Assignment Topic :-John Keats as a romantic poet
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Name : Parmar Darshna V.
Roll No : 5
Year : 2017-2019
M. A. : Sem -2
Paper Name : (5) Romantic literature
Email ID :parmardarshana030@gmail.com
Enrollment No. : 2069108420180039
Topic : John Keats as romantic poet.
Submitted by : Smt. S. B. Gardi
Department of English
M. K. Bhavnagar University
Introducation
About John Keats
John Keats ( 31 October 1795-23 February 1821) was an English Romantic poet. He was one of the key figures in the second generation of the Romantic movement. The poet of Keats is characterized by sensual imagery. Keats as the supreme lover of beauty says, " A thing of beauty is joy forever. Before Keats was fifteen years he served his apprenticeship and for two years more. He was surgeon's helper in the hospitals but he disliked his work and his thoughts were on other thing the other day during lecture he said to a friend " There came a sunblem in to the room and with it a whole troop of creatures floating in the ray; and I was off with them to Oberon and fairyland.
John Keats life and works
In the short life John Keats wrote some of the most beautiful and enduring poems in the English language. Keats was intoxicated with vision of greatness. His poetry called as "a poetry of sensation. His poetry makes us, see, hear, smell, tests and touch the object he describes. Keats had begun writing as early as 1814 and his first volume of poetry was published in 1817.
In 1818 Keats took a long walking tour in the British liles that led to a prolonged sore throat, which was to become a first symptom of the disease that killed his mother and brother, tuberculosis. After he concluded his walking tour. Keats settled, in homestead. Here he and Fanny Brawne met and fell in love. However, they were never able to merry because of his health and financial situation. Between the fall of 1818 and 1820 Keats produces some of his best known so severe that he had to leave England for the Warner climate of Italy. In 1821 he died of tuberculosis in Rome. He is buried there in the protestant cemetery.
John Keats believe the genius of the poet lay in the transcendence of the ordinary self In the loss of identity this way he was could imagine himself in a thousand different lives and from island despise the bed poetry mental masturbate for him sensation experience was the key to the creative imagination vial in was a very different kinds of romantic from his earliest experience.
The key to the creative imagination was unpretentious. John Keats was a different kinds of romantic from his earliest ears he experience the solitude and emptiness of death but thought them he reached towards beauty and meaning on the 15 of April 1804 the first in a long line of tragedy that would affect his life.
Occurred here on city road in London Keats was only eight years old spotted of idleness Horace astray on the word this disturbing image meant tragedy the watchman went up the street and buy the doorway of the near by chapel he discovered the body of a man frustrating on the pavement he was covered in blood.
Form a deep wounds to the head the man name is Thomas Keats died the following morning John Keats had lost his father it was the beginning of a pilgrimage thoughts grief that would also be a journey in to the soul do you not see how necessary a word of pains and troubles is to school and intelligent and Mack it a soul by the time keep was 23 he had witnessed the deaths of her mother and his brother and he suffered list of depression but there were moment here at his house.
In Hampstead when his experience of death made him more intensely in love with life then Evan.
How astonishing does a change of Living the word impressive sense of it natural beauties on us Keats imagine birds song going for time in hearing for bird in experience Infinity for a fetching movements he's one bottle like it short and the sensation of living where all the more intense kids believe imaging is the dream and reality.
Of life and death haunt this poem as thing hunt keep is being and on the thunder is heard of February 1820 he was visited by and image that will pursue him until his death kids return to Hampstead from town on a big night even thought he was suffering from a called he had that can I keep that exposed to the element on the top of the Coach.
Foremost work of John Keats
-" A Thing of Beauty (Endymion) "
-"Bright star "
-"La Belle Dame Sans Merci "
-"Ode on a Grecian Urn "
-"Ode to a Nightingale "
-" To Autumn "
-"Ode to melancholy:
-"Ode on a Indolence"
-"Ode to psyche"
Romantic theme
The themes of Keats’ poetry are romantic in their nature. Most of his poetry is devoted to the quest of Beauty, Love, Chivalry, Adventure, Pathos —these are some of the themes of his poems. Another strain that runs through his poetry is the fear of death that haunts him constantly and which finds beautiful expression in his sonnet, When I have fears…. Another favorite theme of his poems is disappointment in love and its desolation as we find in La Belle Dame Sans Merci. Again, the rich and sensuous descriptions scattered all over his poetry are romantic in tone.
John Keats foremost Theme
* Beauty
*Love
*Nature
*Power
*Fancy
*Pain
Love of Nature
Like all romantics, Keats loves nature and its varied charms.. He has a vivid sense of colour, and he transfigures everything into beauty that he touches with “the magic hand of chance.”
Love and Beauty
Keats is called the poet of beauty or some critics address him as ‘the worshiper of beauty’. Keats’s notion of beauty and truth is highly inclusive. That is, it blends all life’s experiences or apprehensions, negative or positive, into a holistic vision. Art and nature, therefore, are seen as therapeutic in function. Keats was considerably influenced by Spenser and was, like the latter, a passionate lover of beauty in all its forms and manifestation. This passion for beauty constitutes his aestheticism. Beauty, indeed, was his pole-star, beauty in Nature, in woman, and in art. He writes and defines beauty:
“A think of beauty is joy for ever”
In John Keats, we have a remarkable contrast both with Byron and Shelley. He knows nothing of Byron’s stormy spirit of antagonism to the existing order of things and he had no sympathy with Shelley’s humanitarian real and passion for reforming the world. But Keats likes and worships beauty. In his Ode on a Grecian Urn, he expresses some powerful lines about his thoughts of beauty. This ode contains the most discussed two lines in all of Keats's poetry:
“Beauty is truth, truth beauty," - that is all
Ye know on earth, and all ye need to know.”
The exact meaning of those lines is disputed by everyone; no less a critic than TS Eliot considered them a blight upon an otherwise beautiful poem. Scholars have been unable to agree to whom the last thirteen lines of the poem are addressed. Arguments can be made for any of the four most obvious possibilities, -poet to reader, urn to reader, poet to urn, poet to figures on the urn. The issue is further confused by the change in quotation marks between the original manuscript copy of the ode and the 1820 published edition.
What is makes John Keats a Romantic poet
" Beauty is truth, truth beauty , that is all ye know on earth, and all ye need to know "(" Ode on a Grecian Urn ").
Keats cynicism about his life and his impending doom was seldom of his work. Though he was depressed about death, he wrote with a strong appreciation of life. Love and beauty.
In a letter to his lover fanny Brawne, keys writes ", I have two luxuries to brood over in my walks, your loveliness and the hour of my death. I hate the world : It betters too much the wrings of my self will, and would I could take a sweet poison from your lips to send me out to it " (1818)
Nature v/s culture is the number one rule of romanticism.
Keats was heavily influenced by ancient mythology texts by
-Homer
-Dante
-Virgil
-Shakespeare
Death ,sorrow, love and nature are signature trails of romanticism.
Lyric and transcendent, that which is beyond human understanding.
Creation of art and role of poet.
Ode to a Nightingale
With "Ode to a Nightingale," Keats's speaker begins his fullest and deepest exploration of the themes of creative expression and the mortality of human life. In this ode, the transience of life and the tragedy of old age ("where palsy shakes a few, sad, last gray hairs, / Where youth grows pale, and spectre-thin, and dies") is set against the eternal renewal of the nightingale's fluid music ("Thou wast not born for death, immortal bird!"). The speaker reprises the "drowsy numbness" he experienced in "Ode on Indolence," but where in "Indolence" that numbness was a sign of disconnection from experience, in "Nightingale" it is a sign of too full a connection: "being too happy in thine happiness," as the speaker tells the nightingale. Hearing the song of the nightingale, the speaker longs to flee the human world and join the bird. His first thought is to reach the bird's state through alcohol--in the second stanza, he longs for a "draught of vintage" to transport him out of himself. But after his meditation in the third stanza on the transience of life, he rejects the idea of being "charioted by Bacchus and his pards" (Bacchus was the Roman god of wine and was supposed to have been carried by a chariot pulled by leopards) and chooses instead to embrace, for the first time since he refused to follow the figures in "Indolence," "the viewless wings of Poesy."
The rapture of poetic inspiration matches the endless creative rapture of the nightingale's music and lets the speaker, in stanzas five through seven, imagine himself with the bird in the darkened forest. The ecstatic music even encourages the speaker to embrace the idea of dying, of painlessly succumbing to death while enraptured by the nightingale's music and never experiencing any further pain or disappointment. But when his meditation causes him to utter the word "forlorn," he comes back to himself, recognizing his fancy for what it is--an imagined escape from the inescapable ("Adieu! the fancy cannot cheat so well / As she is fam'd to do, deceiving elf"). As the nightingale flies away, the intensity of the speaker's experience has left him shaken, unable to remember whether he is awake or asleep. In "Indolence," the speaker rejected all artistic effort. In "Psyche," he was willing to embrace the creative imagination, but only for its own internal pleasures. But in the nightingale's song, he finds a form of outward expression that translates the work of the imagination into the outside world, and this is the discovery that compels him to embrace Poesy's "viewless wings" at last. The "art" of the nightingale is endlessly changeable and renewable; it is music without record, existing only in a perpetual present. As befits his celebration of music, the speaker's language, sensually rich though it is, serves to suppress the sense of sight in favor of the other senses. He can imagine the light of the moon, "But here there is no light"; he knows he is surrounded by flowers, but he "cannot see what flowers" are at his feet. This suppression will find its match in "Ode on a Grecian Urn," which is in many ways a companion poem to "Ode to a Nightingale." In the later poem, the speaker will finally confront a created art-object not subject to any of the limitations of time; in "Nightingale," he has achieved creative expression and has placed his faith in it, but that expression--the nightingale's song--is spontaneous and without physical manifestation.
In ‘Ode to a Nightingale’ one can discern the consciousness of the use of nature, symbolized in the bird and its melodious song, not only for poetic composition, but also for advancing the poet’s philosophical speculations. Both bird and song represent natural beauty, the poetic expression of the non-verbal song signaling the harmony of nature. Apart from the ecstasy that the bird’s song generates, the unseen but vivid pictorial description of the surrounding landscape adds to the bliss and serenity of the atmosphere:
I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the bough,
But, in embalmed darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast fading violets cover’d up in leaves;
And mid-May’s eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of lies on summer eves.
(Stanza V, L. 41 – 50)
These lines express the splendor of spring while foreshadowing the approach of summer, which will have its own store of nature beauty and luxury. As earlier said, nature here seems to be a springboard for intense speculations in the face of the impermanence and mutability of life which strongly preoccupies the poet.
To put it in other words, the song seems to engender a phenomenological process of self-transformation or a psychological metamorphosis that enhances a deep desire for the eternal and unalterable through death. Yet the poet submits to a stoical fortitude, apparently emphasizing the material and sensuous realm of existence rather than the struggle to maintain a permanent and idealistic state. This has often been problematical as imaginative failure, or as a characteristic Keatsian trademark of ambivalence between reality and imaginative illusion.
Conclusion
The brief span of Keats’ life fell within, what is known as the age of Romantic Revival in English Literature, and Keats fully imbibed the spirit of his age. His poetry is a fine example of highly romantic poetry; in fact, it touched almost all the aspects of romantic poetry—love for beauty, love for nature, love for the past, supernaturalism, glow for emotions, and last but not the least in importance, the revealing power of imagination.
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