By James Land Jones
The author's imperative objective is to teach that the poetry of Keats and Yeats is educated by way of a suite of assumptions, a method of apprehension, which marks it as a definite type of poetry: Romantic poetry characterised specifically by way of the weather of mythic pondering analyzed by way of Cassirer and Eliade.
Introduction: The rationale for Myth
Chapter One: Soul Making
I "Curious Conscience"
II "My robust id, My actual Self
III "A Greeting of the Spirit"
Chapter : solidarity of Being
I "Energy" and "Essence"
II "Beauty in All Things"
Chapter 3: The huge Idea
I "From Feathers to Iron"
II "An Interchange of Favors"
III "Time Annihilate"
IV "The Finer Tone"
Chapter 4: the good Moment
I "There all of the Gyres Converge in One"
II "Fellowship Divine"
Chapter 5: Melancholy's Sovran Shrine
I "The beaches of Memory"
II the 2 Hyperions
Conclusion: Adam's Dream
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Additional info for Adam's Dream: Mythic Consciousness in Keats and Yeats
More importantly, it overlooks the fact that scriptural exegesis itself throughout its history, much as any other kind of exegesis, has always had to struggle with the question of how a verbal text is to be read, how its language—from a single word to an entire book—is to be understood. If biblical critics of late “have been looking over the fence and noting the methods and achievements of the secular arm,”35 this tendency is not radically different from the Alexandrian school’s appropriation of Philonic allegory to interpret Christian scriptures or the Protestant reformers’ use of humanistic philology to advance their own grammatical-historical mode of exegesis.
Unlike Hephaestus, however, his disingenuous claim of kinship and loyal friend- 9300 New Gods and Old Order ship (φίλοϛ βεβαιότερόϛ) as well as his breathless verbosity arouse at once the latent violence in the hero’s character. The rhetorical question of Prometheus, Have you, too, come to gape in wonder at this great display, my torture? rings with sarcasm and scorn. On the thematic level, the visit of Oceanus apparently extends the idea mentioned a little earlier by the chorus that some means of release must be sought (ἄθλου δ᾿ ἔκλυσιν ζήτει τινά) for Prometheus.
Because his suffering is both foreknown and yet beyond anticipation, Prometheus is caught in a dilemma. He has little reason to complain because, as he puts the matter, no new affliction may come to him unforeseen (οὐδέ μοι ποταίνιον / πῆμ᾿ οὐδὲν ἥξει). On the other hand, the deep sense of outrage compounded with the gnawing presence of pain makes it impossible for him to be silent. ” As we shall see, this struggle to keep silent or not (οὔτε σιγᾶν οὔτε μὴ σιγᾶν) constitutes the central conflict in Prometheus’s character; and, in the course of the drama, his silence and his speaking both entail fateful consequences.
Adam's Dream: Mythic Consciousness in Keats and Yeats by James Land Jones