Keats, Shelley, and Romantic Spenserianism

adaptation Adonais Agnes allegory appeared argued associated beauty became become began beginning bower Byron Calidore called canto Castle century character Childe claim complex conflict considered continued contrast correct creative critics cultural death Despair developing division drama duality early eighteenth eighteenth-century enchantment Endymion epic episode eternal Eve of St example experience Faerie Queene feeling felt find first genius Harold’s heart human Hunt ideal imagination imitation important inspired instance Keats Keats’s kind later learned lines literary look marked mental Milton mind moral narrative nature never noted opening particularly passages past pattern Pilgrimage poem poetic poetry poets political present Prometheus reading reality relation Renaissance response revisionism Romantics seemed sense Shelley Shelley’s significant specific Spen Spenser’s Spenserian spirit stanza strategies style suggests sustained takes theory thought throughout tion tradition truth Unbound vision writing