Adam's Dream: Mythic Consciousness in Keats and Yeats by James Land Jones

By James Land Jones

The author's crucial goal is to teach that the poetry of Keats and Yeats is proficient by means of a suite of assumptions, a method of apprehension, which marks it as a undeniable type of poetry: Romantic poetry characterised specifically through the weather of mythic pondering analyzed by way of Cassirer and Eliade.

Contents

Acknowledgments
Abbreviations
Introduction: The reason for Myth
Chapter One: Soul Making
I "Curious Conscience"
II "My robust identification, My genuine Self
III "A Greeting of the Spirit"
Chapter : solidarity of Being
I "Energy" and "Essence"
II "Beauty in All Things"
Chapter 3: The immense Idea
I "From Feathers to Iron"
II "An Interchange of Favors"
III "Time Annihilate"
IV "The Finer Tone"
Chapter 4: the nice Moment
I "There all of the Gyres Converge in One"
II "Fellowship Divine"
Chapter 5: Melancholy's Sovran Shrine
I "The shorelines of Memory"
II the 2 Hyperions
Conclusion: Adam's Dream
Bibliography
Index

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Extra resources for Adam's Dream: Mythic Consciousness in Keats and Yeats

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However, about 1794 he made a huge commitment to illustrations for Young’s Night Thoughts (Illus. 1, 12, 13), and for the period from 1800 to 1803 he lived almost exclusively under the patronage of William Hayley in the seaside village of Felpham in Sussex. ” The amount paid for engravings depended upon a number of factors. 0 each, to the elaborate, laborious high finish of “The Fall of Rosamond” (1783) (Illus. 2) for which Macklin paid £80. r Blake the best engraver of outlines,” omitting almost all the shading.

When printing works in illuminated printing they also needed coloured inks. Then, according to “Blakes Instructions to Print Copper Plates,” they had to william blake in the desolate market Warm the Plate a little and then fill it with ink by dabbing it all over two or three times. – then wipe off the superfluous Ink, till the surface is clean – then with the palm of the hand beneath the little finger rubbed over with a little of the Ink & smoothed with whiting by rubbing it on a Ball of it. ” Blake was a skilful though not a prodigious printer of ordinary engravings.

Coloured, and “Robin Hood and Clorinda” at 4s. plain and 7s. 6d. coloured. 1838). 14 blake as a commercial engraver of Stothard’s “Zephyrus and Flora” (1784) (Illus. 4) published by the firm of Parker and Blake at 27 Broad Street. ” The two finished engravings are presumably “Edward & Elinor” for the History of England and “Job” for the Bible, both dated 18 August 1793. Those “nearly ready” may be “The Accusers [War]” (5 January 1793) and “Ezekiel” (27 October 1794). ” Though the sales were slow, Blake kept prints of them through all his moves, and he still had copies when he died in 1827.

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