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A Romantic narrative poem of 42 Spenserian stanzas set in the Middle Ages. It was written by John Keats in 1819 and published in 1820. The poem was considered by many of Keats's contemporaries and the succeeding Victorians to be one of his finest and was influential in 19th-century literature.
In his Preface to The Living Dead: A Study of the Vampire in Romantic Literature, James Twitchell writes that he is not interested in the current generation of vampires, which he finds "rude, boring and hopelessly adolescent. However, they have not always been this way. In fact, a century ago they were often quite sophisticated, used by artists varied as Blake, Poe, Coleridge, the Brontes, Shelley, and Keats, to explain aspects of interpersonal relations. However vulgar the vampire has since become, it is important to remember that along with the Frankenstein monster, the vampire is one of the major mythic figures bequeathed to us by the English Romantics. Simply in terms of cultural influence and currency, the vampire is far more important than any other nineteenth-century archetypes; in fact, he is probably the most enduring and prolific mythic figure we have. This book traces the vampire out of folklore into serious art until he stabilizes early in this century into the character we all too easily recognize.
Using the 180-year history of Keats'sEve of St. Agnes as a basis for theorizing about the reading process, Stillinger's book explores the nature and whereabouts of "meaning" in complex works. A proponent of authorial intent, Stillinger argues a theoretical compromise between author and reader, applying a theory of interpretive democracy that includes the endlessly multifarious reader's response as well as Keats's guessed-at intent. Stillinger also considers the process of constructing meaning, and posits an answer to why Keats's work is considered canonical, and why it is still being read and admired.
Here is the first reliable edition of John Keats’s complete poems designed expressly for general readers and students. Upon its publication in 1978, Jack Stillinger’s The Poems of John Keats won exceptionally high praise: “The definitive Keats,” proclaimed The New Republic—“An authoritative edition embodying the readings the poet himself most probably intended, prepared by the leading scholar in Keats textual studies.” Now this scholarship is at last available in a graceful, clear format designed to introduce students and general readers to the “real” Keats. In place of the textual apparatus that was essential to scholars, Stillinger here provides helpful explanatory notes. These notes give dates of composition, identify quotations and allusions, gloss names and words not included in the ordinary desk dictionary, and refer the reader to the best critical interpretations of the poems. The new introduction provides central facts about Keats’s life and career, describes the themes of his best work, and speculates on the causes of his greatness.
Framed by an understanding that the very concept of what defines the human is often influenced by Renaissance and early modern texts, this book establishes the beginning of the literary development of the satanic form into a humanized form in the seventeenth century. This development is centered on characters and poetry of four seventeenth-century writers: the Satan character in John Milton's Paradise Lost and Paradise Regained, the Tempter in John Bunyan's Grace Abounding to the Chief of Sinners and Diabolus in Bunyan's The Holy War, the poetry of John Wilmot, earl of Rochester, and Dorimant in George Etherege's Man of Mode. The initial understanding of this development is through a sequential reading of Milton and Bunyan which examines the Satan character as an archetype-in-the-making, building upon each to work so that the character metamorphoses from a groveling serpent and fallen archangel to a humanized form embodying the human impulses necessary to commit evil. Rosenfeld then argues that this development continues in Restoration literature, showing that both Rochester and Etherege build upon their literary predecessors to develop the satanic figure towards greater humanity. Ultimately she demonstrates that these writers, taken collectively, have imbued Satan with the characteristics that define the human. This book includes as an epilogue a discussion of Samson in Milton's Samson Agonistes as a later seventeenth-century avatar of the humanized satanic form, providing an example for understanding a stock literary character in the light of early modern texts.