Like all affectionate poets, Keats seeks an escape before. His thoughts is captivated by the historical Greeks as well as by the glory and splendour ofMiddle Age groups. He hardly ever devotes himself to the pressing problems of today's. Hyperion, Endymion and Lamia are classical in theme, though charming in style. Keats this discovers an escape in to the recent from the oppressive realities of the present.
Also Keats' themes or templates are romantic in nature. The majority of his poetry is specialized in the goal of beauty. Love, chivalry, excitement, pathos --- they are a few of the designs of his poems. Another pressure that runs through his poetry is the constant fear of fatality, which confirms very beautiful expression in his sonnet, 'When I Have Anxieties'. Another theme of his poetry is disappointment in love, which is often observed in 'La Belle Dam Sans Merci'.
Like all romantics, Keats enjoys nature and its own various charms. He transfigures everything into beauty that he touches with magic hands of chance. He says in 'Ode to Nightingale',
"Tis not through envy of thy happy lot,
But being too happy in thine happiness, "
Beauty is Keats' religion and he's very romantic is his frank quest for beauty and for the reason that pursuit of beauty, he completely forgets himself and the entire world around him.
The romantic quality in books has been defined by Pater as,
"The addition of strangeness to the wonder. "
All types of poetry deals with beauty in a single way or the other, but affectionate poetry runs a step ahead and imparts strangeness to the beauty. Keats views beauty in typical things of aspect. Earth, to him, is a location of where beauty renews itself every day, the sky is packed with huge cloudy symbols of high relationship. Keats is in love with beauty in the bloom, in the stream and in the cloud but he adores it in each thing as part of Common Beauty, which is infinite --- 'the mighty abstract idea of Beauty'.
"Thou had not been born for loss of life, immortal bird"
The melody of the nightingale becomes symbolic of the common nature of beauty. The nightingale is, for Keats, the icon of unlimited delight, infinite delight and universal soul of beauty. Quest for the unidentified, the unseen and infinite inspires the creation of all the intimate poetry of the world.
Last however, not least, both in terms of diction and metres, Keats' poetic style is passionate. Though it offers classical surface finish, it owns that romantic tough of suggestiveness by which "more is meant than fits the ear canal. " Keats has hired various types of metres and stanzaforms in his poetic work. He's one of the greatest sonneteers in English vocabulary and his Odes with the musical movement in long stanzas, stand as unique specimen of loving poetry.
Keats was true charming poet, because his attention was not only beauty but also fact. He noticed beauty in reality and truth in beauty.
"Beauty is truth, real truth beauty, --- that is all
Ye know on earth, and all ye need to know. "
He persistently endeavoured to reconcile the world of creativity with the world of actuality. Therefore, Middleton Murray calls Keats "a true romantic. "
A genuine poet feels and expresses his happiness in beauty, but when he feels this delight, he realizes also a fresh facet of beauty, which is real truth. In this identification of beauty and fact, lies the harmony of universe. Keats realizes this tranquility when he says that "real truth and beauty will be the ditto. "
"Wordsworth and Shelley both had ideas but Keats has none of them. We can not accuse Keats of any withdrawal or refusal; he was just about his business and his business was that of any natural poet. " (T. S. Eliot)
For Keats, the necessary quality of poetry is submission to the things as they are, without any effort to intellectualize them into another thing. Keats often says that the poet should never live for himself, but must feel for others, and should do good, but he should do so by being a poet, not by being a teacher or moralist. There is absolutely no didacticism in Keats as there is in Wordsworth. He delivers what he sees; the pleasures of experiencing dynamics and beauty.
"Where will be the songs of Spring? Ay, where are they?
Think not of these, thou hast thy music too. "
At onetime he regrets about the music of Spring and coil and but he perceives the beauties of Fall months and entails himself in them. He instantly forgets the pain of shedding songs of Spring and starts admiring Autumn.
The notion of French revolution got awakened the younger looking passions of both Wordsworth and Coleridge; they had stirred the wrath of Scott; they had worked like yeast on Byron. They had brought forth new concerns for Shelley who re-moulded them and converted them into prophecy of the future. There was only 1 poet, Keats, of that years who they could not affect at all whatsoever.
"Keats was so preoccupied with beauty that he transformed a blind eyesight to the actualities of life around him. " (Stopeford Brooke)
It holds true that Keats' poetry does not express the revolutionary ideas of his age, but Keats was a pure who indicated in his poetry the most worth while part of him and it was his eye-sight of beauty, which was also truth to him. If his purpose was to go after beauty, that was also real truth to him, he cannot be called an escapist, for in chasing beauty, he pursued real truth.
The poetry of Keats shows a steady procedure for development. His previous experiments in verse are products of vibrant thoughts, immature and overcharged with imagery. The young poet has abnormal sensibility, but lacks connection with life. Endymion starts with the famous series --- 'A thing of beauty is a pleasure forever', it is packed with glorious assurance but it is lost in shadows and uncertainties, because it is not established upon experiences of life. Inside the Odes, Keats' poetry assumes a deeper build. There he encounters the sorrows and sufferings of life. He would want a life of happiness and happiness, like this of nightingale.
"Fade a long way away, and quite forget
What thou amidst the leaves hast never known,
The weariness, the fever, and the fret,
There, where men remain and hear one another groan;"
(Ode to Nightingale)
"None of them can usurp the elevation.
But those to whom miseries of the world
Are miseries, and can not let them rest. "
"How fevered that man who cannot look
Upon his mortal days with temperate blood vessels. "
Keats was attempting to achieve serenity of spirits in the midst of all the sufferings which he was starting in his own life and which he noticed all around him. This mood of serenity is portrayed in "Ode to Autumn", which accordingly to Middleton Murray,
"An ideal and unforced utterance of the truth contained in the magic words (of Shakespeare): Ripeness is all. "
For Keats, earlier hankering for the world of Flora and Pan for unreflecting enjoyment of sensuous delights--- is earlier; he now subjected himself persistently and unflinchingly to life. He experienced life with all uncertainties and contradictions, its sorrows and joys. The lines ---
"Where beauty cannot keep her lustrous eyes,
Or new love pine at them beyond tomorrow. "
(Ode to Nightingale)
are delighted with aching hopelessness. In 'Ode to Melancholy', he says,
"dwells with beauty --- beauty that has to die"
Melancholy arises from transience of enjoyment and enjoyment is transient by its mother nature. Therefore Keats allows life all together --- with its joys and beauty as well as its sorrows and despair.
To quote what of Middleton Murray about 'Ode on a Grecian Urn',
"These lines contain deep wisdom purchase at the full price of profound suffering. They may be mark and prophecy of a comprehension of human life to which mankind can attain. "
Keats' analysis of Lempriere's Classical Dictionary totally acquainted him with the Greek mythology; and he enjoyed every bit of it, and easily used it in his poetry. The testimonies of Endymion, Lamia and Hyperion, are founded upon Greek legends. In his Ode to Psyche and Ode over a Grecian Urn, the topics are Greek, and the poet while expressing his passion for beauty transports himself in his thoughts to the times of traditional Greeks.
But the main factor is Keats' Hellenism was his own Greek temper --- the inborn temperamental Greekness of his head. The power of seeing things with a child's amazement and forgetfulness was the temper of Keats, as it was the temper of Greeks --- i. e. ; half-worship added half-joy.
"Yes, I will be thy priest and buld a fane
In some untrodden parts of my head,
Where branched thoughts, new grown with pleasant pain
Instead of pine shall murmur in the breeze. "
The Greek didn't burden their poetry with school of thought or spiritual note. Their poetry was incarnation of beauty, and existed for itself. In the same way, Keats was pure poet. He appreciated unalloyed pleasure in aspect, which for him, didn't carry any philosophical or spiritual message.
Concluding it, Keats, has the features of affectionate and natural poet he loves nature, which sometimes appears by him with Greek temper. He never considers former and future and his only concern is the present time; the present second of beauty and truth. In his early on poetry, you can perceive him as an escapist because there is joy and joy and overcharged imagination because of inexperience youth. But with steady development of thought and experience, he involves the final outcome that sorrows and joys are always mutually; rose cannot be taken without its thrones. You can clearly views in his Odes that he is no escapist but he is taking the realities of life.
"There is something of the innermost heart and soul of poetry in almost anything he wrote. " (Tennyson)
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