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Romanticism and the Self-Conscious Poem$
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Michael O'Neill

Print publication date: 1997

Print ISBN-13: 9780198122852

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780198122852.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 17 October 2021

Writing and History in Hyperion and The Fall of Hyperion: Keats (2)

Writing and History in Hyperion and The Fall of Hyperion: Keats (2)

(p.210) 8 Writing and History in Hyperion and The Fall of Hyperion: Keats (2)
Romanticism and the Self-Conscious Poem

Michael O'Neill

Oxford University Press

This chapter focuses on questions about the validity of certain historicist readings of Keats that depend on notions of art as displacement, but argues that the Hyperion project does register and give shape to historical pressures, and that a principal means of such registering is the poetry's preoccupation with writing and the status of poetry. It suggests, in relation to the Induction to The Fall of Hyperion, that post-Romantic reflexiveness is ushered in by these lines, even as they can be viewed as speaking out of that ‘felt helplessness’ which Raymond Williams sees as afflicting Romantic poets.

Keywords:   Keats, art, displacement, The Fall of Hyperion, Romantic poets

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