John Keats约翰·济兹简介
1795-1821 Endymion恩底弥翁;Isabella伊莎贝拉;The Eve of Sanit Agnes圣爱尼节前夜;Ode on a Grecian Urn希腊古瓮颂;Ode to a Nightingale夜莺颂;To Autumn秋颂;Hyperion赫披里昂（未完成）
Introduction
一个人的孤独born October 31, 1795, London, England
died February 23, 1821, Rome, Papal States [Italy]融资融券交易规则
出息拼音John Keats, miniature oil on ivory by Joph Severn, 1819.月全食
English Romantic lyric poet who devoted his short life to the perfection of a poetry marked by vivid imagery, great nsuous appeal, and an attempt to express a philosophy through classical legend.
Youth
The son of a livery-stable manager, John Keats received relatively little formal education. His father died in 1804, and his mother remarried almost immediately. Throughout his life Keats had clo emotional ties to his sister, Fanny, and his two brothers, George and Tom. After the breakup
of their mother's cond marriage, the Keats children lived with their widowed grandmother at Edmonton, Middlex. John attended a school at Enfield, two miles away, that was run by John Clarke, who son Charles Cowden Clarke did much to encourage Keats's literary aspirations. At school Keats was noted as a pugnacious lad and was decidedly “not literary,” but in 1809 he began to read voraciously. After the death of the Keats children's mother in 1810, their grandmother put the children's affairs into the hands of a guardian, Richard Abbey. At Abbey's instigation John Keats was apprenticed to a surgeon at Edmonton in 1811. He broke off his apprenticeship in 1814 and went to live in London, where he worked as a dresr, or junior hou surgeon, at Guy's and St. Thomas' ho
spitals. His literary interests had crystallized by this time, and after 1817 he devoted himlf entirely to poetry. From then until his early death, the story of his life is largely the story of the poetry he wrote.
Early works
Charles Cowden Clarke had introduced the young Keats to the poetry of Edmund Spenr and the Elizabethans, and the were his earliest models. His first mature poem is the sonnet "On First Looking Into Chapman's Homer" (1816), which was inspired by his excited reading of George Chapman's classic 17th-century translation of the Iliad and the Odysy. Clarke also introduced Keats to the journalist and contemporary poet Leigh Hunt, and Keats made friends in Hunt's circle with the young poet John Hamilton Reynolds and with the painter Benjamin Haydon. Keats's first book, Poems, was published in March 1817 and was written largely under “Huntian” influence. This is evident in the relaxed and rambling ntiments evinced and in Keats's u of a loo form of the heroic couplet and light rhymes. The most interesting poem in this volume is "Sleep and Poetry," the middle ction of which contains a prophetic view of Keats's own poetical progress. He es himlf as, at prent, plunged in the delighted contemplation of nsuous natural beauty but realizes that he must leave this for an understanding of “the agony and strife of human hearts.” Otherwi the vol
ume is remarkable only for some delicate natural obrvation and some obvious Spenrian influences.
In 1817 Keats left London briefly for a trip to the Isle of Wight and Canterbury and began work on Endymion, his first long poem. On his return to London he moved into lodgings in Hampstead with his brothers. Endymion appeared in 1818. This work is divided into four 1,000-line ctions, and its ver is compod in loo rhymed couplets. The poem narrates a version of the Greek legend of the moon goddess Diana's (or Cynthia's) love for
锁鱼Endymion, a mortal shepherd, but Keats puts the emphasis on Endymion's love for Diana rather than on hers for him. Keats transformed the tale to express the widespread Romantic theme of the attempt to find in actuality an ideal love that has been glimpd heretofore only in imaginative longings. This theme is realized through fantastic and discursive adventures and through nsuous and luxuriant description. In his wanderings in quest of Diana, Endymion is guilty of an apparent infidelity to his visionary moon goddess and falls in love with an earthly maiden to whom he is attracted by human sympathy. But in the end Diana and the earthly maiden turn out to be one and the same. The poem equates Endymion's original romantic ardour with a more universal quest for a lf-destroying transcendence in which he might achieve a blissful personal unity with all creation. K
讨厌女人eats, however, was dissatisfied with the poem as soon as it was finished.
Personal crisis
In the summer of 1818 Keats went on a walking tour in the Lake District (of northern England) and Scotland with his friend Charles Brown, and his exposure and overexertions on that trip brought on the first symptoms of the tuberculosis of which he was to die. On his return to London a brutal criticism of his early poems appeared in Blackwood's Magazine, followed by a similar attack on Endymion in the Quarterly Review. Contrary to later asrtions, Keats met the reviews with a calm asrtion of his own talents, and he went on steadily writing poetry. But there were family troubles. Keats's brother Tom had been suffering from tuberculosis for some time, and in the autumn of 1818 the poet nurd him through his last illness. About the same time, he met Fanny Brawne, a near neighbour in Hampstead, with whom he soon fell hopelessly and tragically in love. The relation with Fanny had a decisive effect on Keats's development. She ems to have been an unexceptional young woman, of firm and generous character, and kindly dispod toward Keats. But he expected more, perhaps more than anyone could give, as is evident from his overwrought letters. Both his uncertain material situation and his failing health in any ca made it impossible for their relationship to run a normal cour. After Tom's death (George had already gone to America), Keats moved into 痔疮宁
Wentworth Place with Brown; and in April 1819 Brawne and her mother became his next-door neighbours. About October 1819 Keats became engaged to Fanny.
The year 1819
Keats had written "Isabella," an adaptation of the story of the "Pot of Basil" in Giovanni Boccaccio's Decameron, in 1817–18, soon after the completion of Endymion, and again he was dissatisfied with his work. It was during the year 1819 that all his greatest poetry was written—"Lamia," "The Eve of St. Agnes," the great odes ( "On Indolence," "On a Grecian Urn," "To Psyche," "To a Nightingale," "On Melancholy," and "To Autumn" ), and the two versions of Hyperion. This poetry was compod under the strain of illness and his growing love for Brawne; and it is an astonishing body of work, marked by careful and considered development, technical, emotional, and intellectual. "Isabella," which Keats himlf called “a weak-sided poem,” contains some of the emotional weakness of Endymion; but "The Eve of St. Agnes" may be considered the perfect culmination of Keats's earlier poetic style. Written in the first flush of his meeting with Brawne, it conveys an atmosphere of passion and excitement in its description of the elopement of a pair of youthful lovers. Written in Spenrian stanzas, the poem prents its theme with unrivaled delicacy but displays no marked intellectual advance over Keats's earlier efforts. "Lamia" is another narrative poem and is a deliberat
e attempt to reform some of the technical weakness of Endymion. Keats makes u in this poem of a far tighter and more disciplined couplet, a firmer tone, and more controlled description.
The odes are Keats's most distinctive poetic achievement. They are esntially lyrical meditations on some object or quality that prompts the poet to confront the conflicting impuls of his inner being and to reflect upon his own longings and their relations to the wider world around him. All the odes were compod between March and June 1819 except "To Autumn," which is from September. The internal debates in the odes centre on the dichotomy of eternal, transcendent ideals and the transience and change of the physical world. This subject was forced upon Keats by the painful death of his brother and his own failing health, and the odes highlight his struggle for lf-awareness and certainty through the liberating powers of his imagination. In the "Ode to a Nightingale" a visionary happiness in communing with the nightingale and its song is contrasted with the dead weight of human grief and sickness, and the transience of youth and beauty—strongly brought home to Keats in recent months by his brother's death. The song of the nightingale is en as a symbol of art that outlasts the individual's mortal life. This theme is taken up more distinctly in the "Ode on a Grecian Urn." The figures of the lovers depicted on the Greek urn become for him the symbol of an enduring but unconsummated passion that subtly belies the poem's
celebrated conclusion, “Beauty is truth, truth beauty,—that is all ye know on earth, and all ye nee d to know.” The "Ode on Melancholy" recognizes that sadness is the inevitable concomitant of human passion and happiness; the transience of joy and desire is an inevitable aspect of the natural process. But the rich, slow movement of this and the other odes suggests an enjoyment of such intensity and depth that it makes the moment eternal. The "Ode to Autumn" is esntially the record of such an experience. Autumn is en not as a time of decay but as a ason of complete ripeness and fulfillment, a pau in time when everything has reached fruition, and the question of transience is hardly raid. The poems, with their rich and exquisitely nsuous detail and their meditative depth, are among the greatest achievements of Romantic poetry. With them should be mentioned the ballad "La Belle Dame sans merci," of about the same time, which reveals the obver and destructive side of the idyllic love en in "The Eve of St. Agnes."
Keats, detail of an oil painting by Joph Severn, 1821; in the National Portrait Gallery, London
Keats's fragmentary poetic epic, Hyperion, exists in two versions, the cond being a revision of the first with the addition of a long prologue in a new style, which makes it into a different poem. Hyperion was begun in the autumn of 1818, and all that there is of the first version was finished by April 1819. In September Keats wrote to Reynolds that he had given up Hyperion, but he appears to
have continued working on the revid edition, The Fall of Hyperion, during the autumn of 1819. The two versions of Hyperion cover the period of Keats's most inten experience, both poetical and personal. The poem is his last attempt, in the face of increasing illness and frustrated love, to come to terms with the conflict between absolute value and mortal decay that appears in other forms in his earlier poetry. The epic's subject is the superssion of the earlier Greek gods, the Titans, by the later Olympian gods. Keats's desire to write something unlike the luxuriant wandering of Endymion is clear, and he thus consciously attempts to emulate the epic loftiness of John Milton's Paradi Lost. The poem opens with the Titans already fallen, like Milton's fallen angels, and Hyperion, the sun god, is their one hope of further resistance, like Milton's Satan. There are numerous Miltonisms of style, but the are subdued in the revid version, as Keats felt unhappy with them; and the basis of the writing is revealed after all as a more austere and disciplined version of Keats's own manner. There is not enough of the narrative to make its ultimate direction clear; but it ems that the poem's hero was to be the young Apollo, the god of poetry. So, as Endymion was an allegory of the fate of the lover of beauty in the诗睛后传07一20
