English Romanticism

Lord Byron’s association with the Iberian Peninsula, both in historical and literary terms, plays a pivotal role in his early ideological development and subsequent poetical composition. The renowned romantic poet departed on the Grand Tour in Levante in the years 1809 – 1811, in the fashion of many contemporary young English aristocrats. Among the many countries toured in the Mediterranean beside his trusted companion John Cam Hobhouse were those of the Iberian Peninsula, Spain, Portugal, and Gibraltar. The reflections and impressions of the scenery of these southern countries were engraved into his memory and imagination and served as vital poetic material for his great compositions; most importantly the first Canto of Childe Harold’s Pilgrimage, the first part of Don Juan and The Age of Bronze.

Therefore, his works are an essential source of anglophone literature for Spain and Portugal in the early 19th century. Moreover, as a member of the House of Lords and the liberal Whig faction, Byron, in his letters, often recorded his thoughts on issues related to the Iberian countries, especially on the War of the Peninsula, the Cintra Congress and the liberal uprising of the Spaniards in the ‘Trienio Liberal’.

In this note, we will examine Byron’s impressions and commentary on the Iberian countries, as reflected in his Letters during his voyage and later. Additionally, we will examine specific passages from Childe Harold I, Don Juan I-II, and The Age of Bronze. These poems constitute, respectively, a literary narrative of his Grand Tour trip from Lisbon to Andalusia at the commencement of the Peninsular War; a rather humoristic fantasy of the social morals of Spain during the early 18th century and a fierce political criticism in support of the liberal Spaniards and their uprising during the reign of Ferdinand VII (1820-1823). Centring on the latter, we will discuss on Byron’s nationalism, and we will prove that his innate Romanticism profoundly influenced his sentiments on the cause of the Spaniards.

Keywords: Peninsula War; Lord Byron; Don Juan; Childe Harold’s Pilgrimage; The Age of Bronze; Trienio Liberal

According to the Bible, Eve was the first to heed Satan’s advice to eat of the forbidden fruit. The notion of woman as the Devil’s accomplice is prominent throughout the history of Christianity. During the nineteenth century, rebellious females performed counter-readings of this misogynist tradition. Hereby, Lucifer was reconceptualised as a feminist liberator of womankind, and Eve became a heroine. In these reimaginings, Satan is an ally in the struggle against a patriarchy supported by God the Father and his male priests.

This study delineates how such Satanic feminism is expressed in a number of nineteenth-century esoteric works, literary texts, autobiographies, pamphlets and journals, newspaper articles, paintings, sculptures and even artefacts of consumer culture such as jewellery.

In the material, four motifs in particular are prominent: 1) interpretations of Eve’s role in the fall of man as something positive, 2) the witch as a proto-feminist figure, 3) the demon lover as an emancipator, 4) a feminised Satan contrasted with an oppressive male God. A fifth and less central motif is conceptions of Lilith, according to Jewish lore the unruly first wife of Adam, as the first feminist.

The analysis focuses on interfaces between esotericism and the political realm, as well as the interdependence of literature and the occult. New light is thus shed on neglected aspects of the intellectual history of feminism, Satanism and revisionary mythmaking. The study is informed by theories concerning counter-readings, counter-discourses and counter-myths, and in particular highlights the complex interplay of such phenomena and the hegemonic discourses that demonised feminism. A key theme in this context is the limits and paradoxes of inversion as a subversive strategy.

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The article is devoted to the image of Russia and Russian territories in works of William Blake. We consider the possible aspects of the poet's acquaintance with Russia, Russian territories mentioned in his correspondence and writings. Jack Lindsay wrote that «Russian merchant» James Vine ordered copies of Blake's books; but this merchant he was not Russian, Vine traded with Russia, that probably contributed to his description as a «Russian merchant». Alfred Story mentions that Grodna, the name of Blake’s character, is translates from Russian as ‘land’,  that is deeply wrong. The possible Slavic etymology of the name goes back to the town of Grodno (Grodna, Hrodna) in modern Belarus; in times of Blake this city was a part of the Russian Empire. Blake mentions Russia and its separate territories in his great prophecies: he mentions the traditional names for Russian lands, caring little about modern politics: for example, he mentions as equal territories Russia, Poland, (Great) Tartary, Siberia. The last three countries became the parts of the Russian Empire by Blake’s time. Blake has never been to the continent, and his view of Russia was quite vague, as evidenced by references to Russian territories in his prophetic poems.

In his essay, The Language of Paradox, Cleanth Brooks argues that although we tend to see poetry more so as " the language of the soul " rather than " the language of sophistry, " the poet is inevitably forced to approach his truth, " …only in terms of paradox " (Brooks 3). This doesn't mean Brooks sees poetry as dealing exclusively in paradox or that poetry involving paradox eschews any sort of emotional outpouring. Rather, he sees paradox as revelatory, insofar as it exposes a new meaning hidden underneath the apparent tension stemming from its configuration. Brooks maintains that by delving into existing paradoxes within a poem, a reader may potentially discover the thrust behind a poem's fervency. Building on this notion, I will argue that not only is there an existing paradox in Browning's " My Last Duchess, " but that beneath the apparent discordance exists the very power by which the reader is affected. Before providing an example to substantiate his case, Brooks concedes that Wordsworth's poetry is known for its simplicity and for its candidness. Few would argue, after a first reading of Wordsworth's oeuvre, that his poetry deals in anything sophistical. Yet Brooks contends that underpinning the typical, simplistic Wordsworthian poem is, " a paradoxical situation " (Brooks 4). He gives us " Composed upon Westminster Bridge " as an example that, through its underlying paradox, we can understand its power and account for its success. On its surface, Worthsworth's poem seems devoid of any paradoxical language. We see the speaker construct a metaphor at the poem's beginning, noting how London's skyline, its,

For Jane Austen's heroines, a ball is a rare chance to mingle with the opposite sex. Austen, by incorporating many nations moving and the traditions related with it into her books, accomplishes three sorts of impacts: first, in reflecting reasonably the exercises and estimations of her country upper-class subculture, she empowers the reader to feel comfortable in her fiction; second, the move set, which unites such a significant number of and such changed individuals, accommodates Austen chances to move plot components, typically ones including affection, romance, and marriage game plans; third, the move setting gives various chances to her to characterize and accentuate the individual characteristics of a portion of her characters. A comprehension of the traditions and traditions of nation move and the eighteenth-century dance hall can open up subtleties of implications that would be lost to the uninitiated reader.

Abstrak: Meskipun terdapat banyak karakter perempuan yang berperan penting dalam kehidup-an karakter utama Don Juan karya Byron, tetap saja yang selama ini menjadi pusat perhatian pa-ra kritikus sastra adalah karakter utamanya, yaitu Don Juan. Oleh karena itu, penelitian ini akan fokus pada karakter--karakter perempuan dalam Don Juan karya Byron dan mengungkap bagai-mana femininitas dan seksualitas mereka direpresentasikan. Ditemukan bahwa meskipun ada sub-versi dan penentangan terhadap konvensi femininitas dan seksualitas perempuan, seperti yang di-tunjukkan oleh kekuatan seksual Gulbeyaz dan beberapa karakter perempuan lainnya, justru sub-versi dan penentangan serta ketidakmampuan mereka menahan seksualitasnya yang membawa karakter--karakter perempuan ini pada kesengsaraan. Sementara itu, karakter perempuan yang berhasil menahan seksualitasnya hidupnya berakhir bahagia, atau setidaknya bisa bertahan hi-dup. Kata--Kata Kunci: Don Juan, feminitas, karakter perempuan, seksualitas Abstract: In spite of the large number of female characters who play the major part in the life of the main character in Byron's Don Juan, it is still the main character himself, Don Juan, who has garnered great attention from the critics. Hence, the present research will focus on the female characters of Byron's Don Juan and reveal how their sexuality and femininity are represented. It is found that while there is subversion and challenging of femininity and sexuality, such as female un-usual sexual prowess exhibited by Gulbeyaz and some other female characters, it is precisely the challenging of feminine conventions and the inability to suppress their sexuality that lead the fe-male characters to their doom. Meanwhile, the female characters who successfully suppress their sexuality have better ending, or at least, manage to survive.

Toy theatres of the nineteenth century frequently depicted famous actors in specific roles, sometimes providing captions beneath characters stating not just the part being portrayed but also the star performer whose face and bodily manner were being copied. These toy theatres performed a valuable service for actors and theatre managers during the time they were in general circulation. They reinforced an iconography of celebrity that linked star actors with the roles they played, generating excitement around individual performers. They also helped to promote the star system that dominated British theatre through most of the nineteenth century.

British Romantic Literature and the Emerging Modern Greek Nation makes an original contribution to the field of British Romantic Hellenism (and Romanticism more broadly) by emphasizing the diversity of Romantic-era writers’ attitudes towards, and portrayals of, Modern Greece. Whereas, traditionally, studies of British Romantic Hellenism have predominantly focused on Europe’s preoccupation with an idealized Ancient Greece, this study emphasizes the nuanced and complex nature of British Romantic writers’ engagements with Modern Greece. Specifically, the book emphasizes the ways that early nineteenth-century British literature about contemporary Greece helped to strengthen British-Greek intercultural relations and, ultimately, to situate Greece within a European sphere of influence.

Work on cognitive literary studies has been one of the approaches revealing new aspects of literary phenomena for some time. The article attempts to use a cognitive terminological framework to discuss the concept of imagination, which is perhaps the phenomenon most frequently associated with the nature of literature. It sets out some basic features of the imagination developed throughout history, ending in Romanticism, i.e. in the period during which imagination saw its greatest flourishing, first in the theoretical work of T. S. Coleridge, and then in the poetry of William Wordsworth and the other Romantic poets. Wordsworth’s imagination is characterized as greatly determined by the temporality of his poetic seeing of the world, and is illuminated through the concept of the episodic memory and  its role in the construction of the present and the future. It is claimed that the poet selectively re-imagined elements of the past to build an ethically and spiritually charged present and future resulting in the creation of the wholeness of his life. Cognitive analysis of Wordsworth’s poems can thus show the author in a more realistic light, free of the transcendental aura that has often been attributed to him.

"The affections lead us on," Wordsworth writes in "Tintern Abbey." While English is an impoverished language when it comes to love, Reno's focus is on the Spinozan notion of intellectual love. In this philosophy, emotions lead us to the higher feelings that can improve us. The person who experiences intellectual love interprets life as interconnected, a perspective that "generates critical thought" because it mediates a range of discourses, including science and politics (7). With focus on Romantic poetry, Reno's book interrogates quests for transcendental love in relation to the seemingly contrary pull of human bonds.

In looking at the history of the novel in the English language, there are many conventions that early novelists used in order to create their characters and the plot details important to their novels. One such convention was the creation of a heroine who is lacking in family influence in her life and her society. For example, in Fantomina by Eliza Haywood, Fantomina is sent to town with family friends while her mother is elsewhere.

These three book reviews cover the five volumes of Clare's Poems of the Middle Period edited by Eric Robinson, David Powell and P.M.S. Dawson and published by Clarendon Press between 1996 and 2003 to conclude a nine-volume edition of Clare's collected poetry. The reviews contextualise the material and the project, examine issues relating to editing style, and discuss areas of interest in the poems.

They were first published in the BARS Bulletin and Review and in Romanticism,

By examining what Freud coined “dream-work” and the condensation, displacement, and imagery of the story, one can view the hysteria of Victor and his monster as a delusional dream of Captain Robert Walton and his subconscious desire to have a companion.

""Wordsworth’s Poetry and Prose includes a generous selection of poems and prose writings, works published by Wordsworth himself being presented under the headings and in the texts of their earliest published volumes. Wordsworth's contributions to the 1798 Lyrical Ballads are included in their entirety, as is the 1805 Prelude, newly edited and annotated. For the first time, The Ruined Cottage and corresponding passages of book 1 of The Excursion are printed en face to reveal Wordsworth's revisionary process.

A general introduction and textual introduction precede the texts, each of which is annotated (with significant textual variants cited in the footnotes), and contextualizing headnotes introduce volumes of poetry and longer poems. Illustrative materials include maps and photographs of manuscript pages and title pages.

"Criticism" collects 28 responses to Wordsworth spanning three centuries by British and American authors. Contributors include Samuel Taylor Coleridge, Percy Bysshe Shelley, Felicia Hemans, Ralph Waldo Emerson in the 19th century, and Susan Wolfson, Lucy Newlyn, Stephen Gill, Neil Fraistat, Mary Jacobus, Nicholas Roe, Thomas Pfau, M. H. Abrams, Simon Jarvis, Karen Swann, Michael O’Neill, and Geoffrey Hartman, among others, in the 20th and 21st centuries.

The volume also includes a Chronology, a Biographical and Topographical Register, a Selected Bibliography, and an Index of Titles and First Lines of Poems.""

It is a curious coincidence that, in the early months of 1805, a series of lectures intended to define and to popularize the discipline of geology was undertaken almost simultaneously by prominent men of science in London and in Paris. From February to March of that year, Humphry Davy delivered a series of ten weekly lectures at the recently formed Royal Institution, and in May Georges Cuvier delivered two similar but briefer series in the French capital, the first intended for a general audience and the second more technical. This was a period in which the nature and direction of geology was much contested, and the various theoretical orientations and methodological stances that were proposed put different pressures on the discipline as itself-consciously tried to reform itself. Popular lectures were a new and potent weapon in the debate, and one which carried the question of the nature and scope of the reformed discipline onto a broad platform beyond the circle of specialist practitioners. Fittingly enough, neither Cuvier nor Davy were strictly speaking insiders to the field. Cuvier had distinguished himself in the new field of comparative anatomy, and had particularly applied himself to the comparison of species preserved in fossilized form and their closest living relatives. as for Davy, he was a young newcomer to the London scientific scene, beginning to make a reputation for himself as a chemist, but with no particular credentials as a geologist.

Most readings of Wordsworth’s Adventures on Salisbury Plain focus on the enactment of the Sailor’s guilt of and repentance for the murder he has committed. Without discarding readings with an ethical emphasis, I read Adventures on Salisbury Plain in terms of the Sailor’s most grievous loss, the loss of his wife and family, and how the realization of that loss through a process of physical trances amounts to the loss of his own life. The convergence of justice, conscience, and, I add, overwhelming consciousness of loss within the poem creates a perfect storm, in which the calamitous outcome through “a rare combination of adverse ... factors” (Oxford English Dictionary) is offset by an earlier use of the phrase in the sense of enlightenment.

This essay explores Nicky Hopkins’ eventful relationship with The Rolling Stones as both band and brand. To do this, it is essential to foreground a marginalised area in popular music studies: disability. I discuss Hopkins’s legacy with the Stones in contexts of disability studies, exploring interactions between impairment (as bodily – including mental – condition, illness or injury) and ‘disability’ (as social responses, or the lack thereof, to bodily ‘difference’).

This article adopts a historical and biographical perspective in order to investigate Percy Bysshe Shelley’s experience of Milan in April 1818. To this end, I trace the Shelleys’ arrival in the city and focus on the places they visited, their contacts, and the encounters they made so as to re- construct the poet’s “Milanese circle”. Subsequently, I focus on “Ode to Naples” and Hellas and argue that Shelley’s references to the medieval and early modern history of the city should be seen as transhistorical allusions to the political contingency of the Lombardo-Venetian capital after the Hapsburg restoration.

To most, Charles Darwin's story is simply the birth of the Theory of Evolution. In reality, the story of how Darwin came to this theory, and the many people who would shape his destiny, is itself a story that needs to be told. Like many superhero movies of the 21st century, Darwin has a " back story " , the tale of how Darwin became Darwin. Darwin's story can appeal to many readers on different levels. On the purely academic level the work traces the influence of Alexander von Humboldt, Goethe and Wordsworth, in addition to Erasmus Darwin, on the development of Charles Darwin's theory of natural and sexual selection. On another level is the story of the development of Darwin's imagination and how this enabled his theories to evolve during the Victorian era when it was difficult to express them, yet at the same time in an era which encouraged them. This was a very contradictory time in history indeed. Charles Darwin's Debt to the Romantics is an attempt to mirror Darwin's own narrative, in which, through his imagination, he engages in conversation with the reader on a journey to discover the laws behind the process in which life evolves. These traces in time, moving both backwards into the past and forwards into the future, are like footprints in the sand, some of which get washed away never to be seen again. What drew me to this research was the Romantic notion of the imagination in which the self is so very much a part of Nature. We try very hard to observe nature objectively, but we can never get away from being subjectively part of it at the same time, just through the very act of observing it through our senses or through the act of remembering what we have seen, or think we have seen. And these footprints, or recreated memories of our past, are there for us to see today in fossils or archaeological remains — a mental map of our descent. What makes all of this so Romantic is the almost terrifying or sublime notion that mind has come from matter — that mind evolved and originated from that which was not mind. This is surely one of the greatest mysteries of our very existence — that science, poetry, literature, language, thought and culture have all ultimately evolved from inorganic nature (and this, of course, is only part of the story, as inorganic nature evolved before this).

This article contends that Wordsworth’s treatment of the Discharged Soldier is influenced by a scandal that followed the publication of William Cobbett’s pamphlet The Soldier’s Friend (1792). Cobbett publicized the mistreatment of soldiers in the secretive British army, calling particular attention to the embezzlement of troops’ salaries by senior officers. The Soldier’s Friend influenced both texts and protests that addressed military conditions in the 1790s. Wordsworth read contemporary pamphlets and knew the circle of Cobbett’s publisher, Ridgway. The behavior of Wordsworth’s Discharged Soldier evokes the demoralized soldiery Cobbett depicts: malnourished, poorly clothed, but unwilling to reveal details of his hardship for fear of recrimination under the Mutiny Act. Wordsworth explores these ideas further in The Borderers, in which Rivers has been corrupted by mistreatment in service and poses a threat to society on his return home, where he replicates the abuse he endured.

Tom Duggett’s Gothic Romanticism is a compellingly ambitious study of the pursuit of a purer and better gothic in late-eighteenth- and early-nineteenth-century England. Focusing on Wordsworth and the Lake Poets’ attempt to refine a coarser, more sensational gothic as set forth in the novels of Radcliffe and Scott and in antiquarian curiosities, Duggett weaves sustained analysis of their poetry with thoughtful commentary on medieval architectural imagery and history, the turn to conservative politics, and educational reform. This multileveled investigation demonstrates in engaging prose the centrality of a cultivated rhetoric of a gothic aesthetic in this period while provocatively suggesting its relevance to a post-9/11 era where architecture “has assumed an importance that seemed without precedent.” Gothic Romanticism goes far in detailing such a poetic, cultural, and historical precedent. - MLA

My theme is ‘life-writing’, understood as the shaping of one's life through the contemplation of values, although this activity is mostly unreflective. To become an art so that one's life can be shaped in greater accord with clearly held values, this process must become reflective. These values have an inescapably ethical dimension, because as we necessarily poetize our surrounding world, we contribute to our personal and communal ethos the character that arises from the culturally shaping power of guiding ideals. Even the immoralist cultivates life within an ethos where obscure feelings connect with some thing or other, whereby certain aims will then appear more valuable than others.

To understand how we cannot help but shape our lives according to dimly or clearly intuited values, I compare Coleridge’s primary imagination, the ‘shaping spirit’ ‘necessary for all human perception’ with Kant’s ‘blind though indispensible function of the soul, without which we would have no cognition at all, yet of which we are scarcely ever conscious’. With Coleridge, we find in imagination an impulse to connect profound but obscure presentiments and ideas with our surroundings. This impulse propels great art and everyday aesthetics alike. Whether we pursue merely what attracts us, or seek value beyond this, all lives are freely shaped, without excuses, as the existentialists say, but not always in the most pellucid consciousness. Our choices inevitably engage us in the poetic art of life-writing. Cast in medias res, we necessarily improvise. But this is no argument against lives being moral-aesthetic works, spontaneous compositions in value.

This public lesson searches the influence of the Romantic movement in Newman's conception of poetry and it´s capacity of expressing the truth, and studies "Lead, Kindly Light" as a source of knowledge of his spiritual itinerary.
Esta lección inaugural investiga la influencia del movimiento romántico en el concepto que Newman tiene sobre la poesía y su capacidad de expresar la verdad, y estudia el poema "Lead, Kindly Light" como fuente de conocimiento de su itinerario espiritual.

The anarchist philosopher, novelist and historian William Godwin (1756-1836) began life in a devout Dissenting or nonconformist family. As a young man he trained for the ministry, before losing his faith and turning atheist in 1792. Over the subsequent years of his long life Godwin continued to ponder the moral value of religious belief in general and of Christianity in particular. In his later religious writings Godwin insists that myth, superstition and religious belief are not intrinsically defective but are problematic only to the extent to which they undermine personal integrity and social solidarity.

Wordsworth engages with the Christian wisdom of his day, wherein worldly wishes—for glory or wealth, permanence or improvement, adequate sensory pleasure—give way to super-sensual hope in eternity and infinity.  What abides on earth is the cardinal virtue related to hope, magnanimity, the greatness of soul that aspires to great things, as well as the countervailing virtue of humility.  While admiring the patriotic magnanimity and modesty of his French acquaintance Michel Beaupuy, Wordsworth also claims that our destiny lies with things unseen and—less conventionally—with an indeterminate, ever-receding future.  “Our destiny, our nature, and our home, / Is with infinitude—and only there; / With hope it is, hope that can never die, / Effort, and expectation, and desire, / And something evermore about to be” (6:538-42).  Still, tangible things seen, and recalled, can also be our home if we live alongside them with humility and self-distance, welcoming what is given and craving no more.  Wordsworth’s near-quietism rises to drama in his verse by its aspirational quality, just as his deathless hope, or hope in deathlessness, finds no secure basis in faith and doctrine until late in the poet’s career.

Romanticism is a movement that occurs in the 18 century and towards the end of the century in Europe. This movement not only some branch of art but it also takes place in literature. Literature accepts this movement with enthusiasm and internalized it immediately. The main reason behind this situation is the life energies of the people that stuck classicism and previous movements. Romantic poets focus on the love of nature rather than sexuality or relationship amid man and women or religious themes. They advocate the uselessness of reason because in their previous experience is about reason not lead them sentimentality whereas, a poem is not only used for satire the rule regulation and society but it also touches upon the emotional feelings. Unlike Romanticism's love of nature, individualism and emotional passion, modernism focus on industrialization by the help of technology and also urbanisation of society, therefore, it is against to Romantic ideas and admired science reason and possibility of truth. Although Modernism promotes science and its result, it fragments all form of traditional literature even poetry and brings new techniques such as a stream of consciousness. Modern characters are not the alienation of social environment and they focus on their inner experience because of the First World War and its effect shell shock. In that sense their work is further from life energy, however, Romanticism is known sublime of nature with full of energy. This essay will analyse the transition from Romanticism to Modernism with the poets Percy Bysshe Shelley's ''Mutability'' poem and William Battler Yeats' ''To a Skylark'' poem by means of how these both side treat the conception of nature, emotion, pain and some others in their poems.

This essay combines philology and ecocriticism as approaches to PB Shelley's Prometheus Unbound.


Percy Shelley’s Prometheus Unbound (1819) acknowledges “a certain arbitrary discretion” in its subject, turning from the extent play of Aeschylus, Prometheus Bound (Prometheus desmotes), to a form of creative translation of Aeschylus’s fragmentary, lost play about liberational unbinding, Prometheus luomenos. Possible translations of luomenos include not only unbinding and ransom, but—across the verb’s active, passive, and middle senses—to loosen, free, release, dissolve, ransom, destroy, annul, unknit. What could it mean to read Prometheus Unbound as a materially imaginative revision of the richly layered linguistic act of that drama, “the Luomenos”? This field of meanings exceeds liberation, and its provocation helps us account for the fully distributed play of unbinding for this is drama, in which the unshackling of Prometheus by Hercules is a brief and perfunctory action. Arguing that Prometheus Unbound does not idealize but undercuts both the meaning and desirability of the reigning liberal concept of freedom, the essay uses close philology and theory to investigate multiple registers of Shelley’s poetics of creatively bound freedoms: ecological, political, psychological, and erotic. Recalling that Prometheus is a trickster figure in classical myth—an aspect notably missing from the nominal hero of Shelley’s drama—I argue the trickster role moves from character to language. Epimetheus his brother is a figure of afterthought and retrojection, retroactivity, thinking after the event. I end by considering the coimplicating bonds and cuts in Saussure’s two-wave diagram from Course in General Linguistics.

sicuramente l'autrice più nota nel panorama del romanzo gotico anglosassone; tanto nota da essere imitata e parodiata quand'era ancora in vita, da essere amata e citata da autori del nostro romanticismo quali Guerrazzi e Ruffini e da essere utilizzata nelle traduzioni italiane di fine 'Ottocento di romanzi inglesi come nome di comodo, per garantire la vendita di autori gotici minori. Thackeray prendeva spunto dai suoi romanzi per illustrazioni che divertissero i compagni negli anni scolastici, mentre John Keats aveva affermato che tutti dobbiamo qualcosa a mamma Radcliffe.