On the uses of a liberal education:
As Diane states in her essay: She died of tuberculosis and insix years later. She was nursed devotedly during her lingering illness by her eldest son. Keats took medical courses under Thomas Hammond, an apothecary from He dabbled in herbs, he assisted in amputations.
He fled to poetry. This Keats to sleep analysis essay to the complex psychological ground of castration and decapitation.
Woman is seen as the endless chatterer and thus is subjected to a culturally imposed silence. Isabella represents the decapitated woman of Western culture, dispossessed and speechless, frozen in tableaux vivant, inhabiting a living museum of horrors. In short, both are lovesick; but are we in the presence of a love between two adults of equal stature?
The male is once again in an inferior and infantilized position toward a higher-status woman one only need recall the triple goddess Cynthia in Endymion L, a Belle Dame, Lamia, or Moneta. And indeed the lovers have only a brief season of happiness stanzas 8-i 1 before the narrator presents two stanzas of general meditation on the hopelessness and brevity of love.
And yet why, the narrator asks, do we endure such pain for such a brief period of love? As readers of a well-known love story we may know the fate of our lovers before the poem begins, but the narrator cannot resist the temptation of warning us yet again in an attempt to make explicable-more controllable the impending tragedy.
Here the parallel is of Keats in relation to Abbey, and the larger culture. The tale of murder and recovery refigures the Christian allegory in a particularly Keatsan fashion. Lorenzo becomes for Keats the Christ like poet, sacrificed by narrow class prejudices and condemned to live on in mutated form only after his premature death.
The child-consciousness that is Lorenzo could not have known he had such formidable enemies. But Isabella the mother protector should have known. Hence they feel the murder is justified to preserve their way of life. However Isabella too is seen as a disruptive element.
Her romance with Lorenzo a servantand by implication marriage, children and property issues pose a threat to her two brothers—a threat that prompts a heinous crime.
He has now returned to the voice of an infant. The gaze here functions as a sort fetishist screen, suggesting to Isabel a return of the repressed, the resurgence of a theatre of phallocentric illusion.
In hungrily feasting on the dead Lorenzo with her eyes she is entering a pathologized discourse, the Gothic ballad tradition-a male libidinal economy that can only script her as a consumer of the beautiful masculine cadaver.
Here we are in the realm of the dependent male lover coming back to life through the power of the primal and much stronger female body. Isabella attempts to reanimate the spirit of Lorenzo through the recovery of his head.
We confront again the realisation that castration or decapitation stand as the fate of the sexes. It is our worst cultural nightmare that the phallus power can be severed; the tongue can be silenced. Both sexes fear that they actually do inhabit a world where their most basic identifications can be turned against them, where they are powerless to protect or speak for themselves.
The power of the passage resides in the deep psychological sources of pain that Keats touched as he probed the issue of boundaries.
Just exactly when does the self separate from its other? At death or at birth? Or, as Keats suggests, are they not the same? Lorenzo the lover may be dead, but the poem promises that something, some form of life and growth, can be salvaged, seized from the world of death.
The poem refuses to mourn; it promises instead that activity generated by living bodies can redeem and renew the cycle of generation. As we read this image we know ourselves to be participating in a nostalgic recuperative gesture, the attempt of a child through magical thinking to reconstitute the life cycle as benign.
This poem represents a transition between Endymion and the later great Odes. The poem is written in ottava rima stanzas — these stanzas have 8 lines, rhyming aba ba bcc Rhyme is rarely forced in this poem, although it does not yet show the self-restraint and clearness of the later works.
Instead the poem has a vigorous, consonantal verbal texture. The repetition of the lines from stanza 55 in stanza 61 acts like a Greek chorus. The poem has a sensual and tender complexity, and strives to recreate a medieval atmosphere. Keats pauses in the narrative at stanza 19 to apologise to Boccaccio for transforming his story, which shows that he is still struggling with his role as a poet.The central trope of the poem is the macabre head in the pot—called “the trace”– by Derrida.
This is the residue of the father who both imprisons the son in the harsh actualities of the class system and offers a way out through the metaphorically transformative power of the knife/pen. Essay is a critical analysis of John Keats poem To Sleep, using college-level literary terms.
a vulnerable and mortal person, and the speaker The voice of the poem speaks to sleep, referring to his words as thine hymn, and offering himself to sleep when it should choose.
Furthermore, the action of sleeping represents a new kind of experience that the lyrical voice will evoke and yearn in To Sleep.
Moreover, the action of sleeping will be a metaphor for death. Moreover, the action of sleeping will be a metaphor for death. Commentary on “To sleep” (John Keats) Essay Sample.
John Keats, born in London in , wrote the sonnet To Sleep when he was only twenty years old. In an iambic pentameter, the narrator talks directly to Sleep, asking “him” to provide escape from reality.
"To Autumn" is a poem by English Romantic poet John Keats (31 October – 23 February ). The work was composed on 19 September and published in in a volume of Keats's poetry that included Lamia and The Eve of St.
Agnes. "To Autumn" is the final work in a group of poems known as Keats's " odes".Although personal problems left him little time to devote to poetry in "Ode to a Nightingale" is a poem by John Keats written either in the garden of the Spaniards Inn, Hampstead, London or, according to Keats' friend Charles Armitage Brown, under a plum tree in the garden of Keats' house at Wentworth Place, also in Hampstead.