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"To Autumn" is a poem by English Romantic poet John Keats (31 October 1795 – 23 February 1821). The work was composed on 19 September 1819 and published in 1820 in a volume of Keats's poetry that included Lamia and The Eve of St. Agnes .
His brother's financial woes continued to loom over him, and, as a result, Keats had little energy or inclination for composition, but, on 19 September 1819, he managed to compose To Autumn, his last major work and the one that rang the curtain down on his career as a poet.
Helen Vendler expands on the idea, in her 1983 analysis of Keats's odes, when she claimed "the complex mind writing the Urn connects stillness and quietness to ravishment and a bride". [42] In the second stanza, Keats "voices the generating motive of the poem – the necessary self-exhaustion and self-perpetuation of sexual appetite."
John Keats (31 October 1795 – 23 February 1821) was an English poet of the second generation of Romantic poets, along with Lord Byron and Percy Bysshe Shelley.His poems had been in publication for less than four years when he died of tuberculosis at the age of 25.
To Autumn" is a poem by English Romantic poet John Keats. The work was composed on 19 September 1819 and published in 1820 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 "1819 odes".
Charles Cowden Clarke and John Keats both had a scrappy awareness of Pope’s translation [1] and the most famous passages of Homer. [1] Chapman's vigorous and earthy paraphrase (1616) was put before Keats by Clarke, a friend from his days as a pupil at a boarding school in Enfield Town [2] who was integral in Keats’s poetic education. [1]
Tiger Woods had 199 yards to the hole. Woods asked to confirm the yardage and heard 99 — caddies often drop the first number when it's obvious. “I heard 99 yards, so I went out there and hit ...
"Negative capability" is the capacity of artists to pursue ideals of beauty, perfection and sublimity even when it leads them into intellectual confusion and uncertainty, as opposed to a preference for philosophical certainty over artistic beauty. The term, first used by John Keats in 1817, has been subsequently used by poets, philosophers and literary theorists to describe the ability to ...