221. (John Keats)

This post is the first in a series of evolving sketches on “decorum” in poetry; it leads into the next post, on Emily Dickinson, both of which are much refined and restated in yet another post on Emily Dickinson (223). Through all of these posts, I’m writing against and with Donald Davie, the critic best remembered for Articulate Energy and Purity of Diction in English Verse. None of … Continue reading 221. (John Keats)

111. (John Keats)

On either side of John Keats’ “La Belle Dame Sans Merci” sit Wordsworth’s “Resolution and Independence” and Tennyson’s “Vision of Sin.” All three are poems about encounters with pictures of strikingly alien people: Wordsworth’s, characteristically, about the imagination’s projection interfering with what is before him; Tennyson’s, characteristically, framed by an account of the vision’s arrival and dissipation. Wordsworth’s poem, then, founded on the conflict between … Continue reading 111. (John Keats)

73. (John Keats)

The preference for the Keats of the letters to the Keats of the poems is more than the outcome of a critic’s desert-island fantasy. When Christopher Ricks remarks that he would choose the letters over the poems, but that he is glad that he does not have to choose, he is making a statement of principle: that the letters contain life as the poems, great … Continue reading 73. (John Keats)