This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This book presents ten new chapters on John Keats's medical imagination, beginning with his practical engagement with dissection and surgery, and the extraordinary poems he wrote during his 'busy time' at Guy's Hospital 1815-17. The Physical Society at Guy's and the demands of a medical career are explored, as are the lyrical spheres of botany, melancholia, and Keats's strange oxymoronic poetics of suspended animation. Here too are links between surveillance of patients at Bedlam and of inner city streets that were walked by the poet of 'To Autumn'. The book concludes with a survey of multiple romantic pathologies of that most Keatsian of diseases, pulmonary tuberculosis.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In this second collection of biographical accounts of Romantic writers, the characters of Keats, Coleridge and Scott are recalled by their contemporaries, offering insights into their lives and writings, as well as into the art of 19th-century biography.

If we could ask a Romantic reader of new poetry in 1820 to identify the most celebrated poet of the day after Byron, the chances are that he or she would reply with the name of Barry Cornwall'. Solicitor, dandy and pugilist, Cornwall -- pseudonym of Bryan Waller Procter (1787-1874) -- published his first poems in the Literary Gazette in late 1817. By February 1820, under the tutelage of Keats's mentor, Leigh Hunt, Cornwall had produced three volumes of verse. Marcian Colonna sold 700 copies in a single morning, a figure exceeding Keats's lifetime sales. Hazlitt's suppressed anthology, Select British Poets (1824), allocated Cornwall nine pages -- the same number as Keats, and more than Southey, Lamb or Shelley; Blackwood's Edinburgh Magazine pronounced Cornwall a poet of 'originality and genius'; and in 1821, Gold's London Magazine announced that in terms of 'tenderness and delicacy' even Percy Shelley was 'surpassed very far indeed by Barry Cornwall'. It is difficult to square Cornwall's early nineteenth-century popularity with his subsequent neglect. In Bright Stars Richard Marggraf Turley concentrates on Cornwall's phenomenonal success between 1817 and 1823, emphatically returning an important and unjustly neglected Romantic author to critical focus. Marggraf Turley explores Cornwall's rivalry -- and at various junctures, political camaraderie -- with fellow Hunt protégé Keats, whose career exists in a fascinatingly mirrored relationship with his own trajectory into celebrity. The book argues that Cornwall helped to structure Keats's experience as a poet but also explores the central question of how Cornwall's racy and politically subversive poetry managed to establish a broad readership where Keatss similarly indecorous publications met with review hostility and readerly indifference.