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Shelley was introduced to Keats in Hampstead towards the end of 1816 by their mutual friend, Leigh Hunt, who was to transfer his enthusiasm from Keats to Shelley.Shelley's initial admiration of Keats was ambiguous: his reception to Keats' Endymion was largely unfavourable, while he found his later work, Hyperion, to be the highest example of contemporary poetry.
The poem's reliance on the process of sleeping is common to Keats's poems, and "Ode to a Nightingale" shares many of the same themes as Keats' Sleep and Poetry and Eve of St. Agnes. This further separates the image of the nightingale's song from its closest comparative image, the urn as represented in "Ode on a Grecian Urn".
The work was popular, brought new readers to both Keats and Shelley, and set a model for later collections of poetry popular during the Victorian period. [9] A review in the December 1819 Blackwood's Edinburgh Magazine claimed, "we propose now doing a truly wonderful thing-namely, in good earnest to laud a production of Mr Leigh Hunt's [...] is a very clever and cunning contrivance.
The sonnet was a popular form of poetry during the Romantic period: William Wordsworth wrote 523, John Keats 67, Samuel Taylor Coleridge 48, and Percy Bysshe Shelley 18. [1] But in the opinion of Lord Byron sonnets were “the most puling, petrifying, stupidly platonic compositions”, [ 2 ] at least as a vehicle for love poetry, and he wrote ...
As Paul Magnuson wrote in 2002, "Abrams credited Coleridge with originating what Abrams called the 'greater Romantic lyric', a genre that began with Coleridge's 'Conversation' poems, and included William Wordsworth's Tintern Abbey, Percy Bysshe Shelley's Stanzas Written in Dejection and John Keats's Ode to a Nightingale, and was a major ...
Henry James refers to Keats's sonnet in Book 2 of The Golden Bowl (1904), in his description of Adam Verver's discovery of his passion for collecting objects of art. Charles Olson alludes to Keats's poem in his epic The Maximus Poems with the poem "On first Looking out through Juan de la Cosa's Eyes". [19]
The untimely death of Keats reopened the floodgates of emotion for Shelley, inevitably leading him to reexperience the sadness and pain he felt for the death of his infant son. In the second line, “Grief too sad for song,” Shelley argued that the grief was ineffable, inexpressible in words. There is no solace. The entire world is “wrong.”
John Hamilton Reynolds (9 September 1794 [1] – 15 November 1852) was an English poet, satirist, critic, and playwright.He was a close friend and correspondent of poet John Keats, whose letters to Reynolds constitute a significant body of Keats' poetic thought. [2]