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This book is the result of investiging whether Ode to a Nightingale
could be interpreted as the record of an actual song that moved
Keats so deeply as to involve, in Jung's terms, an experience of
the Self. . It is in effect a biographical study of one aspect of
Keats' life of the imagination. It suggests why he became a poet,
shows how his attitude to his poetry changed, how in Jungian terms
he first met his 'shadow', rejected it, then came to accept it, and
how this affected his poetry. The meaning of the few psychological
terms used in the book are clarified by illustration from Keats'
own writing, thus contributing to its understanding at the same
time. An intimate relationship between his letters and the poems is
shown. First published in 1964, the study throws light on well-worn
themes such as what Keats meant by beauty, his theory of 'negative
capability', why he abandoned Hyperion. It gives a fresh
interpretation of Endymion and of aspects of the two versions of
Hyperion, Lamia, The Eve of St Agnes, and the other great odes.
Among details is has something to say on why La Belle Dame kissed
her knight precisely four times.
In the course of some research into the musical element in English
poetry, Dr Wilson read the work of the Elizabethan sonneteers
chronologically and was struck by a suspicion that Shakespeare's
sonnets were parodies. Later she carried out a more thorough
investigation, and this book, originally published in 1974, is the
product: her early impressions had been justified beyond all
expectation. Her investigation involved examining the background of
each of Shakespeare's sonnets, and this in itself is a contribution
to scholarship. A surprising number of them are shown to be direct
parodies of particular sonnets; all of them guy the sonnet
convention, and the more difficult ones are easily explained by
this hypothesis. Fresh correspondences between Shakespeare and his
predecessors have come to light and his relationship with them is
seen to be mocking. This is demonstrated in his borrowings from
Ovid also, while the opening seventeen sonnets gain point as parody
of Erasmus on marriage. The book opens with a short note on the
origin of the sonnet in song, chivalric love and Plato. The sonnet
theme in Shakespeare's early comedies is treated freshly and the
author throws light on the plays from a new angle. In the final
chapter, among other themes, the implication of dating is
considered, and here too some new material is discussed. However,
Dr Wilson is aiming at a wider readership than that of scholars
alone. She has a view of Shakespeare as a young man catering for
"young-man laughter", as she puts it, and she never loses sight of
this aspect in her study. Although the academic basis is there, the
presentation is not academic. Her aim is clearly to share the joke
with her readers.
This book is the result of investiging whether Ode to a Nightingale
could be interpreted as the record of an actual song that moved
Keats so deeply as to involve, in Jung's terms, an experience of
the Self. . It is in effect a biographical study of one aspect of
Keats' life of the imagination. It suggests why he became a poet,
shows how his attitude to his poetry changed, how in Jungian terms
he first met his 'shadow', rejected it, then came to accept it, and
how this affected his poetry. The meaning of the few psychological
terms used in the book are clarified by illustration from Keats'
own writing, thus contributing to its understanding at the same
time. An intimate relationship between his letters and the poems is
shown. First published in 1964, the study throws light on well-worn
themes such as what Keats meant by beauty, his theory of 'negative
capability', why he abandoned Hyperion. It gives a fresh
interpretation of Endymion and of aspects of the two versions of
Hyperion, Lamia, The Eve of St Agnes, and the other great odes.
Among details is has something to say on why La Belle Dame kissed
her knight precisely four times.
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