John A. Minahan - Word like a bell: John Keats, music and the romantic poet
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Word like a bell: John Keats, music and the romantic poet
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Word Like a Bell : John Keats, Music and the Romantic Poet
author
:
Minahan, John A.
publisher
:
Kent State University Press
isbn10 | asin
:
0873384539
print isbn13
:
9780873384537
ebook isbn13
:
9780585227801
language
:
English
subject
Keats, John,--1795-1821--Knowledge--Music, Romanticism--England, Music and literature.
publication date
:
1992
lcc
:
PR4838.M74M56 1992eb
ddc
:
821/.7
subject
:
Keats, John,--1795-1821--Knowledge--Music, Romanticism--England, Music and literature.
Page iii
Word Like A Bell
John Keats, Music and the Romantic Poet
John A. Minahan
Page iv
1992 by The Kent State University Press, Kent, Ohio 44242 ALL RIGHTS RESERVED Library of Congress Catalog Card Number 91-29422 ISBN o-87338-453-9 Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data Minahan, John A., 1956 Word like a bell: John Keats, music and the romantic poet / John A. Minahan. p. cm. Includes bibliographical references and index. ISBN o-87338-453-9 (cloth : alk.) 1. Keats, John, 1795-1821KnowledgeMusic. 2. Romanticism England. 3. Music and literature. I. Title. PR4838.M74M56 1992 821'.7dc20 91-29422
British Library Cataloging-in-Publication data are available.
Page v
CONTENTS
Preface
vii
Introduction Poetry and Music: The Search for a Meeting Ground
1
Part One The Trumpet and the Lute: Music as Idea in Keats's Poetry
1 "I Am... Writing at Random"
25
2 The Varieties of Musical Experience
29
3 Image as Structure
45
4 Words, Music, and Interpretation
59
5 "The Eve of St. Agnes"
70
Part Two Inspecting the Lyre: Music as Prosodic Model in Keats's Poetry
6 Melos and Meaning
89
7 The Romantic Uses of Sound
98
8 The Verse Paragraph
120
9 The Stanza
130
10 The Ode Stanza
138
Part Three The Songs of Spring: Music as Organizational Principle in Keats's Poetry
11 The Extended Tonal Organization
149
Page vi
12 The Expository Region
160
13 The Developmental Region
168
14 The Recapitulatory Region
176
15 The Second Developmental Region
184
Conclusion
189
Notes
197
Bibliography
206
Index
211
Page vii
PREFACE
IN his verse epistle "To Charles Cowden Clarke," John Keats writes:
But many days have passed since last my heart Was warm'd luxuriously by divine Mozart; By Arne delighted, or by Handel madden'd; Or by the song of Erin pierc'd and sadden'd: What time you were before the music sitting, And the rich notes to each sensation fitting; Since I have walk'd with you through shady lanes That freshly terminate in open plains, And revel'd in a chat that ceased not When at night-fall among your books we got... (109-18)1
It's an early poem and overall not a very good one, full of the stilted diction and indulgent imagery marring Keats's first efforts. But it's an important work for us to know. When he wrote it in the fall of 1816, Keats was trying to learn his craft (and to make a living) as a poet. This was a particularly unsettled time in an unsettled life. Keats often took comfort in visits to Clarke, an old friend and the son of his schoolmaster at Enfield, who introduced him to both poetry and music. To visit with Clarke was to read and discuss Spenser and to listen while Clarke played the works of the great composers on the piano.
From an early age, then, the two arts were associated in Keats's mind. In fact, he never stopped associating poetry with music, and he went on to achieve greatness as a poet largely by drawing upon the energy of that association. Consider these somewhat more well-known passages:
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