Memorialising Keats: Severn, Headstones and Hyperion.
For obvious reasons, Keats's biographers have focused primarily on the last five months of the poet's life and on the making of his reputation in the later nineteenth century. They have spent very little time, however, on the two uncertain years that followed the poet's death when his legacy, largel...
| Publicado en: | Romanticism Vol. 30; no. 2; pp. 180 - 201 |
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| Formato: | Artículo |
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Edinburgh University Press
Jul2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=178021597&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 178021597 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 1354991X 8N6 jtl: Romanticism issn: 1354991X maglogo: N pubinfo: dt: Jul2024 vid: 30 iid: 2 pid: 2327 pub: Edinburgh University Press artinfo: ui: 178021597 10.3366/rom.2024.0646 ppf: 180 ppct: 21 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.4MB tig: atl: Memorialising Keats: Severn, Headstones and Hyperion. aug: au: Scott, Grant F. affil: Muhlenberg College su: Keats, John, 1795-1821 Sepulchral monuments Autographs Nineteenth century Reputation sug: subj: Keats, John, 1795-1821 Sepulchral monuments Autographs Nineteenth century Reputation keyword: John Keats John Taylor Joseph Severn Keats's epitaph Keats's gravestone The Death of Alcibiades ab: For obvious reasons, Keats's biographers have focused primarily on the last five months of the poet's life and on the making of his reputation in the later nineteenth century. They have spent very little time, however, on the two uncertain years that followed the poet's death when his legacy, largely in the hands of Brown, Taylor and Severn, hung in the balance. As Severn was recovering from Keats's death, he fought to establish his own livelihood as a painter and find an adequate means of memorialising his friend. He was preoccupied with two works of art, The Death of Alcibiades and the headstone for Keats's grave. I argue that these artworks represent complex expressions of Severn's grief and in this sense are both memorials, though Alcibiades disguises its aims in a conventional historical painting. In the strong reading of Hyperion embedded in the picture, Severn finds a way of coming to terms with the traumatic aftermath of Keats's death as well as the critical attacks on his poetry. My recent rediscovery of two key manuscript letters of this time by members of the Keats Circle lends support to the argument. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Romanticism is the property of Edinburgh University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Romanticism holder: Edinburgh University Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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