By James Land Jones
The author's crucial goal is to teach that the poetry of Keats and Yeats is trained by means of a suite of assumptions, a style of apprehension, which marks it as a undeniable type of poetry: Romantic poetry characterised particularly by way of the weather of mythic considering analyzed by way of Cassirer and Eliade.
Introduction: The purpose for Myth
Chapter One: Soul Making
I "Curious Conscience"
II "My robust identification, My genuine Self
III "A Greeting of the Spirit"
Chapter : cohesion of Being
I "Energy" and "Essence"
II "Beauty in All Things"
Chapter 3: The substantial Idea
I "From Feathers to Iron"
II "An Interchange of Favors"
III "Time Annihilate"
IV "The Finer Tone"
Chapter 4: the good Moment
I "There all of the Gyres Converge in One"
II "Fellowship Divine"
Chapter 5: Melancholy's Sovran Shrine
I "The seashores of Memory"
II the 2 Hyperions
Conclusion: Adam's Dream
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Extra resources for Adam's Dream: Mythic Consciousness in Keats and Yeats
The Lancashire Witches: A Romance of Pendle Forest. Sunday Times, January–December 1848; London: Colburn, 1849. The Flitch of Bacon; or, The Custom of Dunmow: A Tale of English Home. New Monthly Magazine, 1853; Serial publication. London: Routledge, 1854. Illus. by John Gilbert. London: Routledge, 1855; London: Routledge, 1856; Leipzig: B. Tauchnitz, 1854; Collection of British Authors, vol. 302. Myddleton Pomfret. Bentley’s Miscellany, 1867–1868; Serial publication in nine parts; London: Chapman & Hall, 1868; Leipzig: B.
Now realizing his peril of soul, the narrator dispels the king of evil with another charm, but recollecting the bloody history of the realm, the narrator has to admit the power of the demon emperor and, by extension, his own and every man’s involvement with the evil of the world. Now wiser, the poet-narrator knows and will build on the knowledge that “what he related was as terrifying as it was mysterious” (108). “The Cauldron of Kibitsu” is a story of appalling spectral revenge taken by a dead wife upon her unfaithful husband.
Marion Crawford, he nevertheless succeeds in inspiring the fear, awe, and wonder that lie at the heart of Gothic beauty. The dramatic and episodic Gothicism of Tales of Moonlight and Rain is counterpointed by the lyric and reflective Gothicism of Tales of the Spring Rain. Both sets of stories establish Ueda Akinari as a Gothic innovator worthy of the attention of all modern readers who are interested in the persistence of the Gothic in non-Western cultures. Akinari’s influence on the development of a Japanese Gothic tradition is registered in the work of Izumi Kyoka (1873–1939), whose masterful short stories of the Meiji period (1868–1912) have been compared with Poe’s tales.