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    A Study Guide for John Keats's "When I Have Fears That I May Cease to Be"
    A Study Guide for John Keats's "When I Have Fears That I May Cease to Be"
    A Study Guide for John Keats's "When I Have Fears That I May Cease to Be"
    Ebook26 pages17 minutes

    A Study Guide for John Keats's "When I Have Fears That I May Cease to Be"

    By Gale and Cengage

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    About this ebook

    A Study Guide for John Keats's "When I Have Fears That I May Cease to Be," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
    LanguageEnglish
    PublisherCengage Learning - Gale
    Release dateAug 19, 2016
    ISBN9781535842754
    A Study Guide for John Keats's "When I Have Fears That I May Cease to Be"

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      Book preview

      A Study Guide for John Keats's "When I Have Fears That I May Cease to Be" - Gale

      5

      When I Have Fears that I May Cease to Be

      John Keats

      1818

      Introduction

      At the end of 1817, Keats, who had just turned 23, entered a period of intense speculation on the nature of poetry. In letters to his brothers and friends we find him searching for the possibility that art—by uniting Truth and Beauty in a single sublime experience—possesses the power to overcome the world of pain and death, to redeem man’s doubts and uncertainties through a brief spiritual transcendence. Keats called this concept Negative Capability. By identifying completely with an experience—such as that of perceiving an object—the poet goes beyond the rational meaning of his own existence, his selfhood dropping away in favor of a greater Mystery that is revealed in die art itself. In such a way, the doubts and uncertainties, which are part of the self s existence, might also be overcome. In his letters Keats wrote often about this possibility, but he also struggled with its most obvious limitations: that fear is an integral part of experience, and that even the most intense identification with an object or with nature serves eventually to point out the transience of an experience and of man himself. Thus, the greatest fears—of time, and of death—become revealed through the intense thinking that accompanies the act of writing a

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