By Susan J. Wolfson
Within the Cambridge better half to Keats, best students speak about Keats's paintings in different attention-grabbing contexts: literary heritage and key predecessors; Keats's lifestyles in London's highbrow, aesthetic and literary tradition and the relation of his poetry to the visible arts. those especially commissioned essays are refined yet obtainable, demanding yet lucid, and are complemented via an advent to Keats's existence, a chronology, a checklist of up to date humans and periodicals, a resource reference for well-known words and ideas articulated in Keats's letters, a thesaurus of literary phrases and a advisor to extra studying.
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Extra resources for The Cambridge Companion to Keats
This is “Spenser” reconﬁgured for reformist purposes, shorn of his royalism and Christianity (still antiPopian – only for this “Spenser” the Pope is Alexander). Keats’s “Spenser” is a talisman of “delight with liberty” – and as such his name becomes a public “crest” for the brotherhood deﬁned by Keats and Hunt. ” Keats’s Imitation of Spenser (in this same section) is also an imitation of Hunt. Huntian stylistics mark such phrases as “lawny crest” (3), “jetty eyes” (16), and “clouds of ﬂeecy white” (27).
In Pisa, Shelley publishes Adonais, an elegy for Keats with a preface that sets the fable of the sensitive poet driven to fatal illness by hostile reviewers. Though not published in England, it is generously quoted in several journals that reviewed it, and is ridiculed in Blackwood’s. Posthumous events 1821 When Byron’s Don Juan III–V is published in August, Murray’s premises are mobbed by booksellers’ messengers. The “Bowles controversy” erupts (Rev. Bowles’s edition of Alexander Pope’s poetry had a preface attacking Pope’s character, and a heated exchange of public letters ensued); Byron writes two letters defending Pope and attacking his detractors among the Lake poets and the Cockneys, with nasty remarks about JK which he asks publisher Murray to strike when he learns of JK’s death from Shelley.
It was a challenge to modern political authority, fronted in aesthetic terms. Hunt prints On First Looking into Chapman’s Homer as an illustration of his argument, and Keats returns the gesture, celebrating Chapman’s Elizabethan translation of Homer, himself a touchstone of literary authority. Because it was Pope’s Augustan translation, in tidy couplets, that was the celebrated standard, the political implication of arguing for Chapman’s rougher, less courtly verse would be clear, as Hunt well knew.
The Cambridge Companion to Keats by Susan J. Wolfson