John Keats

(1795 – 1821)

Biography:

J ohn Keats, (born October 31, 1795, London, England—died February 23, 1821, Rome, Papal
States [Italy]), English Romantic lyric poet who devoted his short life to the perfection of a
poetry marked by vivid imagery, great sensuous appeal, and an attempt to express a
philosophy through classical legend.

The son of a livery-stable manager, John Keats received relatively little formal education. His
father died in 1804, and his mother remarried almost immediately. Throughout his life Keats
had close emotional ties to his sister, Fanny, and his two brothers, George and Tom. After the
breakup of their mother’s second marriage, the Keats children lived with their widowed
grandmother at Edmonton, Middlesex. John attended a school at Enfield, two miles away, that
was run by John Clarke, whose son Charles Cowden Clarke did much to encourage Keats’s
literary aspirations. At school Keats was noted as a pugnacious lad and was decidedly “not
literary,” but in 1809 he began to read voraciously. After the death of the Keats children’s
mother in 1810, their grandmother put the children’s affairs into the hands of a guardian,
Richard Abbey. At Abbey’s instigation John Keats was apprenticed to a surgeon at Edmonton in
1811. He broke off his apprenticeship in 1814 and went to live in London, where he worked as a
dresser, or junior house surgeon, at Guy’s and St. Thomas’ hospitals. His literary interests had
crystallized by this time, and after 1817 he devoted himself entirely to poetry. From then until
his early death, the story of his life is largely the story of the poetry he wrote.

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

Early Works
Charles Cowden Clarke had introduced the young Keats to the poetry of Edmund
Spenser and the Elizabethans, and these were his earliest models. His first mature poem is the
sonnet “On First Looking into Chapman’s Homer” (1816), which was inspired by his excited
reading of George Chapman’s classic 17th-century translation of the Iliad and the Odyssey.
Clarke also introduced Keats to the journalist and contemporary poet Leigh Hunt, and Keats
made friends in Hunt’s circle with the young poet John Hamilton Reynolds and with the painter
Benjamin Haydon. Keats’s first book, Poems, was published in March 1817 and was written
largely under “Huntian” influence. This is evident in the relaxed and rambling sentiments
evinced and in Keats’s use of a loose form of the heroic couplet and light rhymes. The most
interesting poem in this volume is “Sleep and Poetry,” the middle section of which contains a
prophetic view of Keats’s own poetical progress. He sees himself as, at present, plunged in the
delighted contemplation of sensuous natural beauty but realizes that he must leave this for an
understanding of “the agony and strife of human hearts.” Otherwise the volume is remarkable
only for some delicate natural observation and some obvious Spenserian influences.

In 1817 Keats left London briefly for a trip to the Isle of Wight and Canterbury and began work
on Endymion, his first long poem. On his return to London he moved into lodgings in
Hampstead with his brothers. Endymion appeared in 1818. This work is divided into four 1,000-
line sections, and its verse is composed in loose rhymed couplets. The poem narrates a version
of the Greek legend of the love of the moon goddess (variously Diana, Selene, and Artemis; also
identified as Cynthia by Keats) for Endymion, a mortal shepherd, but Keats puts the emphasis
on Endymion’s love for the goddess rather than on hers for him. Keats transformed the tale to
express the widespread Romantic theme of the attempt to find in actuality an ideal love that has
been glimpsed heretofore only in imaginative longings. This theme is realized through fantastic
and discursive adventures and through sensuous and luxuriant description. In his wanderings,
Endymion is guilty of an apparent infidelity to his visionary moon goddess and falls in love
with an earthly maiden to whom he is attracted by human sympathy. But in the end the
goddess and the earthly maiden turn out to be one and the same. The poem equates
Endymion’s original romantic ardour with a more universal quest for a self-destroying
transcendence in which he might achieve a blissful personal unity with all creation. Keats,
however, was dissatisfied with the poem as soon as it was finished.

Personal Crisis
In the summer of 1818 Keats went on a walking tour in the Lake District (of northern
England) and Scotland with his friend Charles Brown, and his exposure and overexertions on
that trip brought on the first symptoms of the tuberculosis of which he was to die. On his return
to London a brutal criticism of his early poems appeared in Blackwood’s Magazine, followed by a
similar attack on Endymion in the Quarterly Review. Contrary to later assertions, Keats met these
reviews with a calm assertion of his own talents, and he went on steadily writing poetry. But
there were family troubles. Keats’s brother Tom had been suffering from tuberculosis for some
time, and in the autumn of 1818 the poet nursed him through his last illness. About the same
time, he met Fanny Brawne, a near neighbour in Hampstead, with whom he soon fell hopelessly
and tragically in love. The relation with Fanny had a decisive effect on Keats’s development.

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

She seems to have been an unexceptional young woman, of firm and generous character, and
kindly disposed toward Keats. But he expected more, perhaps more than anyone could give, as
is evident from his overwrought letters. Both his uncertain material situation and his failing
health in any case made it impossible for their relationship to run a normal course. After Tom’s
death (George had already gone to America), Keats moved into Wentworth Place with Brown,
and in April 1819 Brawne and her mother became his next-door neighbours. About October
1819 Keats became engaged to Fanny.

The Year 1819

Keats had written “Isabella,” an adaptation of the story of the Pot of Basil in Giovanni
Boccaccio’s Decameron, in 1817–18, soon after the completion of Endymion, and again he was
dissatisfied with his work. It was during the year 1819 that all his greatest poetry was written—
“Lamia,” “The Eve of St. Agnes,” the great odes (“On Indolence,” “On a Grecian Urn,” “To
Psyche,” “To a Nightingale,” “On Melancholy,” and “To Autumn”), and the two versions
of Hyperion. This poetry was composed under the strain of illness and his growing love for
Brawne, and it is an astonishing body of work, marked by careful and considered development,
technical, emotional, and intellectual. “Isabella,” which Keats himself called “a weak-sided
poem,” contains some of the emotional weaknesses of Endymion, but “The Eve of St. Agnes”
may be considered the perfect culmination of Keats’s earlier poetic style. Written in the first
flush of his meeting with Brawne, it conveys an atmosphere of passion and excitement in its
description of the elopement of a pair of youthful lovers. Written in Spenserian stanzas, the
poem presents its theme with unrivaled delicacy but displays no marked intellectual advance
over Keats’s earlier efforts. “Lamia” is another narrative poem and is a deliberate attempt to
reform some of the technical weaknesses of Endymion. Keats makes use in this poem of a far
tighter and more disciplined couplet, a firmer tone, and more controlled description.

The odes are Keats’s most distinctive poetic achievement. They are essentially lyrical
meditations on some object or quality that prompts the poet to confront the conflicting impulses
of his inner being and to reflect upon his own longings and their relations to the wider world
around him. All the odes were composed between March and June 1819 except “To Autumn,”
which is from September. The internal debates in the odes centre on the dichotomy of
eternal, transcendent ideals and the transience and change of the physical world. This subject
was forced upon Keats by the painful death of his brother and his own failing health, and the
odes highlight his struggle for self-awareness and certainty through the liberating powers of his
imagination. In the “Ode to a Nightingale” a visionary happiness in communing with the
nightingale and its song is contrasted with the dead weight of human grief and sickness, and
the transience of youth and beauty—strongly brought home to Keats in recent months by his
brother’s death. The song of the nightingale is seen as a symbol of art that outlasts the
individual’s mortal life. This theme is taken up more distinctly in the “Ode on a Grecian Urn.”
The figures of the lovers depicted on the Greek urn become for him the symbol of an enduring
but unconsummated passion that subtly belies the poem’s celebrated conclusion, “Beauty is
truth, truth beauty,—that is all ye know on earth, and all ye need to know.” The “Ode on
Melancholy” recognizes that sadness is the inevitable concomitant of human passion and
happiness and that the transience of joy and desire is an inevitable aspect of the natural process.

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

But the rich, slow movement of this and the other odes suggests an enjoyment of such intensity
and depth that it makes the moment eternal. “To Autumn” is essentially the record of such an
experience. Autumn is seen not as a time of decay but as a season of complete ripeness and
fulfillment, a pause in time when everything has reached fruition, and the question of transience
is hardly raised. These poems, with their rich and exquisitely sensuous detail and their
meditative depth, are among the greatest achievements of Romantic poetry. With them should
be mentioned the ballad “La Belle Dame sans merci,” of about the same time, which reveals the
obverse and destructive side of the idyllic love seen in “The Eve of St. Agnes.”

Keats’s fragmentary poetic epic, Hyperion, exists in two versions, the second being a revision of
the first with the addition of a long prologue in a new style, which makes it into a different
poem. Hyperion was begun in the autumn of 1818, and all that there is of the first version was
finished by April 1819. In September Keats wrote to Reynolds that he had given up Hyperion,
but he appears to have continued working on the revised edition, The Fall of Hyperion, during
the autumn of 1819. The two versions of Hyperion cover the period of Keats’s most intense
experience, both poetical and personal. The poem is his last attempt, in the face of increasing
illness and frustrated love, to come to terms with the conflict between absolute value and mortal
decay that appears in other forms in his earlier poetry. The epic’s subject is the supersession of
the earlier Greek gods, the Titans, by the later Olympian gods. Keats’s desire to write something
unlike the luxuriant wandering of Endymion is clear, and he thus consciously attempts to
emulate the epic loftiness of John Milton’s Paradise Lost. The poem opens with the Titans
already fallen, like Milton’s fallen angels, and Hyperion, the sun god, is their one hope of
further resistance, like Milton’s Satan. There are numerous Miltonisms of style, but these are
subdued in the revised version, as Keats felt unhappy with them, and the basis of the writing is
revealed after all as a more austere and disciplined version of Keats’s own manner. There is not
enough of the narrative to make its ultimate direction clear, but it seems that the poem’s hero
was to be the young Apollo, the god of poetry. So, as Endymion was an allegory of the fate of the
lover of beauty in the world, Hyperion was perhaps to be an allegory of the poet as creator.
Certainly this theme is taken up explicitly in the new prologue to the second version.

The second version of Hyperion is one of the most remarkable pieces of writing in Keats’s work;
the blank verse has a new energy and rapidity, and the vision is presented with a spare
grandeur, rising to its height in the epiphany of the goddess Moneta, who reveals to the
dreamer the function of the poet in the world. It is his duty to separate himself from the mere
dreamer and to share in the sufferings of humankind. The theme is not new to Keats—it
appears in his earliest poetry—but it is here realized far more intensely. Yet with the threat of
approaching death upon him, Keats could not advance any further in the direction that he
foresaw as the right one, and the poem remains a fragment.

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

Last Years
There is no more to record of Keats’s poetic career. The poems “Isabella,” “Lamia,” “The
Eve of St. Agnes,” and Hyperion and the odes were all published in the famous 1820 volume, the
one that gives the true measure of his powers. It appeared in July, by which time Keats was
evidently doomed. He had been increasingly ill throughout 1819, and by the beginning of 1820
the evidence of tuberculosis was clear. He realized that it was his death warrant, and from that
time sustained work became impossible. His friends Brown, the Hunts, and Brawne and her
mother nursed him assiduously through the year. Percy Bysshe Shelley, hearing of his
condition, wrote offering him hospitality in Pisa, but Keats did not accept. When Keats was
ordered south for the winter, Joseph Severn undertook to accompany him to Rome. They sailed
in September 1820, and from Naples they went to Rome, where in early December Keats had a
relapse. Faithfully tended by Severn to the last, he died in Rome.

Letters
The prime authority both for Keats’s life and for his poetical development is to be found
in his letters . This correspondence with his brothers and sister, with his close friends, and with
Fanny Brawne gives the most intimate picture of the admirable integrity of Keats’s personal
character and enables the reader to follow closely the development of his thought about
poetry—his own and that of others.
His letters evince a profound thoughtfulness combined with a quick, sensitive, undidactic
critical response. Spontaneous, informal, deeply thought, and deeply felt, these are among the
best letters written by any English poet. Apart from their interest as a commentary on his work,
they have the right to independent literary status.

Reputation
It is impossible to say how much has been lost by Keats’s early death. His reputation
grew steadily throughout the 19th century, though as late as the 1840s the Pre-Raphaelite
painter William Holman Hunt could refer to him as “this little-known poet.” His influence is
found everywhere in the decorative Romantic verse of the Victorian Age, from the early work
of Alfred, Lord Tennyson, onward. His general emotional temper and the minute delicacy of his
natural observation were greatly admired by the Pre-Raphaelites, who both echoed his poetry in
their own and illustrated it in their paintings. Keats’s 19th-century followers on the whole
valued the more superficial aspects of his work, and it was largely left for the 20th century to
realize the full range of his technical and intellectual achievement.1

1 Graham Goulder Hough, “John Keats: British Poet”, Encyclopædia Britannica,

www.britannica.com/biography/John-Keats

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

Some Selected Materials available at the Bibliotheca Alexandrina

Works by the Author

Printed Books:

Keats, John. Keats Poems Published in 1820. Edited by M. Robertson. Oxford: Clarendon Press,
1820-1952.
BA Call Number: 821.7 K254 1820 (B4 -- Special Collections -- Closed Stacks)

Keats, John. The Letters of John Keats. Edited by Maurice Buxton Forman. 3rd ed, rev. London:
Oxford University Press, 1947.
BA Call Number: 828.709 K254 1947 (B3 -- Closed Stacks)

Keats, John. The Life and Letters of John Keats. Edited by Lord Houghton. Introduction by
Robert Lynd. Everyman's Library Biography 801. London: Dent; New York: Dutton, 1927.
BA Call Number: 828.708 K254I (B2 -- Special Collections -- Hameed Saeed)

Keats, John. Poèmes. Translated by Robert Ellrodt. La Salamandre. Paris: Imprimerie Nationale,
2000.
BA Call Number: BnF 248128 (B4 -- Closed Stacks -- BnF Collection)

Keats, John. The Poems. Introduction by David Bromwich. Notes by Nicholas Roe. Everyman's
Library 53. London: David Campbell, 1999.
BA Call Number: 821.7 K254 (E)

Keats, John. Poèmes et poésies. Translated by Paul Gallimard. Presented by Marc Porée.
Collection poésie 297. Paris: Gallimard, 1996.
BA Call Number: BnF 463427 (B4 -- Closed Stacks -- BnF Collection)

Keats, John. The Poems of John Keats. Edited by Miriam Allott. Longman Annotated English
Poets. London: Longman, 1970.
BA Call Number: 821.7 (E)

Keats, John. The Poetical Works of John Keats: Reprinted from the Early Editions, with
Memoir, Explanatory Notes. Chandos Classics. London: Frederick Warne, [19--].
BA Call Number: 821.7 K254po (B4 -- Rare Books -- Closed Stacks)

Keats, John. Poetry & Prose. Introduction and Notes by Henry Ellershaw. Oxford: The
Clarendon Press, 1922.
BA Call Number: 821.7 K254po (E)

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

Keats, John. Selected Letters and Poems of John Keats. Edited by J. H. Walsh. The Queen's
Classics Certificate Books. London: Chatto and Windus, 1955.
BA Call Number: 828.708 K254 (B4 -- Special Collections -- Closed Stacks)

Keats, John. Selected Poems. Translated by Albert Laffay. Domaine Anglais (Aubier (Firm)).
Paris: Aubier, 1997.
BA Call Number: BnF 719415 (B4 -- Closed Stacks -- BnF Collection)

Keats, John. Selected Poems and Letters of Keats. Selected by Robert Gittings. Edited by Sandra
Anstey. Poetry Bookshelf. Oxford: Heinemann Educational, 1995.
BA Call Number: 821.7 K254s (E)

Keats, John. Sur l'aile du Phénix. Translated by Claude Dandréa. Collection Romantique 64.
Paris: J. Corti, 1996.
BA Call Number: BnF 462219 (B4 -- Closed Stacks -- BnF Collection)

E-Books:

Keats, John. Selected Letters of John Keats. Edited by Grant F. Scott. Rev. ed. Cambridge, MA:
Harvard University Press, 2005. e-book. Ebook Central (database). ProQuest.

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

Works about the Author:

Printed Books:

Crinquand, Sylvie. Lettres et poèmes de John Keats: Portrait de l'artiste. Interlangues:

Littératures. Dijon: Ed. Universitaires de Dijon; Toulouse: Presses universitaires du Mirail, 2000.
BA Call Number: BnF 298103 (B4 -- Closed Stacks -- BnF Collection)

Garrod, H. W. Keats. Great Lives 32. London: Duckworth, 1938.

BA Call Number: 821.7 K254g (B4 -- Special Collections -- Closed Stacks)

Hewlett, Dorothy. A Life of John Keats. 2nd ed., rev. and enl. London: Hurst & Blackett, 1938.
BA Call Number: 821.7 K254h 1938 (B4 -- Special Collections -- Closed Stacks)

Mattews, G. M., ed. John Keats: The Critical Heritage. Critical Heritage Series. London:
Routledge, 1998.
BA Call Number: 821.7 Mat J (E)

Mayhead, Robin. John Keats. British Authors Introductory Critical Studies. Cambridge:
Cambridge University Press, 1980.
BA Call Number: 821.7 K254m (E)

Murry, John Middleton. Keats and Shakespeare: A Study of Keats’ Poetic Life from 1816 to
1820. London: Oxford University Press, [1951].
BA Call Number: 821.7 M9846 (B4 -- Special Collections -- Closed Stacks)

Watts, Cedric Thomas. A Preface to Keats. Preface Books. London: Longman, 1985.
BA Call Number: 821.7 Wat P (E)

Whale, John C. John Keats. Critical Issues. New York: Palgrave Macmillan, 2005.
BA Call Number: 821.7 W5521 (E)

Williams, Hyatt A. Poésie et psychanalyse: Essais sur le conflit et la culpabilité à partir de

l'étude de "La belle dame sans merci" de John Keats, "Le dit du vieux marin" de Samuel
Taylor Coleridge. Translated by David Alcorn. Introduction by Meg Harris Williams. Collection
Psychanalyse. Larmor-Plage: Hublot, 2005.
BA Call Number: BnF 870131 (B4 -- Closed Stacks -- BnF Collection)

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

E-Books:

Bari, Shahidha Kazi. Keats and Philosophy: The Life of Sensations. Routledge Studies in
Romanticism 15. London: Taylor & Francis Group, 2012. e-book. Ebook Central (database).
ProQuest.

Everest, Kelvin. John Keats. Writers and their Work. Tavistock, UK: Northcote House, 2002. e-
book. Ebook Central. (database). ProQuest.

Fermanis, Porscha. John Keats and the Ideas of the Enlightenment. Edinburgh: Edinburgh
University Press, 2009. e-book. Ebook Central (database). ProQuest.

Ou, Li. Keats and Negative Capability. Continuum Literary Studies Series. London:
Continuum, 2011. e-book. Ebook Central (database). ProQuest.

Turley, Richard Marggraf. Keats's Boyish Imagination: The Politics of Immaturity. Routledge
Studies in Romanticism Series. London: Taylor & Francis Group, 20004. e-book. Ebook Central
(database). ProQuest.

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

Articles:

Barnard, John. “Keats’s ’Forebodings’: Margate, Spring 1817, and After”. Romanticism 21, no. 1
(Apr 2015): 1-13. e-article. Academic Search Complete (database). EBSCOhost.

Barth, J. Robert. “Keats’s Way of Salvation”. Studies in Romanticism 45, no. 2 (Summer 2006):
285-297. e-article. JSTOR (database). ITHACA.

Beer, Gillian. “Aesthetic Debate in Keats’s Odes”. The Modern Language Review 64, no. 4 (Oct
1969): 742-748. e-article. JSTOR (database). ITHACA.

Bentley, Paul. “Keats’s Odes, Socratic Irony, and Regency Reviewers”. Keats-Shelley Journal 62
(2013): 114-132. e-article. JSTOR (database). ITHACA.

Betz, Laura Wells. “Keats and the Charm of Words: Making Sense of ‘The Eve of St. Agnes’”.
Studies in Romanticism 47, no. 3 (Fall 2008): 299-319. e-article. JSTOR (database). ITHACA.

Cronin, Richard. “Keats and the Double Life of Poetry”. Romanticism 22, no. 2 (Jul 2016): 147-
156. e-article. Academic Search Complete (database). EBSCOhost.

Dempsey, Sean. “’Blank Splendour’: Keats, Romantic Visuality, and Wonder”. Studies in
Romanticism 52, no. 1 (Spring 2013): 85-113. e-article. Academic Search Complete (database).
EBSCOhost.

Eisner, Eric. “Disaster Poetics: Keats and Contemporary American Poetry”. The Wordsworth
Circle 44, no. 2-3 (Spring-Summer 2013): 153-158. e-article. JSTOR (database). ITHACA.

Elliott, G. R. “The Real Tragedy of Keats (A Post-Centenary View)”. Publication of the Modern
Language Association of America (PMLA) 36, no. 3 (Sep 1921): 315-331. e-article. JSTOR
(database). ITHACA.

Henning, Peter. “Keats, Ecocriticism, and the Poetics of Place”. Studies in Romanticism 57, no.
3 (Fall 2018): 407-427. e-article. Academic Search Complete (database). EBSCOhost.

Hessell, Nikki. “John Keats and Indian Medicine”. Romanticism 22, no. 2 (Jul 2016): 157-166. e-
article. Humanities Source (database). EBSCOhost.

Homans, Margaret. “Keats Reading Women, Women Reading Keats”. Studies in Romanticism
29, no. 3 (Fall 1990): 341-370. e-article. JSTOR (database). ITHACA.

Igarashi, Yohei. “Keats’s Ways: The Dark Passages of Mediation and Why he Gives Up
Hyperion”. Studies in Romanticism 53, no. 2 (Summer 2014): 171-193. e-article. JSTOR
(database). ITHACA.

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

Kabitoglou, E. D. “Adapting Philosophy to Literature: The Case of John Keats”. Studies in
Philology 89, no. 1 (Winter 1992): 115-122. e-article. Academic Search Complete (database).
EBSCOhost.

Kappel, Andrew J. “The Immortality of the Natural: Keats’ ‘Ode to a Nightingale’”. ELH 45, no.
2 (Summer 1978): 270-284. e-article. JSTOR (database). ITHACA.

Kissane, James. “The Authorization of John Keats”. Keats-Shelley Journal 37 (1988): 58-74. e-
article. JSTOR (database). ITHACA.

Kyoung-Min Han. “The Urn’s ‘Silent Form’: Keats’s Critique of Poetic Judgment”. Papers on
Language & Literature 48, no. 3 (Summer 2012): 245-268. e-article. Academic Search Complete
(database). EBSCOhost.

Lau, Beth. “Analyzing Keats’s Library by Genre”. Keats-Shelley Journal 65 (2016): 126-151. e-
article. JSTOR (database). ITHACA.

McGann, Jerome. “Keats and the Historical Method in Literary Criticism”. MLN 94, no. 5 (Dec
1979): 988-1032. e-article. JSTOR (database). ITHACA.

Mcgrath, Brian. “Keats for Beginners”. Studies in Romanticism 50, no. 2 (Summer 2011): 351-
372. e-article. JSTOR (database). ITHACA.

Ostas, Magdalena. “Keats’s Voice”. Studies in Romanticism 50, no. 2 (Summer 2011): 335-350.
e-article. JSTOR (database). ITHACA.

Paterson, Alexandra. “’A Greater Luxury’: Keats’s Depictions of Mistiness and Reading”.
Romanticism 18, no. 3 (Oct 2012): 260-269. e-article. Academic Search Complete (database).
EBSCOhost.

Patterson, Charles I. “Passion and Permanence in Keats’s Ode on a Grecian Urn”. ELH 21, no. 3
(Sep 1954): 208-220. e-article. JSTOR (database). ITHACA.

Rohrbach, Emily, and Emily Sun. “Reading Keats, Thinking Politics: An Introduction”. Studies
in Romanticism 50, no. 2 (Summer 2011): 229-237. e-article. JSTOR (database). ITHACA.

Sha, Richard C. “John Keats and Some Versions of Materiality”. Romanticism 20, no. 3 (Oct
2014): 233-245. e-article. Academic Search Complete (database). EBSCOhost.

Stanley-Price, Nicholas. “The Grave of John Keats Revisited”. Keats-Shelley Review 33, no. 2
(Sep 2019): 175-193. e-article. Humanities Source (database). EBSCOhost.

Stillinger, Jack. “Keats and Romance”. Studies in English Literature, 1500-1900 8, no. 4
(Autumn 1968): 593-605. e-article. JSTOR (database). ITHACA.

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

Turley, Richard Marggraf. “Keats on Two Wheels”. Studies in Romanticism 57, no. 4 (Winter
2018): 601-625. e-article. Academic Search Complete (database). EBSCOhost.

Turley, Richard Marggraf, Jayne Elizabeth Archer and Howard Thomas. “Keats, ‘To Autumn’,
and the New Men of Winchester”. The Review of English Studies 63, no. 262 (Nov 2012): 797-
817. e-article. JSTOR (database). ITHACA.

Ulmer, William A. “Negative Capability: Identity and Truth in Keats”. Romanticism 25, no. 2
(Jul 2019): 169-179. e-article. Academic Search Complete (database). EBSCOhost.

Wassil, Gregory. “Keats’s Orientalism”. Studies in Romanticism 39, no. 3 (Fall 2000): 419-447. e-
article. JSTOR (database). ITHACA.

E-Theses:

Al-Jumaili, Yasir A. The Representation of Negative Mental States in the Poetry of John
Keats: A Cognitive Approach to his Metaphors of Depression. PhD diss. University of
Sheffield, 2018. e-thesis. ProQuest Dissertations and Theses (database). ProQuest.

Busby, Clara Delene. John Keats and the Perceiving Subject in the Fall of Hyperion: Poetics,
Symbol, and Play. Master’s thesis. University of Alabama at Birmingham, 2014. e-thesis.
ProQuest Dissertations and Theses (database). ProQuest.

Fette, Donald James. "Towards the Temple of Fame": Class, the Classics, and the Struggle for
Distinction in the Poetry of John Keats. PhD diss. The University of Chicago, 2013. e-thesis.
ProQuest Dissertations and Theses (database). ProQuest.

Ghosh, Hrileena. John Keats's Medical Notebook and the Poet's Career: An Editorial, Critical
and Biographical Reassessment. PhD diss. University of St. Andrews, 2016. e-thesis. ProQuest
Dissertations and Theses (database). ProQuest.

Hall, Jessica. Keats and America: Attitudes and Appropriations. Master’s thesis. East
Tennessee State University, 2016. e-thesis. ProQuest Dissertations and Theses (database).
ProQuest.

Mann, Mary Taylor. Negative Capability as an Ethic of Empathy: Practicing Narrative

Medicine with John Keats in Mind. Master’s thesis. Wake Forest University, 2016. e-thesis.
ProQuest Dissertations and Theses (database). ProQuest.

Nicholls, Ellen. The Aching Pleasure of John Keats’s Poetry. PhD diss. University of Sheffield,
2019. e-thesis. ProQuest Dissertations and Theses (database). ProQuest.

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk

Peters, Jeffrey. Dying into Life: Keats's Apollonian Salvation. PhD diss. The Catholic
University of America, 2018. e-thesis. ProQuest Dissertations and Theses (database). ProQuest.

Resler, Kaitlin. Keats and Food: Language of the Edible in John Keats's Letters and Poems.
Master’s thesis. State University of New York at Albany, 2017. e-thesis. ProQuest Dissertations
and Theses (database). ProQuest.

Shitole, Pandurang Dhondiram. Stylistic Study of John Keats' Select Odes. PhD diss. Swami
Ramanand Teerth Marathwada University, 2012. e-thesis. ProQuest Dissertations and Theses
(database). ProQuest.

Van Schaik, Erica G. "And a Sad Ditty of This Story Born": Regeneration through Decay in
John Keats's "Isabella". Master’s thesis. The University of Southern Mississippi, 2017. e-thesis.
ProQuest Dissertations and Theses (database). ProQuest.

Wills, Kacie L. "The Palate of my Mind": Eating, Drinking, and the Formation of a Negatively
Capable Identity in the Poetry of John Keats. Master’s thesis. California State University, Long
Beach, 2013. e-thesis. ProQuest Dissertations and Theses (database). ProQuest.

Web Resources:

“John Keats (1795-1821)”. BBC.

www.bbc.co.uk/history/historic_figures/keats_john.shtml [accessed 23 Jun 2021]

“John Keats”. The British Library.

www.bl.uk/people/john-keats [accessed 23 Jun 2021]

“John Keats”. King’s College London.

www.kcl.ac.uk/people/john-keats [accessed 23 Jun 2021]

“John Keats”. The Poetry Archive.

https://poetryarchive.org/poet/john-keats/ [accessed 23 Jun 2021]

“John Keats”. Poetry Foundation.

www.poetryfoundation.org/poets/john-keats [accessed 23 Jun 2021]

“John Keats (1795–1821)”. Poets.

https://poets.org/poet/john-keats [accessed 23 Jun 2021]

2100607 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk