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Quite apart from the exercise's tangible benefits - in 'Chapman's Homer' and Hyperion especially - this mingling of work and recreation, the physical and conceptual, the cosmic and the playful, has suggestive and pleasurable implications for Keats's poetry as a whole. Also Available As: If Roe's chief interest lies in the direction of politics, he has very good evidence for narrowing our field of vision: This description arises out of the second biographical context in which Roe makes important additions to our knowledge: Keats's medical training at Guy's, where the most vivid figure we meet is the flesh-slashing surgeon 'Billy' Lucas.

e-book John Keats and the Culture of Dissent

Significantly enough, these brandnames come from both sides of the Keats divide, the one from his greatest mentor-friend, the other from a satellite of the Blackwood's circle. As Roe amply demonstrates, the poetry-politics analogy is inescapable, whether we are approaching Keats from articles in Hunt's Examiner fascinatingly represented here or in Blackwood's Magazine: Thanks to those champions of immaturity, Bayley and Ricks, we tend to like Keats for the very things his first readers despised.

Thanks to the corrective efforts of more recent historians, not least Roe himself, we know how wrong these ur-critics were. Nicholas Roe.

All the same, it is hard not to relish the splendour of insult they produced, even while we are developing the bad taste to admire what they singled out for ridicule: Part of Roe's story is about how the landscape of Keats's poetry becomes a political mine - or indeed minefield - for friends and enemies alike.

Conversely, and more poignantly, the other part of the story is about how Keats's defenders have conspired to diminish and distort his posthumous representation - and, Roe would claim, reputation - by severing the life-giving links between history and aesthetics.

In setting the record straight, the Culture of Dissent has two critical tools to hand: Both are used to banish the air of unworldliness which was introduced by Keats's friends and has been perpetuated in modern criticism: Roe has in mind an 'unsettling' Keats, and to that end makes brilliant use of 'twinned' epigraphs, in which poetry and politics jostle up against each other.

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The task of recovery is the familiar project of new historicism, but is pursued here by methods that are solidly old historical. We hear of Ryland as a 'violent partizan' of the American and French Revolutions, with affiliations to the Constitutional Society; of Charles Cowden Clarke's Commonplace Book, into which Keats's schoolfriend copied a suppressed anti-war poem by William Crowe and a satirical dialogue by Richard Porson, together with political sonnets by Wordsworth a chapter drawing on the work of John Barnard, who is generously acknowledged ; of the distinguished surgeon Astley Cooper, Keats's patron at Guy's, who had a 'democratic' Parisian past; and of the political colouring given to the white and the green both Keatsian hues , the first being associated with revolutionary iconography, the second with Pan politics and 'liberty of conscience'.

The greening of Keats takes place in two locations, the historical-pastoral Greenwood of the Robin Hood poems of and , and the Hampstead-Heathy 'suburbs' of Reynolds, Hazlitt, and Hunt. The 'culture of dissent' is carried over from Enfield School to the apparently marginal, though politically sympathetic, societies in which Keats's literary identity - and its lampooning in the Tory press - may be said to evolve.

This benign continuity - from 'dissenter' to 'outlaw' to 'suburban' - has its malign counterpart in the common cause that has been made between the Blackwood attackers and some recent criticism. Petra Bracht.

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