JOHN KEATS (1795–1821 CE) AND PERCY BYSSHE SHELLEY (1792–1822 CE) AT THE KEATS-SHELLEY HOUSE AND THE CIMITERO ACATTOLICO

2019 ◽  
pp. 29-44
Author(s):  
ANDREW OSBORN
Keyword(s):  
Percy Bysshe Shelley ◽  
John Keats

Madness Writing Poetry/ Poetry Writing Madness

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
William Wordsworth ◽  
Samuel Taylor Coleridge ◽  
English Literature ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
William Blake ◽  
Lord Byron ◽  
The Public ◽  
John Clare ◽  
Romantic Poetry

The final chapter returns to the scene of Romantic poetry, looking at poetry by William Blake, William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley, and John Clare. It reads these Romantic texts as poised articulations of the idea of poetic madness, and discusses generally how these writers contributed to, or interwove with their own lives and works, new and rediscovered mythologies of madness, sometimes anticipating or resisting the public images created by journalism, criticism, or biography, previously described. Finally, the Romantic mad poet is considered in relation to criticism and the canonical role of Romanticism in English literature.

Nature and the Sublime

2021 ◽  
Author(s):  
Mark Sandy
Keyword(s):  
William Wordsworth ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Natural World ◽  
Gothic Fiction ◽  
John Clare ◽  
Nature And Culture ◽  
The Sublime ◽  
The Many ◽  
The Mind

An account of Edmund Burke’s central ideas about the Sublime and the Beautiful shows how the emphasis Burke gave to terror helped to shape the Gothic fiction of Ann Radcliffe and Mary Shelley. Focusing on examples from the poetry of William Wordsworth, Lord Byron, Charlotte Smith, Percy Bysshe Shelley, John Keats, and John Clare, the remainder of this essay explores the ways in which Romantic poets both thought about and attempted to represent those elements of the sublime that were instigated by their encounters with the natural world. What emerges as defining about these interactions between the mind and world is how imaginative impulses towards a sense of the sublime often led to a renewed sense of the material world and the very contingencies of existence they sought to transcend. Even Wordsworth’s more reverential response to the natural world as sacrosanct recognises the ‘awe’ of the sublime can be as much consoling as it is disturbing. These disturbing aspects of natural process and the sublime are self-consciously explored in the poetry of Shelley, who subjects notions of transcendence and idealism to sceptical scrutiny. With varying degrees of emphases, the poetry of Byron, Smith, and Clare elide distinctions between nature and culture to acknowledge a sublime more explicitly shaped by temporal and material processes. Finally, a key episode in Keats’s Ode to a Nightingale is read as exemplifying the many difficulties and complexities of the Romantic imagination’s encounter with, and its attempts, to represent transcendence and the sublime.

Poetry on the Porch

2016 ◽  
Author(s):  
Steve Zeitlin
Keyword(s):  
South Carolina ◽  
William Wordsworth ◽  
Sand Dunes ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Lord Byron ◽  
Living Room ◽  
Equal Weight ◽  
Garden City ◽  
The Family

In this chapter, the author recalls how his family would spend afternoons and evenings reading poems on the screened porch overlooking the sand dunes, the beach, and the sea in a rented house in Garden City, South Carolina. His father-in-law, Lucas, eagerly anticipates those times, bringing along his 101 Favorite Poems, published in 1929. But they all bring a few poems to the porch—even the children. At age ten their nephew Aidan Powers came equipped with a full set of Shel Silverstein's ingenious poetry. Masterpieces and ditties are treated with equal weight: poems by Percy Bysshe Shelley, John Keats, William Wordsworth, and Lord Byron are interspersed with children's poetry and nonsense verses. The evenings of poetry reading on the porch at the beach were so enjoyed by the family that they spawned poetry nights in the Dargan living room back in Darlington, South Carolina, on a weekly basis.

Romantic Prayer

2021 ◽  
Author(s):  
Christopher Stokes
Keyword(s):  
Lived Experience ◽  
William Wordsworth ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Lord Byron ◽  
Religious Traditions ◽  
William Cowper ◽  
Anna Letitia Barbauld ◽  
Romantic Era ◽  
Aesthetic Distance

Whilst religion and the secular have been continually debated contexts for literature of the Romantic era, the dominant scholarly focus has always been on doctrines and denominations. In analysing the motif of devotion, this book shifts attention to the quintessential articulation of religion as lived experience, as practice, and as a performative rather than descriptive phenomenon. In an era when the tenability and rationality of prayer were much contested, poetry—a form with its own interlinked history with prayer, especially via lyric—was a unique place to register what prayer meant in modernity. This study illustrates how the discourse of prayer continually intervened in the way that poetic practices evolved and responded to the religious and secular questions of the eighteenth- and nineteenth-century moment. After laying out the details of prayer’s historical position in the Romantic era across a spread of religious traditions, it turns to a range of writers, from the identifiably religious to the staunchly sceptical. William Cowper and Anna Letitia Barbauld are shown to use poetry to reflect and reinvent the ideals of prayer inherited from their own Dissenting denominational histories. Samuel Taylor Coleridge’s work is analysed as part of a long engagement with the rationality of prayer in modernity, culminating in an explicit ‘philosophy’ of prayer; William Wordsworth—by contrast—keeps prayer at an aesthetic distance, continually alluding to prayerful language but rarely committing to a devotional voice itself. John Keats, Percy Bysshe Shelley, and Lord Byron are treated in the context of departing from Christianity, under the influence of Enlightenment, materialist and atheist critique—what happens to prayer in poetry when prayer as a language is becoming impossible to maintain?

Suspended Animation, Slow Time, and the Poetics of Trance

PMLA ◽  
2011 ◽  
Vol 126 (1) ◽  
pp. 107-122 ◽  
Author(s):  
Robert Mitchell
Keyword(s):  
Eighteenth Century ◽  
New Media ◽  
Samuel Taylor Coleridge ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Altered States ◽  
Slow Time ◽  
Suspended Animation ◽  
Late Eighteenth Century ◽  
Romantic Era

Suspended animation emerged as a concept in the late eighteenth century as part of the efforts of the newly founded Royal Humane Society to convince lay and medical readers that individuals who had apparently drowned might still be alive, albeit in states of “suspended animation” (a condition we would now likely describe as a coma). The term was quickly taken up by medical and literary authors, including Samuel Taylor Coleridge, Mary and Percy Bysshe Shelley, and John Keats. Exploring these Romantic-era approaches to suspended animation can help us understand the reception and formal structures of creative literature, grasp the often counterintuitive links that Romantic-era authors established between “altered states” and “Romantic sobriety,” and articulate why poetry and other slow media remain important in our contemporary new-media landscape.

scholarly journals Em Torno da Não-Recepção de John Keats no Portugal de Oitocentos

2017 ◽  
pp. 61-75
Author(s):  
Miguel Dias
Keyword(s):  
19Th Century ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Lord Byron ◽  
Anglo Saxon ◽  
Romantic Literature ◽  
Early 19Th Century ◽  
The 19Th Century

John Keats (1795-1821) is widely regarded as a main figure in the scope of English Romantic Literature. Although the poet lived a short life, the quality of his work has earned him a place in the literary cannon, alongside Lord Byron (1788-1824) and Percy Bysshe Shelley (1792-1822), within the second generation of English romantic poets. The reception of Keats in Portugal, however, took place long after the poet achieved literary recognition in England. There were virtually no references to the poet, either in published volumes or in the Portuguese press of the 19th century, and the first translation of one of his poems was only published in 1915. The poet’s famous odes, generally considered his most influential works, were only translated in 1960. This was followed by an increase in the number of published translations, as well as essays on Keats and his work. The reception of John Keats in Portugal was evidently dissimilar to the ones of Lord Byron and Walter Scott (1771-1832), two Anglo-Saxon romantics tremendously appreciated in the country since the early 19th century. The aim of this case study is, to the extent that is possible, to point out and to clarify the reasons that led to the late reception of this English romantic in Portugal. It is therefore important to draw a comparison between the receptions of Keats, Byron and Scott in the country, as well as to discuss the importance of the French cultural system in the mediation of English authors and works to Portugal during that period.

Creative Translation

2018 ◽  
Author(s):  
Michael Rossington
Keyword(s):  
Native Language ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Lord Byron ◽  
Theory And Practice ◽  
The Other ◽  
Felicia Hemans ◽  
Other Hand ◽  
Romantic Era ◽  
Sir William Jones

This chapter addresses the theory and practice of translation in works by Lord Byron, Claire Clairmont, Felicia Hemans, Sir William Jones, John Keats, and Percy Bysshe Shelley. Despite Shelley’s view of its impossibility, translation is shown in the work of Jones, Byron, and Shelley to be one of the most vital and sophisticated literary activities of the Romantic era, at once a means to enlightenment about poetic traditions outside Britain and an arena for bold technical experimentation. For Shelley, translation constitutes a creative habitus through which he escapes his native language and then translates back into English from an assumed ‘foreign’ persona. Keats’s poetry, on the other hand, demonstrates how originality is prompted through engagement with the translations of others. The chapter also situates theories about translation in Britain within the context of wider debates on the Continent.

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