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- W247029528 abstract "For some time now there has been in Keats criticism the sense that the odes have something to say to Keats’s critics. The disguised irony of the spring 1819 odes does indeed plot a response that until now has escaped notice. Marjorie Levinson was the first to highlight a form of self-parody in Keats in relation to the reviewers: “a transformation of social and genetic nothingness to ‘camelion poet’ . . . instead of ‘apothecary’, there would be ‘physician, sage, healer’; and the so-called purveyor of ‘extenuatives and soporifics’ would name himself a provider of balms, hemlock, and sweet solutions.”1 What had previously been read as a form of indeterminate irony in Keats, generated by the experience of life’s contradictions,2 is after Levinson “aggressively literary,”3 a highly self-conscious rendering not so much of the poet’s experience of life generally, as of his social and literary position. More recently, Richard Marggraf Turley has written of Keats’s use of a “directed puerility and jejune tastelessness” to challenge the reviews,4 while Jeffrey N. Cox has underscored the way that Keats’s puns demonstrate his “Catullan and Cockney delight in toying with what others consider serious.”5 Cox and Turley provide valuable readings of “Ode on a Grecian Urn” and “To Autumn” respectively, but neither considers the odes as a sequence in this respect, and Levinson makes only passing reference to them. Of course the odes" @default.
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- W247029528 date "2013-01-01" @default.
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- W247029528 title "Keats's Odes, Socratic Irony, and Regency Reviewers" @default.
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