This document summarizes a research paper about John Keats' poem "La Belle Dame Sans Merci" and how it reflects his struggle with tuberculosis. It provides historical context about tuberculosis in the early 19th century, when it was a major epidemic in Europe and seen as linked to creativity. It describes how Keats' life was affected by tuberculosis, with his mother and brother dying from it. Keats himself showed early symptoms of the disease in 1820. The paper analyzes how La Belle Dame Sans Merci can be seen as a representation of tuberculosis and Keats' preoccupation with mortality. It explores how themes of death and the briefness of life were central to Romantic poetry and sensibilities.
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online
Universal Human Laws in The Waste Land (T.S. Eliot)Dilip Barad
Functionalism explains human society as a whole in terms of the function of its constituent elements; namely norms, customs, traditions, and institutions.
A functionalist reading of myths might extract the universal human laws.
This presentation attempts to identify some Universal Human Laws in T.S. Eliot's modern epic 'The Waste Land'
“ 'The other city, the city of dreams': Literary utopias and literary utopian...Caroline Edwards
This keynote lecture was delivered at the Ralahine Centre for Utopian Studies, University of Limerick in December 2019. It examined the relationship between the urban and the utopian – specifically, the question of the knowability and unknowability of city spaces within literary texts (primarily London, but also other smaller British cities). It focussed on an emerging caucus of twenty-first-century British fictions that use urban settings, as well as real and imagined escapes from the city (in pastoral or temporal terms) to blend mimetic topographical detail and the locatedness of an identifiable city space with a more formally dislocating sense of ambiguity.
Milton’s Samson Agonistes: A Renaissance Image of Man - مسرحية شمشون اقونيستس...Al Baha University
جون ميلتون يعتبر شاعرا اكثر من كونه كاتب مسرحي، لهذا السبب فان شعره قد اخذ حيزا كبيرا من الدراسة والتمحيص والتحليل و/أو النقد لكن لم يعطى ذلك الاهتمام في مسرحيته، تحاول هذه الدراسة إلقاء الضوء على "سامسون اقونيستس" لميلتون كمسرحية أكثر من كونها قصيدة شعرية، الدراسة تستخدم النهج التحليلي والفلسفي والأدبي لأحد أبرز الشخصيات الأدبية في العصر التطهيري البيروتاني، جون ميلتون ومسرحيته "سامسون اقونيستس" كصورة أو مفهوم رجل عصر النهضة التي كثيرون ينسبون ارتباط ميلتون كأخر شخصية ادبية لهذا العصر، يستهل البحث بموضوع المعرفة – سواء المعرفة السماوية أو البشرية (من وجهة نظر ميلتون) وردة فعل الانسان فيما يتعلق بتلك المعرفة، الدراسة تحاول في هدفها ان تؤكد وتبرز النقائص المألوفة و اللافتة للنظر مثل المعاناة وسوء الحظ، الزوجة الغير ملائمة، المهمة الفاشلة والورطة بين كل من ميلتون وبطل مسرحيته، "سامسون".
الدراسة هي عبارة عن عملية تتبعيه لعصر "ميلتون" وأفكاره المعكوسة في مسرحيته " سامسون اقونيستس"، تحاول الدراسة إلقاء الضوء على كيفية توظيف ميلتون تقنياته الأدبية النابغة في المسرحية الشعرية قيد الدراسة، تستهل الدراسة بمقدمة متبوعة بالفقرة الأولى مفهوم رجل عصر النهضة ثم تتطرق الى معاينة المعاناة وسوء الحظ وبعد ذلك يتبع بوصف لمرئيات ميلتون نفسه حول المرأة كنتيجة لبغضه زوجته التي لم تعش معه، في القسم التالي تتبع تحليلي لمفاهيم المهمة الفاشلة والمأزق المصور في ذهن ميلتون عن نفسه وبطل مسرحيته.
John Milton is a poet more than a dramatist, hence, his poetry is plentifully studied, examined, analyzed, and/or criticized but his drama is sparsely done. This study tries to shed light on Samson Agonistes as drama. It is an analytical, philosophical and literary approach of one important figure in The Puritan age, John Milton, and his play as an image of the Renaissance man. The study takes up the theme of knowledge—divine or human knowledge and man’s reaction apropos that. The current study tries in its aim to highlight the frequent remarkable demerits such as misfortunes and suffering, unfortunate wife, unsuccessful mission, and plight between Milton and Samson. It is a pursuing process for Milton's age, and thoughts reflected in his work, Samson Agonistes. The study also attempts to shed light on how Milton employs his genius literary techniques in this verse play. The study starts with an introduction followed by the concept of the Renaissance man. The paper deals with views of misfortunes and suffering thereafter, it depicts Milton’s views concerning women as a result of his hatred to his wife. The research pursues analytically the concepts of ineffective mission, and plight imaged by Milton about himself and Samson, his main character of the play.
This is the Romantic Literature Presentation,
here I talk about the John Keats as a Romantic Poet.
1) Poetry of Escape
2 ) Motif
3) Five sense and Art
4) Conclusion
This presentation is submitted to Smt. S. B. Gardi Department of English.
Universal Human Laws in The Waste Land (T.S. Eliot)Dilip Barad
Functionalism explains human society as a whole in terms of the function of its constituent elements; namely norms, customs, traditions, and institutions.
A functionalist reading of myths might extract the universal human laws.
This presentation attempts to identify some Universal Human Laws in T.S. Eliot's modern epic 'The Waste Land'
“ 'The other city, the city of dreams': Literary utopias and literary utopian...Caroline Edwards
This keynote lecture was delivered at the Ralahine Centre for Utopian Studies, University of Limerick in December 2019. It examined the relationship between the urban and the utopian – specifically, the question of the knowability and unknowability of city spaces within literary texts (primarily London, but also other smaller British cities). It focussed on an emerging caucus of twenty-first-century British fictions that use urban settings, as well as real and imagined escapes from the city (in pastoral or temporal terms) to blend mimetic topographical detail and the locatedness of an identifiable city space with a more formally dislocating sense of ambiguity.
Milton’s Samson Agonistes: A Renaissance Image of Man - مسرحية شمشون اقونيستس...Al Baha University
جون ميلتون يعتبر شاعرا اكثر من كونه كاتب مسرحي، لهذا السبب فان شعره قد اخذ حيزا كبيرا من الدراسة والتمحيص والتحليل و/أو النقد لكن لم يعطى ذلك الاهتمام في مسرحيته، تحاول هذه الدراسة إلقاء الضوء على "سامسون اقونيستس" لميلتون كمسرحية أكثر من كونها قصيدة شعرية، الدراسة تستخدم النهج التحليلي والفلسفي والأدبي لأحد أبرز الشخصيات الأدبية في العصر التطهيري البيروتاني، جون ميلتون ومسرحيته "سامسون اقونيستس" كصورة أو مفهوم رجل عصر النهضة التي كثيرون ينسبون ارتباط ميلتون كأخر شخصية ادبية لهذا العصر، يستهل البحث بموضوع المعرفة – سواء المعرفة السماوية أو البشرية (من وجهة نظر ميلتون) وردة فعل الانسان فيما يتعلق بتلك المعرفة، الدراسة تحاول في هدفها ان تؤكد وتبرز النقائص المألوفة و اللافتة للنظر مثل المعاناة وسوء الحظ، الزوجة الغير ملائمة، المهمة الفاشلة والورطة بين كل من ميلتون وبطل مسرحيته، "سامسون".
الدراسة هي عبارة عن عملية تتبعيه لعصر "ميلتون" وأفكاره المعكوسة في مسرحيته " سامسون اقونيستس"، تحاول الدراسة إلقاء الضوء على كيفية توظيف ميلتون تقنياته الأدبية النابغة في المسرحية الشعرية قيد الدراسة، تستهل الدراسة بمقدمة متبوعة بالفقرة الأولى مفهوم رجل عصر النهضة ثم تتطرق الى معاينة المعاناة وسوء الحظ وبعد ذلك يتبع بوصف لمرئيات ميلتون نفسه حول المرأة كنتيجة لبغضه زوجته التي لم تعش معه، في القسم التالي تتبع تحليلي لمفاهيم المهمة الفاشلة والمأزق المصور في ذهن ميلتون عن نفسه وبطل مسرحيته.
John Milton is a poet more than a dramatist, hence, his poetry is plentifully studied, examined, analyzed, and/or criticized but his drama is sparsely done. This study tries to shed light on Samson Agonistes as drama. It is an analytical, philosophical and literary approach of one important figure in The Puritan age, John Milton, and his play as an image of the Renaissance man. The study takes up the theme of knowledge—divine or human knowledge and man’s reaction apropos that. The current study tries in its aim to highlight the frequent remarkable demerits such as misfortunes and suffering, unfortunate wife, unsuccessful mission, and plight between Milton and Samson. It is a pursuing process for Milton's age, and thoughts reflected in his work, Samson Agonistes. The study also attempts to shed light on how Milton employs his genius literary techniques in this verse play. The study starts with an introduction followed by the concept of the Renaissance man. The paper deals with views of misfortunes and suffering thereafter, it depicts Milton’s views concerning women as a result of his hatred to his wife. The research pursues analytically the concepts of ineffective mission, and plight imaged by Milton about himself and Samson, his main character of the play.
This is the Romantic Literature Presentation,
here I talk about the John Keats as a Romantic Poet.
1) Poetry of Escape
2 ) Motif
3) Five sense and Art
4) Conclusion
This presentation is submitted to Smt. S. B. Gardi Department of English.
Whether in novelistic fiction or drama, Werther and Faust are the two foremost characters by whom Goethe has enriched the world of literature, yet how different they are! Werther is commonly understood as a proto-Romantic hero and like others of his kind he ends his own life. Faust, like Goethe himself, lived on to a ripe old age, having lived out his days to the full. A close reader of the novel and the drama will note that both Werther and Faust are identified as 'wanderers.' Goethe himself saw himself as a Wanderer' too. t follows that Goethe himself incorporated two aspects of wandering, a fact reflect by Goethe's habit of contrasting survors like Wilhelm Meister with non-survors like Mignon and the Harper in the novel Wilhelm Mwisters Lehrjahre. Some have supposed that Goethe 'rewarded' those who held an optimistic and constructive attitude to life in line with the author himself and 'punished' those who showed themselves to be irresponsible 'romantics.' It may also be that the co-existence of two wandering propensities within Goethe's psyche, as perhaps within the human psyche itself, complemented each other within an all-embracing all.
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
On the Use of the Causal Analysis in Small Type Fit Indices of Adult Mathemat...QUESTJOURNAL
ABSTRACT: Model evaluation is one of the most important aspects of Structural Equation Modeling (SEM). Many model fit indices have been developed. It is not an exaggeration to say that nearly every publication using the SEM methodology has reported at least one fit index. Fit is the ability of a model to reproduce the data in the variance-covariance matrix form. A good fitting model is one that is reasonably consistent with the data and doesn’t require respecification and also its measurement model is required before estimating paths in a covariance structure model. A baseline model of four constructs together with a combination of none, one, two, three or four additional constructs was constructed with latent variables: educational performance, socioeconomic label, self concept and parental authority using dichotomous digits 0 or 1 for each additional construct. 16 progressively nested models were considered starting with baseline model using the mathematics adult learners data from the modeling sample and employing some small fit indexes which are commonly used (AIC, CAIC, RMR, SRMR, RMSEA, 2 / DF among others) [1] to test the fitness of the model. The measures of model fit based on results from analysis of the covariance structure model are presented.
Recruitment Practices And Staff Performance In Public Universities: A Case St...QUESTJOURNAL
ABSTRACT: Recruitment, as a human resource management function, is one of the activities that impact most critically on the performance of any organization irrespective of its size and location. Public Universities, known to train professionals that exhibit transformative leadership and successfully run blue-chip companies have equally suffered from rampart industrial unrest and human resource malpractices across Kenya. Could it be a unique trend of organizational deviance that could be reflecting absence of a well executed staff recruitment practice? While it is understood and accepted that poor recruitment decisions continue to affect organizational performance and limit goal achievement, knowledge about this aspect in Public Universities remains scanty. The aim of this study was to address this gap by evaluating how recruitment practices affect performance of administrative staff in Public Universities using Masinde Muliro University of Science and Technology, Kenya as a case reference. A cross-sectional survey design was employed while sampling strategy was a blend of multiphase, stratified and purposive sampling. A sample size of 124 out of 1150 comprised mainly of administrative staff was used and that a questionnaire was the principal tool of data collection. Results were analyzed using frequency tables, mean, standard deviation and simple linear regression. The study found that a recruitment policy existed at Masinde Muliro University of Science and Technology, Kenya and that both external and internal recruitment practices were used to recruit employees at the University. However, it was noted that most of the university employees are recruited through media advert, internal advertisement, through transfers and promotions. The results of the regression indicated that recruitment practices are a significant predictor of employee performance, which was explained by 32% of variance and a moderate relationship captured by beta weight value of 0.57. On effectiveness of the recruitment policy, only 30% rated it as effective while 62% were indifferent and 8% rated it ineffective. The study concluded that although a significant relationship between recruitment practices and employee performance existed, it’s effectiveness and therefore positive impact on employee performance depended on employees’ positive perception and rating. It’s recommended that the Universities should avoid biasness in the recruitment process as this will negatively impact on employee performance.
Pesse Na Siri’ Budgetary System: A Historiography Study of Luwu Kingdom in Is...QUESTJOURNAL
ABSTRACT: This study aimed to explore the budgetary system of pesse na siri’ at Luwu kingdom in the Islamic period of 1593 to 1945. Through the historiography method, it showed the base existence of the spiritual sense sensitivity, i.e., pesse (empathy) and siri’ (shame) and Islamic law in budgetary system. In the resources management, it was carried out in four stages, namely planning, implementation, reporting, and evaluation. Operationally, the pesse na siri’ budgetary system on the mobilization mechanism of resources or budget (balanca) through the top down system (i.e., known as balanca pole riwawo) and bottom up system (i.e., known as balanca pole riawa). The top down system was a mobilization resource form from agricultural products of the king’s land (i.e., known in Buginese language as Tanana datue) and the palace logistic. Meanwhile, the bottom up came from the resource offer–i.e., known as makkasiwiyang–mechanism, consisting of makkasiwiyang lili’ (the lower government level), makkasiwiyang ale (personal/individual), and makkasiwiyang reso (labor). One of the Islamic impacts in this system was to direct the budgetary system based on the Shari’a or Islamic law.
Fabrication of Complete Dentures for A Patient with Resorbed Mandibular Anter...QUESTJOURNAL
ABSTRACT: The loose and unstable lower complete denture is one of the most common problems faced by denture patients with highly resorbed ridge. The management of such highly resorbed ridges has always posed a difficulty to the prosthodontist.Obtaining consistent mandibular denture stability has longbeen a challenge for dental profession. The simplest approach often is to extend the denture base adequately for proper use of all available tisues.To achieve this goal impression of the resorbed mandibular ridge is very important. The objective is to develop a physiologic impression with maximum support of both hard and soft tissues.In such cases, an innovative technique of impressionmaking by using a close fitting tray and anelastomeric impression material tomake a proper impression to achieve maximum retentionand stability.This article describes an impression technique used for highly resorbed mandibular ridge using an all green impression technique, to gain maximum retention andstability
Steganographic Technique Using Instant Messaging Conversation DynamicsQUESTJOURNAL
ABSTRACT : Steganography is considered to be not only the science but also the art of hiding secret messages into other innocuous and non-secret media of different types. History of steganography started with the history of civilization and algorithms of data hiding have been constantly developed with the rise of mankind's knowledge. Some of steganographic algorithms are so close connected to the use of digital media, computers and information technology, that those algorithms do not have analogy in non-digital world. It is possible to see the use of hard disk drives (HDD), solid state discs (SSD) and file systems for the purpose of steganography, or steganography in TCP/IP networks as the example. In this paper we are concentrating on such algorithm and we are examining the possibility of the use of dynamics of conversation realized with the use of instant messaging services, which are very popular standalone services or are part of widely used social networks like Facebook. The paper discusses the possibility of hidden message encoding by the use of different parameters of conversation dynamics and introduces new algorithm and its program implementation. The last part of the paper summarizes results of its experimental use.
Simple Obfuscation Tool for Software ProtectionQUESTJOURNAL
ABSTRACT: This paper discusses the issue of source code obfuscation and also the creation of a tool for automatic obfuscation of source code written in C language. The result is a tool that performs both data flow and control flow obfuscation and allows the user to configure the applied transformation algorithm. For easier and better usability the tool provides a graphical user interface, which brings possibility to control and configure transformation process.
Block Hybrid Method for the Solution of General Second Order Ordinary Differe...QUESTJOURNAL
ABSTRACT: We consider the construction of block hybrid method for the solution of general second order ODEs. Derivation of the method was based on the use of hermite polynomial as basis function. The main method and its additional equations are obtained from the same continuous formulation via interpolation and collocation procedures. The method is then applied in block form as simultaneous numerical integrator, this approach eliminates requirement for starting values, and it also reduces computational effort. The stability properties of the method is discussed and the stability region shown. Two numerical experiments were given to illustrate the accuracy and efficiency of the new method.
Modeling – Based Instructional Strategy for Enhancing Problem Solving Ability...QUESTJOURNAL
ABSTRACT: The modeling-based instructional framework accommodates the physics modeling mechanism in which the learner apply the fundamental principles in physics and develop an idealized physics model of the real world situation by means of assumptions and approximations. The present study was intended to find out the effectiveness of Modeling-based instructional strategy for enhancing physics problem solving ability of students at secondary school level. The investigator adopted a quasi-experimental method with two group pretest post-test design for the study. The sample selected for the study consisted of 242 IX standard students from three different schools of Palakkad district. The tools used for collecting the data were the Problem Solving Ability Test in Physics, lesson designs based on Modeling-based instructional strategy and activity oriented method. The findings of the study concluded that the Modeling-based instructional strategy enhanced the problem solving ability of students of secondary school level. And also the strategy scaffolded the formation of mental models of problem representations with in the cognitive structure of the learner.
Exploring the Effectiveness of the Arabic LanguageTeaching Methods in Indones...QUESTJOURNAL
ABSTRACT: The aim of this research work is to identify the effectiveness of the Arabic language teaching methods in Indonesia(National University of Malang for Sample)in terms of making use of Arabic as a medium of communication among the students in the light of the modern approaches in teaching and learning of Arabic language. This research is methodologically characterized as a descriptive, analytical, evaluative and field research work. In order to arrive at the purpose of this study, a questionnaire has been designed and carried out on a specimen from the teachers of the concerned university. Eventually, the study has arrived into a finding that the method used in the university is the Eclectic Method (i.e. Selective Method), except that translation is utilized extensively with it, and it might influentially cause the depreciation of the communication skill of the students, and the major intermediary language for the Arabic language teaching is the Indonesian language. However, its uncontrolled over-usage in the Arabic language teaching procedure may negatively cause the weakness of the students in the listening and speaking skills, since they could not get enough opportunity to practice them during language learning, in addition to the fact that the teachers might be employed as Arabic language teachers on the basis of their high conversance with the grammatical rules of Arabic language and not on their skills in the Arabic language communication medium.
The Teller & The Tales: A Study of The Novels of Amitav GhoshQUESTJOURNAL
ABSTRACT: The paper re-visit the plot and setting of the novels of Amitav Ghosh. The paper has two parts – (i)The Teller & (ii) The Tales. In the first section the text tries to give a brief sketch of the life of Amitav Ghosh to chornicle the life of the visionary commentator of life and the social anthroplogist , the most prominent among the Indian writers of English. In the second part the theme and storyline of the novels were revisted along with characters and narrative technique. The first section has been introduced to give an overview of the prolificness of the author and the second part is the testimony of his logocentricism. The paper aims to present the plot and theme of all Ghosh’s novels
ABSTRACT: The purpose of Larkin as literary artist was to convey his ultimate message that man has to transcend the gross environment for the attainment for final goal. His poem opens with important question which prompt us to scrutinize ourselves. According to Philip Larkin “when you come to talk about once duty as writer then ones can say that his duty is to write for harmony”. In this paper there an urge in Larkin’s poem to attain transcendental knowledge by which everything is known. The meaningful change in environment through literature result from the development of qualities and attitude that foster constructive pattern of human interaction through literature. In an age of highly industrialized and mechanized structure of our society where we have 'given our hearts away a sordid boon' and where all spiritual values have been thrown overboard, the relevance of selecting this topic "Spiritual Quest in Philip Larkin" becomes important. In Larkin's poetry there is invariably, an element of spiritual crises, a note of subsequent struggle to step out of it. This inner conflict to proceed forward in the path of Divine realization lends magnificence to his poetic and spiritual personality.
The Influence of Religiosity on Marital Satisfaction and Stability AmongChris...QUESTJOURNAL
ABSTRACT: Various studies indicate that religious couples are more likely to enjoy stable and happy marriages. They are also less likely to experience conflict and violence, or to divorce perhaps because religion offers couples theologically grounded guidelines on how to handle marital conflicts when they arise. The present qualitative study was conducted using face to face interviews with nine participants in Kenya who had been identified as practicing Christians. The aim of the study was to explore how religiosity impacted the participant’s marital satisfaction. Results indicated that specific attributes related to religiosity like individual and partner prayer, reading the Bible, church attendance, impacted participants and their spouses lives positively and in turn their experiences in marriage. Engaging in religious practices was reported by the participants as eliciting qualities like perseverance, forgiveness and humility which in turn assisted them in keeping their marriages stable and thus resulting in marital satisfaction
The SA0 Group Reservoir ’S Compositive Evaluation In The Central Developing P...QUESTJOURNAL
ABSTRACT: Using the data from logging in a net of high density, the sand core from a airtight well, and the testing data for oil and gas , and then according to the experiment of exploitation, we studied the deposit visage in macroscopical way, the physical characteristics of the reservoir, and the partition of the oil and gas’s border. It is clear that the zero group of Sa’s oil floor is mainly deposit in the foreside of a delta under the background of lake incursion, and the ventro-delta express a character that there were some sandstones which was transited for two times. Make a certain that the oil and gas’s border of zero group in Sa is maybe 600m underground, and demarcated the maximal square is 26.8km2 about this reservoir, and tell us that it lies in the top of the anticline. Of course, this production can be used in the designing of the zero group of Sa’s exploitation
Down the Purgatory of Memories:The Pain of Remembering in M alayalam Naxal Ci...QUESTJOURNAL
ABSTRACT:Keralam, the southern most state in India is known for its cinema and politics. It is in Kerala that Communist Party came to power through Parliamentary election process for the first time in history. The political consciousness nurtured by the Communist movement found its reflections in Malayalam (language being spoken by the people of Keralam) Cinema as well. As a result films produced during the formative years of Malayalam Cinema were characterized by their political content. Having said this it should also be added that since those films are produced within the dominant production system with a view to garner profit they fail to politically stimulate the audience. But the situation had been changed after the Naxalite (radical left movement ideologically inclined to Maoism) uprising in 1969 during which both the feudal/bourgeois value orientations and the alleged degeneration of the Communist Party were challenged by the educated radical youths who fought for an immediate revolution. The state promptly intervened and contained Naxalite uprising with an iron fist. The repressive machinery of the state intervened whenever instances of resistance occurred. The Emergency declared in 1975 exposed the inhuman face of government that unleashed series of tortures against its citizens. The post -1980 political films, otherwise called as Naxalite films, try to recapture the tormenting experience of being political during the time of such mass oppression. Those movies resort to memory to expose the stark experience of the past.Remembering is a way of representing the past with all its nuances as it situates the remembering subject at close proximity with the past. At the same time Naxalite movies explored the possibility of forgetting also to unveil the subtle complexities of individual's relationship with the past. Here I consider two Malayalam films-AmmaAriyan(1986) directed by John Abraham and Margam (2003) directed by Rajeev Vijayaraghavan- to investigate how memory and oblivion are meticulously used by the filmic narratives to politicize a society already under the grip of political amnesia.
Professional Competences: An Integrative Approach for Defining The Training C...QUESTJOURNAL
ABSTRACT: This paper offers an integrative proposal for Business Administrationcurricular programs. For that purpose, we have carried out a survey with teachers from upper Business Administration courses so as to select a group of key competences for the contemporary Administrator, which has allowed us to elaborate an integrative proposal of curricular program for the Business Administration scholars in Brazil. As a qualitative research, it consists of a multiple case study with empirical approach and a triangular analysis based on Moraes (2014).Its main objective has been to analyze the curricular programs from five higher education institutions in the state of Rio Grande do Sul and two other foreign institutions in South America. At first, we have asked ourselves the following question: How to adapt the Business Administration curricular program to the contemporary needs as far as the vocational training competences of Administrators are concerned?In order to answer it, we have analyzed the National Curriculum Guidelines (DCN) and the Political-Educational Projects of Business Administration Courses (PPC/CSA). After that, we have compared the Curricular Components (CC) of the Higher Education Institutions (HEIs) under analysis. After performing the triangular textual analysis of the DCN, PPC/CSA and CC of all HEIs under study, we have carried out a survey with 35 teachers from Business Administration upper courses through a computerized online questionnaire.We have sent a Survey Monkey link for a total of 40 teachers, however, only 35 answered it (87.5%); we have considered 100% valid answers. Previously, based on the doctrine of competences and curriculum according to the most renowned authors – suchas Vygostsky, Freire, Sacristán, Piaget, Saviani, Bloom, Libâneo (curriculum); Fleury & Fleury, Zarifian, Perrenoud, Lisboa (competences), among others – wehave concluded that implementing the integrative proposal will providemore well-prepared graduates from the Business Administration course right to the competitive and globalized labor market.
Resisting Total Marginality: Understanding African-American College Students’...QUESTJOURNAL
ABSTRACT: This article explores collegiate Black identity development when African American students attend predominantly White institutions (PWIs) in the United States, considering the overall impact of total marginality. The term “total marginality” is used to describe the myriad, chronic, and often inescapable ways that African American college students attending PWIs are marginalized in a college setting. The focus of this paper is the impact of total marginality on Black identity development for those African American collegians who successfully complete their university studies at a PWI.
Alternative dispute resolution and civil litigation barriers to access to jus...QUESTJOURNAL
ABSTRACT: Civil law is the predominate system of law in the world. Civil law as a legal system is often compared with common law. The main difference that is usually drawn between the two system is that common law drawn abstract rules from specific cases, whereas civil law with abstract rules which judges must then apply to the various cases before them. Civil law has its roots in Roman law, Common law and the Enlightenment, alongside influence from other religious laws such as Islamic Law. The legal system in many civil law countries are based around one or several codes of law which set out the main principles that guide the law. On the other hand, Criminal Law as offences and prescribes punishment for them. It not only precludes or prevents crimes but also punish the offender. It is necessary for the maintenance of law, order and peace within state. In criminal cases, it is the state which initiates proceeding against the offender. Laws relating to the Civil Proceeding as the Code of Civil Procedure 1908; the Civil Courts Act 1887; the Suit Valuation Act 1887; the Limitation Act 1908; the Registration Act 1908; & the Specific Relief Act 1877.
Corporate Reputation And Earnings Quality of Listed Firms in NigeriaQUESTJOURNAL
Purpose: There is contention in financial reporting literature on the nature of relationship between corporate reputation and earnings quality of firms. The differences in findings on the relationship between corporate reputation and earnings quality linkage are empirically traceable to firm characteristics and capital market. To our knowledge, the association between corporate reputation and earnings quality is limited in Nigeria, Thus, we examine the nature relationship between corporate reputation and earnings quality of listed firms in Nigeria. Design/ Methodology/ Approach: The expo facto design was adopted for this study on 21 listed firms selected from the consumer sector, manufacturing sector and financial sector on the Nigeria Stock Exchange. The primary estimation method for the regression equation is pooled-OLS. Finding: We found that corporate reputation has no significant positive association with earnings quality of listed firms in Nigeria. Originality/ Value: To the best of our knowledge, this is the first study that investigates the relationship between corporate reputation and earnings quality across three sectors in Nigeria. The result has implication on capital market, firm reputation, auditor type and earnings quality. Thus, this study will be useful to capital market regulators, standard setters and future researchers.
GraphRAG is All You need? LLM & Knowledge GraphGuy Korland
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1. Unifying Large Language Models and Knowledge Graphs: A Roadmap.
https://arxiv.org/abs/2306.08302
2. Microsoft Research's GraphRAG paper and a review paper on various uses of knowledge graphs:
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Clients don’t know what they don’t know. What web solutions are right for them? How does WordPress come into the picture? How do you make sure you understand scope and timeline? What do you do if sometime changes?
All these questions and more will be explored as we talk about matching clients’ needs with what your agency offers without pulling teeth or pulling your hair out. Practical tips, and strategies for successful relationship building that leads to closing the deal.
Kubernetes & AI - Beauty and the Beast !?! @KCD Istanbul 2024Tobias Schneck
As AI technology is pushing into IT I was wondering myself, as an “infrastructure container kubernetes guy”, how get this fancy AI technology get managed from an infrastructure operational view? Is it possible to apply our lovely cloud native principals as well? What benefit’s both technologies could bring to each other?
Let me take this questions and provide you a short journey through existing deployment models and use cases for AI software. On practical examples, we discuss what cloud/on-premise strategy we may need for applying it to our own infrastructure to get it to work from an enterprise perspective. I want to give an overview about infrastructure requirements and technologies, what could be beneficial or limiting your AI use cases in an enterprise environment. An interactive Demo will give you some insides, what approaches I got already working for real.
Accelerate your Kubernetes clusters with Varnish CachingThijs Feryn
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UI automation Introduction,
UI automation Sample
Desktop automation flow
Pradeep Chinnala, Senior Consultant Automation Developer @WonderBotz and UiPath MVP
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
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Create a campaign using Mailchimp with merge tags/fields
Send an interactive Slack channel message (using buttons)
Have the message received by managers and peers along with a test email for review
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In a second workflow supporting the same use case, you’ll see:
Your campaign sent to target colleagues for approval
If the “Approve” button is clicked, a Jira/Zendesk ticket is created for the marketing design team
But—if the “Reject” button is pushed, colleagues will be alerted via Slack message
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Akshay Agnihotri, Product Manager
Charlie Greenberg, Host
Epistemic Interaction - tuning interfaces to provide information for AI supportAlan Dix
Paper presented at SYNERGY workshop at AVI 2024, Genoa, Italy. 3rd June 2024
https://alandix.com/academic/papers/synergy2024-epistemic/
As machine learning integrates deeper into human-computer interactions, the concept of epistemic interaction emerges, aiming to refine these interactions to enhance system adaptability. This approach encourages minor, intentional adjustments in user behaviour to enrich the data available for system learning. This paper introduces epistemic interaction within the context of human-system communication, illustrating how deliberate interaction design can improve system understanding and adaptation. Through concrete examples, we demonstrate the potential of epistemic interaction to significantly advance human-computer interaction by leveraging intuitive human communication strategies to inform system design and functionality, offering a novel pathway for enriching user-system engagements.
Dev Dives: Train smarter, not harder – active learning and UiPath LLMs for do...UiPathCommunity
💥 Speed, accuracy, and scaling – discover the superpowers of GenAI in action with UiPath Document Understanding and Communications Mining™:
See how to accelerate model training and optimize model performance with active learning
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👨🏫 Andras Palfi, Senior Product Manager, UiPath
👩🏫 Lenka Dulovicova, Product Program Manager, UiPath
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The IoT and OT threat landscape report has been prepared by the Threat Research Team at Sectrio using data from Sectrio, cyber threat intelligence farming facilities spread across over 85 cities around the world. In addition, Sectrio also runs AI-based advanced threat and payload engagement facilities that serve as sinks to attract and engage sophisticated threat actors, and newer malware including new variants and latent threats that are at an earlier stage of development.
The latest edition of the OT/ICS and IoT security Threat Landscape Report 2024 also covers:
State of global ICS asset and network exposure
Sectoral targets and attacks as well as the cost of ransom
Global APT activity, AI usage, actor and tactic profiles, and implications
Rise in volumes of AI-powered cyberattacks
Major cyber events in 2024
Malware and malicious payload trends
Cyberattack types and targets
Vulnerability exploit attempts on CVEs
Attacks on counties – USA
Expansion of bot farms – how, where, and why
In-depth analysis of the cyber threat landscape across North America, South America, Europe, APAC, and the Middle East
Why are attacks on smart factories rising?
Cyber risk predictions
Axis of attacks – Europe
Systemic attacks in the Middle East
Download the full report from here:
https://sectrio.com/resources/ot-threat-landscape-reports/sectrio-releases-ot-ics-and-iot-security-threat-landscape-report-2024/
2. The Sov’reign Shrine Of Veiled Melancholy- The Shadow Of Consumption On La Belle
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Abhik Maiti M.A 46 | Page
being haunted by an intense feeling of a "death-urge". He wishes to lose all his senses, all attachment with life,
all communications with society and accompany the wind panting “beneath thy power and share the impulse of
thy thought". In such a mood, Shelley is quite aware of the consequence: "I fall on the thorns of life; I bleed ". It
is an extreme and savage love of self - torture that drives us to pity the poet's emotional status. It is an
expression of deep hatred to life in general. Man, in his life-time, suffers from the loneliness of his isolation,
and while all other things in nature perish and revive, he alone seems to be doomed to die and disappear; only
his thoughts remain invisible heritage to the world. Frustration may be felt through the writings of the majority
of the romantic poets. Some consider the element of melancholy to be a result of the many disappointments
through which some of the romantic poets passed. The new world that Wordsworth, Byron, Coleridge, Shelley
and John Keats dreamt of, was one full of mysterious dreams.
Life is not at its best when it can combine both extremes in one situation- the simultaneous coexistence
of life and death; when moonlight shines on the ruins of a castle or when flowers give
"Thought that often lie too deep for tears".
In another poem deploring the untimely death of Keats, who died on year before Shelley, the poet calls
life a "dome of many-coloured glass" which "stains the white radiance of eternity". It is death which is pure and
perfect, while life, and even art which transcends it, are "stains" in this perfection. Keats poetry again and again
returned to the subject of death-to him the invalid to whom death was a constant presence, death had two
contradictory aspects. One is described in the Ode to a Nightingale, where the dismal effects of age and the
threat of death are seen, but then there was that other form of death which meant freedom from suffering, the
escape from the effects of time, which seemed the only ideal state to the poet. Romantic poetry is born out of the
sense of imperfection, and the poets who were influenced by the ideas of romanticism, could never free
themselves from the obsession of death that promised an escape from the imperfection of life. They regretted the
limitations that were imposed, and death appeared to them as the ideal state. In the Bright Star Keats likens
himself to a bright star in his steadfastness in love and written shortly before the poet's death in Italy. Keats was
in the last stages of consumption when he wrote it, and it is an expression of his burning desire for a
consummation of life, his hunger for experience, which is strengthened by the sensuous elements. It is a
melancholic music of the longing of man is in it who knows that most of his dreams are unattainable, and that
his death was inevitable.
Gothe said of Lord Byron: "he is the greatest talent of our century, but the moment he begins to reflect
he is a child". His poem On Reaching my Thirty -sixth Year was written right before the poet's death in Greece.
In it he intuitively speaks of the end but does not regret his past life for now he has the rare opportunity of dying
for the cause of liberty. The romantic poet sought an escape from the actual world to a world of vision once
seen. Being an individualistic he believed in liberty and freedom. It was George Lord Byron who praised the:
“Eternal spirit of chainless mind
Brightest in dungeons, liberty, thou art
For there they habitation is the heart
The heart, which loves of three alone, can bind.”
This paper aims at analyzing the brooding shadow of death in Romantic Poetry with special reference
to the one brought about by tuberculosis and more specifically, the treatment of La Belle as a representation of
the disease in Keats‟s La Belle Dame Sans Merci that reflects the poet‟s struggle with tuberculosis.
II. TIMES AND TIDES OF TUBERCULOSIS
―Diseases manifest multiple personalities just as do living creatures and social institutions he various
moods which they display in different circumstances and at any given time reflect the dominant aspect
of the relationship between the disease process and the life of man in society.‖
— René and Jean Dubos (The White Plague: Tuberculosis, Man, and Society)
Over the course of human history tuberculosis has affected and killed hundreds of millions of people. It
was carried across the globe by early humans as they migrated from Africa, and evidence of it exists worldwide
in early archeological sites. Slowly mounting to reach epidemic proportions in Europe, this flood of disease
peaked in the early nineteenth century. At the time in 1819, when John Keats developed tuberculosis, the
disease may have been responsible for as many as one in four deaths in Europe. Since then, the tide of
tuberculosis has slowly ebbed. The history of the great epidemic of consumption can be divided into three time
periods. At the time of its peak and during most of the nineteenth century, it was a disease evoking despair.
Physicians could offer nostrums relieving some symptoms, but no meaningful solace. With the discovery of the
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cause of tuberculosis and the openings of sanatoria devoted to its treatment at the end of the nineteenth century,
there was some hope for improvement, if not complete recovery. Tuberculosis was one of the most
misunderstood and misrepresented diseases of all times. Tuberculosis, often called Consumption, the White
Plague, and the White Death, was believed to be linked to poetic and aesthetic qualities. This belief was
reflected in both the literature and the medical field of the time, this interconnectedness allowed ―literature [to
affect] consumption’s reality, just as consumption shaped literature to a hitherto unrecognized extent‖ (Lawlor,
190). As science progressed, the literature adjusted to accommodate this change, and through these changes
tuberculosis went from being characterized as romantic and mysterious, to being an infectious bacterial disease.
Prior to the advancements in medicine, the pale, slender figure, and rosy cheeks that were caused by
tuberculosis were highly desirable features. This can be seen in different contemporary ladies‟ magazines that
perpetuated this ideal. The reverence of the outward manifestations, and the disease‟s association with the poetic
and aesthetic meant that tuberculosis was revered rather than feared. During the nineteenth century, tuberculosis
was associated with ―a markedly romantic sensibility, which was spreading about, especially among
intellectuals and artists‖ (Pôrto, 1). This perpetuated the association of the poetic and aesthetic with
tuberculosis and resulted in its association with the Romantic poets, particularly John Keats who is sometimes
thought of as Consumption‟s Poster Child. In part this was due to Keats‟ own illness and his resulting
deterioration in physique, but it also stemmed from the belief that tuberculosis was a disease that afflicted
intellectual and poetic persons.
The advent of curative drugs in the mid-twentieth century ushered in an era of cure and expectations of
recovery. This era with its expectation of the recovery of health and well-being dates to a series of drug
discoveries in the latter half of the twentieth century. They began in 1944, with the discovery of streptomycin
and continue to the present.
III. CONSUMPTIONS POSTER CHILD-
KEATS’S TRYST WITH TUBERCULOSIS
When Keats was still a child, his father was killed by a fall from a horse and his mother died of
tuberculosis which later caused the death of Tom Keats, his brother, and John Keats himself. Even when his
health was good, Keats felt a foreboding of early death and, applied himself to his art with a desperate urgency.
In early 1818 it became apparent that Tom, Keats‟s brother, was ill, probably with tuberculosis, and the two
brothers went to the Devon coast at Teignmouth, hoping that the sea air would foster a recovery for Tom.
Indeed, Tom did improve, but dreary, rainy weather soon convinced them to abandon the shore and return to
London. The rain did, however, provide ample time for Keats to retreat to seclusion and complete Endymion.
Tom‟s health waxed and waned. He had several episodes of hemoptysis (coughing of blood). On reaching
London, he seemed in much better health, and Keats determined to set off on a long planned and much-delayed
walking tour with Charles Brown, embarked on the same.
During the trip, Keats was recurrently plagued with a sore throat. On return in August, he found his
brother to be much worse, and much of his time and effort during the next three months was devoted to caring
for his dying brother. Tuberculosis claimed the life of Tom Keats on December 1, 1818; he was nineteen years
old.
Following his brother‟s death on December 18, 1818, Keats moved in with Charles Brown. After
meeting and falling in Love with Fanny Brawne, the months of late 1818 and early 1819 were among Keats‟s
happiest and most productive; a number of his poetic works were published and well received. on February 3,
1820, Keats had his first episode of hemoptysis, and he made his own diagnosis of tuberculosis. His friend,
Charles Brown, described the events in the following, often-quoted passage from his early biography of the
poet.
―One night, at eleven o’clock, he [Keats] came into the house in a state that looked like fearful fierce
intoxication. Such a state in him, I knew, was impossible; it therefore was the more fearful. I asked hurriedly,
―What is the matter,—you are fevered?‖ ―Yes, yes,‖ he answered, ―I was on the outside of the stage this bitter
day till I was severely chilled,—but now I don’t feel it. Fevered!—of course, a little.‖ He mildly and instantly
yielded, a property in his nature towards any friend, to my request that he should go to bed. I followed with the
best immediate remedy in my power. I entered his chamber as he leapt into bed. On entering the cold sheets,
before his head was on the pillow, he slightly coughed, and I heard him say,—―hat is blood from my mouth.‖ I
went towards him; he was examining a single drop of blood upon the sheet. ―Bring me the candle, Brown; and
let me see this blood.‖ after regarding it steadfastly, he looked up in my face, with a calmness of countenance
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Abhik Maiti M.A 48 | Page
that I can never forget, and said,—―I know the colour of that blood;—it is arterial blood;—I cannot be deceived
in that colour;—that drop of blood is my death-warrant;—I must die.‖ I ran for a surgeon; my friend was bled;
and, at five in the morning, I let him after he had been, some time, in a quiet sleep‖.
Keats was confined to bed in a room with all windows closed, as fresh air was thought to be deleterious
to health. Later, he was seen by Robert Bree, a specialist in chest diseases, who recommended continuation of
the regimen of enforced confinement, bed rest, and bleedings. Keats also took calomel, a mercury-containing
medication frequently used for patients with tuberculosis at that time. Keats poured out his soul in daily love
letters to Fanny Brawne. Periods of improvement alternated with further progression of his illness.
Extraordinarily sensitive to the mingling of pleasure and pain, to the destructiveness of love, and to the
erotic quality of the longing for death, Keats‟s poems have little concern with contemporary social and political
events. He is in his glory in the fields. The humming of bees, the sight of a flower and the glitter of the sun seem
to make his soul tremble.
In his effort to find a more perfect universe, the romanticist shunned actuality and sought an escape to a
different world, a world where dreams create perfection, where faith is real and no pretence prevails, where
nature heals the wounds and restores health to mind and body. The romantic poets were of the belief that society
had contaminated man -that what man needed most was to live simply and naturally as a son to mother, as
Robert Burns says:
Give me a spark of Nature‟s fire
That is the learning I desire
In the early 19th century, not only was the cause and transmission of tuberculosis misunderstood, it
was considered to be a sort of extension of hypochondria in its modern sense. The popular opinion seemed to be
that consumption was the ―physical result of psychological and emotional disorder‖ and that ―literary over-
production, derived from over-stimulation led to medical consumption because it consumed vital energy‖ hence,
„consumption.‟ The mental strain of composition burnt up a person‟s vital force, something that an individual
only had a limited amount of. Of course, there was also the fact that the ―idea of consumption as a disease of
genius grew even more common in medical texts as well as in popular opinion‖ - these romantic and erroneous
ideas were reinforced by the public and by the medical experts of the time. Considering, as mentioned before,
Keats witnessed tuberculosis on the personal level it is highly doubtful that he was ignorant of this. One can also
assume that he didn‟t question the common medical opinions on consumption as ―Keats and his doctor did
agree that his malady was as much mental as physical. Nervous over-excitement was the danger for young men
of a consumptive and creative disposition‖. While hypochondria is always a factor in sickness, it is clear that—
at least in the case of artists like Keats—the malady was considered more of a psychological disruption than
anything and endemic to the male creative population. Of course, if tuberculosis affected Keats‟s life at such a
personal level, then it would naturally filter into his poetry.
IV. LA BELLE DAME SANS MERCI AND TUBERCULOSIS
In La Belle Dame sans Merci, the specter of tuberculosis shows itself more in the poet-figure of the
knight-at-arms than in the Muse-figure of la Belle Dame—his condition being the rather physical effect of his
night with la Belle Dame. The “Alone and palely loitering” image of the knight would remind readers
acquainted with the poet‟s life evocations of the first sign of consumption. The poem becomes a narrative of a
gradual prognosis of tuberculosis from a deathly pallor to the final reconciliation in the soothing fingers of death
reflected in the latter half of the poem. From the beginning, the knight-at-arms is introduced to the audience as
“alone and palely loitering” (Keats), and that the atmosphere reflects his rather depressing state. According to
both the knight and the anonymous narrator of the first three stanzas, the “sedge has wither‟d from the lake,/
And no birds sing” (2-3), and “the squirrel‟s granary is full./ And the harvest‟s done” (7-8). It is, obviously,
Autumn; a very cold, barren Autumn to match the knight, “haggard and woe-begone” (6). However, the setting
is merely a lead-in for the more obvious sickness imagery in the third stanza. The anonymous narrator has this
to say to the knight-at-arms: “I see a lily on thy brow/ With anguish moist and fever dew,/And on thy cheeks a
fading rose/ Fast withereth, too” (12-15).
The flower imagery here is twofold. The immediate affect is that the knight-at-arms is proven to be
literally pale—hence the lily—and that there is a color fast-fading in his cheeks. It is also worthy of note that
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“flower imagery was closely associated with the poetry of consumption, its major function being to symbolize
the poignancy of (early) death juxtaposed with beauty” (Lawlor 132). It also brings to the mind Sir John Everett
Millais‟s Ophelia where the flowers depict Ophelia‟s floral communion with nature. The painting is known for
its depiction of the detailed flora of the river and the riverbank, stressing the patterns of growth and decay in a
natural system. It would be prudent to remind attentive readers in this context of the use of the imagery of roses
and posy as a depiction of the Bubonic Plague in the well known nursery rhyme Ring-a Ring-a Roses that bears
a latent reflection of the Plague Years. Considering Keats‟s “first dramatic symptom of consumption appeared
in early February [1819], after Tom‟s death,” the flower imagery takes on another morbid level—in this case, a
veiled comment about his own impending demise. As a student of medicine, Keats would have known the
warning signs of tuberculosis well in advance and, after watching his brother slowly die of the same disease
only a few short months before, the idea that he was soon to follow most likely weighed heavily on him. This
would explain his preoccupation with the knight-at-arms who is wasting away in La Belle Dame sans Merci. It
is the tinge of sickness - be it supernatural or psychosomatic - and the aspect of misery, and of suffering, and
more importantly the idea that la Belle Dame‟s victims waste away.
Despite the deathly pallor that hangs over much of Keats‟s work, there are hints that la Belle Dame
might be his Muse. During the romantic period, the pale, slender figure, and rosy cheeks that were caused by
tuberculosis were highly desirable features and associated the disease with the poetic and aesthetic and
associated consumption with “a markedly romantic sensibility, which was spreading about, especially among
intellectuals and artists” (Pôrto, 1). It also stemmed from the belief that tuberculosis was a disease that afflicted
intellectual and poetic persons, particularly John Keats who is sometimes thought of as Consumption‟s Poster
Child. His inspiration comes not only from the trials and tribulations of his professional life, but from his
knowledge of his early and impending death. Though la Belle Dame is a many-leveled symbol, it must be said
that she is not just the embodiment of his Muse, she is the embodiment not of an anxiety toward women, but an
anxiety toward the knowledge of his impending death. La Belle Dame sans Merci is little more than frustration
with a Muse-figure rather than with women as a whole. This same idea that la Belle Dame is a Muse-figure
leads to the question of what exactly his muse-figure was—what exactly (or as exactly as one can be in this
situation) inspired Keats to write much of what he did. Considering Keats‟s obviously melancholy tone through
a number of his poems and his odes, one could imagine the source of much of inspiration came from an equally
melancholy source. That is to say, it is widely acknowledged that Keats took some of his inspiration from the
specter of consumption that had loomed over his life from childhood.
Having watched his mother die of tuberculosis while he was very young, not to mention his time as an
apothecary and the fact that he personally nursed his brother Tom until his death of the very same disease, the
presence of what he would have known as consumption was constantly asserting itself in his life in some way or
another. One of the ones most applicable to his career is the fact that tuberculosis—consumption—had certain
connotations and it was, in fact, considered a „romantic disease.‟
To understand this poem as it is connected to the idea of consumption and the Muse, one must not look
solely at the aforementioned flower imagery, but at the fact that Keats is discussing his Muse as a fickle figure,
as well reflecting the undetectable symptoms and related diseases that consumption often produced. In general,
Keats viewed a poet and the Muse (his own included) as one of minor antagonism, which gives a bit of a poet-
muse dynamic to the knight-at-arms and la Belle Dame in the poem itself. When speaking about another person
and their personal Muse, Keats comments that “if he libels his own Muse how can he expect to write—either
[the writer] or his muse must turn [tail]” (Letters 2:159). One of them must chase the other, strangely, giving
this relationship a strange sort of hunter-hunted quality. The knight-at-arms, after cavorting with la Belle Dame,
is left high and dry “on the cold hill‟s side”(Keats 47) where he is “alone and palely loitering,” (49). Her flight
from her grotto, in turn, ties into the strangely welcoming attitude of this strange, fairy creature—the Muse has
„turned tail,‟ quite literally at the end when she supposedly abandons the knight-at-arms in his sleep, thus
outsmarting the poet-hunter who has, if we put it in the context of Keats‟s ideas, slighted her in some way. This
hunter-hunted dynamic isn‟t the most important aspect of the Muse and Keats‟s inspiration, though. The idea of
suffering and beauty with the undercurrent of sickness and death are ever-present with phrases and words like
“haggard and so woe-begone” and “anguish moist and fever dew” all reflect the symptoms and effects of the
disease.
In the vein of Charlotte Turner Smith, the Romantic idea of sensibility extended to both sides of the
spectrum. For both the poet in question and Keats, the poetry tended to fall on the melancholy end. However,
the more pertinent of the information tends to focus on the idea of sensibility and how Keats showed this
desirable poetic quality. This, in turn, circles back to the question of what inspired Keats—what compromised a
fraction of his Muse. Keats, his Odes falling into the category of melancholy poetry, drew inspiration from his
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own miseries, one of which was the presence of tuberculosis in his life especially in 1819 when both his Odes
and La Belle Dame Sans Merci were composed. With the death so recent, and the first symptoms of his own
sickness showing themselves in February, it is quite safe to say that this death sentence—as, indeed, tuberculosis
was in the 19th Century—could be a very logical source of anxiety for him. In fact, as Keats mentioned in one
of his letters to Fanny Brawne, he had “two luxuries to brood over in my walks, your loveliness and the hour of
my death” (Letters 2: 178). This fixation of the darker side of sensibility also shows in Keats‟s Ode on
Melancholy. The poem itself is “neither an intimate narration, nor an invocation, but rather an exposition…it
apparently addresses us” (Smith 681). Keats—or, rather, the narrator—gives his reader the exact directions on
how to glean inspiration from their misery. The audience is advised to “go not to Lethe, neither twist/ Wolf‟s-
bane…nor suffer thy pale forehead to be kiss‟d/ by nightshade” (Keats 474, lines 1-4) and goes on to continue a
catalogue “morbid thoughts and morbid props” (Smith 686), such as death‟s-head moths, and deathwatch
beetles. These things, however, are not the point—they are what one avoids. The „moral‟ of this story is that one
must avoid dwelling on death in order to fully feel and be inspired by Melancholy (like la Belle Dame,
personified as female). This is mildly ironic coming from someone who was so haunted by death from illness.
Instead, “when the melancholy fit shall fall” (11), one must “glut they sorrow on a morning rose” (15)—focus
on something beautiful. Strangely, though, Keats even suggests that “if thy mistress some rich anger shows…let
her rave” (18-9) and, instead, “feed deep, deep upon her peerless eyes” (20)—seize the opportunity and, in a
typically Keatsian eating metaphor, take this as an opportunity to gain inspiration. The metaphor of consuming
could also be related to the gradual waning of the physical body wasted through consumption.
This is the kind of beauty and inspiration that the knight-at-arms experiences in La Belle Dame sans
Merci, and—as one can surmise from the dramatic emphasis Melancholy receives in this particular Ode—the
same sort that Keats used as he drew from the miseries that abounded in his own life.
Of sorrow, Keats had this to say in his letters: “Byron says, “Knowledge is Sorrow”; and I go on to say
that „Sorrow is Wisdom‟” (Letters 1:80). In Ode on Melancholy, he goes on to say that sorrow (of a sort) is
beauty, or even enhances already-present beauty. Melancholy, itself—or, as it is personified here, her—“dwells
with Beauty—Beauty that must die” (Keats 21), where Joy is forever “bidding adieu” (21), where everything is
transient. However, just as this is fading beauty and parting joy, this pleasure also turns “to poison while the
bee-mouth sips” (22). In fewer words, this is a bittersweet sort of inspiration—a poisonous Muse, if one would.
Much like how the knight-at-arms is possibly trapped by the wild foods offered by la Belle Dame, so is the poet
faced with the same hazards. However, despite this poison and this dying beauty, this is the feeling one needs to
embrace. No poet can reach this hallowed place, save for “him whose strenuous tongue/Can burst Joy‟s grape
against his palate” (27-8) and “taste the sadness of her might,/And be among her cloudy trophies hung” (29-30).
Eating and negative capability are combined in the closing stanza and lines of the ode in a decidedly morbid and
somewhat violent end. Joy‟s grape must not only be consumed, it must be “burst,” and those poets who are able
to take advantage of what Melancholy can give are not poets—artists—but “trophies.” They have become
victims “of poetry, or rather, of the muse that melancholy became for poetry” (Haverkamp 703). These are not
trophies of failure (703), per se, but trophies of the poets who have sacrificed themselves and their careers—
much like the knight-at-arms and the “pale kings, and princes too, /pale warriors” (Belle Dame 41-2)—for this
painful beauty. Of course, the only thing, as far as the modern reader can tell, that held more of bittersweet taste
for Keats than his rather disastrous career and personal life, was his own battle with tuberculosis and the idea
that he could fall victim to it at any time “And sure in language strange she said “I love thee true.” becomes the
deathly love of consumption taking sway of the poet‟s mortality.
The point of the poem seemed to be that, when faced with such a misery that would send a person
running for oblivion one developed a “heightened awareness of beauty or vitality, and…the fragility of that
beauty”. This is why, in the second stanza, one‟s mistress shows “rich anger” —rather than negative, this is
something beautiful—and there are rainbows in the ocean spray, and why one must “glut thy sorrow on a
morning rose”, a thing of beauty to focus on during one‟s melancholy fit. While it is best not to automatically
conflate Keats with the speaker of Ode on Melancholy, it would be irresponsible to disregard this ode as merely
a work of art as opposed to an explicit statement of this melancholy philosophy—as it very well is. Naturally, he
had quite a bit of experience with his mistress, Melancholy, and the shadow of deadly sickness that she often
represented during late 1818 and 1819. Such is obvious in both his attitude toward consumption and what the
reader can see in La Belle Dame sans Merci itself.
It has since been established that the knight-at-arms was the one to initiate with la Belle dame. While it
is unclear who was responsible for the sexual part of their encounter, it is the knight who does everything else—
he decorates the object of his desires with flowers in flattery/worship, he is the one that put her on the horse and,
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of course, he accepts her food without a second thought. It was not until they arrived at the home of this strange
creature that la Belle Dame took obvious control. She was the one who “took [him] to her elfin grot” (Keats 32)
and she “lulled [him] asleep” (36). Though she was the orchestrator of whatever had happened between them on
the hillside, there has been speculation that the figure of the knight-at-arms and, indeed, Keats, “could be seen as
a willing victim to consumptive creativity” (Lawlor 140). The fact that la Belle Dame as the Muse is portrayed
as female is only following the conventions of the time—what is more important is the fact that she drains her
victims. Or, one could argue, her victims let her drain them. There is a level of helplessness beyond negative
capability involved—just as there is helplessness in sickness. However, the lines “She look‟d at me as she did
love,/ And made sweet moan./ I set her on my pacing steed,/ And nothing else saw all day long” bear within
them a sensuous connotation of the poet‟s consummation of his love with death as life and death blend into a
seamless body of everlasting youth depict a transcendence from the notion of being entrapped by death into
moving beyond.
During the sleep after their dalliance, the knight-at-arms has a warning dream—“the latest dream [he]
ever dream‟d” (Keats 38)—by what seem to be the loitering shades of la Belle Dame‟s past victims. The
narrator “saw pale kings, and princes too, /Pale warriors, death pale were they all” (41-2)—pale just as he had
become in the present. This is a word with a number of contexts, though the one that could be most logically
associated with Keats‟s poet figure could be the one with connotations of sickness and death. While these
shades are pale, they are also somewhat withered figures. The knight-at-arms describes them as having “starv‟d
lips” (44) that “gaped wide” (45) while they gave their dream-time warning. Attention, then, is turned to what
these ghosts are starved for—the obvious answer of „life‟ aside. Just mighty and toxic creative force of
Melancholy, so must the poet (more specifically, the knight-at-arms) waste away under her influence as his life-
energy is burnt away—even if she is ethereal and supposedly absent. Since these great men don‟t waste away
until they have had their encounters with la Belle Dame herself, she acquires the connotation of pestilence. She
is only beautiful because, as Keats has explained, the misery of the situation has heightened her beauty in her
role as the Muse. The wasted figures of past victims also offer a rather graphic look at a victim of consumption
in the physical sense. Medical science in the early 1800‟s can offer one example of an allusion. The lines “I saw
pale kings and princes too,/ Pale warriors, death-pale were they all;/ They cried- “La Belle Dame sans Merci
Hath thee in thrall!” bear within them the unmistakable melancholic melody of reviving within poetry the dead
souls lost to tuberculosis with “I saw their starv‟d lips in the gloam,/ With horrid warning gaped wide” being a
vivid description of the disease striken individuals that Keats witnessed in a threefold manner- from his medical
experience, from his own family tragedy involving his mother and his brother and finally in reference to his
impending death from consumption.
At the time, as mentioned before, treatments such as “indiscriminate bloodletting” (White Death 14)—
which occurred “every time he [Keats, in his own treatment] coughed up blood” —as well as special (starvation)
diets and strenuous exercise while sick. While, during the composition of La Belle Dame sans Merci, Keats had
not gone through any of these treatments himself, he would‟ve been more than conscious of their existence. He
might even have used or have seen them used on his brother (though this is unclear and entirely conjecture). On
top of these rather strange and decidedly counterproductive applications of „medicine,‟ tuberculosis is a wasting
sickness in and of itself. Looking at the pale men through a medical lens, the pallor ties even more in with the
flower imagery discussed before. These are kings, princes, warriors—great men who have gone before their
time. Not only that, but the knight-at-arms himself is pale and feverish, the universal sign of sickness. The line
about „starved lips‟ takes on a new meaning as an image of the tuberculosis victim who is wasting away from
both sickness and what the world has since seen as counterproductive medical measures of bleeding and
starvation diets.
Though some readers claim the story in this ballad symbolic of the plight of the artist, who is always in
love with beauty, can never fully accept the mundane; it seems much logical to maintain that the poem is really
about Keats's feelings about his impending death coupled with his unrequited love for, his fiancée, Fanny
Brawne; to whom he could not commit fully. The La Belle Dame or the beautiful woman who has no mercy
upon her lovers can be equated with the icy coldness of tuberculosis which felt in love with Keats.
This poem was first penned by Keats on April 21, 1819, and then altered for its publication on May 20,
1819 when the foreshadow of tuberculosis enslaved him just as the beauty of the mysterious woman, La Belle
Dame, enslaved the knight in the story of the poem, as well as kings, princes, and warriors. For him, the slowly
all consuming effect of tuberculosis is as mysterious and merciless as the beauty of that woman in the story of
the poem:
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I met a lady in the meads,
Full beautiful - a faery's child,
Her hair was long, her foot was light,
And her eyes were wild.
I made a garland for her head,
And bracelets too, and fragrant zone;
She looked at me as she did love,
And made sweet moan. -
She found me roots of relish sweet,
And honey wild, and manna-dew,
And sure in language strange she said -
'I love thee true'.
That deadly- like condition enabled them to discover the sorrowful and reality of being enslaved to her:
And there she lulled me asleep
And there I dreamed - Ah! woe betide! -
The latest dream I ever dreamt
On the cold hill side.
I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried - 'La Belle Dame sans Merci
Hath thee in thrall!'
When the knight, together with Keats, wakened up they discovered that what happened was a nightmare then
they both realized their miserable condition:
I saw their starved lips in the gloom,
With horrid warning gaped wide,
And I awoke and found me here,
On the cold hill's side.
And this is why I sojourn here
Alone and palely loitering,
Though the sedge is withered from the lake,
And no birds sing.
Given his experience with poetic, medical and social misfortune, Keats very logically took the route of
the melancholy poet. Drawing on personal experiences as well as on his own imagination, of course, echoes of
his problems haunt his writing, both fiction and non-fiction alike. The specter of tuberculosis, of course, hung
heavily around his shoulders after his brother‟s death of the same disease. To add insult to a sort of injury, both
Ode on Melancholy and La Belle Dame sans Merci were composed only a month or so after he first exhibited
symptoms of the disease himself. Of course, with this in mind and Keats‟s subscription to the genre of
melancholy poetry to begin with, one of the most obvious sources for his inspiration would come from this
imminent and decidedly horrible sickness. Just as the knight-at-arms was pale yet flushed with fever, so too did
he know he would meet the same fate—marched farther and faster on by his consumptive Muse as his vital
force was burned away in chase. It is likely that even during the Romantic Era the positive view of tuberculosis
was predominately seen in the affluent due to its association with the aesthetic and poetic. In addition, the urban
poor would have been unable to support themselves as they contracted tuberculosis and any medical aid would
have been financially out of their reach. The affect that tuberculosis had on the urban poor can be seen in its
escalation to an endemic disease, which caused widespread public concern in the nineteenth and early twentieth
centuries.
The advancements in medicine that allowed for tuberculosis to be seen for its true devastation led to an
overwhelming change in its portrayal in literature. These forces combined and helped change the societal
perceptions of tuberculosis. No longer was it seen as the romantic, poetic, aesthetically pleasing consumption of
the Romantic Era, instead it evolved into a feared disease that could not truly be treated during the nineteenth
and twentieth centuries. Even in the present, the problem remains with combating the various forms of
tuberculosis, due to the increasing number of drug resistant strains.
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V. THE SOV’REIGN SHRINE OF VEILED MELANCHOLY- THE SHADOW OF
CONSUMPTION ON OTHER WORKS OF KEATS
Apart from a plethora of poems, even Keats‟s letters show an incredible longing for life and a desire to
live while in the lap of the deathly disease. About Fanny, he expresses the view that she was like a lily, though
beautiful yet pure. By her love, he thinks, the joys of spring will come back and he will be able to make love
with his sweetheart, Fanny. Then he will be cured of his disease and will have full vitality to enjoy her youth:
Save it for me, sweet love! though music breathe
Voluptuous visions into the warm air;
Though swimming through the dance's dangerous
wreath,
Be like an April day,
Smiling and cold and gay,
A temperate lilly, temperate as fair;
Then, Heaven! there will be
A warmer June for me.
Bright Star was written by Keats perhaps on a voyage to Italy in an attempt to try a common treatment
for tuberculosis. When he wrote this poem he was aware of the fact that he was dying. Bright Star has been
theorized to be addressed to Fanny Brawne, connecting it to Keats‟ May 3, 1818 letter to her. In this poem he
envies the bright star i.e. the Pole Star, not for its loneliness but for its constant and steadfastness:
Bright star, would I were stedfast as thou art--
Not in lone splendour hung aloft the night
And watching, with eternal lids apart,
Like nature's patient, sleepless Eremite,
The moving waters at their priestlike task
Of pure ablution round earth's human shores,
In it, the poet extols that if he possesses the constancy the Pole Star has, he would be able to enjoy a
sort of immortality i.e. the immortality he can gain when he rests his head on the well-developed breast of his
lover; feeling- forever its gentle rise and fall; but even then he will be always awakening to a sweet but restless
feeling. This feeling is aroused by hearing the sound of her breathing which would remind him of the shortness
of his life. This case of joy-pain condition seems to add more to his suffering and tantalization, which force him
to wish either to be immortalized or to die soon. Both choices seem to be better than being tortured by a
temporary joy that is always spoiled by pain and sorrow:
Pillow‟d upon my fair love‟s ripening breast,
To feel for ever its soft fall and swell,
Awake for ever in a sweet unrest,
Still, still to hear tender taken breath,
And so live ever-or else swoon to death.
The Keatsian odes are on the irreconcilable conflict in basic human desires. The subjects of these odes
show variations, and yet they have common characteristics: each presents an idea, an intellectual determination,
and they are all written with the principle of artistic economy - "infinite riches in a little room."
Four of his poems stand out for their motifs of death and their references to consumption: Ode on a Grecian Urn,
Ode to a Nightingale, Ode on Melancholy, and On Seeing the Elgin Marbles. Ode on a Grecian Urn, Ode to a
Nightingale, and Ode on Melancholy were all written in 1819, shortly after Thomas Keats died of consumption.
On Seeing the Elgin Marbles was written in 1817, at a time when John Keats would have been caring for
Thomas. The first stanza of Ode on a Grecian Urn begins with the speaker addressing an ancient Grecian urn,
completely focused on how the images on the urn are frozen in time. For the speaker, the urn acts as a historian
that can tell a story from the past. Though the urn acts as a historian, the speaker is still left curious as to what
the figures are depicting, the time they were from, and what their story is. The second stanza focuses on a
second image on the urn; that of a young man and his lover laying beneath the trees; in the third stanza the
speaker examines how the trees are permanently new, a state which echoes the lovers‟ never ending love. In
these stanzas, Keats emphasizes the paradox of life and lifelessness by describing how the lover and the fair lady
“cannot fade” their looks and actions unchanging as they exist in an eternally still and “silent form”. In the
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fourth stanza, the speaker examines the image of a group of villagers leading a heifer to be sacrificed. In this
stanza, the speaker wonders where they are going to and coming from, and imagines what these places might be
like now that they are forever abandoned.
The speaker, in the final stanza, speaks to the urn about its permanence and knowledge. Keats uses the
Grecian urn to exemplify the ·immortality of beauty and the brooding shadow of death in the context of the
brevity of human life. His aim is to communicate his delight in the shape of a Grecian urn. So, out of his
imagination and with the magic of words, he shapes a Grecian urn, etches it with scenes of men and maidens
dancing and playing and of a priest leading o procession to an outdoor altar. Ode on a Grecian Urn can be called
the embodiment of his ideas about the influence of beauty upon life; its fragility and the mortal vessel‟s
inevitable susceptibility to death. To Keats, beauty is not a passing thing but immortal. In this ode, he affirms
the immortality of beauty through an urn created centuries ago. As with the scenes on the urn, in Keats' view,
beauty is permanent as well as being the means of arriving at the truth about life. This aspiration to escape
fallibility by recapturing eternity is derived from living a life overshadowed by the melancholia of death. In the
urn, which captures moments of intense experience and freezes them into marble immortality - Keats finds the
perfect correlation for his persistent concern with the longing for permanence in a world of change. He captures
the immortal beauty through a 'sylvan historian' which is the urn itself. He likes the idea of something be f there,
something which cannot be changed forever :
'Fair youth, beneath the trees, thou cannot leave
Thy song, nor ever can those trees be bare.'
Keats is filled with envy at the immortality of the scenes described on the urn, ·while generations
one after the other have been wasting away:
'When old ·age shall this generation waste,
Thou shalt remain .. .'
In these lines, we feel the fear of an early death which Keats' father and his brother had already
suffered. The · poet seems to put an underlying meaning into 'old age' but the suffering from foreboding death
restrains him from terming 'old age' as 'tuberculosis'. In the treatment of a simple thing, in an urn which is
presented to us in an unusual aspect, Keats seems to weep that human beings are not immortal like the men,
gods, and maidens on the urn. In Ode on a Grecian Urn, Keats focuses on the dichotomy between the earth and
the ethereal, and between mortality and permanence. The themes of this poem reflect on Keats‟ ideas that his
poetry would not be remembered. Ode on a Grecian Urn was written after Thomas had died, the themes of the
poem reflect on the impermanence of the human body and the escape of the soul after death. In Ode on a
Grecian Urn, Keats writes “when old age shall this generation waste”; written in consideration of the deaths
through diseases such as consumption, war and famine. Keats uses the urn as a symbol for the ways in which the
arts can offer consolation during times of suffering.
Ode to a Nightingale centers on the speaker‟s heartache, and how the nightingale‟s song makes him
happy and gives him a feeling of euphoria and numbness. Through this poem, the speaker discusses how he
wants to forget his troubles and desires, and follow the nightingale‟s immortal song even to the speaker‟s death.
The main theme of Ode to a Nightingale is Keats‟ desire to die, if he can die in an easy and pain free manner.
There are two other main thoughts in Ode to a Nightingale: Keats‟ evaluation of life and the power imagination
holds. In Ode to a Nightingale, Keats is able to use the nightingale‟s song as a manifestation of creative
expression. The speaker in the poem places his faith in the nightingale‟s song, which “fades[s] far away, [and]
dissolve[s]” into the night. Ode to a Nightingale draws from Keats‟ pain after the death of his brother Thomas.
In 1819, when Ode to a Nightingale was written, it is likely that Keats was already experiencing the painful
manifestation of tuberculosis. During his illness Keats would have become increasingly aware of his own
mortality, and would likely have wanted to find a way to end his suffering. In this poem, Keats uses emotions to
emphasize the suffering felt from heartache and the reality of human mortality. Keats' Ode to a Nightingale
begins with o change of ·aspect ·in the natural scene. The poet feels as though 1he has drunk hemlock or opiate.
This serves only as stimulus to raise an emotional problem or personal crisis. At the time when Keats wrote this
ode, the personal problem was his brother Tom's early death. He finds consolation when he pours out his
feelings called up by the nightingale. The nightingale is regarded to be a source of consolation. The predominant
mood in the poem is the enjoyment of death. Keats feels the highest intensity of love for the nightingale as an
approximation to death or the longing for death. Every stanza has either ·a direct reference to death or some
term associated with death. in the first stanza for instance, Keats implies death by longing for hemlock or opiate
which will sink him to Lethe, to the waters of forgetfulness. In the lines 18 - 20, there is an almost direct
implication of death: he wishes to drink the beaker of wine to leave the world without being seen. Away from
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the troubles Keats cannot find a spiritual home in his own flesh, bone and soul. He is seeking a region which is
capable of providing the proper environment for his passionate melancholic and isolated soul. The voyage he
longs tor in Ode to a Nightingale is away from the known, conventional and dull environment - away from the
troubles of his own soul and the dominant shadow of deaths he witnessed in his family and his eventual
surrenderence to tuberculosis - toward an exotic and mysterious place: the 'Warm South of France‟ with its
sunburned mirth and provincial songs and dances. He wants to go to a place where his exhausted and the
troubled soul might discover peace and find a haven. 1He wishes he would be like the nightingale to disappear
in the forest of peace, joy and true beauty, but he cannot fly as the nightingale can so he urgently needs a beaker
of wine with 'beaded bubbles winking at the brim' to disappear and be with his nightingale.
In Keats' world, sadness predominates over happiness and his world is full of misery and heartbreak.
Like many Romantics, Keats finds melancholy in delight and pleasure in pain, in Ode to a Nightingale, in the
heart of the moonlight; he sees no light at all. He is so wrapped up in his dark mood that he cannot see the
flowers at his feet. All his senses seem to have failed. Keats yearns for immortality and immortal beauty. He
reveals his envy tor the nightingale's immortality in these lines: 'Thou wast not born for death immortal bird‟,
and 'The voice I hear this passing night was heard in the ancient days by the emperor and the clown.' Keats
reaches his aim arid now both the nightingale pouring out her song and Keats embodying his poetry in lines
which will be enjoyed forever are immortal.
As mentioned before, Keats believes the world is full of misery, heartbreak, pain and oppression. Like
the other Romantics, he rarely laughs. For the Romantics, "there is only one way to be happy, but there are
millions of ways to be miserable." But even that 'only way' has hardly · ever been experienced by any one
member of the Romantic writers. Keats, who is not able to see and enjoy the beauty of the flowers at his feet, is
now under an acute emotional sensibility and feels ·melancholy everywhere. The melancholy pours down like a
'weeping cloud', it fosters 'the droop headed' flowers, but once the flowers ' hide the green hill'. Keats still
broods over melancholy and calls the flowers 'April shroud'. For Keats depression exists in the same way as
beauty does. Wherever we have delight, we will have melancholy disguised:
'Aye, in the very temple of Delight
Veiled Melancholy has her sov'reing shrine . .'
If we search for it, melancholy is there waiting to envelop everybody but only someone who is very
sensitive· and has a 'keen tongue' will taste melancholy. In other words, melancholy wins over the sentimental
person and adds him to her collection as a trophy. It is obvious that Keats himself is such a person, as he tastes
the sadness of melancholy when he squashes the grape against his sensitive palate.
Longing for Eternal Beauty: Keats' persistent theme, 'longing for eternal beauty' is· reintroduced in Ode
on Melancholy .but only to weep for not being able to stop the inevitable end: "the tragic human destiny that
beauty, joy and life itself are transitory and turn into their opposites.'' Melancholy dwells with Beauty - 'beauty
that must die.‟ The grape of joy turns into melancholy when bursted. Ode on Melancholy addresses how to cope
with sadness. The first stanza focuses on what the sufferer should not do, and end with reminding the sufferer
not to forget their grief. The second stanza picks up with what the sufferer should do to help with the grief. In
the third, and last, stanza, the speaker explains how these rules are linked, and that joy can only be found
through sadness. In Ode on Melancholy, Melancholy acts as the consolation during suffering. Her
anthropomorphized character embodies the dichotomy of pleasure and pain. Keats shows the pain and suffering
that those still living feel upon the death of a loved one. However, he emphasizes that those still living must not
forget their sadness, but rather should remember the beauty of the deceased. Rather than dulling one‟s senses, or
committing suicide, the living must take comfort in the pleasure of memories. Keats was likely drawing on his
own experience of grief after the sickness and death of his brother in order to portray pain and pleasure, like life
and death, as coexistent entities that rely on each other in order to exist.
In On Seeing the Elgin Marbles, Keats uses the images of beauty and art as a way of examining human
mortality. The main theme of this poem draws on human mortality, and the heaviness that humans feel when
this mortality is made more obvious. This poem was written in 1817: at this time, Keats was caring for his dying
brother. He would have become increasingly aware of human mortality, particularly his own and his brother‟s.
As his brother‟s suffering increased and his death became more imminent, Keats would have felt helpless to
ease his brother‟s suffering and pain. These feelings of helplessness and awareness of human mortality come
through in On Seeing the Elgin Marbles. The overwhelming presence of these likely came across due to
occurrences in Keats‟ life at the time and his inability to ignore the fact that his brother was dying. John Keats
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is a prime example of the metaphors associated with tuberculosis. His life is reflected in his poems through the
pictures of the beauty in early deaths, and the necessity of dichotomies such as melancholy and delight, and
pleasure and pain. Through his poems a clear vision of the positive metaphors used by the Romantics is seen.
Keats repeatedly holds on to the image of the beauty that can be found in death. This image holds with many of
the English Romantics, who used the disease to shape the literature and poetry of the time.
For the first time, with the Romantics, nature is no longer taken for granted. It is valued as something
which might be lost. The subjects that are the meanest and most unpromising are the best subjects for poetry.
Keats is one of the Romantics who experimented in the simple treatment of the simple subjects -about nature.
To Autumn has an abundance of these simple incidents and situations, but they are described with an accuracy
of observation: the gourd swelling, the hazel shells plumping, the wheat sitting carelessly on o granary floor
with its chaff soft - lifted by the winnowing wind, and the smell of the poppies making the uncut wheat drowsy,
and amidst the motif of fulfillment and plentitude, lingers the shadowy veils of death for all things attaining
maturity are subject to inevitable decay.
VI. CONCLUSION
When Shelley learned that Keats had developed tuberculosis with a major hemoptysis, he wrote to
Keats on July 27, 1820, urging the ailing poet to come to Italy and stay with him in Pisa.
“My Dear Keats, I hear with great pain the dangerous accident that you have undergone, and Mr. Gisborne who
gives me the account of it, adds that you continue to wear a consumptive appearance. This consumption is a
disease particularly fond of people who write such good verses as you have done, and with the assistance of an
English winter it can often indulge its selection;—I do not think that young and amiable poets are at all bound to
gratify its taste; they have entered into no bond with the Muses to that effect. But seriously (for I am joking on
what i am very anxious about) i think you would do well to pass the winter after so tremendous an accident, in
Italy, and if you think it as necessary as I do so long as you could find Pisa or its neighborhood agreeable to you,
Mrs. Shelley unites with myself in urging the request, that you would take up your residence with us.”
Keats was determined to go to Rome. In august 1820 the despairing Keats wrote to his beloved Fanny Brawne
expressing distress at the parting this would bring:
“I see nothing but thorns for the future—wherever i will be next winter in Italy or nowhere.… suppose me in
Rome— well, I should see you there as in a magic glass going to and from town at all hours.… I wish I was
either in your arms full of faith or that a thunder bolt would strike me.”
On September 17, 1820, Keats embarked on the Maria Crowther bound for Naples. Keats took with
him a lock of Fanny Brawne‟s hair in a locket. early in the voyage while on board the Maria Crowther, Keats
wrote his last sonnet.
Bright star, would I were stedfast as thou art—
Not in lone splendour hung alot the night
And watching, with eternal lids apart,
Like nature‟s patient, sleepless Eremite,
he moving waters at their priest like task
Of pure ablution round earth‟s human shores,
Or gazing on the new sot-fallen mask
Of snow upon the mountains and the moors —
No — yet still stedfast, still unchangeable,
Pillow‟d upon my fair love‟s ripening breast,
To feel for ever its sot fall and swell,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever—or else swoon to death.
The image of death “pillowed on my fair love‟s ripening breast” becomes a romantic image of death
for the poet who knew what awaited him. After a few days in Naples, Keats traveled to Rome where he sickened
further, suffering from abdominal complaints that led Clark to be concerned more about those symptoms than
about his pulmonary tuberculosis.
Keats was trained in medicine, and his attitude towards his tuberculosis and impending death reflected
that training. His romantic poetry dealt with beauty and love and only rarely death; his letters with reality.
13. The Sov’reign Shrine Of Veiled Melancholy- The Shadow Of Consumption On La Belle
*Corresponding Author: *
Abhik Maiti M.A 57 | Page
Above all, there was a tone of submission to the inevitability of death. stanza VI of Ode to a Nightingale, written
in May 1819, three months after his portentous blood-spitting, greeted death as “easeful.” It may represent the
most romantic image of inescapable death written by Keats and was one of a very few such.
Darkling I listen; and, for many a time
I have been half in love with easeful Death,
Call‟d him sot names in many a mused rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain—
To thy high requiem become a sod.
A letter to Charles Brown written from Naples on November 1, 1820, dealt with his grief at separation
from his beloved Fanny Brawne. He clearly anticipated his demise in Italy: “o that I could be buried near where
she lives!” his was followed later in the letter by: “Remember me to all. I will endeavor to bear my miseries
patiently.” here was nothing in this or other letters to suggest that Keats viewed death with any attitude other
than resignation.
Keats longed for “easeful death.” in his medically trained yet romantic mind there could be no outcome
to tuberculosis other than death. While he surely was pained by this fatal prognosis, he equally surely accepted
it. Resignation and acceptance were the only options for consumptive persons in Keats‟s era. References to
death in his poetry were romantic, to be sure, but they also bespoke the certainty of life‟s end as the only
outcome for the sufferer from tuberculosis. as the end neared, Keats asked and was denied by Severn, laudanum
(tincture of opium), with which he intended to end his life. On Friday afternoon, February 23, 1821, the twenty-
five-year-old Keats died in his friend‟s arms. An autopsy confirmed the presence of extensive pulmonary and
widely disseminated tuberculosis. John Keats was buried in a Protestant cemetery, a letter from Fanny Brawne
placed over his heart.
Lamenting his death, Shelley wrote, “I weep for Adonaishe is dead! Oh, weep for Adonais! Through
our tears Thaw not the frost which binds so dear a head! And thou, sad Hour, selected from all years To mourn
our loss, rouse thy obscure compeers, And teach them thine own sorrow, say: "With me Died Adonais; till the
Future dares Forget the Past, his fate and fame shall be An echo and a light unto eternity! In conclusion, it may
be said that the poet‟s triumph over consumption rings true in his lines: “If I should die, I have left no immortal
work behind me. Nothing to make my friends proud of my memory; but I have loved the principle of beauty in
all things, and if I had time, I would have made myself remembered.” John Keats
Works Cited:
Martinez Gabriela. Romanticizing Tuberculosis: Poetry, Prose, Opera, And Society Of The Romantic
Era. Texas State University-San Marcos. 2013. Web. Thomas M. Daniel. Times And Tides Of Tuberculosis.
Fithian Press, California. 2013. Print. Caroline Bertonèche. On The Role Of Medicine In John Keat‟s Life And
Art. Web. Doç. Dr. Yüksel. John Keats And The Romantic Elements In His Odes. Web Bloom, Harold. The
Anxiety Of Influence. Oxford University Press. Print William B. Ober. Drowsed With The Fume Of Poppies:
Opium And John Keats. Web
Dr. Salah Mahajna. The Problems of Life and Death in Romantic Poetry. http://www.qsm.ac.il/mrakez/
asdarat/ jamiea/7/salahmahagneh-final.pdf Anna Burwell . Ouroboros: La Belle Dame as the Shadow of
Consumption. Ohio State University at Lima. 2012. Print.