By G. Douglas Atkins
This obtainable, expert, and interesting publication bargains clean, new avenues into Keats’s poems and letters, together with a important creation to “the accountable poet.” concentrating on Keats’s feel of accountability to fact, poetry, and the reader, G. Douglas Atkins, a famous T.S. Eliot critic, writes as an ama-teur. He reads the letters as literary texts, essayistic and dramatic; the Odes compared to Eliot’s remedy of comparable matters; “The Eve of St. Agnes” through including to his revered past article at the poem an addendum outlining a daring new analyzing; “Lamia” via concentrating on its complicated and confusing therapy of philosophy and mind's eye and revealing how Keats actually represents philosophy as functioning inside poetry. evaluating Keats with Eliot, poet-philosopher, this ebook generates worthy perception into Keats’s winning and infrequently subtle poetic therapy of principles, accentuating a twin of him as “the dependable poet.”
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Additional resources for On Keats’s Practice and Poetics of Responsibility: Beauty and Truth in the Major Poems
Nor is there, for it is unnecessary, any time or poetic energy spent on conditions in the world that make the Urn seem necessary. “Ode on a Grecian Urn” is magniﬁcently restrained. Not at all melodramatic, “Ode on a Grecian Urn” is also more realistic than “Ode to a Nightingale,” the plot similar, of course, but simpler. Death is not directly stated, the poem instead powerfully suggestive. ” Then follow a series of seven questions, with which the ﬁrst of ﬁve stanzas concludes. The questions have to do with the representations on the Urn.
Indeed, the third stanza is a close continuation of the previous. ” The poetphysician also identiﬁes other maladies inherent in the human condition (not unlike the speaker encountering the “familiar compound ghost” in Eliot’s “Little Gidding”). The enemy is time: in Keats, time the destroyer is not, pace Eliot, also time the preserver. 3 SOME OF THE DANGERS IN “UNPERPLEX[ING] BLISS FROM . . 45 Given these “circumstances,” and this condition, the poet opts to join the nightingale. But the means he now chooses is not “Bacchus and his pards” but “the viewless wings of Poesy” (why “viewless,” I wonder, coming from Eliot as I do).
Considered together, the Odes explore ideas of beauty and truth and their necessary relation. Keats is seen as working toward greater and greater “impersonality,” “To Autumn” standing as a signiﬁcant poetic achievement. Keyword Thematic order of Odes Á Comparison with Eliot Á Ideas Á Impersonality Á “To Autumn” So threw the goddess off, and won his heart More pleasantly by playing woman’s part, With no more awe than what her beauty gave, That, while it smote, still guaranteed to save. —“Lamia” Ay, in the very temple of Delight Veil’d Melancholy has her Sovran shrine.
On Keats’s Practice and Poetics of Responsibility: Beauty and Truth in the Major Poems by G. Douglas Atkins