Braddock Bulldogs Language Arts 9th Grade Weekly Forecast and Home Learning

1. Welcome Braddock Bulldogs!!! MRS. CONTRERASLanguage Arts9th Grade – Eng I IGCSE Honors Room C209 2006-2007

2. Home Learning PASS TO THE FRONT: On Monday, 2/5: • Grammar 253-260

3. Weekly Forecast2/5/07 – 2/9/07 • Monday – Presentations "Ode on a Grecian Urn" & "The Eve of St. Agnes" • Tuesday – FCAT Writes+ (Report to your assigned area for alternate assessment) • Wednesday – Presentations "Ode to Psyche" & "Ode to a Nightingale" • Thursday – Presentations "The World is too Much With Us" & "My Heart Leaps Up" pg 899 & "She dwelt among the untrodden ways" • Friday – Presentations "Song to the Men of England" & "The Old Familiar Faces"

4. Home Learning By Monday, 2/12: • To avoid further confusion on this text, please renumber all chapters for “Pride & Prejudice” (should have a total of 61 chapters). • Read Introduction - Ch 31 • Answer the 3-4 assigned questions given in class from your questionnaire. Prepare a slide for each question but don’t put your name on slide show. Rather, when you email me your attached slides, write your first name and initial for last as well as the chapter & question numbers on the subject line). • With the reading of novels, it’s important to pace yourself. Figure out the number of pages to be read and divide by number of days you can devote to reading. Not doing this can result in an extraordinary amount of reading over the weekend (something no one wants to do!) • From this point forward, I will not collect homework notes but may on occasion spot check. The priority is for students to read the assigned material. In fact, while I will not collect these notes, any analysis of text you have can serve useful to your grade for class participation the following week as we discuss the various works/sections of text. • If at any point, you would like to get a head start on next week’s readings, please see schedule on my desk. Have a great week!

5. ODE ON A GRECIAN URN Courtesy of google images

6. VOCABULARY • Unravish’d: to carry of by force, rape, violate, overwhelm • Sylvan: characteristic of woods, forest • Deities: gods • Dales: valley • Arcady: Greek region of Arcadia • Loth: loath • Timbrels: tambourine like instruments • Ecstacy: to be ina trance or a trance like state in which an individual transcends ordinary consciousness • Endear’d: to make dear, esteemed or beloved • Ditties: a poem intended to be sung • Hast: have • Bliss: supreme happiness and joy Courtesy of dictionary.com

7. Vocabulary (continued) • Boughs: a branch of trees • Adieu: good-bye • Unwearied: not physically or mentally exhausted by hard work • Cloy’d: to weary by an excess of food sweetness, pleasure • Heifer: young cow • Flanks: part of the body between the ribs and the hip • Drest: obsolete (no longer in use) • Citadel: a fortress that commands a city and is used in the control of inhabitants and in the defense during an attack or seige • Pious: dutiful spirit of severance for god • Desolate: barren or laid waste • Brede: something braided or entwined • Trodden: walking • Dost: don’t • Pastoral: have simplicity, charm, serenity, or other characteristics generally attributed to rural areas • Shalt : shall Courtesy of dictionary.com

8. Stanza 1 • Ode is a lyrical poem, serious/meditate • Urn: a vase of varying size • Old, classical urn that has pictures, pictures are worth a thousand words. (line 1-4) • What legend is told through your shape? (5) • gods, humans, or both (6)

9. STANZA 2 • The stories are good but the ones that are unheard are better (11-12) • They’re young, sitting under the trees, but they cannot leave the picture (15) • he can never kiss his lover (17) • They do not grieve (18) • She can never fade although they are not happy (19) • He will forever love her and she will be fair (20)

10. STANZA 3 • The branches of a tree cannot shed their leaves nor say good-bye to spring (21-22) • Never exhausted from piping songs, he is happy for the love that is forever warm (23-27) • The speaker is happy for the couple that will last forever and will not disappear like normal love (28-30)

11. STANZA 4 • They are taking a young cow to be sacrificed, they lead the cow and its body to killed (31-34) • Where are they going and where they have come from (35-37) • The speaker tells if there were no people in the streets of the urn and it will be silent because they cannot return (38-40)

12. STANZA 5 • Men and woman will be with each other like forest branches and weed (41-43) • Don’t tease us out of thought like eternity (44-45) • When all people have died the urn will remain (46-50) • Example of romantism: “Beauty is truth, truth is beauty”

13. Ode to Psyche Jennifer Mejias Period 6 IGCSE English

14. Plot Sequence • Stanzas I-III: • In lines 1 through 5 the poet asks the goddess to listen to his verses that contain no melody. • He says that he walked into a forest and saw two creatures lying in a bed of grass with many flowers . • He sees Psyche and Cupid in an intense moment between kisses. Yet, the poet only recognizes the" winged boy” and wonders who that “happy dove” is. He comes to find that she is the goddess Psyche. • He describes that she was the newest addition to the Olympic gods and by far the most beautiful of them all. • The poet mentions that because Psyche is so young she lacks what most gods had. • Psyche has no altars , choirs, shrines, oracles etc.

15. Plot Sequence • Stanzas IV- V: • The poet is astonished by Psyche’s beauty and decides to become her own worshiper. • He is inspired by his personal and very private encounter. • The poet will become Psyches “priest” and build her a fane. • He plans on gathering worshippers and provide Psyche with the religious “duties” that predecessors failed to provide.

16. Allusions • Stanza I: • Tuneless – lack of melody because the poet is not inspired. • Numbers – verses. • Stanza II: • Tyrian -- purple. (Originates from the people of Ancient Tyre who were very much known for their purple dye.) • Pinions – wings. • Disjointed – separated. • Aurorean – referring to the Roman goddess of dawn. • Winged Boy – Cupid • Stanza III: • Olympus – a mountain believed to have been the place where Greek gods lived. • Phoebe – moon goddess.. • Moan – expression of grief. • Censer – container with burning incense.

17. Allusions • Stanza IV: • Believing Lyre – religious worship. • Fond – foolish. • Fans – wings. • Faint – faded. • Stanza V: • Fane – temple. • Fledge – feather. • Zephyrs – breezes. • Sanctuary – holy place. • Feign – devise • Casement – window

18. “Looking into the text” • The poet wonders whether his encounter with Psyche was a dream or if it was real. • In the poem the poet is fighting against the age of disbelief that he lives in. • His personal experience with Psyche determines him to be the worshiper of her beauty although she is disregarded by most. • When the poet says “O latest born and loveliest vision of far Of all Olympus’ faded hierarchy!” he means that Christianity has displaced the belief in the Greek and Roman gods and goddesses. • In the end he becomes a symbol of what Psyche truly represents– her worshiper. • Psyche’s physical beauty is so astounding that at times it could be regarded as better than love, • While the poet describes all the things he will do for Psyche he mentions that they are in “some untrodden region of my mind”. The poet mentions this to express to the reader to what extent Psyche has affected him. • “Keat uses religious imagery to indicate how profoundly this experience has affected the poet –dreamer…concrete nature images describe mental processes.”

19. “Looking into the text” • By becoming Psyche’s priest the poet believes that he will make up for the belief that the people of his age are failing to provide. • “He is and will remain separate from and inaccessible to his own age and contemporaries”. • To worship Psyche Keat puts forth all that his imagination has to offer. • The poet’s mind is the only place where he is able to offer Psyche all that she deserves. • In the end of the poem he says “A bright torch, and a casement ope at night, To let the warm Love in!”. This means that he will leave a window open in her temple every night so that Cupid her ‘warm love’ can come in to be with psyche.

20. Themes • Praise of Beauty • Worship • Inspiration • Devotion • Religion • Love • Belief • Imagination • Determination

21. Characterization • Psyche- the beautiful lover of cupid. Who is the youngest of Olympic gods and has been displaced by society. • Poet/Dreamer- a man who’s inspiration leads him to worship the most beautiful goddess with all the capacity of his imagination.

22. Use of Imagery & Nature • “ In some untrodden region of my mind, Where branchèd thoughts, new grown with pleasant pain,   Instead of pines shall murmur in the wind: Far, far around shall those dark-cluster'd trees   Fledge the wild-ridgèd mountains steep by steep; • And there by zephyrs, streams, and birds, and bees,   The moss-lain Dryads shall be lull'd to sleep;” • “And in the midst of this wide quietness A rosy sanctuary will I dress With the wreath'd trellis of a working brain,  With buds, and bells, and stars without a name, With all the gardener Fancy e'er could feign,   Who breeding flowers, will never breed the same”

23. Origin of Psyche and Cupid • “In the Greek religion, psyche meant 'the soul';” • “ in their mythology, she was a beautiful princess of whom Aphrodite became jealous.  The goddess sent her son Eros (Cupid) to Psyche, commanding him to make her fall in love with the ugliest person on earth.  But Eros was not immune to the mortal's great beauty.  He fell in love instead and the two became lovers, though Eros forbid Psyche to ever look upon him.  Being human, her curiosity eventually made her look and it took the intervention of Zeus for the lovers to find eternal happiness.” Cupid and Psyche Courtesy of Corbis

24. Keats in Ode to Psyche • Ode to Psyche if often not considered to the standards of Keats's other great odes. • It was written in 1819 • The original copy of this Ode was found in a letter the poet had written to his brother George. • In closing the letter, he included the following: 'The following Poem - the last I have written is the first and the only one with which I have taken even moderate pains - I have for the most part dash'd off] my lines in a hurry - This I have done leisurely - I think it reads the more richly for it and will I hope encourage me to write other thing's] in even a more peaceable and healthy spirit.' • This poem original began as a sonnet. This may be the reason for its unique format, in which the last stanza is longer than the wrest. • Ode to Psyche was the first time that Keat wrote about a different subject matter. • In most poems Keat “involved a flight upward into the pleasant realms of ones imagination”. • The production of Ode to Psyche involved a different and more meaningful quest. It was a deep quest inward. • At the time when Keats’ last volume was to be published he was extremely ill. Therefore, several changes were made to the poem that did not include his approval. For instance, 'To let warm Love glide in’ was edited to 'To let the warm Love in‘. At first glance this is a subtle change but endearing to the author’s purpose.

25. Influences for Ode to Psyche • Ode to Psyche was “exquisitely and spiritually a symbolic product of the mythological spirit of expiring paganism, the story of Cupid and Psyche.” • The poet’s lack of religious or spiritual connection with Christianity. Although Keats “acknowledges the presence of the God” he “wishes for the fire to come from within himself.” • Keats had a desire to find his independence and wanted “to succeed from within himself.” John Keats Courtesy of Corbis

26. Literary Criticism • A.E. Eruvbetine examines the aspects of Keats’ poetry. This includes his ‘poetic imagination’ and beauty as an ‘aesthetic ideal’. “Eruvbetine argues that to Keats, imagination served as the ‘true voice of feeling’, the through the imaginative experience truth was revealed and new experiences could be envisioned.” • Lillia Melani thoroughly analyzes the poem and realizes that the poet’s beliefs start off quite simple “to end with his dedicating himself to Psyche and what she symbolizes. • In “Conflicting Interpretations of Romanticism” it is mentioned that imagination represents the ultimate overcoming of the physical and social world. • In “Conquering the Muse in Keats’ ‘Ode to Psyche'" by Kris Steyaert Keats is compared to Coleridge’s secondary imagination. He says that “Keats’ mind dissolves, diffuses, and dissipates in order to re-create”. • In “Imagination and Reality in the Odes” by Jack Stillinger Keats use of imagination is interpreted as: 1. Successful- because it recreates lost glory 2. A retreat that provides a partial solution. • In a “Critical Appreciation of Keats Ode to Psyche” Bhaskar Banerjee says that the ode “reveals a deep Hellenic strain in Keats.”

27. Key Points in Research Paper • Thesis: It is evident that in the poem “Ode to Psyche” the poet’s worship of Psyche causes a rejection of reason for the purpose of imagination. • The poet not only thinks that Psyche is beautiful but truly believes it. He puts his feelings into actions. Therefore, he begins to worship Psyche with his imagination because it is the place where possibilities are endless and no one can influence. • Eventually he is said to reject reason for the purpose of imagination because he seems to put aside society and forget that the imagination is “a baseless or fanciful one”.

28. Questions • In the beginning of the poem, the poet questions his whether his encounter with Psyche was a dream. What is your opinion? Why? • The poet builds Psyche a temple “in some untrodden region” of his mind. What does this mean? • Why is it that the last stanza of the poem is the longest? • Is there a conversion of the poet from the beginning to the end of the poem? Why or why not? Explain. • Christianity has displaced the belief of Psyche. What would the people living during the poet’s time say of his belief in Psyche. • In Line 67, why would the poet leave a window open to “let the warm love in”? • What are your opinions on this Ode? Did you enjoy it? Why?

29. Works Cited • Stillinger, Jack. “Imagination and Reality in the Odes” in The Hoodwinking of Madeline and Other Essays On Keats Poems, Urbana: University of Illinois P, 1971. 99-120 • Brenkman, John. "Conflicitng Interpretations of Romanticism." Contexts and Comaparisons: A student guide to the great works courses. 6 Feb 2007 <http://newman.baruch.cuny.edu/digital/2000/c_n_c/c_07_romanticism/interpret_romanticism.htm>. • Steyaert, Kris. "Conquering the Muse in Keats's 'Ode to Psyche'." Poetry as Enforcement. 02/06/1996. 6 Feb 2007 <http://www.eng.fju.edu.tw/crit.97/note/psyche.html>. • "Keats, John: INTRODUCTION." Nineteenth-Century Literary Criticism. Ed. Janet Witalec. Vol. 73. Thomson Gale, 1999. eNotes.com. 2006. 6 Feb, 2007 <http://lit.enotes.com/nineteenth-century-criticism/keats-john> • "Eros & Psyche." Wikipedia. 6 Feb 2007 <http://en.wikipedia.org/wiki/Cupid_and_Psyche>. • Banerjee, Bhaskar. "Critical Appretiation of Keats Ode to Psyche." Ezine @ articles. 6 Feb 2007 <http://ezinearticles.com/?Critical-Appreciation-of-Keats%E2%80%99-Ode-to-Psyche&id=413737>. • "Ode to Psyche." Wikipedia, The Free Encyclopedia. 20 Nov 2006, 12:18 UTC. Wikimedia Foundation, Inc. 6 Feb 2007 <http://en.wikipedia.org/w/index.php?title=Ode_to_Psyche&oldid=88997530>. • "John Keats." Wikipedia, The Free Encyclopedia. 5 Feb 2007, 15:04 UTC. Wikimedia Foundation, Inc. 6 Feb 2007 <http://en.wikipedia.org/w/index.php?title=John_Keats&oldid=105805282>.

30. John Keats’s Ode to Nightingale Fryda Guedes Period 6 Mrs. Contreras Background Courtesy of Getty Images

31. Stanza I In this Stanza, Keats introduces the Nightingale he praises throughout the entire poem. “My heart aches, and a drowsy numbness pains” (Keats 1) “Tis not through envy of thy happy lot…in full throated ease” (5-10) Here, he expresses the contrast between his wallowing pain to the Nightingale that sings not in envy of the happy, but of the beauty and happiness the nature of summer can bring. He mentions the “Lethe” (4), the river of forgetfulness in Hades. Background Courtesy of Getty Images

32. Stanza II In this Stanza, Keats longs for a “draught of vintage”(11) wine. He describes the wine to taste of flowers and merriment, an obvious sign that drinking brings him to reminisce on past indulgences and holiday experiences. He associates wine with the state of festivity he longs for. (11-20) Keats also considers wine as a substance that generates poetic inspiration, comparing it to Hippocrene, a fountain of Mt. Helicon in Greece that was thought to do such. (16) He wishes to drink it and leave society behind to “fade away” with the nightingale. (19-20) Background Courtesy of Getty Images

33. Stanza III In this Stanza, Keats is consumed in his writing. “Fade far away, dissolve, and quite forget”(21) He implies that those who lived “among the leaves”(22) and in nature have never known “the weariness, the fever, and the fret”(23) of old age and sickness, possibly related to the tuberculosis that killed two of his family members and was destroying him then. Keats mentions the consequences of thinking, analyzing, and being aware of his feelings and experiences. (27-30) Lastly, he expresses how beauty is fleeting, but his “new love”(30) will continue for longer than the former. Background Courtesy of Getty Images

34. Stanza IV In this Stanza, he rejects his desire for alcoholic intoxication by reaching his ultimate poetic state through the “wings of poesy”, not the chariot of “Bacchus and his pards”(32-33). Once again, he mentions his awareness of the mind when he states “the dull brain perplexes and retards”(34). His feeling of comfort in the darkness of the night is clear when he speaks about the “Queen-Moon […] on her throne, cluster’d around all her starry Fays”(36). Fays, in this case, are fairies. Background Courtesy of Getty Images

35. Stanza V In this Stanza, you can clearly see Keats’s synaesthetic abilities. He goes on to describe the progression of seasons using all his senses. Keats moves from the flowers and “fading violets”(47) of spring, to “the murmurous haunt of flies on summer eves”(50). Here, he is still joined to the nightingale through imagination. Background Courtesy of Getty Images

36. Stanza VI In this Stanza, his mood changes to express melancholy. He seems to be taken directly to winter where his pain returns. Keats’s misery extends to procure suicidal tendencies. “half in love with easeful Death…now more than ever seems it rich to die”(52-55) Because of his illness he fears a slow and painful death; Keats “call’d [death] soft names in many a mused rhyme”(53) in order to be taken away softly and peacefully. Meanwhile, he goes back again to focusing upon the Nightingale. Here he realizes that in death, he would not be able to “pour forth [his] soul abroad in such an ecstasy!”(67-68) as the Nightingale so often does. Background Courtesy of Getty Images

37. Stanza VII In this Stanza, the Nightingale is no longer called sweet names, but just “bird”(61). “Thou wast not born for death, immortal Bird!”(61) could mean that Nightingales are born unaware of the fact that they may die. “No hungry generations tread thee down”(62) could mean that social status and society overall does not dare to underestimate or condemn the song of the Nightingale. Keats seems to almost be jealous of the birds figurative and poetic immortality. The art of the bird, which is its song, lasts forever as long as the species remains. The art of John Keats, his poetry, is not generally accepted while he is alive, making it likely that he believed his poesy would die with him. (61-70) Background Courtesy of Getty Images

38. Stanza VIII In Stanza VII, Keats stated that the Nightingale’s song was the same that had lured magic in the past, “opening the foam of perilous seas, in faery lands forlorn”(70). In this Stanza, the world “forlorn” struck a chord and brought him back down to earth. Forlorn, in itself, suggests hopelessness. Hopelessness, or any word expressing it, had the power to drag him out of his dreams for a higher state of poesy and poetic inspiration. Brought back to his “sole self”(72), he feels cheated by his illusion and goes so far to call the Nightingale a “deceiving elf”(74). Confused, he questions what was more perfect, imagination or reality? Where was he, in “a vision, or a waking dream?”(79). At last, the Nightingale leaves him, adding to his despair and confusion: “Fled is that music: do I wake or do I sleep?”(80) Background Courtesy of Getty Images

39. Themes • A Romanticist of the time, he expressed his feelings very often using natural imagery. • Through his poem, his journey into the state of Negative Capability (a theory he proposed) became evident. Negative Capability was state of mind he believed most poets to be able to achieve, where man is “capable of being in uncertainties, mysteries, doubts without any irritable reaching after fact & reason”(“Negative Capability”). • The inevitability of death and the contrast between mortality and immortality was another theme. • Drugs and intoxication (opiate, hemlock, wine) Background Courtesy of Getty Images

40. Themes continued… • His fascination for Ancient Greece & Rome (Hemlock, Hippocrene—fountain of the Muses, Flora—Roman goddess of flowers, Lethe—the river of forgetfulness in Hades, and Bacchus—Roman God of wine). • His synaesthesia, where he expressed what he believed to be the juxtaposition of pain and pleasure through his senses. • Ode to Nightingale had morbid language such as "perilous seas”(Keats 70), yet he found the ecstatic beauty in the Sturm und Drang of life. • Keats used many dichotomies, contradictions, and oxymorons to convey the light and shade of his existence. Background Courtesy of Getty Images

41. Literary Allusions and Vocabulary Lethe: “a river in Hades. Souls about to be reincarnated drank from it to forget their past lives” (Melani). Stanza I— Dryad: ”a wood nymph or nymph of the trees. Dryads or nymphs were female personifications of natural features, like mountains and rivers; they were young, beautiful, long-lived and liked music and dance. A Dryad was connected to a specific tree and died when the tree died”(Melani). Flora: “goddess of flowers and fertility” (Melani) Stanza II— Provencal: ”of Provence, an area in the south of France associated with song, pleasure, and luxury”(Melani) Hippocrene: “a spring sacred to the Muses, located on Mt.Helicon. Drinking its waters inspired poets”(Melani). Background Courtesy of Getty Images

42. Literary Allusions and Vocabulary continued… Bacchus: “Roman god of wine” (Melani). Pards: “leopards, which drew Bacchus’s chariot”(Melani) Stanza IV— Ruth: “Boaz saw Ruth, the Moabite, working in the fields, fell in love with her and married her; David is one of her descendents. Stanza VII— A book in the Bible is named after her. She is frequently alluded to by poets for her devotion to her mother-in-law Naomi or as a stranger in a strange land. In a sense she has achieved immortality.” (Melani). Background Courtesy of Getty Images

43. About John Keats John Keats was born on October 31st, 1795. When Keats was eight years old, his father died. Soon after, at the age of fourteen, his mother died of tuberculosis. (Tropiano) The death of his parents was just the beginning of his tumultuous and unfortunate life. This event and all that followed led Keats to turn to poetry as a refuge from despair and a canvas in which to paint his experiences. He began to practice apothecary medicine and earned a license by the time he was fourteen. Instead, he turned to poetry to make a living. (Tropiano) His license as an apothecary gave him extensive knowledge of the poisons and intoxicating drugs he often mentioned in his poems. John Keats—Courtesy of Google Images Background Courtesy of Getty Images

44. About John Keats continued… Poets/writers of the time, Percy Bysshe Shelley and William Wordsworth, advised him to revise his work and turn it into a more substantial compilation, but Keats didn’t listen, and was rejected by major critics of the time. (Tropiano) This rejection added to his disappointment and gave him more motive to strive for an epic poem and an ideal state of poetic inspiration. In 1818, his brother was stricken ill with tuberculosis. The same year, Keats fell in love with Fanny, a woman he planned to marry but could not afford to! (Tropiano) This was another factor that made his poetry full of “light and shade”, his life was always at an extreme of the two feelings, pleasure and pain. Background Courtesy of Getty Images

45. Literary Movements/History The Romanticist literary and art movement was taking place at the time. The Age of Romanticism was a time of creativity, poetic thought, and awareness of natural laws and rights (due to the influences of the Enlightenment).  A love for nature and freedom from the boundaries of civilization showed through in the many literary and artistic works of the time. Keats’s Ode to Nightingale spoke greatly of nature and of the poet’s desires of distancing from society to live along nature. Frankenstein by Mary Shelley— Courtesy of Google Images Background Courtesy of Getty Images

46. Political Events In 1796, the year after his birth, Napoleon defeats Austria in Italy, leaving Britain isolated. In 1799, William Pitt the Younger introduces income taxes. In 1815, the Battle of Waterloo is fought. (“Industrial Revolution Timeline”) Napoleon was the person that influenced politics the most during the Age of Romanticism and therefore during John Keats’s life. Britain was a politically calm place, mainly because they defeated Napoleon. Napoleon—Courtesy of Google Images Background Courtesy of Getty Images

47. Events in Science With the Industrial Revolution, people began moving out of the country to search for jobs available in factories of cities. As a reaction to the maltreatment and abuse of children, women, and other workers as well as the destruction of nature (because of Industrialization), poets such as John Keats wrote about the horrors of society and made him appreciate nature, in this case—the nightingale, more than ever before. Improved printing press— Courtesy of Google Images Background Courtesy of Getty Images

48. Religious Influence John Keats was uninterested in religion. He rejected the Christian faith, and “soul making” was the most truly spiritual concept he accepted. He was more fond of Greek mythology and religion of that sort, but he always acknowledged them as fictitious stories. (Tropiano) Background Courtesy of Getty Images

49. Keats’s ‘Ode to a Nightingale.’ By: Charlsie Bray Park. Charlsie Bray Park argues that Ode to a Nightingale implies John Keats’s adoration of wine and drink. The critic states that Keats intentionally shaped his stanzas to resemble a goblet of wine. He also argues that John Keats was a man of humor by using examples from letters he wrote to his brothers and sisters and from a selection of the poem where Keats uses the word “winking” suggestively; this helped prove that Ode to Nightingale, however serious it was, was lighthearted on many occasions.

50. John Keats: Romantic or Realist? By: Jill Swale In this critical essay, Jill Swale argues whether John Keats was a Romantic or a Realist. The critic establishes how Keats, at least in the beginning of his poetic career, was fascinated with beauty and discovering it through dream worlds and the imagination. Swale describes Keats’s Endymion and its Romantic characteristics. She mentions his sensual language and how he expresses abstract fantasies instead of reason in order to reach an ideal “goal of insight and truth” (Swale). Even though Keats touches on more serious and less imaginative subjects later on in his life, he always found a seemingly divine beauty in even earthly matters (Swale).