There is perhaps a further explanation as to why Keats should choose to express his thoughts about dying in such an apparently oblique way. In The Fall of Hyperion, he condemns self-absorption through Moneta's attack on the narrator as a 'dreamer' who 'venoms all his days'. This might be a sensitive, self-correcting response to criticism of his poetry by figures such as Byron, and magazines such as The Edinburgh Review and Blackwood's. The usual charges against his work were of vulgar sentimentality, pretentious straining for effect, and a cloying prettification of nature. Byron, for instance, mocked Keats's limited knowledge of the natural world and of the Classics, found his eroticism embarrassing, and thought his self-conscious attention to the act of imagining and writing poetry puerile and tiresome: 'Johnny Keats piss a bed poetry ...always working himself up into a state ..frigging his imagination'. (I have not, though, been able to find any evidence of Keat's knowledge of Byron's criticisms.)
This can take the form of very specific instructions, such as how to catch a fish, as in ’s The Seasons (Spring 379-442) or how to write good poetry as in ’s Essay on Criticism.
Writing a good critical analysis essay. 11th hour essay
Woolf’s essays are often both manifestoes about and examples or investigations of this unconfined consciousness, this uncertainty principle. They are also models of a counter-criticism, for we often think the purpose of criticism is to nail things down. During my years as an art critic I used to joke that museums love artists the way that taxidermists love deer, and something of that desire to secure, to stabilize, to render certain and definite the open-ended, nebulous, and adventurous work of artists is present in many who work in that confinement sometimes called the art world.