Bloom's Literary Themes - ymerleksi - home

The Poetry of John Keats 12713. Prose Works (PW ), ed. W. J. B. Owen and J. W. Smyser (Oxford:Clarendon Press, 1974), II, 349–60.14. See Coleridge, CL, I, 349; “Marginalia,” p. 342.15. See Dennis, Critical Works, I, 216, 338–40.16. Poetry and Prose of William Blake, ed. David V. Erdman (GardenCity, N.Y.: Dou bleday and Doubleday, 1970), pp. 635–38, 647–50. All references will be to this edition.17. Poetical Works, ed. E. de Selincourt and H. Darbishire, 2nded., V (Oxford: Oxford U. Press, 1959), 3–6. See Weiskel,pp. 46–47.18. Complete Works of William Hazlitt, ed. P.P. Howe (London:J.M. Dent and Sons, 1930–34), 19.11 (all references will be tothis edition); Letters of John Keats, 1814–1821, ed. H.E. Rollins(Cambridge: Harvard U. Press 1938), I, 387. Unless otherwiseshown, references to Keats will be to the Letters.19. See Northrop Frye, Fearful Symmetry (Princeton: PrincetonU. Press, 1969), p. 304. Blake does not call tragedy either“sublime” or “beautiful” (words which in general he usesinterchangeably). In fact, although he admired Shakespeare,he mentions tragedy only three times, once to disparage itsBurkean pleasures (p. 181).20. See also 5.63–66; 6.3 17; 17.64; 20.304. For fuller discussion,see my articles “Hazlitt, Passion, and King Lear,” SEL, 18(1978), 611–24; and “Hazlitt and the Romantic Sublime,” TheWordsworth Circle, 10 (1979), 59–68.21. CL, I, 281; Table Talk and Omniana, pp. 33–34, 91, 210;Coleridge’s Miscellaneous Criticism, ed. T. M. Raysor (Cambridge:Harvard U. Press, 1936), pp. 163–64 (but c.f. CL, I, 122);Collected Writings of Thomas De Quincey, ed. David Masson(Edinburgh: A. & C. Black, 1889–90), II, 72; V, 400–402; X,300; XI, 24.22. Hazlitt uses either “sublime” or “grandeur” in describing thefollowing tragic poets, plays, and actors: King Lear (12.341,342; 16.61, 63; 18.334, 335); Macbeth (5.206, 207); Coriolanus(18.290); Antony and Cleopatra (4.230, 231; 5.191); Kean(5.210), in Richard III (5.182), in Othello (5.271, 272), in Lear(18.336); Raymond in Hamlet (5.189); Kemble (5.379); Mrs.Siddons (5.312); Marlowe, Tragedy of Dr. Faustus (6.202–3);Webster, Duchess of Malfi (6.246); Greek tragedy (16.63–64),