Titlebook: Victorian Keats; Manliness, Sexuality James Najarian Book 2002 James Najarian 2002 John Keats.poet.Tennyson

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,Keats, Sexuality, and Tennyson’s Reticence, explicated by Harold Bloom.. Bloom finds Tennyson’s “profound ambivalence to” and “rich repression” of Keats throughout his work.. Even as the earliest reviewers of Tennyson’s first volumes remarked that Tennyson’s lush poetics seemed to extend Keats’s, both supporters and detractors compared Tenny

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,Keats and Arnold’s Dandyism,ted and restated in his criticism and demonstrated in his poetry — are public stances. They take part in the discussions of the century, but change over time. Unlike Tennyson, Arnold seems to work through much of his ambivalence about the poet in front of his reading public; he states and qualifies

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Afterword,propriate the past work or authors who want to imitate, outdo, or refute it,” writes Jauss.. As I argued at the start of my first chapter, the reception-history of the poet and his work are still intertwined. Keats can be used in a grim shorthand, where interest in Keats simultaneously indicates the

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Book 2002 his ‘effeminacy‘. The Victorians simultaneously identified with, imitated, and distrusted the ‘unmanly‘ poet. Writers, among them Alfred Lord Tennyson, Matthew Arnold, Gerard Manley Hopkins, John Addington Symonds, Walter Pater, and Wilfred Owen came to terms with Keats‘s work by creating out of th

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,Keats, Sexuality, and Tennyson’s Reticence,d Keats was the harbinger.”. Croker emphasizes “milky way” in order to make both poets infants, as if they are still being nursed. And it was Arthur Henry Hallam, Tennyson’s friend, who placed him with Keats as poets whose minds “are especially liable to moral temptations.”.

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