This book offers a revaluation of Keats' major poetry. It reveals
how Keats' work is both an oblique criticism of the dominant
attitudes to literature, sexuality, religion and politics in his
period, and a powerful critique of the claims of the imagination.
For all that he shares the optimistic humanism of progressives like
Hazlitt, Leigh Hunt, and Shelley, Keats nevertheless questions the
sufficiency of either Art or Beauty. Professor Barnard shows how
the notorious attack on Keats as a Cockney poet was motivated by
class and political bias. He analyses the problems facing Keats as
a second-generation Romantic, his continuing difficulty in finding
an appropriate style for 'Poesy', and his uncertain judgement of
his own work. The ambiguities and stresses evident in the poetry's
treatment of women and sexual love are seen to reflect divisions in
Keats and his society. The maturing use of myth from Poems (1817)
to The Fall of Hyperion, and the achievement of the major odes are
set in relation to Keats' whole career.
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