabling him to revise his ideas about epic and further conceptualise the work of the poet as an act of healing. In Samson Agonistes Keats found a model of poetry that puts pain, patient suffering, and limited vision at its core. These ideas became central to Hyperion and The Fall of Hyperion, the epic fragments which bookend Keats’s ‘living year’ between the autumns of 1818 and 1819.
{"title":"‘Patient Travail’: Keats and Samson Agonistes","authors":"Meiko O’Halloran","doi":"10.3366/rom.2022.0549","DOIUrl":"https://doi.org/10.3366/rom.2022.0549","url":null,"abstract":"Scholarship on Keats’s fascination with Milton has tended to focus on his response to Paradise Lost. This article sheds new light on Keats’s engagement with Milton by exploring the significance of his reading of Samson Agonistes with Charles Armitage Brown during their walking tour of North England and Scotland in the summer of 1818. I suggest that Milton’s rendering of human suffering in Samson Agonistes answered Keats’s previous doubts about Milton’s ability to ‘think into the human heart’, enabling him to revise his ideas about epic and further conceptualise the work of the poet as an act of healing. In Samson Agonistes Keats found a model of poetry that puts pain, patient suffering, and limited vision at its core. These ideas became central to Hyperion and The Fall of Hyperion, the epic fragments which bookend Keats’s ‘living year’ between the autumns of 1818 and 1819.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44664565","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 reads Keats’s 1819 poetry alongside Michael O’Neill’s poems about his terminal illness. It focuses on Keats’s abandonment of Hyperion and The Fall of Hyperion in favour of ‘To Autumn’ through a juxtaposed reading of ‘cloudy trophies’ and ‘quiet power’. The Hyperion poems explore the collapse of the Poetical Character in the face of incurable, immortal suffering. While the spring odes, exemplified in a reading of ‘Ode on Melancholy’, attempt to balance the dynamic between a speaker and its poetic subject through apostrophe, the conclusions of the odes are self-cancelling. ‘To Autumn’ signals a breakthrough from curative to palliative poetics through the simultaneous celebration of life insisting on itself and the process of dying. The contrast between Guy’s Hospital and the Hospital of St Cross in Winchester underlines the shift in vision from incurable suffering to palliative, quiet power.
{"title":"From Cloudy Trophies to Quiet Power: Keats’s Hyperions, the 1819 Odes, and Michael O’Neill’s Late Poetry","authors":"H. Thomson","doi":"10.3366/rom.2022.0550","DOIUrl":"https://doi.org/10.3366/rom.2022.0550","url":null,"abstract":"This essay reads Keats’s 1819 poetry alongside Michael O’Neill’s poems about his terminal illness. It focuses on Keats’s abandonment of Hyperion and The Fall of Hyperion in favour of ‘To Autumn’ through a juxtaposed reading of ‘cloudy trophies’ and ‘quiet power’. The Hyperion poems explore the collapse of the Poetical Character in the face of incurable, immortal suffering. While the spring odes, exemplified in a reading of ‘Ode on Melancholy’, attempt to balance the dynamic between a speaker and its poetic subject through apostrophe, the conclusions of the odes are self-cancelling. ‘To Autumn’ signals a breakthrough from curative to palliative poetics through the simultaneous celebration of life insisting on itself and the process of dying. The contrast between Guy’s Hospital and the Hospital of St Cross in Winchester underlines the shift in vision from incurable suffering to palliative, quiet power.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43693310","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}
Robert Merry is now infamous as the ringleader of the Della Cruscan school of poets, whose poetry, nurtured in the pages of newspapers like the World and the Oracle, became something of a phenomenon in the 1780s and 90s. In 1783, however, he was just another young British dilettante in Florence whose first book Poems by R***** M**** (Florence, 1783) appears to have made little impact on the literary scene. In this essay, I examine a poem from this collection, ‘Sapho to Phaon: an Epistle’, and suggest that it is quite possible this early poem of Merry’s was an influence on Mary Robinson’s far more famous sonnet sequence, Sappho and Phaon (1796). Sappho and Phaon is typically regarded as Robinson’s most accomplished and overtly feminist works; the virtual antithesis of her ephemeral Della Cruscan productions. This essay suggests, however, that the sequence might also be seen productively as a continuation of the poet’s intertextual dialogue with Robert Merry. Viewed in this light, Sappho and Phaon’s Della Cruscan legacy becomes clear.
{"title":"Sap(p)hos and Phaons: Robert Merry, Mary Robinson and the Romantic History of the Lesbian Poet","authors":"C. Knowles","doi":"10.3366/rom.2022.0539","DOIUrl":"https://doi.org/10.3366/rom.2022.0539","url":null,"abstract":"Robert Merry is now infamous as the ringleader of the Della Cruscan school of poets, whose poetry, nurtured in the pages of newspapers like the World and the Oracle, became something of a phenomenon in the 1780s and 90s. In 1783, however, he was just another young British dilettante in Florence whose first book Poems by R***** M**** (Florence, 1783) appears to have made little impact on the literary scene. In this essay, I examine a poem from this collection, ‘Sapho to Phaon: an Epistle’, and suggest that it is quite possible this early poem of Merry’s was an influence on Mary Robinson’s far more famous sonnet sequence, Sappho and Phaon (1796). Sappho and Phaon is typically regarded as Robinson’s most accomplished and overtly feminist works; the virtual antithesis of her ephemeral Della Cruscan productions. This essay suggests, however, that the sequence might also be seen productively as a continuation of the poet’s intertextual dialogue with Robert Merry. Viewed in this light, Sappho and Phaon’s Della Cruscan legacy becomes clear.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44293193","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：