Download Consuming Keats: Nineteenth-Century Representations in Art by S. Wootton PDF

By S. Wootton

This e-book explores the influence of Keats on authors and artists from 1821 to the top of the 1st international conflict. It examines the paintings of authors together with Shelley, Browning and Thomas corridor Caine, and artists Holman Hunt and Rossetti. The examine additionally comprises tributes to Keats by means of girls authors and artists similar to Christina Rossetti and Jessie Marion King.

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Sample text

43–5) The figurative wealth of the ocean now reflects a narcissistic materialism. The birthing metaphor is extended to encompass this mercenary use of the dye in the quotation below, yet the idyllic impression of the previous scene is now lost. Most like the centre-spike of gold Which burns deep in the blue-bell’s womb. (46–7) The ‘womb’ is defiled by the flower’s own masculine member. The colour of this penetrating weapon recalls the ‘gold-robed’ regalia of Solomon from the previous stanza, which suggests that his avarice for rich ornamentation and artifice has polluted the essence of beauty.

49 From this perspective, the coloured buds of Keats’s mouth, also prominent in Wilde’s portrait of the poet in ‘The Tomb of Keats’, represent a metonymic focus for the homoerotic gaze. Although this objectifies the Other, and represents a disembodied image that could potentially depersonalise and even dehumanise the elegiac subject, it also recomposes Keats physically. In contrast, for example, with Shelley’s devouring pantheism, the subject becomes reclaimable through the body. Any competitive instincts are effectively inverted by courtship rituals that are reminiscent of female elegists.

The title of the elegy locates the reader ‘At the Pyramid of Keats’s Posthumous Life of Elegy 41 Cestius’, thereby relegating the Romantic poets to the status of adjuncts who merely support the ‘ample fame’ of the Protestant Cemetery (24). Evident throughout the poem are the ways in which a physical object, the material memorial, supplants the subject. Keats and Shelley are not referred to by name in the body of the poem – ‘Those matchless singers lie [. ] where two immortal Shades abide’; and their now well-worn ‘stories’ are by-passed by four ellipses (20, 23).

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