Abstract
A man’s life of any worth is a continual allegory1
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
Marjorie Levinson, Keats’s Life ofAllegory: The Origins of a Style (Oxford: Basil Blackwell, 1988).
Michael Schmidt, Lives of the Poets (London: Weidenfeld and Nicolson, 1998).
Andrew Motion, Keats (London: Faber and Faber, 1997), p. xix.
Jack Stillinger, ‘The “Story” of Keats’, in The Cambridge Companion to Keats, edited by Susan J. Wolfson (Cambridge: Cambridge UP, 2001), pp. 246–60 (p. 253).
John Barnard, ‘Keats’s Letters’, in The Cambridge Companion to Keats, edited by Susan J. Wolfson (Cambridge: Cambridge UP, 2001), pp. 120–34 (p. 123).
Andrew Bennett, Keats, Narrative and Audience: The Posthumous Life of Writing (Cambridge: Cambridge UP, 1994), p. 1.
Garrett Stewart, ‘Keats and Language’, in The Cambridge Companion to Keats, edited by Susan J. Wolfson (Cambridge: Cambridge UP, 2001), pp. 135–51 (p. 135).
Lynne Pearce, Woman/Image/Text: Readings in Pre-Raphaelite Art and Literature (London: Harvester Wheatsheaf, 1991), p. 28.
Alan Bewell, Romanticism and Colonial Disease (Baltimore: John Hopkins UP, 1999), p. 185.
See Susan Sontag, Illness as Metaphor (Penguin: London, 1991) for contextual background on consumption in the nineteenth century, and Hermione de Almeida, Romantic Medicine and John Keats (New York: Oxford UP, 1991) for Keats’s relation to the discourse of disease.
Jennifer Davis Michael, ‘Pectoriloquy: The Narrative of Consumption in the Letters of John Keats’, European Romantic Review 6 (1996), 38–56 (pp. 48, 53). Michael suggests that as Keats’s poetic output ceased, he left ‘only pectoriloquy, the potently signifying speech of the body’ that is voiced in his letters (p. 53). The auto-cannibalism of his vital organs can be read as ‘an embodied and interpretable text’ (p. 46). Denise Gigante similarly identifies a relationship between textuality and the consumptive body: ‘Keats is virtually unique among poets in the fact that the details of his physical disintegration, the “ghastly wasting-away of his body and extremities” documented in painful detail in the journal letters of Severn, form an appendix (if not more vital appendage) to his literary corpus’. See ‘Keats’s Nausea’, Studies in Romanticism, 40 (2001), 481–510 (p. 508).
Andrew Epstein, “Flowers that Mock the Corse Beneath”: Shelley’s Adonais, Keats, and Poetic Influence’, Keats-Shelley Joumal, 48 (1999), 90–128 (p. 111).
See Deborah Cherry and Griselda Pollock, ‘Woman as Sign in Pre-Raphaelite Literature: A Study of the Representation of Elizabeth Siddall’, Art History, 7 (1984), 206–27.
Anne K. Mellor, Romanticism and Gender (London: Routledge, 1993), pp. 171–86 (p. 171). See also Margaret Homans, ‘Keats Reading Women, Women Reading Keats’, Studies in Romanticism, 29 (1990), 341–72.
Anne K. Mellor, ‘Keats and the Complexities of Gender’, in The Cambridge Companion to Keats, edited by Susan J. Wolfson (Cambridge: Cambridge UP, 2001), pp. 214–29.
Toril Moi, ‘Patriarchal Thought and the Drive for Knowledge’, in Between Feminism and Psychoanalysis, edited by Teresa Breman (London: Routledge, 1989), pp. 189–205. See also Sexual/Textual Politics: Feminist Literary Theory, edited by Toil Moi (London: Methuen, 1985) and the chapter entitled ‘Self and Others’ in Lois McNay, Foucault and Feminism: Power, Gender and the Self (Cornwall: Polity Press, 1992), pp. 157–91.
See Michel Foucault, The History of Sexuality, 3 vols (London: Lane, 1979), I.
For example, George H. Ford examines the Romantic poet’s influence on nineteenth-century writers at the expense of pictorial renderings. See Keats and the Victorians: A Study of His Influence and Rise to Fame 1821–1895 (London: Archon Books, 1962). Similarly, Marquess devotes only a single passage to the Pre-Raphaelites in his study of Keats’s afterlife. Admittedly, Lives of the Poet focuses on biography, but even Grant F. Scott’s book on Keats as an ekphrastic poet limits any discussion of paintings by Millais and Hunt to a few paragraphs. See the chapter entitled ‘Words into Pictures’, in The Sculpted Word: Keats, Ekphrasis, and the Visual Arts (London: New England UP, 1994), pp. 68–95.
See Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia UP, 1985).
Grant F. Scott, ‘Language Strange: A Visual History of Keats’s “La Belle Dame sans Merci” ’, Studies in Romanticism, 38 (1999), 503–35 (p. 532).
Copyright information
© 2006 Sarah Wootton
About this chapter
Cite this chapter
Wootton, S. (2006). Introduction. In: Consuming Keats. Palgrave Macmillan, London. https://doi.org/10.1057/9780230598492_1
Download citation
DOI: https://doi.org/10.1057/9780230598492_1
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-51447-2
Online ISBN: 978-0-230-59849-2
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)