Schema and Documentation for Mapping Keats’s Progress project

Shortcut	Description	Code inserted
M1 M2 A	Tag something as an article title	<span class="articleTitle">${selection}</span>
M1 M2 B	Tag something as a book or monograph title	<span class="bookTitle">${selection}</span>
M1 M2 Q	Quotation: Tag something as a quotation	<q>${selection}</q>
M1 QUOTE	Curly apostrophe: U+2019 RIGHT SINGLE QUOTATION MARK: preferred character for apostrophe	’
M1 M2 0	Curly double closing quote	”
M1 M2 9	Curly double opening quote	“
M1 M2 J	Tag something as a journal or periodical title	<span class="journalTitle">${selection}</span>
M1 M2 P	Tag something as a poem title	<span class="poemTitle">${selection}</span>
M1 M2 N	Tag a name with <span class="name">	<span class="name" data-id="${caret}">${selection}</span>

Appendix A

Appendix A.1 Elements

Appendix A.1.1 <a>

<a>

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.classable
- @class
- @style

href

Status	Required
Datatype	teidata.pointer

title

(explanation of what is being linked to. Will pop up when mousing over the link.)

Status	Optional
Datatype	teidata.text

target

Status	Optional
Legal values are:	_blank (Open this link in a new window or tab.)

Member of

model.keatsPhrase

Contained by

xhtml5: a blockquote caption em figcaption h3 h4 h5 li p q span strong summary td th

May contain

xhtml5: a em figcaption iframe img q span strong summary

character data

Content model

<content>
 <macroRef key="macro.keatsParaContent"/>
</content>
    ⚓

Schema Declaration

element a
{
   att.classable.attributes,
   attribute href { text },
   attribute title { text }?,
   attribute target { "_blank" }?,
   macro.keatsParaContent
}⚓

Appendix A.1.2 <audio>

<audio> Audio element used to provide audio recordings of poems.

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.classable
- @class
- @style
att.identifiable
- @id

src

(The src attribute points to the audio file.)

Status	Required
Datatype	tei.pointer

controls

(The controls attribute ensures the user can control the audio.)

Status	Required
Legal values are:	controls (Always provide controls.)

preload

(The preload attribute specifies whether the browser should try to preload the audio so it's ready to play.)

Status	Required
Legal values are:	auto (Preload if possible.)

Member of

model.keatsDivBody

Contained by

xhtml5: details div

May contain

Character data only

Content model

<content>
 <textNode/>
</content>
    ⚓

Schema Declaration

element audio
{
   att.classable.attributes,
   att.identifiable.attributes,
   attribute src { text },
   attribute controls { "controls" },
   attribute preload { "auto" },
   text
}⚓

Appendix A.1.3 <blockquote>

<blockquote> Block quotation.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsDivBody
Contained by	xhtml5: details div
May contain	xhtml5: a br em figcaption iframe img p q span strong summary ul character data
Content model	<content> <alternate minOccurs="1" maxOccurs="unbounded"> <elementRef key="p"/> <elementRef key="ul"/> <elementRef key="br"/> <macroRef key="macro.keatsParaContent"/> </alternate> </content> ⚓
Schema Declaration	element blockquote { att.classable.attributes, ( p \| ul \| br \| macro.keatsParaContent )+ }⚓

Appendix A.1.4 <br>

<br> A hard-coded linebreak. Avoid unless you absolutely need it. Use it at the end of lines in poems.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Contained by	xhtml5: blockquote em h3 li p q span
May contain	Empty element
Content model	<content> <empty/> </content> ⚓
Schema Declaration	element br { att.classable.attributes, empty }⚓

Appendix A.1.5 <caption>

<caption> A table caption.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Contained by	xhtml5: table
May contain	xhtml5: a em figcaption iframe img q span strong summary character data
Content model	<content> <macroRef key="macro.keatsParaContent"/> </content> ⚓
Schema Declaration	element caption { macro.keatsParaContent }⚓

Appendix A.1.6 <data>

<data> A programmatic data element used for encoding relationships between individuals in the personography. It has custom attributes to store the data itself, and may contain text content constituting an optional description of the relationship being encoded.

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.identifiable
- @id

data-p1

(The first (source) person in the relationship.)

Status

Required

Legal values are:

abbey_r: (Abbey, Richard) Abbey, Richard (1765–1837): a fairly prosperous and ambitious London tea dealer/broker and holder of some public offices; trustee of the Keats family legacy after the deaths of Keats’s mother and maternal grandparents (Abbey is appointed by Keats’s grandmother, Alice Jennings, in 1810; the other appointee, John Nowland Sandell, a well-to-do businessman, dies in 1816); Abbey is mistrusted by Keats and his sister, Fanny, who lives with the Abbey family for a spell; he strongly disapproves of Keats’s poetic aspirations (and politics); significantly, Keats is never fully aware of his finances in the form of inherited family money; brothers Tom and George at times work for Abbey.
bailey_b: (Bailey, Benjamin) Bailey, Benjamin (1791–1853): scholar with philosophical and literary interests, ordained church clergyman (curacy); meets Keats in spring 1817; shares interests in Wordsworth, Milton, Plato, Dante, and Hazlitt with Keats; Keats writes a few very important and theoretically explorative letters to Bailey, and Keats found him of noble disposition (he publicly defends Keats); Keats stays with Bailey at Oxford University (Magdalen Hall) in September 1818 into early October; visits Stratford with Keats; later in life, Bailey wrote minor poetry and sermons; eventually becomes an archdeacon.
beaumont_f: (Beaumont, Francis) Beaumont, Francis (1584–1616): Jacobean dramatist, poet; most famous as a collaborator with John Fletcher; Keats owned a copy of 4-volume 1811 edition of The Dramatic Works of Jonson, and Beaumont and Fletcher; Keats writes a poem about an evening spent at the Mermaid Inn in Cheapside, in which he imagines Jonson, Fletcher, Beaumont, and Shakespeare gathering: Lines on the Mermaid Tavern, written January 1818.
bentham_j: (Bentham, Jeremy) Bentham, Jeremy (1747-1832): Utilitarian philosopher, driven by pragmatic thinking and moral approach to understanding and describing human nature and human rights; interested in topics like penal reform, education, and hospitals.
bewick_w: (Bewick, William) Bewick, William (1795–1866): an art student of Keats’s very good friend, the historical painter Benjamin Robert Haydon; Bewick socializes with Keats via Haydon and others in Keats’s circle: in a letter of 11 February 1818, Bewick calls them very intellectual dinners, and he mentions the presence of Keats the poet, Hazlitt the critic, Haydon, Hunt the publisher, &c., &; Keats runs into Bewick at exhibitions; Bewick goes on to become a portrait and historical painter of average though professional qualities.
boccaccio: (Boccaccio) Boccaccio (1313–1375): Italian Renaissance humanist, writer, scholar, poet; most famous for his innovatively realistic poem, Decameron; Keats’s and his friend John Hamilton Reynolds entertain assembling a volume of poems based on Boccaccio’s Decameron; Keats’s somewhat interesting though indifferent poem Isabella (written 1818, published in the 1820 collection) is inspired by Boccaccio.
brawne_f: (Brawne, Fanny) Brawne, Fanny (1800–65): born in London’s West End; likely meets Keats autumn 1818 via the Dilkes (she’s eighteen); with widowed, kindly mother and siblings, lives next door to Keats at Wentworth Place, spring 1819 (they take care of Keats, Aug. 1820); lively, social, smart (proficient in German and French), musical, keen perceptions, strong opinions, fashionable, middle-class, but disliked by some of Keats’s friends, who see her as flirtatious and vain (early Keats biographers tend to view her as unfit for Keats); perhaps unofficially betrothed to Keats in late 1818, but more likely a mutual declaration of love; Keats writes striking love letters to her, but when Keats becomes ill they devolve into overly longing and jealous rants as Keats becomes increasing ill and distraught that he might never again be with her (publication of Keats’s love letters in 1878 causes some literary commotion); she remarries in 1833 and has a daughter and two sons; dies in London; Fanny’s widowed mother, Frances, is very kind toward Keats.
brougham_h: (Brougham, Henry) Brougham, Henry (1778–1868): lawyer, founder and contributor of Edinburgh Review; member of Parliament on the Whig side, a leader in the House of Commons, known for liberal reforms (on abolition, education, criminal issues, voting reform), famous for his causes and speeches; later Lord Chancellor of Great Britain; as a politician, Brougham contests Westmorland, while Keats is very disappointed that William Wordsworth is a supporter of Lord Lowther, who controls the Tory side for Westmorland: sad—sad—sad— writes Keats 26 June 1818.
brown_c: (Brown, Charles Armitage) Brown, Charles Armitage (1787–1842): businessman, fur merchant, decent amateur artist, writer of a comic opera and some translations as well as a study of Shakespeare’s poems; some literary lectures; lived independently on inheritance money; one of Keats’s very closest friends (Keats is twenty-one when they meet), and knew Keats as well as anyone; extraordinarily supportive of and generous with Keats; lives with Keats on a few occasions; also travels with Keats, most famously on their long walking tour in the summer of 1818; kept a considerable collection of transcripts of Keats’s work; co-author with Keats of a somewhat indifferent play (never produced), Otho the Great; co-owner of Wentworth Place (two semi-detached houses), now Keats House; attempted a memoir of Keats.
burns_r: (Burns, Robert) Burns, Robert (1759–1796): Scottish poet and songwriter, celebrated for his use of Scots vernacular; exciseman in later life; ambitious, freethinking; likely dies of bacterial endocarditis, perhaps compromised by alcohol; a legend by Keats’s time, venerated by the Romantics; Keats’s northern walking tour with Charles Brown in the summer of 1818 has for one of its goals to gather some sense of Burns’ world; Keats remains confused about Burns, in particular his life and poetic subjects; though Keats has sympathies with Burns as a self-reliant outsider, he also importantly views Burns as a cautionary figure; Keats’s poem, On Visiting the Tomb of Burns, which, though weak, pairs Keats’s conjoined topics of beauty and suffering; Keats also writes This mortal body of a thousand days while in the cottage of Burn’s birth—Keats calls his lines bad.
byron: (Byron, George Gordon (Lord)) Byron, George Gordon (Lord) (1778–1834): one of the most successful and controversial poets of the era; a handsome, flamboyant celebrity who came to represent liberty, individuality, and vitality; extraordinarily famous during his life as a published poet (and conflated with the heroes he creates), but, on a pan-European scale, legendary after his death; Keats unimpressed by Bryon’s style of poetry, perhaps tainted by some jealousy of Byron’s success; Byron initially finds Keats’s poetry juvenile and imaginatively indulgent, though based on an impression of his early work.
chatterton_t: (Chatterton, Thomas) Chatterton, Thomas (1752–1770); boy wonder poet of wide, ambitious talents; most notable for his invention of some fifteenth-century poems, written by a fake poet, Thomas Rowley; commits suicide, aged 17; popular with other Romantic writers as the idealized youthful, martyred, suffering poet; Keats’s dedicates Endymion to him; one of Keats’s earliest known poem is his 1815 Oh Chatterton! How very sad thy fate, which mourns the sad outcome for the young genius who now sings among the stars; Keats comes to believe that Chatterton’s verse possesses a pure English idiom, as opposed to Milton’s extraordinary but beautiful corruptions of the language.
chaucer_g: (Chaucer, Geoffrey) Chaucer, Geoffrey (?1343–1400): successful poet, member of the Royal Service, customs comptroller, diplomatic service officer/courtier, astronomer, translator; famous for his Canterbury Tales, Troilus and Criseyde, The Legend of Good Women, and The Book of the Duchess; often favored as the father of English Literature; Keats is fully familiar with Chaucer (he has no problem quoting Chaucer fairly casually); with some nostalgia, Keats associates Chaucer with a high, noble point in English literary history; Keats writes one of his poems (This pleasant tale is like a copse) into a copy of a friend’s copy of Chaucer’s works, where Keats also makes textual markings in Troilus and Criseyde, indicating a close study of Chaucer’s observations and characterization—in a letter to his lover Fanny Brawne, Keats identifies with Troilus enough to express his fears to Fanny’s about her faithfulness (Feb 1820).
christie_j: (Christie, Jonathan) Christie, Jonathan (?-1876): barrister; London agent for William Blackwood, of Blackwood’s Edinburgh Magazine; acting for his friend John Gibson Lockhart, who writes for Blackwood’s, Christie (as Lockhart’s second) in February 1821 kills the John Scott, editor of The London Magazine and defender of Hunt and Keats, in a duel over the integrity of Blackwood’s, which Scott has been slamming; tried for wilful murder and acquitted
clairmont_c: (Clairmont, Claire (Mary Jane)) Clairmont, Claire (Mary Jane) (1798–1879): illegitimate, freethinking daughter of William Godwin’s second wife; stepsister to Mary Wollstonecraft Shelley; mother to an illegitimate daughter (Allegra) with Lord Byron, who she pursued both before and after the birth of Allegra (who dies aged five); part of Percy Shelley’s entourage between 1814–1822; importantly, Claire introduces Shelley to Byron.
clark_j: (Clark, James) Clark, James (1788–1870): surgeon, trained at University of Edinburgh; treated Keats’s tuberculosis in Rome with care but in keeping with ill-informed contemporary practice (e.g., bloodletting, dieting, exercising). It might also be noted that, in 1821, Clark was in the early stage of his medical career, having gained his MD in 1817.
clarke_c: (Clarke, Charles Cowden) Clarke, Charles Cowden (1787–1877): teacher, publisher (including music), bookseller, informed musical and literary interests; later an art and theatre reviewer, extensive lectures on Shakespeare, and very minor poet; son of Keats’s headmaster at Enfield; widely connected to literary circles of the day; strong and important (if not crucial) early influence on Keats’s literary tastes, as well as, early on, very close to Keats; very significantly, he introduces Keats to Leigh Hunt in 1816, thus greatly expanding Keats’s London social network; he mainly drops out of Keats’s circle in 1817; strong defender of Keats’s posthumous reputation; Keats writes a verse letter to Clarke in October 1816, thanking him for tutoring his literary passions; marries Vincent Novello’s daughter, Mary.
coleridge_s: (Coleridge, Samuel Taylor) Coleridge, Samuel Taylor (1772–1834): poet, critic, journalist, theologian, philosopher, lecturer, extraordinary conversationalist, and living legend by the time of Keats’s chance encounter with him in April 1819; a genius, compromised by addiction issues and an overly ambitious spread of intellectual interests; forever paired with William Wordsworth; Keats is fully acquainted with his poetry as well as some of his ideas and literary criticism.
cox_j: (Cox, Jane) Cox, Jane (?-?): a cousin of Keats’s of the Reynolds’ family, born in India; a woman whose shape, Keats writes, haunts him for a couple of days in September 1818; Keats still seems intrigued by her into October, when he describes her rich eastern look, how, when she enters a room, she makes an impression the same as the Beauty of a Leopardess, that she is a fine thing with magnetic powers, and how other women become jealous of her; Keats nominates her as Charmian (letter, 14 Oct 1818); interestingly, and consistent with his notion of the camelion poet that can enter and sympathetically assume the subjects he imaginatively contemplates, Keats writes, I forget myself entirely because I live in her.
croker_j: (Croker, John Wilson) Croker, John Wilson (1780–1857): member of Parliament (Tory), political expert, and fascinated by French Revolution documents; co-founder of and contributor to the Quarterly Review; writes a nasty review of Keats’s Endymion (published September 1818), nominating Keats as an unintelligible copyist of Leigh Hunt.
dante: (Dante) Dante (?1265–1321): Italian poet, highly influential, most famous for his poetic trilogy, The Divine Comedy; Keats read Henry Francis Cary’s 1805 translation, and certainly its first section, Inferno, into which he makes many markings; Keats begins to master Italian in order to read Dante more fully; Keats takes the three volumes of Cary’s translation taken on his Scottish walking tour; Dante’s influence is perhaps most apparent in The Fall of Hyperion.
davenports_t: (The Davenports) The Davenports: Likely met via Brown or Dilke; the family live at 2 Church Row, Hampstead. Keats on occasion dines and goes to some parties there; Keats and Brown at least once reciprocate. Mrs. Davenport kindly helps to take care of Tom, November 1818. Mr. Burrage Davenport (or, at times, incorrectly, “Burridge” or “Benjamin”, 1778-1863) is a well-to-do merchant banker in London. A gift copy of Keats’s last collection (1920) given to the Davenports contains Keats’s angry comment about the book’s advertisement written by the publisher, that wrongly claims that his Hyperion poem in the collection is unfinished because Keats was upset about reviews.
dilke_c: (Dilke, Charles Wentworth) Dilke, Charles Wentworth (1789–1864): Navy civil servant, legal training, literary and journal editor, scholarly interests in Renaissance drama; co-owner (with Charles Brown) of Wentworth place (now Keats House) in Hampstead, where Keats lives on a few occasions; Keats meets via Reynolds; Keats becomes very friendly with Dilke and Dilke’s family, which he often visits; however, they seem not to approve of Keats’s relationship with Fanny Brawne; the Dilke family is supportive of Keats’s other family members and of Keats’s posthumous reputation.
elgin_l: (Elgin, Lord (Thomas Bruce)) Elgin, Lord (Thomas Bruce) (1766–1841): Scottish nobleman, diplomat; his name is given over to marble sculptures from the Parthenon (c.500 B. C. E.) that Elgin organizes to preserve in England; after problems housing the Elgin Marbles, he eventually sells them to the nation, where they are displayed in the British Museum in 1816; Keats sees them in early March 1817; they immediately impact his artistic sensibilities and the way that, without knowing details about what is represented in the sculptures, they remain powerful in their trans-historical beauty; Keats writes two of his better early poems connected to his experience: On Seeing the Elgin Marbles and To Haydon with a Sonnet Written on Seeing the Elgin Marbles.
elmes_j: (Elmes, James) Elmes, James (1782-1862): distinguished architect, surveyor, engineer, writer and lecturer on the arts and architecture, magazine editor, biographer; founder of Annals of the Fine Arts, 1816-1820, during which he is close to Keats’s very close friend, Benjamin Robert Haydon; the Annals is the first to publish two of Keats’s best poems, his odes on a Grecian Urn and a Nightingale.
fletcher_j: (Fletcher, John) Fletcher, John (1579–1625): successful and versatile London dramatist; contemporary of Shakespeare; in January 1818, Keats writes a poem about an evening at the Mermaid Inn in Cheapside, where he imagines Jonson, Fletcher, Beaumont, and Shakespeare gathering: Lines on the Mermaid Tavern.
godwin_w: (Godwin, William) Godwin, William (1756–1836): minister (though later atheist), social philosopher, essayist, novelist, biographer; husband of Mary Wollstonecraft, father of Mary Shelley, father-in-law of Percy Shelley; inspirational for many Romantic-era writers, representing anarchist, radical, and individualist views, yet strong beliefs in reason, political justice, and human rights.
hammond_t: (Hammond, Thomas) Hammond, Thomas (1766–1817): surgeon in Edmonton, family physician to Keats’s maternal family, the Jennings’; after being pulled from school (aged 14), Keats apprentices with Hammond 1811–1815; family money (generated by selling stocks) is used to pay Hammond’s supervisory fees; Keats later remembers that he had some defiant moments with Hammond (see letter, 21 Sept 1819), though the period with Hammond also has periods of relative security; perhaps the relationship is somewhat compromised by Keats’s growing interest in poetry and Hammond’s failing health.
haslam_w: (Haslam, William) Haslam, William (1795–1851): solicitor; generous, kind, and truly devoted friend of Keats when he is in need, as well as Keats’s siblings (especially to Keats’s brother, Tom, when he is sick); Keats likely meets him via brother George; Haslam is the one to suggest Severn accompany Keats to Italy, a trip he helps finance.
haydon_br: (Haydon, Benjamin Robert) Haydon, Benjamin Robert (1786–1846): historical painter, diarist, lecturer; ambitious, volatile, combative; his artistic achievement compromised by pride, inflexible principles, and ego—and a very slow pace; passionate and devoted friend of Keats after meeting him via Leigh Hunt; true believer in Keats’s genius (and his own); Keats initially equally devoted to Haydon, but increasingly put off by his contentious personality; he thought a great deal about great art (which Keats, importantly, would have heard much about), but overestimated the greatness of his own; commits suicide after lengthy struggles with debt and professional failure; largely responsible for England retaining the Elgin Marbles.
hazlitt_w: (Hazlitt, William) Hazlitt, William (1778–1830): painter, philosopher, significant critic (literary, theatre, art), journalist, brilliant essayist, lecturer; blunt advocate of human rights and liberty, passionately opinionated, often quarrelsome, intellectually driven; meets Keats late 1816; through his lectures and writing, significantly influences Keats’s maturing tastes and ideas, especially about Shakespeare, Wordsworth, Elizabethan literature, literary worth, poetic genius, poetic originality, the principle of disinterestedness and gusto, and the sympathetic powers of imagination; becomes a friend and a formidable defender of Keats and his poetry, especially against the hypocrisy of partisan reviewing; acquaintance with many of the era’s leading literary figures.
hessey_j: (Hessey, James) Hessey, James (1785–1870): progressive publisher, bookseller; half of Keats’s publisher, Taylor & Hessey; strongly believes in Keats’s poetic potential, and with John Taylor basically sponsors Keats’s publishing career.
hill_t: (Hill, Thomas) Hill, Thomas (1760–1840): book-collector, dry-salter; friend of Leigh Hunt; joint owner/editor of The Monthly Mirror (defunct by 1811); centre of a minor literary circle; Keats once dines with him.
hogg_t: (Hogg, Thomas Jefferson) Hogg, Thomas Jefferson (1792–1862): barrister, writer, biographer; very close friend to Percy Shelley, and his first biographer (1858); Keats dines with, 11 February 1818, along with Percy and Mary Shelley, Thomas Love Peacock, and Claire (Mary Jane) Clairmont.
holmes_e: (Holmes, Edward) Holmes, Edward (1797-1859): musician, music critic, and writer of books about music; his biographies on Mozart and Purcell of some note; though a bit younger, one of Keats’s school fellows; his recollections of schoolboy Keats are valuable; met with Keats on occasion in company; stayed within the circle of Keats’s friends throughout his life; likely the anonymous writer (Y) of a defence of Keats after Keats’s death, in The Morning Chronicle, 27 July 1821.
homer: (Homer) Homer (?7th, ?8th, or ?9th century, B. C. E.): name ascribed to the ancient Greek poet, proposed writer of the Iliad and Odyssey, often viewed as Western Culture’s most influential epic poems; Keats’s most famous engagement with Homer comes to us via what is sometimes considered Keats’s earliest accomplished poem, On First Looking into Chapman’s Homer ; Keats writes a second poem, To Homer, in 1818; which identifies with Homer for his insights in blindness; in assessing Homer, Keats writes he is very fine (letters 13 March 1818), and that he longs to feast upon old Homer (27 April 1818); according to one of Keats’s close friends, Benjamin Robert Haydon, Keats is especially taken by the figure of Achilles.
hunt_j: (Hunt, John) Hunt, John (1775–1848): Printer and publisher; elder brother of Leigh Hunt and co-founder of The Examiner.
hunt_l: (Hunt, Leigh) Hunt, Leigh (1784–1859): poet, literary critic, editor, journalist, essayist, periodical publisher; charming, somewhat affected personality, energetic, poor with money; editor of the independent and free-thinking Examiner newspaper as well as other periodical publications; jailed two years for libeling the Prince Regent; first to publish Keats; Keats initially enthralled with Hunt, and Hunt fully struck by Keats’s personality and poetic potential; crucially, Hunt introduces Keats into literary London; Keats spends plenty of time with Hunt, and they know each other very well; Keats, though, comes to privately resent Hunt’s poetic pretensions and egotisms, yet Hunt’s kindness toward Keats continued; Keats is forever identified with Hunt as a member of maligned “Cockney School of Poetry.”
hunt_r: (Hunt, Robert) Hunt, Robert (fl. 1809): writer, older brother of Leigh Hunt, and contributor to the Examiner.
hutchinson_s: (Hutchinson, Sarah) Hutchinson, Sarah (1775–1835): William Wordsworth’s sister-in-law, younger sister of Mary; once agonizingly pursued by Samuel Taylor Coleridge while he was in an unhappy marriage with another Sara (Fricker); Sara lives with the Wordsworths for a number of years; Keats meets her with the Wordsworths; Keats describes her as enchanting,,though he sees Wordsworth as living in protective Shell up north with his wife and sister (letters 21 March 1818); a little later Sara will offer some comments about Keats’s Endymion—that while it is beautiful, it is uninteresting.
jefferys_t: (The Jefferys) The Jefferys: Keats and his younger two brothers, Tom and George, socialize (somewhat flirtatiously) with the two Jeffery sisters, Marian (variously, Marianne and Mary-Ann) and Sarah Francis (Fanny); in 1818, they are twenty and eighteen, respectively. [There have been earlier misspellings of the last name as Jeffrey.] They meet them in Teignmouth, Devon. Their mother, Margaret, a widow, is particularly unselfish in caring for Tom when he is ill. Keats writes a few fairly open, somewhat humorous but thoughtful letters to Marian mid-1819, mentioning possible future plans, so there is fairly clear degree of familiarity. In 1830, under her married name—Mrs. I. S. Prowse—Marian publishes a collection of poetry (Poems) that pays some allusive homage to Keats; it has a substantial list of subscribers.
jennings_a: (Jennings, Alice) Jennings, Alice (1736–1814): Keats’s maternal grandmother; tolerant and affectionate; generously takes take of Keats’s and his siblings after Keats’s father passes away and Keats’s mother’s unsteady behaviour; Keats holds her highly.
jennings_f: (Jennings, Frances) Jennings, Frances (1775–1810): Keats’s mother; small, attractive, capable, perhaps impulsive; in 1794 marries Thomas Keats, who works at the Jennings’ family business, the Swan and Hoop inn and stables as head ostler; after Keats’s father Thomas dies in 1804, she experiences some uneven moments, including a very hasty marriage a few months after Keats’s father passes, as well as gap in her whereabouts before she returns to her children; like Keats and his two younger brothers, she dies of consumption (TB) while young Keats passionately attends to her at his grandmother’s home.
jennings_j: (Jennings, John) Jennings, John (1730–1805): Keats’s maternal grandfather; marries Alice Jennings in 1774; owns the Swan and Hoop inn and stables, from which he does well and expands the business; retires 1802, leaving Keats’s father, Thomas, to run the business; leaves significant money to Keats and his siblings, though not all of it discovered until after Keats’s death.
jennings_r: (Jennings, Robert) Jennings, Robert (?1784-): publisher, printer, bookseller, with some associations with Leigh Hunt; Keats perhaps buys his 7-volume edition of Shakespeare from Jennings.
jones_i: (Jones, Isabella) Jones, Isabella (unknown birth/death): attractive, mysterious, cultured woman, with whom Keats has some passing involvement in May 1817 that suggests some level of romantic intimacy; she may have suggested the Eve of St. Agnes and Eve of St. Mark as topics for Keats to write about; generous in some minor gifts to Keats and his brother, Tom; Keats may have written a few minor love poems that sound his attraction to and feelings for Isabella (“Unfelt, unheard, unseen,” “Hither, hither love,” “Hush, hush, tread softly”); she has some friends in Keats’s circle; Keats and Isabella agree to keep their passing relationship quiet.
jonson_b: (Jonson, Ben ) Jonson, Ben (1572–1637): actor, poet, but especially successful and highly influential Jacobean playwright of comedy; contemporary of Shakespeare (Shakespeare may have acted in one Jonson’s early plays); a volatile, quarrelsome, intense, and self-regarding temperament; perhaps best known for Volpone, The Alchemist, and Bartholomew Fair (his poem, Song to Celia, has also become famous); because Jonson receives a pension from the royal family in 1616, he is some ways the first poet laureate; Keats owned a copy of The Dramatic Works of Jonson, and Beaumont and Fletcher (the 4-volume 1811 edition); in January 1818, Keats writes a poem about an evening at the Mermaid Inn in Cheapside, where he imagines Jonson, Fletcher, Beaumont, and Shakespeare gathering: Lines on the Mermaid Tavern.
kean_e: (Kean, Edmund) Kean, Edmund (?1787/9-1833): controversial, celebrity actor, mainly in Shakespearean tragedies; perhaps most notable as Richard III; an uneven personality, plagued by vanity and insecurity, at times compromised by alcohol addiction; much praised by Keats’s friend, the critic William Hazlitt; Keats sees Kean perform on a few occasions and is struck by Kean’s forceful embodiment of actual words, which makes Keats reflect upon intensive yet controlled qualities he strives for in his own poetry.
keats_f: (Keats, Fanny) Keats, Fanny (1803–89): Keats’s younger sister; some suggestion of resemblance to brother Tom; after 1814 and until 1824, she was the ward of Richard Abbey, the family trustee, who at times thwarted contact between Fanny and Keats; Keats is very, protective of her from an early age; some of his final thoughts are of Fanny; she marries a Spanish diplomat and writer in 1826.
keats_g: (Keats, George) Keats, George (1797–1841): older of Keats two younger brothers; attended same school (in Enfield) as Keats; introduces Keats to some lasting friends; outgoing, fairly ambitious, great belief in Keats’s poetic aspirations; very close to Keats; lives with his brothers at certain points; emigrates to America, June 1818, only to experience business failure; returns to England in 1820 to refinance himself from the family estate, which leads Keats to have some uncertainty about George’s motives; financial and personal success on second trip to America (settling in Kentucky); Keats writes some very important journal letters to George and his wife, Georgiana; dies of consumption.
keats_g2: (Keats, Georgiana (née Wylie)) Keats, Georgiana (née Wylie) (1798–1879): wife of Keats’s brother, George (they marry 28 March 1818); Keats very fond of her, and admired her modesty and intelligence; Keats writes completely openly to her in some important journal letters co-addressed to George, especially after the couple immigrates to America in June 1818.
keats_t_jun: (Keats, Tom) Keats, Tom (1799–1818): Keats’s youngest brother; like Keats, educated at Clarke’s school; tall and thin, considered gentle with good humour; longstanding heath issues; as an adult, lived with Keats on a few occasions; temporarily works for Abbey; much loved by Keats, with great mutual understanding of each other; Keats nurses Tom to his death from tuberculosis.
keats_t_sen: (Keats, Thomas) Keats, Thomas (?1773–1804): Keats’s father [sometimes spelled Keates]; works the Swan and Hoop inn and livery stables after meeting Keats’s mother there; her parents (John and Alice Jennings) own the Swan and Hoop; not long after the marriage and after he had been head ostler, he begins to manage the business; known to be sensible, energetic, and respectful; dies in late-night riding accident—the cause unclear.
kingston_j: (Kingston, John) Kingston, John (?-?): comptroller at the Stamp Office in London, and technically William Wordsworth’s superior, since Wordsworth was stamp comptroller for Westmoreland; a very awkward and unintentionally humorous presence at Benjamin Robert Haydon’s so-called immortal dinner (of Sunday, 28 Dec 1817), which Keats attends, along with Wordsworth, Charles Lamb, and others; Haydon is anxious to show his very large canvas, an ambitious historical painting entitled Christ’s Entry into Jerusalem: Keats, Lamb, and Wordsworth are painted into the scene as spectators.
lamb_c: (Lamb, Charles) Lamb, Charles (1775–1834): first-rate essayist, second-rate poet; witty, acute, eloquent; an acquaintance of Keats; close to some of Keats’s friends, including Leigh Hunt and Benjamin Robert Haydon; perhaps best known for his Tales From Shakespeare (1807), written with his sister, Mary Ann, whom he takes care of despite a life-long mental illness; long, close friendship with William and Dorothy Wordsworth; Keats meets Lamb at Haydon’s so-called immortal dinner, 28 December 1817, and likely sees him in other circumstances; Lamb in a July 1820 review strongly commends Keats’s 1820 volume. Very much a London man.
lockhart_j: (Lockhart, John Gibson) Lockhart, John Gibson (1794–1854): legally trained, but noteworthy as editor, reviewer, writer, literary critic, minor translator; biographer, novelist; after 1820, son-in-law of Sir Walter Scott, of whom he writes a biography; contributor to the Whig Blackwood’s Edinburgh Magazine, in which he (with a measured conflation of wit and venom) anonymously (“Z”) pillories Leigh Hunt, founder of what he calls “the Cockney school of poetry,” and then Keats, as Hunt’s underling; later editor of Quarterly Review.
lowther_l: (Lowther, Lord) Lowther, Lord (1787–1872): (William Lowther; Earl of Lonsdale) politician; Keats very disappointed that William Wordsworth is an active supporter of Lord Lowther, who, as the area’s largest landowner, controls the Tory side of parliamentary representation for Westmorland: sad—sad—sad— writes Keats 26 June 1818 about this circumstance, even though at this time he is attempting to see Wordsworth during a walking expedition through Westmorland, heading north to Scotland.
mackintosh_j: (Mackintosh, James) Mackintosh, James (1765–1832): knighted 1804; lawyer, doctor, writer (history, philosophy, journalism), politician (Whig), professor, judge; admires Keats, and in July 1818 is upset by attacks on Keats’s Endymion (he apparently writes to Keats’s publisher to express his admiration and asks about Keats’s high designs); Macintosh’s Miscellaneous Works (3 vols.) are published in 1846 (edited by his son).
mathew_g: (Mathew, George Felton) Mathew, George Felton (1795-?): early London friend of Keats, met via his brother, George, mid-1815; some over-estimated poetic aspirations; Keats enjoys some social events with Mathew and his female cousins; Mathew publishes an upbeat poem to Keats in October 1816; Keats writes an epistle to Mathew that appears in his first collection, the 1817 Poems; conservative Mathew evolves some resentment over Keats’s poetic gifts (and politics), and he reviews Keats’s first collection; as their friendships peters (by late 1816), Keats moves into more a more serious and progressive cultural circle via Leigh Hunt.
milman_h: (Milman, H. H.) Milman, H. H. (1791–1868): [Henry Hart] poet, hymn writer, historian, dramatist, professor, editor, translator ecclesiastic (Dean of St. Paul’s); prolific contributor to the Quarterly Review; Keats sees Milman’s verse drama Fazio (previously billed, unbeknownst to Milman, as The Italian Wife) on opening night at Covent Garden, 5 February 1818—the play, Keats says, hung rather heavily me.
milton_j: (Milton, John) Milton, John (1608–1674): pamphleteer and polemical writer, lyric and epic poet, particularly noteworthy for Paradise Lost; staunch republican sympathies; Keats studies Milton very deeply, as noted by his detailed marginalia in his copy of Paradise Lost; though he decides that while Milton’s accomplishment is a “wonder,” and that his imaginative scope is almost unapproachably grand, aspects of his style may be to artful (or just not natural enough) for him to pursue, though Keats’s unfinished Hyperion projects are ways for Keats to come to terms with Milton’s poetic powers.
monkhouse_t: (Monkhouse, Thomas) Monkhouse, Thomas (1783–1825): well-to-do London merchant; close cousin of Mary Wordsworth (née Hutchinson), wife of William Wordsworth; in late 1817, Benjamin Robert Haydon arranges for Keats to meet Wordsworth via Monkhouse at Monkhouse’s residence; Keats will have a few subsequent meetings with Wordsworth; a few later, Monkhouse runs into Keats and invites him to meet with Wordsworth again in June 1820, but health problems warn him off.
montagu_b: (Montagu, Basil) Montagu, Basil (1770–1851): barrister, member of Chancery bar, writer on topics related to copyright, bankruptcy, the death penalty, human rights, prevention of cruelty to animals, Lord Bacon; good friends with Samuel Taylor Coleridge and William Wordsworth (to whom he is introduced by William Godwin; during a difficult period Montagu’s life, Wordsworth and his sister Dorothy care for Montagu’s son); Montagu represents Keats’s acquaintance Percy Shelley in a custody case; on 16 February 1817, Montagu is present at a dinner with Shelley and his wife Mary, Leigh Hunt, William Hazlitt, and Godwin, where they read Keats’s On First Looking into Chapman’s Homer, of which Hunt has a copy—they apparently deem it extraordinary.
moore_t: (Moore, Thomas) Moore, Thomas (1779–1852): poet, editor, satirist, biographer, historian, composer; good friend of Lord Byron; contributor to and then editor of The Edinburgh Review; during Keats lifetime, perhaps most famous for his poem Lalla Rookh (1817) and gatherings of Irish Melodies; Keats: I like that Moore (3 May 1818) and does not admire Moore (18 Feb 1819); Percy Shelley summons Moore (among other poets) as a mourner of Keats in his elegy on Keats, Adonais (1821).
newton_i: (Newton, Isaac) Newton, Isaac (1642-1727): singularly significant English physicist and mathematician who gave mathematical descriptions and explanations of light, gravity, and planetary motion. Some Romantic thinkers debated the practice of reducing the understanding of nature to scientific explanation.
novellos_t: (The Novellos) The Novellos: Via Leigh Hunt’s circle, Keats has some social contact with this highly musical and large family, headed by the mother, Mary, and father, Vincent (1781-1861), though Keats also finds the overly witty behaviour of their company fairly tiresome. Vincent is central to the musical society of the day: organist, pianist, music teacher, composer, choir master, conductor, a founding member of the Philharmonic Society, and, importantly, musical publisher; besides Hunt, Novello circle Charles Ollier, Charles and Mary Lamb, Henry Robinson, Charles Ollier, and many others. A few of his daughters will become established singers. In 1828, one of Novello’s daughters, Mary Victoria, will marry Keats’s earliest mentor, Charles Cowden Clarke.
ollier_c: (Ollier, Charles) Ollier, Charles (Ollier brothers, Charles [1788–1859] and James [1795–1851]): publishers, stationers, booksellers; on commission, publishers of Keats’s first collection, Poems, by John Keats, 1817; Charles has some interest in writing poetry; as publishers, James covers more of the business end; publisher of others in Keats’s circle, including Leigh Hunt, Percy Shelley, Charles Lamb; after his first collection, Keats drops the Olliers (for Taylor & Hessey), in part because he does not want to pay for publication, and the Olliers complain that the volume did not sell—Keats felt they did not promote the collection enough; in truth, Poems is a bit of a mess, even at the level of layout; the Olliers are within Hunt’s circle, and Keats does occasional socializing with them.
ollier_j: (Ollier, James) Ollier, James (Ollier brothers, Charles [1788–1859] and James [1795–1851]): publishers, stationers, booksellers; on commission, publishers of Keats’s first collection, Poems, by John Keats, 1817; publisher of others in Keats’s circle, including Leigh Hunt, Percy Shelley, Charles Lamb; as publishers, James mainly covers the business end; after his first collection, Keats drops the Olliers (for Taylor & Hessey), in part because he does not want to pay for publication, and the Olliers complain that the volume did not sell—Keats felt they did not promote it enough; in truth, Poems is a bit of a mess, even at the level of layout.
peacock_t: (Peacock, Thomas Love) Peacock, Thomas Love (1785–1866): essayist, poet, novelist; mainly self-educated; opinionated, observant; rises to a senior position in the East India Company; most famous for his satirical novels, Headlong Hall (1816), Melincourt (1817), and Nightmare Abbey (1818), which, propelled by conversation, intelligently mock political and philosophical subjects and positions; Peacock’s most noteworthy poetry is Rhododaphne (1818); close friends with Percy Shelley; Keats meets Peacock via Leigh Hunt, early 1818.
quincey_t: (Quincey, Thomas de) Quincey, Thomas de (1785–1859): editor, essayist, journalist, translator; friends with William Wordsworth, William Southey, Samuel Taylor Coleridge, Charles Lamb, and William Hazlitt; most famous for The Confessions of an English Opium-Eater: Being an Extract from the Life of a Scholar (1821/1822).
randall_j: (Randall, Jack) Randall, Jack (1794–1828): popular bare-knuckle boxer (16-0-1), known as the Nonpareil and the prime Irish Lad, and the first professional boxer to retire undefeated; Keats sees Randall battle Ned Turner in Sussex, 5 December 1818 (Randall knocks Turner out in the 34th round); the prize fight is just a few days after the death of Keats’s younger brother, Tom (Keats’s friends likely think the outing might be a good distraction).
reynolds_j: (Reynolds, John Hamilton) Reynolds, John Hamilton (1794–1852): clerk, poet, reviewer, novelist, playwright, lawyer; witty, outgoing; meets Keats via Leigh Hunt, becomes a very close and supportive friend of Keats, and seems to get the direction and level of Keats’s poetic aspirations; Keats writes some significant letters to Reynolds about poetry and his role as a poet; connects Keats with other important friends; Keats also writes a casual verse epistle to Reynolds in March 1818, containing some meandering ideas about art, the imagination, and intensity—key subjects for Keats; Reynolds provides critical feedback to Keats during Keats’s poetic development; Keats friendly with Reynolds’ sister, Jane and Mariane; eventually bankrupt by 1838; on his tombstone: The Friend of Keats.
rice_j: (Rice, James) Rice, James (1792–1832): lawyer, well read; known in the Keats circle as wise, unconditionally kind, noble, witty, sensible, and gentlemanly; poor health; Keats stays with him for about a month on the Isle of Wight; Keats meets via Reynolds; one of the financial supporters in getting Keats to Italy; becomes Fanny Keats’s lawyer.
richards_c: (Richards, Charles) Richards, Charles
richards_t: (Richards, Thomas) Richards, Thomas (?-?): government worker (ordnance office), sometimes theatre reviewer; a casual friend to Keats and some in Keats’s circle; Keats apparently gets so drunk at a gathering at Richards’ on 14 December 1816 that he is useless the next day (a whoreson night, he calls it—the weather or his state?); he also dines with Richards occasionally through the next few years, up until early 1820; on 17 January 1820, Keats compares Richards to two of his other friends, with the suggestion that Richards is hard to fathom; Charles Richards, Thomas’ brother, is the printer of Keats’s 1817 collection, Poems, though result suggests some inexperience on the part of Charles; the connection with the Richards brothers comes from the circumstance of both of them attending the same school as Keats at Enfield.
scott_j: (Scott, John) Scott, John (1784–1821): editor of various magazines, including The London Magazine and earlier The Champion; publishes many important writers of the era; often contributor to his magazines; strong liberal sympathies with some idealist tendencies; public supporter of the reputation of Keats and his circle; Tom Keats gives copy book of Keats’s poetry to Scott in Paris, 1817; in February 1821 is wounded and then dies in a duel over literary matters peripherally related to a defence of Keats, after Scott’s constant attacks on the integrity of Blackwood’s Edinburgh Magazine, with mutual abuse returned from Blackwood’s.
scott_w: (Scott, Walter) Scott, Walter (1771–1832): Scottish poet and novelist; also editor, literary critic, biographer, historian, though originally trained as a lawyer; perhaps the most popular and influential writer of Keats’s era; especially famous for The Lay of the Last Minstrel (1805), Marmion (1808), The Lady of the Lake (1810—all ballad epics), and the Waverly novels; extraordinary early success is levelled by financial stress beginning in 1813 and increasing by 1825-26, when Scott is forced to confront bankruptcy; prolific output continues, but mainly to pay off creditors; Keats assesses Scott as two of the three literary kings in our Time: the poet Scott, the novelist Scott, and Lord Byron (letters, ?29 Dec 1818).
severn_j: (Severn, Joseph) Severn, Joseph (1793–1897): versatile and devoted painter, but mainly a subject painter; attended Royal Academy; initially a friend of Keats, believer in Keats’s genius and in promoting it; introduces some art to Keats; paints famous miniature of Keats (exhibited May 1818); as a last-moment decision, he accompanies Keats to Rome and closely nurses Keats through his final, agonizing months (and details it), which is a defining feature of Severn’s reputation—this earns Severn clear intimacy with Keats; some suggestion that Severn was keen to accompany Keats to Italy because of an illegitimate child; has some early success as a painter in Rome; later British Consul in Rome; buried beside Keats in Rome in matching graves; profited by (and culturally nurtured) his association with Keats.
shakespeare_w: (Shakespeare, William) Shakespeare, William (1564–1616): playwright, poet, theatre owner; Shakespeare’s reputation very high in the Romantic era as a creative, poetic genius, an unparalleled seer-into nature and human nature; Keats deliberately studies Shakespeare until he feels he understands Shakespeare to his depths; Keats attempts to emulate aspects of Shakespeare’s dramatic and poetic powers, and in particular the poet’s imaginative absorption into the subject.
shelley_m: (Shelley, Mary) Shelley, Mary (1797–1851): novelist (most famously of Frankenstein, 1818), editor, biographer; intellectual, generally private; daughter of William Godwin and Mary Wollstonecraft; marries Percy Shelley; Keats meets on a few occasions.
shelley_p: (Shelley, Percy Bysshe) Shelley, Percy Bysshe (1792–1822): poet; unrelenting radical and reformist enthusiasms, anti-authoritarian, dedicated pursuit of idealised, visionary truths and social justice; eccentric, intellectually precocious, generous, sometimes erratic; marries Mary Wollstonecraft Shelley (author of Frankenstein, editor of Shelley’s poetry after his death), William Godwin’s daughter; both Percy and Mary acquainted with Keats via Leigh Hunt, and they do some socializing with Keats; Percy is more enthused by Keats than Keats with him; Shelley invites Keats to Italy to stay with him when Keats is ill—Keats declines; implicit competition and pairing with Keats; writes brilliant elegy to Keats, Adonais; drowns in a sailing accident, aged 29, with Keats’s final collection stuffed into his pocket; buried not too far from Keats in Rome.
smith_h: (Smith, Horace (Horatio)) Smith, Horace (Horatio) (1779–1849): stockbroker, quite successful as a journal and newspaper contributor, but a very minor poet, writer of historical novels and parody; known to Percy Shelley as generous.
southey_r: (Southey, Robert) Southey, Robert (1774–1843): poet, critic, historian; prolific, popular, but generally considered unimaginative and unintense as a poet; Poet Laureate from 1813 until his death; strong early connections to Wordsworth and Coleridge, as well as to the Quarterly Review; because, over time, his early radical sympathies are perceived to be compromised, by some he is lampooned for his turn to conservatism (notably by Lord Byron and Thomas Love Peacock; also disliked by William Hazlitt); Keats did not admire him.
spenser_e: (Spenser, Edmund) Spenser, Edmund (?1552–1599): key poet of the English high middle ages, most famously of the masterful and allusive The Faerie Queen, a long epic romance embedded with allegorical intent that brushes up against politics, morality, and religion; innovative stylist (the Spenserian stanza, in particular); highly influential in guiding Keats’s very early poetical aspirations, though Spencer is never fully left behind in Keats’s poetic progress, ranging from the level of diction to Keats’s attraction to romance.
spurgin_j: (Spurgin, John) Spurgin, John (1797-1866): medical student, then physician, sometimes writer on medical matters, as well as occasional inventor; long-serving Chairman of the Swedenborg Society of London. Keats may have met Spurgin via the Mathews’ social events or through St. Thomas’s Hospital, where Spurgin trained 1813-1815. In a long, detailed December 1815 letter, he attempts to attune Keats to Swedenborgian teachings; earlier, the two must have exchanged some books as well as ideas about religion and belief; it is clear Spurgin hopes to convert skeptical Keats. He fades from Keats’s circle.
taylor_j: (Taylor, John) Taylor, John (1781–1864): scholarly, progressive publisher and bookseller; editor, minor writer, pyramidologist; half of Keats’s publisher, Taylor & Hessey; Keats meets through Reynolds; extremely generous with Keats; very loyal to and supportive of Keats and his poetry; helpful biographical knowledge about Keats; along with Hessey, he more or less sponsors Keats’s later publishing; Keats in his will wants, somehow, Taylor to be repaid for his friendship and generosity.
turner_n: (Turner, Ned) Turner, Ned (1792–1826): bare-knuckle prize fighter and the first Welsh champion, known as the pugilistic Prince of Wales; he spent a few months in jail for killing a man in the ring in 1816; Keats sees him defeated by Jack Randal, 5 December 1818.
virgil: (Virgil) Virgil (70-19 BCE): classical Roman poet, most famous for The Aeneid; Keats, as a teen-aged student, and under the general guidance of his headmaster’s son at Enfield (Charles Cowden Clarke), takes up the challenge to translate The Aeneid, and confident and smart enough to suggest flaws in the poem’s narrative structure; Keats no doubts gets some first sense of epic grandeur (and passion for poetry’s scope and power) by undertaking the translation; Keats is utterly conversant with Virgil, as demonstrated in various quotes from him thrown into his letters, as well as occasional allusions.
voltaire: (Voltaire) Voltaire (1694–1778): French dramatist, poet, philosopher, novelist, historian; best known for his satirical novel Candide and his free-thinking, humanistically-styled sense of virtues, tempered by skepticism; Keats is familiar with Voltaire, reinforced, perhaps, by his friend, the critic William Hazlitt; Keats casually quotes from and refers to Voltaire in passing on a few occasions, and we know he is reading Voltaire’s Le Siècle de Louis XIV in early 1819.
webbe_c: (Webbe, Cornelius) Webbe, Cornelius (1789–1850?) [also Webb]: fairly prolific poet of the second rank, with some popularity and critical approval; later an essayist, again of minor note; great admirer of Keats; Webbe writes a glowing, over-poeticized sonnet (To John Keats, on his First Poems) that celebrates Keats’s earliest collection and its connection with Spencer, who he deems Keats’s sire; Webbe is forever connected with Keats as poets of the Cockney school under the tutelage of Leigh Hunt; Keats knows Webbe via Hunt and Hampstead gatherings; Keats gives a copy of his 1817 Poems to Webbe; Webbe is perhaps most famous for, in a poem, placing Keats and Hunt alongside Chaucer, Spencer, Shakespeare, Milton, Byron, and Wordsworth, as if Hunt and Keats are their poetic equals: Z (John Gibson Lockhart) abuses Webbe’s words (capitalizing HUNT, and KEATS) to begin a devastating assault on Hunt, published in Blackwood’s Edinburgh Magazine, October 1817 (Webbe will also be nominated as Corny Webb, just as Keats is little Johnny); Keats in a letter of 3 November 1817 says he has never read any thing so virulent, and he anticipates a forthcoming attack on himself.
wells_c: (Wells, Charles) Wells, Charles (1800–1879): solicitor; spirited friend of Keats; sometimes dramatist and poet; friend, too, of Keats’s youngest brother, Tom, who schooled with Wells; Keats writes an early poem to Wells; Keats gives an inscribed copy of his first collection the 1817 Poems, by John Keats, to Wells; Keats later very upset with Wells when, in 1818, he looks at the fake letters that Wells, as a joke, had sent to Tom back in 1816; has some reputation with the Pre-Raphaelites.
west_b: (West, Benjamin) West, Benjamin (1738–1820): prominent American painter, primarily of historical topics (though many portraits); perhaps the first American painter to carefully study Italian art in Italy; influential in England, France, as well as in the United States (leaving a legacy of painters); one of the founders of London’s Royal Academy; at points he benefits from the patronage of George III and William Beckford; crucially, Keats sees one of West’s more famous canvases, Death on a Pale Horse, in December 1817, which, in a letter of 21 (?27) December 1817, directly triggers some of Keats’s most important pronouncements: how truly excellent art must possess intensity, and with it, the power to evaporate all “disagreeables” in having close relationship with Beauty & Truth (Keats emphasizes that West’s painting does not possess such intensity)—this line of thinking leads Keats, in the same letter, to a seminal articulation in his poetic development: Negative Capability.
westbrook_h: (Westbrook, Harriet) Westbrook, Harriet (1795–1816): smart, pleasant, lively, graceful; the first wife of Keats’s acquaintance and fellow poet Percy Shelley, who is also a member of the Leigh Hunt circle; in 1811, Shelley (19) and Harriet (16) marry in Scotland (they remarry in London, March 1814); they spend little time together; she gives birth to a daughter (Eliza Ianthe) in June 1813, and a son (Charles Bysshe), in November 1814; Shelley subsequently elopes with Mary Godwin (16), daughter of William Godwin, in July 1814 and a month later he writes a letter inviting Harriet to Switzerland to live as friends; Harriet commits suicide late November, drowning herself, aged 21, in a state of advanced pregnancy; Shelley is not likely the father; Shelley blames Harriet’s detestable family for the tragedy; Shelley is denied custody of his two children; Keats is aware of all of this, having some contact with Shelley and Mary during the public legal proceedings, which made the newspapers.
woodhouse_r: (Woodhouse, Richard) Woodhouse, Richard (1788–1834): educated at Eton; scholar, writer, conveyancer, legal advisor to Keats’s publisher, Taylor & Hessey; organizes Keats’s copyright transfer to them before Keats is off to Italy; singularly important collector of Keatsiana; practical and detail oriented; extraordinarily generous with Keats, and a close friend to the end; absolutely sure of Keats’s poetic genius; Keats writes his famous “poetical Character” and “camelion poet” letter to Woodhouse, 27 October 1818; central in organizing Keats’s trip to Italy; dies of tuberculosis.
wordsworth_m: (Wordsworth, Mary) Wordsworth, Mary (1770–1859): (née Hutchinson); wife of poet William Wordsworth (married 4 October 1802); like William’s sister Dorothy, Mary at times acts as Wordsworth’s amanuensis; Keats meets Mary when she is with William in London in early 1815; Keats (like others) have the sense that Dorothy and Mary (who both live with William) are overly protective of and reverent to William; in a letter 21 March 1818, Keats writes that William has returned to his Shell—with his beautiful wife and enchanting sister.
wordsworth_w: (Wordsworth, William) Wordsworth, William (1780–1850): the most significant contemporary poet for Keats; Keats is deeply ambivalent about Wordsworth, based mainly on the older poet’s growing pretensions and conservative political affiliation; Keats meets Wordsworth (initially via Haydon) a few times late 1817 into early 1818; in contra-distinguishing himself from Wordsworth, Keats famously condemns the “wordsworthian or egotistic sublime” in poetry (letter, 27 October 1818); Keats is nevertheless fully in awe of Wordsworth’s poetic depths, which in some of his mature poetry he attempts to emulate—in his own terms, he feels Reverence toward the older poet; Wordsworth is Poet Laureate after 1843 until his death; forever paired with Samuel Taylor Coleridge.
wylies_t: (Wylies, the) Wylies, the (May 1818): George Keats (Keats’s brother) marries Georgiana Augusta Wylie (?1797-1879). Georgiana’s parents (her father was a military man) have two sons, Henry and Charles. Via George, Keats comes to know the family and to frequently socialize with them; he is particularly fond of Mrs. Wylie. George and Georgiana emigrate to Kentucky for cheap property and opportunity; they are eventually very successful in business and in creating offspring—eight in total. Some of Keats’s most important letters are written to George and Georgiana after they move to Kentucky; Keats’s tone in these letters marks his familiarity and openness with Georgiana, as well as interest in her family of origin.

data-p2

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abbey_r: (Abbey, Richard) Abbey, Richard (1765–1837): a fairly prosperous and ambitious London tea dealer/broker and holder of some public offices; trustee of the Keats family legacy after the deaths of Keats’s mother and maternal grandparents (Abbey is appointed by Keats’s grandmother, Alice Jennings, in 1810; the other appointee, John Nowland Sandell, a well-to-do businessman, dies in 1816); Abbey is mistrusted by Keats and his sister, Fanny, who lives with the Abbey family for a spell; he strongly disapproves of Keats’s poetic aspirations (and politics); significantly, Keats is never fully aware of his finances in the form of inherited family money; brothers Tom and George at times work for Abbey.
bailey_b: (Bailey, Benjamin) Bailey, Benjamin (1791–1853): scholar with philosophical and literary interests, ordained church clergyman (curacy); meets Keats in spring 1817; shares interests in Wordsworth, Milton, Plato, Dante, and Hazlitt with Keats; Keats writes a few very important and theoretically explorative letters to Bailey, and Keats found him of noble disposition (he publicly defends Keats); Keats stays with Bailey at Oxford University (Magdalen Hall) in September 1818 into early October; visits Stratford with Keats; later in life, Bailey wrote minor poetry and sermons; eventually becomes an archdeacon.
beaumont_f: (Beaumont, Francis) Beaumont, Francis (1584–1616): Jacobean dramatist, poet; most famous as a collaborator with John Fletcher; Keats owned a copy of 4-volume 1811 edition of The Dramatic Works of Jonson, and Beaumont and Fletcher; Keats writes a poem about an evening spent at the Mermaid Inn in Cheapside, in which he imagines Jonson, Fletcher, Beaumont, and Shakespeare gathering: Lines on the Mermaid Tavern, written January 1818.
bentham_j: (Bentham, Jeremy) Bentham, Jeremy (1747-1832): Utilitarian philosopher, driven by pragmatic thinking and moral approach to understanding and describing human nature and human rights; interested in topics like penal reform, education, and hospitals.
bewick_w: (Bewick, William) Bewick, William (1795–1866): an art student of Keats’s very good friend, the historical painter Benjamin Robert Haydon; Bewick socializes with Keats via Haydon and others in Keats’s circle: in a letter of 11 February 1818, Bewick calls them very intellectual dinners, and he mentions the presence of Keats the poet, Hazlitt the critic, Haydon, Hunt the publisher, &c., &; Keats runs into Bewick at exhibitions; Bewick goes on to become a portrait and historical painter of average though professional qualities.
boccaccio: (Boccaccio) Boccaccio (1313–1375): Italian Renaissance humanist, writer, scholar, poet; most famous for his innovatively realistic poem, Decameron; Keats’s and his friend John Hamilton Reynolds entertain assembling a volume of poems based on Boccaccio’s Decameron; Keats’s somewhat interesting though indifferent poem Isabella (written 1818, published in the 1820 collection) is inspired by Boccaccio.
brawne_f: (Brawne, Fanny) Brawne, Fanny (1800–65): born in London’s West End; likely meets Keats autumn 1818 via the Dilkes (she’s eighteen); with widowed, kindly mother and siblings, lives next door to Keats at Wentworth Place, spring 1819 (they take care of Keats, Aug. 1820); lively, social, smart (proficient in German and French), musical, keen perceptions, strong opinions, fashionable, middle-class, but disliked by some of Keats’s friends, who see her as flirtatious and vain (early Keats biographers tend to view her as unfit for Keats); perhaps unofficially betrothed to Keats in late 1818, but more likely a mutual declaration of love; Keats writes striking love letters to her, but when Keats becomes ill they devolve into overly longing and jealous rants as Keats becomes increasing ill and distraught that he might never again be with her (publication of Keats’s love letters in 1878 causes some literary commotion); she remarries in 1833 and has a daughter and two sons; dies in London; Fanny’s widowed mother, Frances, is very kind toward Keats.
brougham_h: (Brougham, Henry) Brougham, Henry (1778–1868): lawyer, founder and contributor of Edinburgh Review; member of Parliament on the Whig side, a leader in the House of Commons, known for liberal reforms (on abolition, education, criminal issues, voting reform), famous for his causes and speeches; later Lord Chancellor of Great Britain; as a politician, Brougham contests Westmorland, while Keats is very disappointed that William Wordsworth is a supporter of Lord Lowther, who controls the Tory side for Westmorland: sad—sad—sad— writes Keats 26 June 1818.
brown_c: (Brown, Charles Armitage) Brown, Charles Armitage (1787–1842): businessman, fur merchant, decent amateur artist, writer of a comic opera and some translations as well as a study of Shakespeare’s poems; some literary lectures; lived independently on inheritance money; one of Keats’s very closest friends (Keats is twenty-one when they meet), and knew Keats as well as anyone; extraordinarily supportive of and generous with Keats; lives with Keats on a few occasions; also travels with Keats, most famously on their long walking tour in the summer of 1818; kept a considerable collection of transcripts of Keats’s work; co-author with Keats of a somewhat indifferent play (never produced), Otho the Great; co-owner of Wentworth Place (two semi-detached houses), now Keats House; attempted a memoir of Keats.
burns_r: (Burns, Robert) Burns, Robert (1759–1796): Scottish poet and songwriter, celebrated for his use of Scots vernacular; exciseman in later life; ambitious, freethinking; likely dies of bacterial endocarditis, perhaps compromised by alcohol; a legend by Keats’s time, venerated by the Romantics; Keats’s northern walking tour with Charles Brown in the summer of 1818 has for one of its goals to gather some sense of Burns’ world; Keats remains confused about Burns, in particular his life and poetic subjects; though Keats has sympathies with Burns as a self-reliant outsider, he also importantly views Burns as a cautionary figure; Keats’s poem, On Visiting the Tomb of Burns, which, though weak, pairs Keats’s conjoined topics of beauty and suffering; Keats also writes This mortal body of a thousand days while in the cottage of Burn’s birth—Keats calls his lines bad.
byron: (Byron, George Gordon (Lord)) Byron, George Gordon (Lord) (1778–1834): one of the most successful and controversial poets of the era; a handsome, flamboyant celebrity who came to represent liberty, individuality, and vitality; extraordinarily famous during his life as a published poet (and conflated with the heroes he creates), but, on a pan-European scale, legendary after his death; Keats unimpressed by Bryon’s style of poetry, perhaps tainted by some jealousy of Byron’s success; Byron initially finds Keats’s poetry juvenile and imaginatively indulgent, though based on an impression of his early work.
chatterton_t: (Chatterton, Thomas) Chatterton, Thomas (1752–1770); boy wonder poet of wide, ambitious talents; most notable for his invention of some fifteenth-century poems, written by a fake poet, Thomas Rowley; commits suicide, aged 17; popular with other Romantic writers as the idealized youthful, martyred, suffering poet; Keats’s dedicates Endymion to him; one of Keats’s earliest known poem is his 1815 Oh Chatterton! How very sad thy fate, which mourns the sad outcome for the young genius who now sings among the stars; Keats comes to believe that Chatterton’s verse possesses a pure English idiom, as opposed to Milton’s extraordinary but beautiful corruptions of the language.
chaucer_g: (Chaucer, Geoffrey) Chaucer, Geoffrey (?1343–1400): successful poet, member of the Royal Service, customs comptroller, diplomatic service officer/courtier, astronomer, translator; famous for his Canterbury Tales, Troilus and Criseyde, The Legend of Good Women, and The Book of the Duchess; often favored as the father of English Literature; Keats is fully familiar with Chaucer (he has no problem quoting Chaucer fairly casually); with some nostalgia, Keats associates Chaucer with a high, noble point in English literary history; Keats writes one of his poems (This pleasant tale is like a copse) into a copy of a friend’s copy of Chaucer’s works, where Keats also makes textual markings in Troilus and Criseyde, indicating a close study of Chaucer’s observations and characterization—in a letter to his lover Fanny Brawne, Keats identifies with Troilus enough to express his fears to Fanny’s about her faithfulness (Feb 1820).
christie_j: (Christie, Jonathan) Christie, Jonathan (?-1876): barrister; London agent for William Blackwood, of Blackwood’s Edinburgh Magazine; acting for his friend John Gibson Lockhart, who writes for Blackwood’s, Christie (as Lockhart’s second) in February 1821 kills the John Scott, editor of The London Magazine and defender of Hunt and Keats, in a duel over the integrity of Blackwood’s, which Scott has been slamming; tried for wilful murder and acquitted
clairmont_c: (Clairmont, Claire (Mary Jane)) Clairmont, Claire (Mary Jane) (1798–1879): illegitimate, freethinking daughter of William Godwin’s second wife; stepsister to Mary Wollstonecraft Shelley; mother to an illegitimate daughter (Allegra) with Lord Byron, who she pursued both before and after the birth of Allegra (who dies aged five); part of Percy Shelley’s entourage between 1814–1822; importantly, Claire introduces Shelley to Byron.
clark_j: (Clark, James) Clark, James (1788–1870): surgeon, trained at University of Edinburgh; treated Keats’s tuberculosis in Rome with care but in keeping with ill-informed contemporary practice (e.g., bloodletting, dieting, exercising). It might also be noted that, in 1821, Clark was in the early stage of his medical career, having gained his MD in 1817.
clarke_c: (Clarke, Charles Cowden) Clarke, Charles Cowden (1787–1877): teacher, publisher (including music), bookseller, informed musical and literary interests; later an art and theatre reviewer, extensive lectures on Shakespeare, and very minor poet; son of Keats’s headmaster at Enfield; widely connected to literary circles of the day; strong and important (if not crucial) early influence on Keats’s literary tastes, as well as, early on, very close to Keats; very significantly, he introduces Keats to Leigh Hunt in 1816, thus greatly expanding Keats’s London social network; he mainly drops out of Keats’s circle in 1817; strong defender of Keats’s posthumous reputation; Keats writes a verse letter to Clarke in October 1816, thanking him for tutoring his literary passions; marries Vincent Novello’s daughter, Mary.
coleridge_s: (Coleridge, Samuel Taylor) Coleridge, Samuel Taylor (1772–1834): poet, critic, journalist, theologian, philosopher, lecturer, extraordinary conversationalist, and living legend by the time of Keats’s chance encounter with him in April 1819; a genius, compromised by addiction issues and an overly ambitious spread of intellectual interests; forever paired with William Wordsworth; Keats is fully acquainted with his poetry as well as some of his ideas and literary criticism.
cox_j: (Cox, Jane) Cox, Jane (?-?): a cousin of Keats’s of the Reynolds’ family, born in India; a woman whose shape, Keats writes, haunts him for a couple of days in September 1818; Keats still seems intrigued by her into October, when he describes her rich eastern look, how, when she enters a room, she makes an impression the same as the Beauty of a Leopardess, that she is a fine thing with magnetic powers, and how other women become jealous of her; Keats nominates her as Charmian (letter, 14 Oct 1818); interestingly, and consistent with his notion of the camelion poet that can enter and sympathetically assume the subjects he imaginatively contemplates, Keats writes, I forget myself entirely because I live in her.
croker_j: (Croker, John Wilson) Croker, John Wilson (1780–1857): member of Parliament (Tory), political expert, and fascinated by French Revolution documents; co-founder of and contributor to the Quarterly Review; writes a nasty review of Keats’s Endymion (published September 1818), nominating Keats as an unintelligible copyist of Leigh Hunt.
dante: (Dante) Dante (?1265–1321): Italian poet, highly influential, most famous for his poetic trilogy, The Divine Comedy; Keats read Henry Francis Cary’s 1805 translation, and certainly its first section, Inferno, into which he makes many markings; Keats begins to master Italian in order to read Dante more fully; Keats takes the three volumes of Cary’s translation taken on his Scottish walking tour; Dante’s influence is perhaps most apparent in The Fall of Hyperion.
davenports_t: (The Davenports) The Davenports: Likely met via Brown or Dilke; the family live at 2 Church Row, Hampstead. Keats on occasion dines and goes to some parties there; Keats and Brown at least once reciprocate. Mrs. Davenport kindly helps to take care of Tom, November 1818. Mr. Burrage Davenport (or, at times, incorrectly, “Burridge” or “Benjamin”, 1778-1863) is a well-to-do merchant banker in London. A gift copy of Keats’s last collection (1920) given to the Davenports contains Keats’s angry comment about the book’s advertisement written by the publisher, that wrongly claims that his Hyperion poem in the collection is unfinished because Keats was upset about reviews.
dilke_c: (Dilke, Charles Wentworth) Dilke, Charles Wentworth (1789–1864): Navy civil servant, legal training, literary and journal editor, scholarly interests in Renaissance drama; co-owner (with Charles Brown) of Wentworth place (now Keats House) in Hampstead, where Keats lives on a few occasions; Keats meets via Reynolds; Keats becomes very friendly with Dilke and Dilke’s family, which he often visits; however, they seem not to approve of Keats’s relationship with Fanny Brawne; the Dilke family is supportive of Keats’s other family members and of Keats’s posthumous reputation.
elgin_l: (Elgin, Lord (Thomas Bruce)) Elgin, Lord (Thomas Bruce) (1766–1841): Scottish nobleman, diplomat; his name is given over to marble sculptures from the Parthenon (c.500 B. C. E.) that Elgin organizes to preserve in England; after problems housing the Elgin Marbles, he eventually sells them to the nation, where they are displayed in the British Museum in 1816; Keats sees them in early March 1817; they immediately impact his artistic sensibilities and the way that, without knowing details about what is represented in the sculptures, they remain powerful in their trans-historical beauty; Keats writes two of his better early poems connected to his experience: On Seeing the Elgin Marbles and To Haydon with a Sonnet Written on Seeing the Elgin Marbles.
elmes_j: (Elmes, James) Elmes, James (1782-1862): distinguished architect, surveyor, engineer, writer and lecturer on the arts and architecture, magazine editor, biographer; founder of Annals of the Fine Arts, 1816-1820, during which he is close to Keats’s very close friend, Benjamin Robert Haydon; the Annals is the first to publish two of Keats’s best poems, his odes on a Grecian Urn and a Nightingale.
fletcher_j: (Fletcher, John) Fletcher, John (1579–1625): successful and versatile London dramatist; contemporary of Shakespeare; in January 1818, Keats writes a poem about an evening at the Mermaid Inn in Cheapside, where he imagines Jonson, Fletcher, Beaumont, and Shakespeare gathering: Lines on the Mermaid Tavern.
godwin_w: (Godwin, William) Godwin, William (1756–1836): minister (though later atheist), social philosopher, essayist, novelist, biographer; husband of Mary Wollstonecraft, father of Mary Shelley, father-in-law of Percy Shelley; inspirational for many Romantic-era writers, representing anarchist, radical, and individualist views, yet strong beliefs in reason, political justice, and human rights.
hammond_t: (Hammond, Thomas) Hammond, Thomas (1766–1817): surgeon in Edmonton, family physician to Keats’s maternal family, the Jennings’; after being pulled from school (aged 14), Keats apprentices with Hammond 1811–1815; family money (generated by selling stocks) is used to pay Hammond’s supervisory fees; Keats later remembers that he had some defiant moments with Hammond (see letter, 21 Sept 1819), though the period with Hammond also has periods of relative security; perhaps the relationship is somewhat compromised by Keats’s growing interest in poetry and Hammond’s failing health.
haslam_w: (Haslam, William) Haslam, William (1795–1851): solicitor; generous, kind, and truly devoted friend of Keats when he is in need, as well as Keats’s siblings (especially to Keats’s brother, Tom, when he is sick); Keats likely meets him via brother George; Haslam is the one to suggest Severn accompany Keats to Italy, a trip he helps finance.
haydon_br: (Haydon, Benjamin Robert) Haydon, Benjamin Robert (1786–1846): historical painter, diarist, lecturer; ambitious, volatile, combative; his artistic achievement compromised by pride, inflexible principles, and ego—and a very slow pace; passionate and devoted friend of Keats after meeting him via Leigh Hunt; true believer in Keats’s genius (and his own); Keats initially equally devoted to Haydon, but increasingly put off by his contentious personality; he thought a great deal about great art (which Keats, importantly, would have heard much about), but overestimated the greatness of his own; commits suicide after lengthy struggles with debt and professional failure; largely responsible for England retaining the Elgin Marbles.
hazlitt_w: (Hazlitt, William) Hazlitt, William (1778–1830): painter, philosopher, significant critic (literary, theatre, art), journalist, brilliant essayist, lecturer; blunt advocate of human rights and liberty, passionately opinionated, often quarrelsome, intellectually driven; meets Keats late 1816; through his lectures and writing, significantly influences Keats’s maturing tastes and ideas, especially about Shakespeare, Wordsworth, Elizabethan literature, literary worth, poetic genius, poetic originality, the principle of disinterestedness and gusto, and the sympathetic powers of imagination; becomes a friend and a formidable defender of Keats and his poetry, especially against the hypocrisy of partisan reviewing; acquaintance with many of the era’s leading literary figures.
hessey_j: (Hessey, James) Hessey, James (1785–1870): progressive publisher, bookseller; half of Keats’s publisher, Taylor & Hessey; strongly believes in Keats’s poetic potential, and with John Taylor basically sponsors Keats’s publishing career.
hill_t: (Hill, Thomas) Hill, Thomas (1760–1840): book-collector, dry-salter; friend of Leigh Hunt; joint owner/editor of The Monthly Mirror (defunct by 1811); centre of a minor literary circle; Keats once dines with him.
hogg_t: (Hogg, Thomas Jefferson) Hogg, Thomas Jefferson (1792–1862): barrister, writer, biographer; very close friend to Percy Shelley, and his first biographer (1858); Keats dines with, 11 February 1818, along with Percy and Mary Shelley, Thomas Love Peacock, and Claire (Mary Jane) Clairmont.
holmes_e: (Holmes, Edward) Holmes, Edward (1797-1859): musician, music critic, and writer of books about music; his biographies on Mozart and Purcell of some note; though a bit younger, one of Keats’s school fellows; his recollections of schoolboy Keats are valuable; met with Keats on occasion in company; stayed within the circle of Keats’s friends throughout his life; likely the anonymous writer (Y) of a defence of Keats after Keats’s death, in The Morning Chronicle, 27 July 1821.
homer: (Homer) Homer (?7th, ?8th, or ?9th century, B. C. E.): name ascribed to the ancient Greek poet, proposed writer of the Iliad and Odyssey, often viewed as Western Culture’s most influential epic poems; Keats’s most famous engagement with Homer comes to us via what is sometimes considered Keats’s earliest accomplished poem, On First Looking into Chapman’s Homer ; Keats writes a second poem, To Homer, in 1818; which identifies with Homer for his insights in blindness; in assessing Homer, Keats writes he is very fine (letters 13 March 1818), and that he longs to feast upon old Homer (27 April 1818); according to one of Keats’s close friends, Benjamin Robert Haydon, Keats is especially taken by the figure of Achilles.
hunt_j: (Hunt, John) Hunt, John (1775–1848): Printer and publisher; elder brother of Leigh Hunt and co-founder of The Examiner.
hunt_l: (Hunt, Leigh) Hunt, Leigh (1784–1859): poet, literary critic, editor, journalist, essayist, periodical publisher; charming, somewhat affected personality, energetic, poor with money; editor of the independent and free-thinking Examiner newspaper as well as other periodical publications; jailed two years for libeling the Prince Regent; first to publish Keats; Keats initially enthralled with Hunt, and Hunt fully struck by Keats’s personality and poetic potential; crucially, Hunt introduces Keats into literary London; Keats spends plenty of time with Hunt, and they know each other very well; Keats, though, comes to privately resent Hunt’s poetic pretensions and egotisms, yet Hunt’s kindness toward Keats continued; Keats is forever identified with Hunt as a member of maligned “Cockney School of Poetry.”
hunt_r: (Hunt, Robert) Hunt, Robert (fl. 1809): writer, older brother of Leigh Hunt, and contributor to the Examiner.
hutchinson_s: (Hutchinson, Sarah) Hutchinson, Sarah (1775–1835): William Wordsworth’s sister-in-law, younger sister of Mary; once agonizingly pursued by Samuel Taylor Coleridge while he was in an unhappy marriage with another Sara (Fricker); Sara lives with the Wordsworths for a number of years; Keats meets her with the Wordsworths; Keats describes her as enchanting,,though he sees Wordsworth as living in protective Shell up north with his wife and sister (letters 21 March 1818); a little later Sara will offer some comments about Keats’s Endymion—that while it is beautiful, it is uninteresting.
jefferys_t: (The Jefferys) The Jefferys: Keats and his younger two brothers, Tom and George, socialize (somewhat flirtatiously) with the two Jeffery sisters, Marian (variously, Marianne and Mary-Ann) and Sarah Francis (Fanny); in 1818, they are twenty and eighteen, respectively. [There have been earlier misspellings of the last name as Jeffrey.] They meet them in Teignmouth, Devon. Their mother, Margaret, a widow, is particularly unselfish in caring for Tom when he is ill. Keats writes a few fairly open, somewhat humorous but thoughtful letters to Marian mid-1819, mentioning possible future plans, so there is fairly clear degree of familiarity. In 1830, under her married name—Mrs. I. S. Prowse—Marian publishes a collection of poetry (Poems) that pays some allusive homage to Keats; it has a substantial list of subscribers.
jennings_a: (Jennings, Alice) Jennings, Alice (1736–1814): Keats’s maternal grandmother; tolerant and affectionate; generously takes take of Keats’s and his siblings after Keats’s father passes away and Keats’s mother’s unsteady behaviour; Keats holds her highly.
jennings_f: (Jennings, Frances) Jennings, Frances (1775–1810): Keats’s mother; small, attractive, capable, perhaps impulsive; in 1794 marries Thomas Keats, who works at the Jennings’ family business, the Swan and Hoop inn and stables as head ostler; after Keats’s father Thomas dies in 1804, she experiences some uneven moments, including a very hasty marriage a few months after Keats’s father passes, as well as gap in her whereabouts before she returns to her children; like Keats and his two younger brothers, she dies of consumption (TB) while young Keats passionately attends to her at his grandmother’s home.
jennings_j: (Jennings, John) Jennings, John (1730–1805): Keats’s maternal grandfather; marries Alice Jennings in 1774; owns the Swan and Hoop inn and stables, from which he does well and expands the business; retires 1802, leaving Keats’s father, Thomas, to run the business; leaves significant money to Keats and his siblings, though not all of it discovered until after Keats’s death.
jennings_r: (Jennings, Robert) Jennings, Robert (?1784-): publisher, printer, bookseller, with some associations with Leigh Hunt; Keats perhaps buys his 7-volume edition of Shakespeare from Jennings.
jones_i: (Jones, Isabella) Jones, Isabella (unknown birth/death): attractive, mysterious, cultured woman, with whom Keats has some passing involvement in May 1817 that suggests some level of romantic intimacy; she may have suggested the Eve of St. Agnes and Eve of St. Mark as topics for Keats to write about; generous in some minor gifts to Keats and his brother, Tom; Keats may have written a few minor love poems that sound his attraction to and feelings for Isabella (“Unfelt, unheard, unseen,” “Hither, hither love,” “Hush, hush, tread softly”); she has some friends in Keats’s circle; Keats and Isabella agree to keep their passing relationship quiet.
jonson_b: (Jonson, Ben ) Jonson, Ben (1572–1637): actor, poet, but especially successful and highly influential Jacobean playwright of comedy; contemporary of Shakespeare (Shakespeare may have acted in one Jonson’s early plays); a volatile, quarrelsome, intense, and self-regarding temperament; perhaps best known for Volpone, The Alchemist, and Bartholomew Fair (his poem, Song to Celia, has also become famous); because Jonson receives a pension from the royal family in 1616, he is some ways the first poet laureate; Keats owned a copy of The Dramatic Works of Jonson, and Beaumont and Fletcher (the 4-volume 1811 edition); in January 1818, Keats writes a poem about an evening at the Mermaid Inn in Cheapside, where he imagines Jonson, Fletcher, Beaumont, and Shakespeare gathering: Lines on the Mermaid Tavern.
kean_e: (Kean, Edmund) Kean, Edmund (?1787/9-1833): controversial, celebrity actor, mainly in Shakespearean tragedies; perhaps most notable as Richard III; an uneven personality, plagued by vanity and insecurity, at times compromised by alcohol addiction; much praised by Keats’s friend, the critic William Hazlitt; Keats sees Kean perform on a few occasions and is struck by Kean’s forceful embodiment of actual words, which makes Keats reflect upon intensive yet controlled qualities he strives for in his own poetry.
keats_f: (Keats, Fanny) Keats, Fanny (1803–89): Keats’s younger sister; some suggestion of resemblance to brother Tom; after 1814 and until 1824, she was the ward of Richard Abbey, the family trustee, who at times thwarted contact between Fanny and Keats; Keats is very, protective of her from an early age; some of his final thoughts are of Fanny; she marries a Spanish diplomat and writer in 1826.
keats_g: (Keats, George) Keats, George (1797–1841): older of Keats two younger brothers; attended same school (in Enfield) as Keats; introduces Keats to some lasting friends; outgoing, fairly ambitious, great belief in Keats’s poetic aspirations; very close to Keats; lives with his brothers at certain points; emigrates to America, June 1818, only to experience business failure; returns to England in 1820 to refinance himself from the family estate, which leads Keats to have some uncertainty about George’s motives; financial and personal success on second trip to America (settling in Kentucky); Keats writes some very important journal letters to George and his wife, Georgiana; dies of consumption.
keats_g2: (Keats, Georgiana (née Wylie)) Keats, Georgiana (née Wylie) (1798–1879): wife of Keats’s brother, George (they marry 28 March 1818); Keats very fond of her, and admired her modesty and intelligence; Keats writes completely openly to her in some important journal letters co-addressed to George, especially after the couple immigrates to America in June 1818.
keats_t_jun: (Keats, Tom) Keats, Tom (1799–1818): Keats’s youngest brother; like Keats, educated at Clarke’s school; tall and thin, considered gentle with good humour; longstanding heath issues; as an adult, lived with Keats on a few occasions; temporarily works for Abbey; much loved by Keats, with great mutual understanding of each other; Keats nurses Tom to his death from tuberculosis.
keats_t_sen: (Keats, Thomas) Keats, Thomas (?1773–1804): Keats’s father [sometimes spelled Keates]; works the Swan and Hoop inn and livery stables after meeting Keats’s mother there; her parents (John and Alice Jennings) own the Swan and Hoop; not long after the marriage and after he had been head ostler, he begins to manage the business; known to be sensible, energetic, and respectful; dies in late-night riding accident—the cause unclear.
kingston_j: (Kingston, John) Kingston, John (?-?): comptroller at the Stamp Office in London, and technically William Wordsworth’s superior, since Wordsworth was stamp comptroller for Westmoreland; a very awkward and unintentionally humorous presence at Benjamin Robert Haydon’s so-called immortal dinner (of Sunday, 28 Dec 1817), which Keats attends, along with Wordsworth, Charles Lamb, and others; Haydon is anxious to show his very large canvas, an ambitious historical painting entitled Christ’s Entry into Jerusalem: Keats, Lamb, and Wordsworth are painted into the scene as spectators.
lamb_c: (Lamb, Charles) Lamb, Charles (1775–1834): first-rate essayist, second-rate poet; witty, acute, eloquent; an acquaintance of Keats; close to some of Keats’s friends, including Leigh Hunt and Benjamin Robert Haydon; perhaps best known for his Tales From Shakespeare (1807), written with his sister, Mary Ann, whom he takes care of despite a life-long mental illness; long, close friendship with William and Dorothy Wordsworth; Keats meets Lamb at Haydon’s so-called immortal dinner, 28 December 1817, and likely sees him in other circumstances; Lamb in a July 1820 review strongly commends Keats’s 1820 volume. Very much a London man.
lockhart_j: (Lockhart, John Gibson) Lockhart, John Gibson (1794–1854): legally trained, but noteworthy as editor, reviewer, writer, literary critic, minor translator; biographer, novelist; after 1820, son-in-law of Sir Walter Scott, of whom he writes a biography; contributor to the Whig Blackwood’s Edinburgh Magazine, in which he (with a measured conflation of wit and venom) anonymously (“Z”) pillories Leigh Hunt, founder of what he calls “the Cockney school of poetry,” and then Keats, as Hunt’s underling; later editor of Quarterly Review.
lowther_l: (Lowther, Lord) Lowther, Lord (1787–1872): (William Lowther; Earl of Lonsdale) politician; Keats very disappointed that William Wordsworth is an active supporter of Lord Lowther, who, as the area’s largest landowner, controls the Tory side of parliamentary representation for Westmorland: sad—sad—sad— writes Keats 26 June 1818 about this circumstance, even though at this time he is attempting to see Wordsworth during a walking expedition through Westmorland, heading north to Scotland.
mackintosh_j: (Mackintosh, James) Mackintosh, James (1765–1832): knighted 1804; lawyer, doctor, writer (history, philosophy, journalism), politician (Whig), professor, judge; admires Keats, and in July 1818 is upset by attacks on Keats’s Endymion (he apparently writes to Keats’s publisher to express his admiration and asks about Keats’s high designs); Macintosh’s Miscellaneous Works (3 vols.) are published in 1846 (edited by his son).
mathew_g: (Mathew, George Felton) Mathew, George Felton (1795-?): early London friend of Keats, met via his brother, George, mid-1815; some over-estimated poetic aspirations; Keats enjoys some social events with Mathew and his female cousins; Mathew publishes an upbeat poem to Keats in October 1816; Keats writes an epistle to Mathew that appears in his first collection, the 1817 Poems; conservative Mathew evolves some resentment over Keats’s poetic gifts (and politics), and he reviews Keats’s first collection; as their friendships peters (by late 1816), Keats moves into more a more serious and progressive cultural circle via Leigh Hunt.
milman_h: (Milman, H. H.) Milman, H. H. (1791–1868): [Henry Hart] poet, hymn writer, historian, dramatist, professor, editor, translator ecclesiastic (Dean of St. Paul’s); prolific contributor to the Quarterly Review; Keats sees Milman’s verse drama Fazio (previously billed, unbeknownst to Milman, as The Italian Wife) on opening night at Covent Garden, 5 February 1818—the play, Keats says, hung rather heavily me.
milton_j: (Milton, John) Milton, John (1608–1674): pamphleteer and polemical writer, lyric and epic poet, particularly noteworthy for Paradise Lost; staunch republican sympathies; Keats studies Milton very deeply, as noted by his detailed marginalia in his copy of Paradise Lost; though he decides that while Milton’s accomplishment is a “wonder,” and that his imaginative scope is almost unapproachably grand, aspects of his style may be to artful (or just not natural enough) for him to pursue, though Keats’s unfinished Hyperion projects are ways for Keats to come to terms with Milton’s poetic powers.
monkhouse_t: (Monkhouse, Thomas) Monkhouse, Thomas (1783–1825): well-to-do London merchant; close cousin of Mary Wordsworth (née Hutchinson), wife of William Wordsworth; in late 1817, Benjamin Robert Haydon arranges for Keats to meet Wordsworth via Monkhouse at Monkhouse’s residence; Keats will have a few subsequent meetings with Wordsworth; a few later, Monkhouse runs into Keats and invites him to meet with Wordsworth again in June 1820, but health problems warn him off.
montagu_b: (Montagu, Basil) Montagu, Basil (1770–1851): barrister, member of Chancery bar, writer on topics related to copyright, bankruptcy, the death penalty, human rights, prevention of cruelty to animals, Lord Bacon; good friends with Samuel Taylor Coleridge and William Wordsworth (to whom he is introduced by William Godwin; during a difficult period Montagu’s life, Wordsworth and his sister Dorothy care for Montagu’s son); Montagu represents Keats’s acquaintance Percy Shelley in a custody case; on 16 February 1817, Montagu is present at a dinner with Shelley and his wife Mary, Leigh Hunt, William Hazlitt, and Godwin, where they read Keats’s On First Looking into Chapman’s Homer, of which Hunt has a copy—they apparently deem it extraordinary.
moore_t: (Moore, Thomas) Moore, Thomas (1779–1852): poet, editor, satirist, biographer, historian, composer; good friend of Lord Byron; contributor to and then editor of The Edinburgh Review; during Keats lifetime, perhaps most famous for his poem Lalla Rookh (1817) and gatherings of Irish Melodies; Keats: I like that Moore (3 May 1818) and does not admire Moore (18 Feb 1819); Percy Shelley summons Moore (among other poets) as a mourner of Keats in his elegy on Keats, Adonais (1821).
newton_i: (Newton, Isaac) Newton, Isaac (1642-1727): singularly significant English physicist and mathematician who gave mathematical descriptions and explanations of light, gravity, and planetary motion. Some Romantic thinkers debated the practice of reducing the understanding of nature to scientific explanation.
novellos_t: (The Novellos) The Novellos: Via Leigh Hunt’s circle, Keats has some social contact with this highly musical and large family, headed by the mother, Mary, and father, Vincent (1781-1861), though Keats also finds the overly witty behaviour of their company fairly tiresome. Vincent is central to the musical society of the day: organist, pianist, music teacher, composer, choir master, conductor, a founding member of the Philharmonic Society, and, importantly, musical publisher; besides Hunt, Novello circle Charles Ollier, Charles and Mary Lamb, Henry Robinson, Charles Ollier, and many others. A few of his daughters will become established singers. In 1828, one of Novello’s daughters, Mary Victoria, will marry Keats’s earliest mentor, Charles Cowden Clarke.
ollier_c: (Ollier, Charles) Ollier, Charles (Ollier brothers, Charles [1788–1859] and James [1795–1851]): publishers, stationers, booksellers; on commission, publishers of Keats’s first collection, Poems, by John Keats, 1817; Charles has some interest in writing poetry; as publishers, James covers more of the business end; publisher of others in Keats’s circle, including Leigh Hunt, Percy Shelley, Charles Lamb; after his first collection, Keats drops the Olliers (for Taylor & Hessey), in part because he does not want to pay for publication, and the Olliers complain that the volume did not sell—Keats felt they did not promote the collection enough; in truth, Poems is a bit of a mess, even at the level of layout; the Olliers are within Hunt’s circle, and Keats does occasional socializing with them.
ollier_j: (Ollier, James) Ollier, James (Ollier brothers, Charles [1788–1859] and James [1795–1851]): publishers, stationers, booksellers; on commission, publishers of Keats’s first collection, Poems, by John Keats, 1817; publisher of others in Keats’s circle, including Leigh Hunt, Percy Shelley, Charles Lamb; as publishers, James mainly covers the business end; after his first collection, Keats drops the Olliers (for Taylor & Hessey), in part because he does not want to pay for publication, and the Olliers complain that the volume did not sell—Keats felt they did not promote it enough; in truth, Poems is a bit of a mess, even at the level of layout.
peacock_t: (Peacock, Thomas Love) Peacock, Thomas Love (1785–1866): essayist, poet, novelist; mainly self-educated; opinionated, observant; rises to a senior position in the East India Company; most famous for his satirical novels, Headlong Hall (1816), Melincourt (1817), and Nightmare Abbey (1818), which, propelled by conversation, intelligently mock political and philosophical subjects and positions; Peacock’s most noteworthy poetry is Rhododaphne (1818); close friends with Percy Shelley; Keats meets Peacock via Leigh Hunt, early 1818.
quincey_t: (Quincey, Thomas de) Quincey, Thomas de (1785–1859): editor, essayist, journalist, translator; friends with William Wordsworth, William Southey, Samuel Taylor Coleridge, Charles Lamb, and William Hazlitt; most famous for The Confessions of an English Opium-Eater: Being an Extract from the Life of a Scholar (1821/1822).
randall_j: (Randall, Jack) Randall, Jack (1794–1828): popular bare-knuckle boxer (16-0-1), known as the Nonpareil and the prime Irish Lad, and the first professional boxer to retire undefeated; Keats sees Randall battle Ned Turner in Sussex, 5 December 1818 (Randall knocks Turner out in the 34th round); the prize fight is just a few days after the death of Keats’s younger brother, Tom (Keats’s friends likely think the outing might be a good distraction).
reynolds_j: (Reynolds, John Hamilton) Reynolds, John Hamilton (1794–1852): clerk, poet, reviewer, novelist, playwright, lawyer; witty, outgoing; meets Keats via Leigh Hunt, becomes a very close and supportive friend of Keats, and seems to get the direction and level of Keats’s poetic aspirations; Keats writes some significant letters to Reynolds about poetry and his role as a poet; connects Keats with other important friends; Keats also writes a casual verse epistle to Reynolds in March 1818, containing some meandering ideas about art, the imagination, and intensity—key subjects for Keats; Reynolds provides critical feedback to Keats during Keats’s poetic development; Keats friendly with Reynolds’ sister, Jane and Mariane; eventually bankrupt by 1838; on his tombstone: The Friend of Keats.
rice_j: (Rice, James) Rice, James (1792–1832): lawyer, well read; known in the Keats circle as wise, unconditionally kind, noble, witty, sensible, and gentlemanly; poor health; Keats stays with him for about a month on the Isle of Wight; Keats meets via Reynolds; one of the financial supporters in getting Keats to Italy; becomes Fanny Keats’s lawyer.
richards_c: (Richards, Charles) Richards, Charles
richards_t: (Richards, Thomas) Richards, Thomas (?-?): government worker (ordnance office), sometimes theatre reviewer; a casual friend to Keats and some in Keats’s circle; Keats apparently gets so drunk at a gathering at Richards’ on 14 December 1816 that he is useless the next day (a whoreson night, he calls it—the weather or his state?); he also dines with Richards occasionally through the next few years, up until early 1820; on 17 January 1820, Keats compares Richards to two of his other friends, with the suggestion that Richards is hard to fathom; Charles Richards, Thomas’ brother, is the printer of Keats’s 1817 collection, Poems, though result suggests some inexperience on the part of Charles; the connection with the Richards brothers comes from the circumstance of both of them attending the same school as Keats at Enfield.
scott_j: (Scott, John) Scott, John (1784–1821): editor of various magazines, including The London Magazine and earlier The Champion; publishes many important writers of the era; often contributor to his magazines; strong liberal sympathies with some idealist tendencies; public supporter of the reputation of Keats and his circle; Tom Keats gives copy book of Keats’s poetry to Scott in Paris, 1817; in February 1821 is wounded and then dies in a duel over literary matters peripherally related to a defence of Keats, after Scott’s constant attacks on the integrity of Blackwood’s Edinburgh Magazine, with mutual abuse returned from Blackwood’s.
scott_w: (Scott, Walter) Scott, Walter (1771–1832): Scottish poet and novelist; also editor, literary critic, biographer, historian, though originally trained as a lawyer; perhaps the most popular and influential writer of Keats’s era; especially famous for The Lay of the Last Minstrel (1805), Marmion (1808), The Lady of the Lake (1810—all ballad epics), and the Waverly novels; extraordinary early success is levelled by financial stress beginning in 1813 and increasing by 1825-26, when Scott is forced to confront bankruptcy; prolific output continues, but mainly to pay off creditors; Keats assesses Scott as two of the three literary kings in our Time: the poet Scott, the novelist Scott, and Lord Byron (letters, ?29 Dec 1818).
severn_j: (Severn, Joseph) Severn, Joseph (1793–1897): versatile and devoted painter, but mainly a subject painter; attended Royal Academy; initially a friend of Keats, believer in Keats’s genius and in promoting it; introduces some art to Keats; paints famous miniature of Keats (exhibited May 1818); as a last-moment decision, he accompanies Keats to Rome and closely nurses Keats through his final, agonizing months (and details it), which is a defining feature of Severn’s reputation—this earns Severn clear intimacy with Keats; some suggestion that Severn was keen to accompany Keats to Italy because of an illegitimate child; has some early success as a painter in Rome; later British Consul in Rome; buried beside Keats in Rome in matching graves; profited by (and culturally nurtured) his association with Keats.
shakespeare_w: (Shakespeare, William) Shakespeare, William (1564–1616): playwright, poet, theatre owner; Shakespeare’s reputation very high in the Romantic era as a creative, poetic genius, an unparalleled seer-into nature and human nature; Keats deliberately studies Shakespeare until he feels he understands Shakespeare to his depths; Keats attempts to emulate aspects of Shakespeare’s dramatic and poetic powers, and in particular the poet’s imaginative absorption into the subject.
shelley_m: (Shelley, Mary) Shelley, Mary (1797–1851): novelist (most famously of Frankenstein, 1818), editor, biographer; intellectual, generally private; daughter of William Godwin and Mary Wollstonecraft; marries Percy Shelley; Keats meets on a few occasions.
shelley_p: (Shelley, Percy Bysshe) Shelley, Percy Bysshe (1792–1822): poet; unrelenting radical and reformist enthusiasms, anti-authoritarian, dedicated pursuit of idealised, visionary truths and social justice; eccentric, intellectually precocious, generous, sometimes erratic; marries Mary Wollstonecraft Shelley (author of Frankenstein, editor of Shelley’s poetry after his death), William Godwin’s daughter; both Percy and Mary acquainted with Keats via Leigh Hunt, and they do some socializing with Keats; Percy is more enthused by Keats than Keats with him; Shelley invites Keats to Italy to stay with him when Keats is ill—Keats declines; implicit competition and pairing with Keats; writes brilliant elegy to Keats, Adonais; drowns in a sailing accident, aged 29, with Keats’s final collection stuffed into his pocket; buried not too far from Keats in Rome.
smith_h: (Smith, Horace (Horatio)) Smith, Horace (Horatio) (1779–1849): stockbroker, quite successful as a journal and newspaper contributor, but a very minor poet, writer of historical novels and parody; known to Percy Shelley as generous.
southey_r: (Southey, Robert) Southey, Robert (1774–1843): poet, critic, historian; prolific, popular, but generally considered unimaginative and unintense as a poet; Poet Laureate from 1813 until his death; strong early connections to Wordsworth and Coleridge, as well as to the Quarterly Review; because, over time, his early radical sympathies are perceived to be compromised, by some he is lampooned for his turn to conservatism (notably by Lord Byron and Thomas Love Peacock; also disliked by William Hazlitt); Keats did not admire him.
spenser_e: (Spenser, Edmund) Spenser, Edmund (?1552–1599): key poet of the English high middle ages, most famously of the masterful and allusive The Faerie Queen, a long epic romance embedded with allegorical intent that brushes up against politics, morality, and religion; innovative stylist (the Spenserian stanza, in particular); highly influential in guiding Keats’s very early poetical aspirations, though Spencer is never fully left behind in Keats’s poetic progress, ranging from the level of diction to Keats’s attraction to romance.
spurgin_j: (Spurgin, John) Spurgin, John (1797-1866): medical student, then physician, sometimes writer on medical matters, as well as occasional inventor; long-serving Chairman of the Swedenborg Society of London. Keats may have met Spurgin via the Mathews’ social events or through St. Thomas’s Hospital, where Spurgin trained 1813-1815. In a long, detailed December 1815 letter, he attempts to attune Keats to Swedenborgian teachings; earlier, the two must have exchanged some books as well as ideas about religion and belief; it is clear Spurgin hopes to convert skeptical Keats. He fades from Keats’s circle.
taylor_j: (Taylor, John) Taylor, John (1781–1864): scholarly, progressive publisher and bookseller; editor, minor writer, pyramidologist; half of Keats’s publisher, Taylor & Hessey; Keats meets through Reynolds; extremely generous with Keats; very loyal to and supportive of Keats and his poetry; helpful biographical knowledge about Keats; along with Hessey, he more or less sponsors Keats’s later publishing; Keats in his will wants, somehow, Taylor to be repaid for his friendship and generosity.
turner_n: (Turner, Ned) Turner, Ned (1792–1826): bare-knuckle prize fighter and the first Welsh champion, known as the pugilistic Prince of Wales; he spent a few months in jail for killing a man in the ring in 1816; Keats sees him defeated by Jack Randal, 5 December 1818.
virgil: (Virgil) Virgil (70-19 BCE): classical Roman poet, most famous for The Aeneid; Keats, as a teen-aged student, and under the general guidance of his headmaster’s son at Enfield (Charles Cowden Clarke), takes up the challenge to translate The Aeneid, and confident and smart enough to suggest flaws in the poem’s narrative structure; Keats no doubts gets some first sense of epic grandeur (and passion for poetry’s scope and power) by undertaking the translation; Keats is utterly conversant with Virgil, as demonstrated in various quotes from him thrown into his letters, as well as occasional allusions.
voltaire: (Voltaire) Voltaire (1694–1778): French dramatist, poet, philosopher, novelist, historian; best known for his satirical novel Candide and his free-thinking, humanistically-styled sense of virtues, tempered by skepticism; Keats is familiar with Voltaire, reinforced, perhaps, by his friend, the critic William Hazlitt; Keats casually quotes from and refers to Voltaire in passing on a few occasions, and we know he is reading Voltaire’s Le Siècle de Louis XIV in early 1819.
webbe_c: (Webbe, Cornelius) Webbe, Cornelius (1789–1850?) [also Webb]: fairly prolific poet of the second rank, with some popularity and critical approval; later an essayist, again of minor note; great admirer of Keats; Webbe writes a glowing, over-poeticized sonnet (To John Keats, on his First Poems) that celebrates Keats’s earliest collection and its connection with Spencer, who he deems Keats’s sire; Webbe is forever connected with Keats as poets of the Cockney school under the tutelage of Leigh Hunt; Keats knows Webbe via Hunt and Hampstead gatherings; Keats gives a copy of his 1817 Poems to Webbe; Webbe is perhaps most famous for, in a poem, placing Keats and Hunt alongside Chaucer, Spencer, Shakespeare, Milton, Byron, and Wordsworth, as if Hunt and Keats are their poetic equals: Z (John Gibson Lockhart) abuses Webbe’s words (capitalizing HUNT, and KEATS) to begin a devastating assault on Hunt, published in Blackwood’s Edinburgh Magazine, October 1817 (Webbe will also be nominated as Corny Webb, just as Keats is little Johnny); Keats in a letter of 3 November 1817 says he has never read any thing so virulent, and he anticipates a forthcoming attack on himself.
wells_c: (Wells, Charles) Wells, Charles (1800–1879): solicitor; spirited friend of Keats; sometimes dramatist and poet; friend, too, of Keats’s youngest brother, Tom, who schooled with Wells; Keats writes an early poem to Wells; Keats gives an inscribed copy of his first collection the 1817 Poems, by John Keats, to Wells; Keats later very upset with Wells when, in 1818, he looks at the fake letters that Wells, as a joke, had sent to Tom back in 1816; has some reputation with the Pre-Raphaelites.
west_b: (West, Benjamin) West, Benjamin (1738–1820): prominent American painter, primarily of historical topics (though many portraits); perhaps the first American painter to carefully study Italian art in Italy; influential in England, France, as well as in the United States (leaving a legacy of painters); one of the founders of London’s Royal Academy; at points he benefits from the patronage of George III and William Beckford; crucially, Keats sees one of West’s more famous canvases, Death on a Pale Horse, in December 1817, which, in a letter of 21 (?27) December 1817, directly triggers some of Keats’s most important pronouncements: how truly excellent art must possess intensity, and with it, the power to evaporate all “disagreeables” in having close relationship with Beauty & Truth (Keats emphasizes that West’s painting does not possess such intensity)—this line of thinking leads Keats, in the same letter, to a seminal articulation in his poetic development: Negative Capability.
westbrook_h: (Westbrook, Harriet) Westbrook, Harriet (1795–1816): smart, pleasant, lively, graceful; the first wife of Keats’s acquaintance and fellow poet Percy Shelley, who is also a member of the Leigh Hunt circle; in 1811, Shelley (19) and Harriet (16) marry in Scotland (they remarry in London, March 1814); they spend little time together; she gives birth to a daughter (Eliza Ianthe) in June 1813, and a son (Charles Bysshe), in November 1814; Shelley subsequently elopes with Mary Godwin (16), daughter of William Godwin, in July 1814 and a month later he writes a letter inviting Harriet to Switzerland to live as friends; Harriet commits suicide late November, drowning herself, aged 21, in a state of advanced pregnancy; Shelley is not likely the father; Shelley blames Harriet’s detestable family for the tragedy; Shelley is denied custody of his two children; Keats is aware of all of this, having some contact with Shelley and Mary during the public legal proceedings, which made the newspapers.
woodhouse_r: (Woodhouse, Richard) Woodhouse, Richard (1788–1834): educated at Eton; scholar, writer, conveyancer, legal advisor to Keats’s publisher, Taylor & Hessey; organizes Keats’s copyright transfer to them before Keats is off to Italy; singularly important collector of Keatsiana; practical and detail oriented; extraordinarily generous with Keats, and a close friend to the end; absolutely sure of Keats’s poetic genius; Keats writes his famous “poetical Character” and “camelion poet” letter to Woodhouse, 27 October 1818; central in organizing Keats’s trip to Italy; dies of tuberculosis.
wordsworth_m: (Wordsworth, Mary) Wordsworth, Mary (1770–1859): (née Hutchinson); wife of poet William Wordsworth (married 4 October 1802); like William’s sister Dorothy, Mary at times acts as Wordsworth’s amanuensis; Keats meets Mary when she is with William in London in early 1815; Keats (like others) have the sense that Dorothy and Mary (who both live with William) are overly protective of and reverent to William; in a letter 21 March 1818, Keats writes that William has returned to his Shell—with his beautiful wife and enchanting sister.
wordsworth_w: (Wordsworth, William) Wordsworth, William (1780–1850): the most significant contemporary poet for Keats; Keats is deeply ambivalent about Wordsworth, based mainly on the older poet’s growing pretensions and conservative political affiliation; Keats meets Wordsworth (initially via Haydon) a few times late 1817 into early 1818; in contra-distinguishing himself from Wordsworth, Keats famously condemns the “wordsworthian or egotistic sublime” in poetry (letter, 27 October 1818); Keats is nevertheless fully in awe of Wordsworth’s poetic depths, which in some of his mature poetry he attempts to emulate—in his own terms, he feels Reverence toward the older poet; Wordsworth is Poet Laureate after 1843 until his death; forever paired with Samuel Taylor Coleridge.
wylies_t: (Wylies, the) Wylies, the (May 1818): George Keats (Keats’s brother) marries Georgiana Augusta Wylie (?1797-1879). Georgiana’s parents (her father was a military man) have two sons, Henry and Charles. Via George, Keats comes to know the family and to frequently socialize with them; he is particularly fond of Mrs. Wylie. George and Georgiana emigrate to Kentucky for cheap property and opportunity; they are eventually very successful in business and in creating offspring—eight in total. Some of Keats’s most important letters are written to George and Georgiana after they move to Kentucky; Keats’s tone in these letters marks his familiarity and openness with Georgiana, as well as interest in her family of origin.

value

(Attribute required for HTML validation. Not used.)

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data-level

(The level of intimacy of the relationship.)

Status	Required
Legal values are:	intimate (An intimate relationship) close (A close relationship) casual (A casual relationship) acquaintance (A mere acquaintanceship)

data-start

(Start date for the relationship.) The start date may be expressed as a year (1806), a year + month (1806-03), or a year-month-day (1806-03-20).

Status	Required
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xhtml5: li

May contain

Character data only

Content model

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Schema Declaration

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Appendix A.1.7 <details>

<details> Expandable details element with summary child.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style att.identifiable @id
Member of	model.keatsDivBody
Contained by	xhtml5: details div
May contain	google: search xhtml5: audio blockquote details div figure h3 h4 h5 img nav noscript ol p script style summary table ul
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Schema Declaration	element details { att.classable.attributes, att.identifiable.attributes, ( summary, macro.keatsDivContent ) }⚓

Appendix A.1.8 <div>

<div> (Division of a document; used as the root for Keats content blocks.) The core container element for a content block. This may also nest, to provide subsections.

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http://www.w3.org/1999/xhtml

Module

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Attributes

att.identifiable
- @id
att.classable
- class
- @style

class

Status

Optional

Legal values are:

chronology: (Chronology list) Chronology list which is used across many dates in a year range.
footnote: (Footnote) A footnote appearing at the bottom of the page.
homePage: (Content appearing on the home page) The home page of the site is a special case with radically different content. This item should only be used in index.xml.
poem: (Poem) A poem reproduced on the page.
gcse-searchbox: (Google Search Box. ONLY USED ON THE SEARCH PAGE.)

Member of

model.keatsDivBody

Contained by

xhtml5: details div

May contain

google: search

xhtml5: audio blockquote details div figure h3 h4 h5 img nav noscript ol p script style table ul

Schematron

<sch:rule context="xh:div"> <sch:assert test="if (child::xh:h3) then count(ancestor::xh:div) = 0 else if (child::xh:h4) then count(ancestor::xh:div) = 1 else if (child::xh:h5) then count(ancestor::xh:div) = 2 else not(child::xh:h3 or child::xh:h4 or child::xh:h5)"> The level of your heading (h3, h4 or h5) must fit with the depth of your division nesting; so the top-level div would have h3, a div inside it would have h4, and a div inside that would have h5. </sch:assert> </sch:rule>

Content model

<content>
 <macroRef key="macro.keatsDivContent"/>
</content>
    ⚓

Schema Declaration

element div
{
   att.classable.attribute.style,
   att.identifiable.attributes,
   attribute class
   {
      "chronology" | "footnote" | "homePage" | "poem" | "gcse-searchbox"
   }?,
   macro.keatsDivContent
}⚓

Appendix A.1.9 <em>

<em> Emphasized text; will be rendered by default in italics.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsPhrase
Contained by	xhtml5: a blockquote caption em figcaption h3 h4 h5 li p q span strong summary td th
May contain	xhtml5: a br em figcaption iframe img q span strong summary character data
Content model	<content> <alternate minOccurs="0" maxOccurs="unbounded"> <macroRef key="macro.keatsParaContent"/> <elementRef key="br"/> </alternate> </content> ⚓
Schema Declaration	element em { att.classable.attributes, ( macro.keatsParaContent \| br )* }⚓

Appendix A.1.10 <figcaption>

<figcaption> Caption for an image in a figure element.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsPhrase
Contained by	xhtml5: a blockquote caption em figcaption figure h3 h4 h5 li p q span strong summary td th
May contain	xhtml5: a em figcaption iframe img q span strong summary character data
Content model	<content> <macroRef key="macro.keatsParaContent"/> </content> ⚓
Schema Declaration	element figcaption { att.classable.attributes, macro.keatsParaContent }⚓

Appendix A.1.11 <figure>

<figure> A figure consists of an image and a caption.

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.identifiable
- @id
att.classable
- class
- @style

class

(The class attribute provides styles through rules in the CSS stylesheet. )

Derived from	att.classable
Status	Required
Datatype	1–∞ occurrences of teidata.word separated by whitespace
Legal values are:	leftFloat (Float this figure to the left and flow the text around it.) center (Centre this figure and do not float text around it.) rightFloat (Float this figure to the right and flow the text around it.)

Member of

model.keatsDivBody

Contained by

xhtml5: details div

May contain

xhtml5: figcaption img

Content model

<content>
 <sequence minOccurs="1" maxOccurs="1">
  <elementRef key="img"/>
  <elementRef key="figcaption"
   minOccurs="0"/>
 </sequence>
</content>
    ⚓

Schema Declaration

element figure
{
   att.classable.attribute.style,
   att.identifiable.attributes,
   attribute class { list { ( "leftFloat" | "center" | "rightFloat" )+ } },
   ( img, figcaption? )
}⚓

Appendix A.1.12 <h3>

<h3> (Level 3 heading) The h3 (level 3 heading) element provides the heading for micro-article documents.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsDivHeading
Contained by	xhtml5: details div
May contain	xhtml5: a br em figcaption iframe img q span strong summary character data
Content model	<content> <alternate minOccurs="1" maxOccurs="unbounded"> <macroRef key="macro.keatsParaContent"/> <elementRef key="br"/> </alternate> </content> ⚓
Schema Declaration	element h3 { att.classable.attributes, ( macro.keatsParaContent \| br )+ }⚓

Appendix A.1.13 <h4>

<h4> (Level 4 heading)
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsDivHeading
Contained by	xhtml5: details div
May contain	xhtml5: a em figcaption iframe img q span strong summary character data
Content model	<content> <macroRef key="macro.keatsParaContent"/> </content> ⚓
Schema Declaration	element h4 { att.classable.attributes, macro.keatsParaContent }⚓

Appendix A.1.14 <h5>

<h5> (Level 5 heading)
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsDivHeading
Contained by	xhtml5: details div
May contain	xhtml5: a em figcaption iframe img q span strong summary character data
Content model	<content> <macroRef key="macro.keatsParaContent"/> </content> ⚓
Schema Declaration	element h5 { att.classable.attributes, macro.keatsParaContent }⚓

Appendix A.1.15 <iframe>

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.classable
- @class
- @style
att.identifiable
- @id

width

(Width of the embedded video)

Status	Required
Datatype	teidata.numeric

height

(Height of the embedded video)

Status	Required
Datatype	teidata.numeric

src

(Location URI of the embedded video)

Status	Required
Datatype	teidata.pointer

allowfullscreen

(Allow the user to full-screen the video)

Status	Optional
Datatype	teidata.boolean

Member of

model.keatsPhrase

Contained by

xhtml5: a blockquote caption em figcaption h3 h4 h5 li p q span strong summary td th

May contain

Empty element

Content model

<content>
 <empty/>
</content>
    ⚓

Schema Declaration

element iframe
{
   att.classable.attributes,
   att.identifiable.attributes,
   attribute width { text },
   attribute height { text },
   attribute src { text },
   attribute allowfullscreen { text }?,
   empty
}⚓

Appendix A.1.16 <img>

<img> Image element. May be rendered inline or as a block, depending on where it appears in the document structure.

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.identifiable
- @id
att.classable
- class
- @style

class

(The class attribute provides styles through rules in the CSS stylesheet. )

Derived from	att.classable
Status	Optional
Datatype	1–∞ occurrences of teidata.word separated by whitespace
Legal values are:	normal (Present the image in normal rectangular format.) oval (Present the image in oval portrait-style format.)

width

Width in pixels of the image.

Status	Optional
Datatype	teidata.numeric

height

Height in pixels of the image

Status	Optional
Datatype	teidata.numeric

src

(path to the image (usually a relative path))

Status	Required
Datatype	teidata.pointer

data-lg-version

(path to a larger version of the image to show as a popup (usually a relative path))

Status	Optional
Datatype	teidata.pointer

alt

(description of the image for visually-impaired users. If not supplied, then figcaption will be used instead.)

Status	Optional
Datatype	teidata.text

title

(description of the image which will pop up on mouseover. If not supplied, then figcaption will be used instead.)

Status	Optional
Datatype	teidata.text

Member of

model.keatsDivBody model.keatsPhrase

Contained by

xhtml5: a blockquote caption details div em figcaption figure h3 h4 h5 li p q span strong summary td th

May contain

Empty element

Schematron

<sch:rule context="xh:img"> <sch:assert test="(@alt and @title) or following-sibling::xh:figcaption or ancestor::xh:ul[@class='gallery']"> If your img element is not inside a figure element with a figcaption, then it requires @alt and @title attributes to provide help for visually-impaired users. </sch:assert> </sch:rule>

Appendix A.1.17 <li>

<li> Item in a list.

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.identifiable
- @id
att.classable
- class
- @style

class

Status

Optional

Legal values are:

in1: (1-em indent) Indent this line by 1 em. Only used for poetry lines.
in2: (2-em indent) Indent this line by 2 em. Only used for poetry lines.
in3: (3-em indent) Indent this line by 3 em. Only used for poetry lines.
in4: (4-em indent) Indent this line by 4 em. Only used for poetry lines.
in5: (5-em indent) Indent this line by 5 em. Only used for poetry lines.
in6: (6-em indent) Indent this line by 6 em. Only used for poetry lines.
in7: (7-em indent) Indent this line by 7 em. Only used for poetry lines.
in8: (8-em indent) Indent this line by 8 em. Only used for poetry lines.
in9: (9-em indent) Indent this line by 9 em. Only used for poetry lines.
in10: (10-em indent) Indent this line by 10 em. Only used for poetry lines.
in11: (11-em indent) Indent this line by 11 em. Only used for poetry lines.
in12: (12-em indent) Indent this line by 12 em. Only used for poetry lines.

data-partLine

(Shows that this item is a part-line) Use this to specify when a line has been broken over (for example) a stanza boundary. It enables more accurate counting of lines for line-numbering.

Status

Optional

Legal values are:

firstPart: (First part of a broken line) When a line is broken across stanzas, tag the first part of it using "firstPart" so that it doesn't get counted in linecount calculations.
middlePart: (Middle part of a broken line) When a line is broken across stanzas, tag any part of it which is not first or last using "middlePart".
lastPart: (Last part of a broken line) When a line is broken across stanzas, tag the last part of it using "lastPart".

Contained by

xhtml5: ol ul

May contain

xhtml5: a br data em figcaption iframe img ol p q span strong summary ul

character data

Content model

<content>
 <alternate minOccurs="0"
  maxOccurs="unbounded">
  <elementRef key="ul"/>
  <elementRef key="ol"/>
  <elementRef key="p"/>
  <elementRef key="data"/>
  <macroRef key="macro.keatsParaContent"/>
  <elementRef key="br"/>
 </alternate>
</content>
    ⚓

Schema Declaration

element li
{
   att.classable.attribute.style,
   att.identifiable.attributes,
   attribute class
   {
      "in1"
    | "in2"
    | "in3"
    | "in4"
    | "in5"
    | "in6"
    | "in7"
    | "in8"
    | "in9"
    | "in10"
    | "in11"
    | "in12"
   }?,
   attribute data-partLine { "firstPart" | "middlePart" | "lastPart" }?,
   ( ul | ol | p | data | macro.keatsParaContent | br )*
}⚓

Appendix A.1.18 <nav>

<nav> Navigation menu. Should contain a ul element with the menu items.

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.classable
- class
- @style

class

Status	Required
Legal values are:	mainMenu (The main site menu)

Member of

model.keatsDivBody

Contained by

xhtml5: details div

May contain

xhtml5: ul

Content model

<content>
 <elementRef key="ul" minOccurs="1"
  maxOccurs="1"/>
</content>
    ⚓

Schema Declaration

element nav
{
   att.classable.attribute.style,
   attribute class { "mainMenu" },
   ul
}⚓

Appendix A.1.19 <noscript>

<noscript> Element which contains a message to be displayed to users when the user-agent (browser) does not support scripting.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.identifiable @id
Member of	model.keatsDivBody
Contained by	xhtml5: details div
May contain	Character data only
Content model	<content> <textNode/> </content> ⚓
Schema Declaration	element noscript { att.identifiable.attributes, text }⚓

Appendix A.1.20 <ol>

<ol> Ordered list, usually numbered.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsDivBody
Contained by	xhtml5: details div li
May contain	xhtml5: li
Content model	<content> <elementRef key="li" minOccurs="1" maxOccurs="unbounded"/> </content> ⚓
Schema Declaration	element ol { att.classable.attributes, li+ }⚓

Appendix A.1.21 <p>

<p> Prose paragraph.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style att.identifiable @id
Member of	model.keatsDivBody
Contained by	xhtml5: blockquote details div li
May contain	xhtml5: a br em figcaption iframe img q span strong summary character data
Content model	<content> <alternate minOccurs="0" maxOccurs="unbounded"> <macroRef key="macro.keatsParaContent"/> <elementRef key="br"/> </alternate> </content> ⚓
Schema Declaration	element p { att.classable.attributes, att.identifiable.attributes, ( macro.keatsParaContent \| br )* }⚓

Appendix A.1.22 <q>

<q> Inline quotation. In rendering, quotation marks will be supplied, so do not include them.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsPhrase
Contained by	xhtml5: a blockquote caption em figcaption h3 h4 h5 li p q span strong summary td th
May contain	xhtml5: a br em figcaption iframe img q span strong summary character data
Content model	<content> <alternate minOccurs="1" maxOccurs="unbounded"> <elementRef key="br"/> <macroRef key="macro.keatsParaContent"/> </alternate> </content> ⚓
Schema Declaration	element q { att.classable.attributes, ( br \| macro.keatsParaContent )+ }⚓

Appendix A.1.23 <script>

<script> script element; used only in the search page.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Member of	macro.keatsDivContent
Contained by	xhtml5: details div
May contain	Character data only
Content model	<content> <textNode/> </content> ⚓
Schema Declaration	element script { text }⚓

Appendix A.1.24 <search>

<search> Special Google element required in the Google search page. DO NOT USE except on the search page.
Namespace	http://www.google.com/cse
Module	google
Member of	macro.keatsDivContent
Contained by	xhtml5: details div
May contain	Empty element
Content model	<content> <empty/> </content> ⚓
Schema Declaration	element search { empty }⚓

Appendix A.1.25 <span>

<span> General-purpose phrase-level element. Use only if there is no more specific alternative for what you want.

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.classable
- class
- @style

class

(Type of identifier which is being tagged.)

Derived from	att.classable
Status	Optional
Datatype	1–∞ occurrences of teidata.word separated by whitespace
Legal values are:	bookTitle (The title of a book or monograph) journalTitle (The title of a journal or newspaper) poemTitle (The title of a poem) articleTitle (The title of a journal article) chapterTitle (The title of a book chapter) artTitle (The title of a painting or work of art) name (The name of a person) placeName (The name of a place) speaker (The speaker's name, as printed at the beginning of a speech in a dramatic dialogue.)

data-id

(For the name of a person, @data-id points to the id of that person in the people.xml file.)

Status

Optional

Legal values are:

abbey_r: (Abbey, Richard) Abbey, Richard (1765–1837): a fairly prosperous and ambitious London tea dealer/broker and holder of some public offices; trustee of the Keats family legacy after the deaths of Keats’s mother and maternal grandparents (Abbey is appointed by Keats’s grandmother, Alice Jennings, in 1810; the other appointee, John Nowland Sandell, a well-to-do businessman, dies in 1816); Abbey is mistrusted by Keats and his sister, Fanny, who lives with the Abbey family for a spell; he strongly disapproves of Keats’s poetic aspirations (and politics); significantly, Keats is never fully aware of his finances in the form of inherited family money; brothers Tom and George at times work for Abbey.
bailey_b: (Bailey, Benjamin) Bailey, Benjamin (1791–1853): scholar with philosophical and literary interests, ordained church clergyman (curacy); meets Keats in spring 1817; shares interests in Wordsworth, Milton, Plato, Dante, and Hazlitt with Keats; Keats writes a few very important and theoretically explorative letters to Bailey, and Keats found him of noble disposition (he publicly defends Keats); Keats stays with Bailey at Oxford University (Magdalen Hall) in September 1818 into early October; visits Stratford with Keats; later in life, Bailey wrote minor poetry and sermons; eventually becomes an archdeacon.
beaumont_f: (Beaumont, Francis) Beaumont, Francis (1584–1616): Jacobean dramatist, poet; most famous as a collaborator with John Fletcher; Keats owned a copy of 4-volume 1811 edition of The Dramatic Works of Jonson, and Beaumont and Fletcher; Keats writes a poem about an evening spent at the Mermaid Inn in Cheapside, in which he imagines Jonson, Fletcher, Beaumont, and Shakespeare gathering: Lines on the Mermaid Tavern, written January 1818.
bentham_j: (Bentham, Jeremy) Bentham, Jeremy (1747-1832): Utilitarian philosopher, driven by pragmatic thinking and moral approach to understanding and describing human nature and human rights; interested in topics like penal reform, education, and hospitals.
bewick_w: (Bewick, William) Bewick, William (1795–1866): an art student of Keats’s very good friend, the historical painter Benjamin Robert Haydon; Bewick socializes with Keats via Haydon and others in Keats’s circle: in a letter of 11 February 1818, Bewick calls them very intellectual dinners, and he mentions the presence of Keats the poet, Hazlitt the critic, Haydon, Hunt the publisher, &c., &; Keats runs into Bewick at exhibitions; Bewick goes on to become a portrait and historical painter of average though professional qualities.
boccaccio: (Boccaccio) Boccaccio (1313–1375): Italian Renaissance humanist, writer, scholar, poet; most famous for his innovatively realistic poem, Decameron; Keats’s and his friend John Hamilton Reynolds entertain assembling a volume of poems based on Boccaccio’s Decameron; Keats’s somewhat interesting though indifferent poem Isabella (written 1818, published in the 1820 collection) is inspired by Boccaccio.
brawne_f: (Brawne, Fanny) Brawne, Fanny (1800–65): born in London’s West End; likely meets Keats autumn 1818 via the Dilkes (she’s eighteen); with widowed, kindly mother and siblings, lives next door to Keats at Wentworth Place, spring 1819 (they take care of Keats, Aug. 1820); lively, social, smart (proficient in German and French), musical, keen perceptions, strong opinions, fashionable, middle-class, but disliked by some of Keats’s friends, who see her as flirtatious and vain (early Keats biographers tend to view her as unfit for Keats); perhaps unofficially betrothed to Keats in late 1818, but more likely a mutual declaration of love; Keats writes striking love letters to her, but when Keats becomes ill they devolve into overly longing and jealous rants as Keats becomes increasing ill and distraught that he might never again be with her (publication of Keats’s love letters in 1878 causes some literary commotion); she remarries in 1833 and has a daughter and two sons; dies in London; Fanny’s widowed mother, Frances, is very kind toward Keats.
brougham_h: (Brougham, Henry) Brougham, Henry (1778–1868): lawyer, founder and contributor of Edinburgh Review; member of Parliament on the Whig side, a leader in the House of Commons, known for liberal reforms (on abolition, education, criminal issues, voting reform), famous for his causes and speeches; later Lord Chancellor of Great Britain; as a politician, Brougham contests Westmorland, while Keats is very disappointed that William Wordsworth is a supporter of Lord Lowther, who controls the Tory side for Westmorland: sad—sad—sad— writes Keats 26 June 1818.
brown_c: (Brown, Charles Armitage) Brown, Charles Armitage (1787–1842): businessman, fur merchant, decent amateur artist, writer of a comic opera and some translations as well as a study of Shakespeare’s poems; some literary lectures; lived independently on inheritance money; one of Keats’s very closest friends (Keats is twenty-one when they meet), and knew Keats as well as anyone; extraordinarily supportive of and generous with Keats; lives with Keats on a few occasions; also travels with Keats, most famously on their long walking tour in the summer of 1818; kept a considerable collection of transcripts of Keats’s work; co-author with Keats of a somewhat indifferent play (never produced), Otho the Great; co-owner of Wentworth Place (two semi-detached houses), now Keats House; attempted a memoir of Keats.
burns_r: (Burns, Robert) Burns, Robert (1759–1796): Scottish poet and songwriter, celebrated for his use of Scots vernacular; exciseman in later life; ambitious, freethinking; likely dies of bacterial endocarditis, perhaps compromised by alcohol; a legend by Keats’s time, venerated by the Romantics; Keats’s northern walking tour with Charles Brown in the summer of 1818 has for one of its goals to gather some sense of Burns’ world; Keats remains confused about Burns, in particular his life and poetic subjects; though Keats has sympathies with Burns as a self-reliant outsider, he also importantly views Burns as a cautionary figure; Keats’s poem, On Visiting the Tomb of Burns, which, though weak, pairs Keats’s conjoined topics of beauty and suffering; Keats also writes This mortal body of a thousand days while in the cottage of Burn’s birth—Keats calls his lines bad.
byron: (Byron, George Gordon (Lord)) Byron, George Gordon (Lord) (1778–1834): one of the most successful and controversial poets of the era; a handsome, flamboyant celebrity who came to represent liberty, individuality, and vitality; extraordinarily famous during his life as a published poet (and conflated with the heroes he creates), but, on a pan-European scale, legendary after his death; Keats unimpressed by Bryon’s style of poetry, perhaps tainted by some jealousy of Byron’s success; Byron initially finds Keats’s poetry juvenile and imaginatively indulgent, though based on an impression of his early work.
chatterton_t: (Chatterton, Thomas) Chatterton, Thomas (1752–1770); boy wonder poet of wide, ambitious talents; most notable for his invention of some fifteenth-century poems, written by a fake poet, Thomas Rowley; commits suicide, aged 17; popular with other Romantic writers as the idealized youthful, martyred, suffering poet; Keats’s dedicates Endymion to him; one of Keats’s earliest known poem is his 1815 Oh Chatterton! How very sad thy fate, which mourns the sad outcome for the young genius who now sings among the stars; Keats comes to believe that Chatterton’s verse possesses a pure English idiom, as opposed to Milton’s extraordinary but beautiful corruptions of the language.
chaucer_g: (Chaucer, Geoffrey) Chaucer, Geoffrey (?1343–1400): successful poet, member of the Royal Service, customs comptroller, diplomatic service officer/courtier, astronomer, translator; famous for his Canterbury Tales, Troilus and Criseyde, The Legend of Good Women, and The Book of the Duchess; often favored as the father of English Literature; Keats is fully familiar with Chaucer (he has no problem quoting Chaucer fairly casually); with some nostalgia, Keats associates Chaucer with a high, noble point in English literary history; Keats writes one of his poems (This pleasant tale is like a copse) into a copy of a friend’s copy of Chaucer’s works, where Keats also makes textual markings in Troilus and Criseyde, indicating a close study of Chaucer’s observations and characterization—in a letter to his lover Fanny Brawne, Keats identifies with Troilus enough to express his fears to Fanny’s about her faithfulness (Feb 1820).
christie_j: (Christie, Jonathan) Christie, Jonathan (?-1876): barrister; London agent for William Blackwood, of Blackwood’s Edinburgh Magazine; acting for his friend John Gibson Lockhart, who writes for Blackwood’s, Christie (as Lockhart’s second) in February 1821 kills the John Scott, editor of The London Magazine and defender of Hunt and Keats, in a duel over the integrity of Blackwood’s, which Scott has been slamming; tried for wilful murder and acquitted
clairmont_c: (Clairmont, Claire (Mary Jane)) Clairmont, Claire (Mary Jane) (1798–1879): illegitimate, freethinking daughter of William Godwin’s second wife; stepsister to Mary Wollstonecraft Shelley; mother to an illegitimate daughter (Allegra) with Lord Byron, who she pursued both before and after the birth of Allegra (who dies aged five); part of Percy Shelley’s entourage between 1814–1822; importantly, Claire introduces Shelley to Byron.
clark_j: (Clark, James) Clark, James (1788–1870): surgeon, trained at University of Edinburgh; treated Keats’s tuberculosis in Rome with care but in keeping with ill-informed contemporary practice (e.g., bloodletting, dieting, exercising). It might also be noted that, in 1821, Clark was in the early stage of his medical career, having gained his MD in 1817.
clarke_c: (Clarke, Charles Cowden) Clarke, Charles Cowden (1787–1877): teacher, publisher (including music), bookseller, informed musical and literary interests; later an art and theatre reviewer, extensive lectures on Shakespeare, and very minor poet; son of Keats’s headmaster at Enfield; widely connected to literary circles of the day; strong and important (if not crucial) early influence on Keats’s literary tastes, as well as, early on, very close to Keats; very significantly, he introduces Keats to Leigh Hunt in 1816, thus greatly expanding Keats’s London social network; he mainly drops out of Keats’s circle in 1817; strong defender of Keats’s posthumous reputation; Keats writes a verse letter to Clarke in October 1816, thanking him for tutoring his literary passions; marries Vincent Novello’s daughter, Mary.
coleridge_s: (Coleridge, Samuel Taylor) Coleridge, Samuel Taylor (1772–1834): poet, critic, journalist, theologian, philosopher, lecturer, extraordinary conversationalist, and living legend by the time of Keats’s chance encounter with him in April 1819; a genius, compromised by addiction issues and an overly ambitious spread of intellectual interests; forever paired with William Wordsworth; Keats is fully acquainted with his poetry as well as some of his ideas and literary criticism.
cox_j: (Cox, Jane) Cox, Jane (?-?): a cousin of Keats’s of the Reynolds’ family, born in India; a woman whose shape, Keats writes, haunts him for a couple of days in September 1818; Keats still seems intrigued by her into October, when he describes her rich eastern look, how, when she enters a room, she makes an impression the same as the Beauty of a Leopardess, that she is a fine thing with magnetic powers, and how other women become jealous of her; Keats nominates her as Charmian (letter, 14 Oct 1818); interestingly, and consistent with his notion of the camelion poet that can enter and sympathetically assume the subjects he imaginatively contemplates, Keats writes, I forget myself entirely because I live in her.
croker_j: (Croker, John Wilson) Croker, John Wilson (1780–1857): member of Parliament (Tory), political expert, and fascinated by French Revolution documents; co-founder of and contributor to the Quarterly Review; writes a nasty review of Keats’s Endymion (published September 1818), nominating Keats as an unintelligible copyist of Leigh Hunt.
dante: (Dante) Dante (?1265–1321): Italian poet, highly influential, most famous for his poetic trilogy, The Divine Comedy; Keats read Henry Francis Cary’s 1805 translation, and certainly its first section, Inferno, into which he makes many markings; Keats begins to master Italian in order to read Dante more fully; Keats takes the three volumes of Cary’s translation taken on his Scottish walking tour; Dante’s influence is perhaps most apparent in The Fall of Hyperion.
davenports_t: (The Davenports) The Davenports: Likely met via Brown or Dilke; the family live at 2 Church Row, Hampstead. Keats on occasion dines and goes to some parties there; Keats and Brown at least once reciprocate. Mrs. Davenport kindly helps to take care of Tom, November 1818. Mr. Burrage Davenport (or, at times, incorrectly, “Burridge” or “Benjamin”, 1778-1863) is a well-to-do merchant banker in London. A gift copy of Keats’s last collection (1920) given to the Davenports contains Keats’s angry comment about the book’s advertisement written by the publisher, that wrongly claims that his Hyperion poem in the collection is unfinished because Keats was upset about reviews.
dilke_c: (Dilke, Charles Wentworth) Dilke, Charles Wentworth (1789–1864): Navy civil servant, legal training, literary and journal editor, scholarly interests in Renaissance drama; co-owner (with Charles Brown) of Wentworth place (now Keats House) in Hampstead, where Keats lives on a few occasions; Keats meets via Reynolds; Keats becomes very friendly with Dilke and Dilke’s family, which he often visits; however, they seem not to approve of Keats’s relationship with Fanny Brawne; the Dilke family is supportive of Keats’s other family members and of Keats’s posthumous reputation.
elgin_l: (Elgin, Lord (Thomas Bruce)) Elgin, Lord (Thomas Bruce) (1766–1841): Scottish nobleman, diplomat; his name is given over to marble sculptures from the Parthenon (c.500 B. C. E.) that Elgin organizes to preserve in England; after problems housing the Elgin Marbles, he eventually sells them to the nation, where they are displayed in the British Museum in 1816; Keats sees them in early March 1817; they immediately impact his artistic sensibilities and the way that, without knowing details about what is represented in the sculptures, they remain powerful in their trans-historical beauty; Keats writes two of his better early poems connected to his experience: On Seeing the Elgin Marbles and To Haydon with a Sonnet Written on Seeing the Elgin Marbles.
elmes_j: (Elmes, James) Elmes, James (1782-1862): distinguished architect, surveyor, engineer, writer and lecturer on the arts and architecture, magazine editor, biographer; founder of Annals of the Fine Arts, 1816-1820, during which he is close to Keats’s very close friend, Benjamin Robert Haydon; the Annals is the first to publish two of Keats’s best poems, his odes on a Grecian Urn and a Nightingale.
fletcher_j: (Fletcher, John) Fletcher, John (1579–1625): successful and versatile London dramatist; contemporary of Shakespeare; in January 1818, Keats writes a poem about an evening at the Mermaid Inn in Cheapside, where he imagines Jonson, Fletcher, Beaumont, and Shakespeare gathering: Lines on the Mermaid Tavern.
godwin_w: (Godwin, William) Godwin, William (1756–1836): minister (though later atheist), social philosopher, essayist, novelist, biographer; husband of Mary Wollstonecraft, father of Mary Shelley, father-in-law of Percy Shelley; inspirational for many Romantic-era writers, representing anarchist, radical, and individualist views, yet strong beliefs in reason, political justice, and human rights.
hammond_t: (Hammond, Thomas) Hammond, Thomas (1766–1817): surgeon in Edmonton, family physician to Keats’s maternal family, the Jennings’; after being pulled from school (aged 14), Keats apprentices with Hammond 1811–1815; family money (generated by selling stocks) is used to pay Hammond’s supervisory fees; Keats later remembers that he had some defiant moments with Hammond (see letter, 21 Sept 1819), though the period with Hammond also has periods of relative security; perhaps the relationship is somewhat compromised by Keats’s growing interest in poetry and Hammond’s failing health.
haslam_w: (Haslam, William) Haslam, William (1795–1851): solicitor; generous, kind, and truly devoted friend of Keats when he is in need, as well as Keats’s siblings (especially to Keats’s brother, Tom, when he is sick); Keats likely meets him via brother George; Haslam is the one to suggest Severn accompany Keats to Italy, a trip he helps finance.
haydon_br: (Haydon, Benjamin Robert) Haydon, Benjamin Robert (1786–1846): historical painter, diarist, lecturer; ambitious, volatile, combative; his artistic achievement compromised by pride, inflexible principles, and ego—and a very slow pace; passionate and devoted friend of Keats after meeting him via Leigh Hunt; true believer in Keats’s genius (and his own); Keats initially equally devoted to Haydon, but increasingly put off by his contentious personality; he thought a great deal about great art (which Keats, importantly, would have heard much about), but overestimated the greatness of his own; commits suicide after lengthy struggles with debt and professional failure; largely responsible for England retaining the Elgin Marbles.
hazlitt_w: (Hazlitt, William) Hazlitt, William (1778–1830): painter, philosopher, significant critic (literary, theatre, art), journalist, brilliant essayist, lecturer; blunt advocate of human rights and liberty, passionately opinionated, often quarrelsome, intellectually driven; meets Keats late 1816; through his lectures and writing, significantly influences Keats’s maturing tastes and ideas, especially about Shakespeare, Wordsworth, Elizabethan literature, literary worth, poetic genius, poetic originality, the principle of disinterestedness and gusto, and the sympathetic powers of imagination; becomes a friend and a formidable defender of Keats and his poetry, especially against the hypocrisy of partisan reviewing; acquaintance with many of the era’s leading literary figures.
hessey_j: (Hessey, James) Hessey, James (1785–1870): progressive publisher, bookseller; half of Keats’s publisher, Taylor & Hessey; strongly believes in Keats’s poetic potential, and with John Taylor basically sponsors Keats’s publishing career.
hill_t: (Hill, Thomas) Hill, Thomas (1760–1840): book-collector, dry-salter; friend of Leigh Hunt; joint owner/editor of The Monthly Mirror (defunct by 1811); centre of a minor literary circle; Keats once dines with him.
hogg_t: (Hogg, Thomas Jefferson) Hogg, Thomas Jefferson (1792–1862): barrister, writer, biographer; very close friend to Percy Shelley, and his first biographer (1858); Keats dines with, 11 February 1818, along with Percy and Mary Shelley, Thomas Love Peacock, and Claire (Mary Jane) Clairmont.
holmes_e: (Holmes, Edward) Holmes, Edward (1797-1859): musician, music critic, and writer of books about music; his biographies on Mozart and Purcell of some note; though a bit younger, one of Keats’s school fellows; his recollections of schoolboy Keats are valuable; met with Keats on occasion in company; stayed within the circle of Keats’s friends throughout his life; likely the anonymous writer (Y) of a defence of Keats after Keats’s death, in The Morning Chronicle, 27 July 1821.
homer: (Homer) Homer (?7th, ?8th, or ?9th century, B. C. E.): name ascribed to the ancient Greek poet, proposed writer of the Iliad and Odyssey, often viewed as Western Culture’s most influential epic poems; Keats’s most famous engagement with Homer comes to us via what is sometimes considered Keats’s earliest accomplished poem, On First Looking into Chapman’s Homer ; Keats writes a second poem, To Homer, in 1818; which identifies with Homer for his insights in blindness; in assessing Homer, Keats writes he is very fine (letters 13 March 1818), and that he longs to feast upon old Homer (27 April 1818); according to one of Keats’s close friends, Benjamin Robert Haydon, Keats is especially taken by the figure of Achilles.
hunt_j: (Hunt, John) Hunt, John (1775–1848): Printer and publisher; elder brother of Leigh Hunt and co-founder of The Examiner.
hunt_l: (Hunt, Leigh) Hunt, Leigh (1784–1859): poet, literary critic, editor, journalist, essayist, periodical publisher; charming, somewhat affected personality, energetic, poor with money; editor of the independent and free-thinking Examiner newspaper as well as other periodical publications; jailed two years for libeling the Prince Regent; first to publish Keats; Keats initially enthralled with Hunt, and Hunt fully struck by Keats’s personality and poetic potential; crucially, Hunt introduces Keats into literary London; Keats spends plenty of time with Hunt, and they know each other very well; Keats, though, comes to privately resent Hunt’s poetic pretensions and egotisms, yet Hunt’s kindness toward Keats continued; Keats is forever identified with Hunt as a member of maligned “Cockney School of Poetry.”
hunt_r: (Hunt, Robert) Hunt, Robert (fl. 1809): writer, older brother of Leigh Hunt, and contributor to the Examiner.
hutchinson_s: (Hutchinson, Sarah) Hutchinson, Sarah (1775–1835): William Wordsworth’s sister-in-law, younger sister of Mary; once agonizingly pursued by Samuel Taylor Coleridge while he was in an unhappy marriage with another Sara (Fricker); Sara lives with the Wordsworths for a number of years; Keats meets her with the Wordsworths; Keats describes her as enchanting,,though he sees Wordsworth as living in protective Shell up north with his wife and sister (letters 21 March 1818); a little later Sara will offer some comments about Keats’s Endymion—that while it is beautiful, it is uninteresting.
jefferys_t: (The Jefferys) The Jefferys: Keats and his younger two brothers, Tom and George, socialize (somewhat flirtatiously) with the two Jeffery sisters, Marian (variously, Marianne and Mary-Ann) and Sarah Francis (Fanny); in 1818, they are twenty and eighteen, respectively. [There have been earlier misspellings of the last name as Jeffrey.] They meet them in Teignmouth, Devon. Their mother, Margaret, a widow, is particularly unselfish in caring for Tom when he is ill. Keats writes a few fairly open, somewhat humorous but thoughtful letters to Marian mid-1819, mentioning possible future plans, so there is fairly clear degree of familiarity. In 1830, under her married name—Mrs. I. S. Prowse—Marian publishes a collection of poetry (Poems) that pays some allusive homage to Keats; it has a substantial list of subscribers.
jennings_a: (Jennings, Alice) Jennings, Alice (1736–1814): Keats’s maternal grandmother; tolerant and affectionate; generously takes take of Keats’s and his siblings after Keats’s father passes away and Keats’s mother’s unsteady behaviour; Keats holds her highly.
jennings_f: (Jennings, Frances) Jennings, Frances (1775–1810): Keats’s mother; small, attractive, capable, perhaps impulsive; in 1794 marries Thomas Keats, who works at the Jennings’ family business, the Swan and Hoop inn and stables as head ostler; after Keats’s father Thomas dies in 1804, she experiences some uneven moments, including a very hasty marriage a few months after Keats’s father passes, as well as gap in her whereabouts before she returns to her children; like Keats and his two younger brothers, she dies of consumption (TB) while young Keats passionately attends to her at his grandmother’s home.
jennings_j: (Jennings, John) Jennings, John (1730–1805): Keats’s maternal grandfather; marries Alice Jennings in 1774; owns the Swan and Hoop inn and stables, from which he does well and expands the business; retires 1802, leaving Keats’s father, Thomas, to run the business; leaves significant money to Keats and his siblings, though not all of it discovered until after Keats’s death.
jennings_r: (Jennings, Robert) Jennings, Robert (?1784-): publisher, printer, bookseller, with some associations with Leigh Hunt; Keats perhaps buys his 7-volume edition of Shakespeare from Jennings.
jones_i: (Jones, Isabella) Jones, Isabella (unknown birth/death): attractive, mysterious, cultured woman, with whom Keats has some passing involvement in May 1817 that suggests some level of romantic intimacy; she may have suggested the Eve of St. Agnes and Eve of St. Mark as topics for Keats to write about; generous in some minor gifts to Keats and his brother, Tom; Keats may have written a few minor love poems that sound his attraction to and feelings for Isabella (“Unfelt, unheard, unseen,” “Hither, hither love,” “Hush, hush, tread softly”); she has some friends in Keats’s circle; Keats and Isabella agree to keep their passing relationship quiet.
jonson_b: (Jonson, Ben ) Jonson, Ben (1572–1637): actor, poet, but especially successful and highly influential Jacobean playwright of comedy; contemporary of Shakespeare (Shakespeare may have acted in one Jonson’s early plays); a volatile, quarrelsome, intense, and self-regarding temperament; perhaps best known for Volpone, The Alchemist, and Bartholomew Fair (his poem, Song to Celia, has also become famous); because Jonson receives a pension from the royal family in 1616, he is some ways the first poet laureate; Keats owned a copy of The Dramatic Works of Jonson, and Beaumont and Fletcher (the 4-volume 1811 edition); in January 1818, Keats writes a poem about an evening at the Mermaid Inn in Cheapside, where he imagines Jonson, Fletcher, Beaumont, and Shakespeare gathering: Lines on the Mermaid Tavern.
kean_e: (Kean, Edmund) Kean, Edmund (?1787/9-1833): controversial, celebrity actor, mainly in Shakespearean tragedies; perhaps most notable as Richard III; an uneven personality, plagued by vanity and insecurity, at times compromised by alcohol addiction; much praised by Keats’s friend, the critic William Hazlitt; Keats sees Kean perform on a few occasions and is struck by Kean’s forceful embodiment of actual words, which makes Keats reflect upon intensive yet controlled qualities he strives for in his own poetry.
keats_f: (Keats, Fanny) Keats, Fanny (1803–89): Keats’s younger sister; some suggestion of resemblance to brother Tom; after 1814 and until 1824, she was the ward of Richard Abbey, the family trustee, who at times thwarted contact between Fanny and Keats; Keats is very, protective of her from an early age; some of his final thoughts are of Fanny; she marries a Spanish diplomat and writer in 1826.
keats_g: (Keats, George) Keats, George (1797–1841): older of Keats two younger brothers; attended same school (in Enfield) as Keats; introduces Keats to some lasting friends; outgoing, fairly ambitious, great belief in Keats’s poetic aspirations; very close to Keats; lives with his brothers at certain points; emigrates to America, June 1818, only to experience business failure; returns to England in 1820 to refinance himself from the family estate, which leads Keats to have some uncertainty about George’s motives; financial and personal success on second trip to America (settling in Kentucky); Keats writes some very important journal letters to George and his wife, Georgiana; dies of consumption.
keats_g2: (Keats, Georgiana (née Wylie)) Keats, Georgiana (née Wylie) (1798–1879): wife of Keats’s brother, George (they marry 28 March 1818); Keats very fond of her, and admired her modesty and intelligence; Keats writes completely openly to her in some important journal letters co-addressed to George, especially after the couple immigrates to America in June 1818.
keats_t_jun: (Keats, Tom) Keats, Tom (1799–1818): Keats’s youngest brother; like Keats, educated at Clarke’s school; tall and thin, considered gentle with good humour; longstanding heath issues; as an adult, lived with Keats on a few occasions; temporarily works for Abbey; much loved by Keats, with great mutual understanding of each other; Keats nurses Tom to his death from tuberculosis.
keats_t_sen: (Keats, Thomas) Keats, Thomas (?1773–1804): Keats’s father [sometimes spelled Keates]; works the Swan and Hoop inn and livery stables after meeting Keats’s mother there; her parents (John and Alice Jennings) own the Swan and Hoop; not long after the marriage and after he had been head ostler, he begins to manage the business; known to be sensible, energetic, and respectful; dies in late-night riding accident—the cause unclear.
kingston_j: (Kingston, John) Kingston, John (?-?): comptroller at the Stamp Office in London, and technically William Wordsworth’s superior, since Wordsworth was stamp comptroller for Westmoreland; a very awkward and unintentionally humorous presence at Benjamin Robert Haydon’s so-called immortal dinner (of Sunday, 28 Dec 1817), which Keats attends, along with Wordsworth, Charles Lamb, and others; Haydon is anxious to show his very large canvas, an ambitious historical painting entitled Christ’s Entry into Jerusalem: Keats, Lamb, and Wordsworth are painted into the scene as spectators.
lamb_c: (Lamb, Charles) Lamb, Charles (1775–1834): first-rate essayist, second-rate poet; witty, acute, eloquent; an acquaintance of Keats; close to some of Keats’s friends, including Leigh Hunt and Benjamin Robert Haydon; perhaps best known for his Tales From Shakespeare (1807), written with his sister, Mary Ann, whom he takes care of despite a life-long mental illness; long, close friendship with William and Dorothy Wordsworth; Keats meets Lamb at Haydon’s so-called immortal dinner, 28 December 1817, and likely sees him in other circumstances; Lamb in a July 1820 review strongly commends Keats’s 1820 volume. Very much a London man.
lockhart_j: (Lockhart, John Gibson) Lockhart, John Gibson (1794–1854): legally trained, but noteworthy as editor, reviewer, writer, literary critic, minor translator; biographer, novelist; after 1820, son-in-law of Sir Walter Scott, of whom he writes a biography; contributor to the Whig Blackwood’s Edinburgh Magazine, in which he (with a measured conflation of wit and venom) anonymously (“Z”) pillories Leigh Hunt, founder of what he calls “the Cockney school of poetry,” and then Keats, as Hunt’s underling; later editor of Quarterly Review.
lowther_l: (Lowther, Lord) Lowther, Lord (1787–1872): (William Lowther; Earl of Lonsdale) politician; Keats very disappointed that William Wordsworth is an active supporter of Lord Lowther, who, as the area’s largest landowner, controls the Tory side of parliamentary representation for Westmorland: sad—sad—sad— writes Keats 26 June 1818 about this circumstance, even though at this time he is attempting to see Wordsworth during a walking expedition through Westmorland, heading north to Scotland.
mackintosh_j: (Mackintosh, James) Mackintosh, James (1765–1832): knighted 1804; lawyer, doctor, writer (history, philosophy, journalism), politician (Whig), professor, judge; admires Keats, and in July 1818 is upset by attacks on Keats’s Endymion (he apparently writes to Keats’s publisher to express his admiration and asks about Keats’s high designs); Macintosh’s Miscellaneous Works (3 vols.) are published in 1846 (edited by his son).
mathew_g: (Mathew, George Felton) Mathew, George Felton (1795-?): early London friend of Keats, met via his brother, George, mid-1815; some over-estimated poetic aspirations; Keats enjoys some social events with Mathew and his female cousins; Mathew publishes an upbeat poem to Keats in October 1816; Keats writes an epistle to Mathew that appears in his first collection, the 1817 Poems; conservative Mathew evolves some resentment over Keats’s poetic gifts (and politics), and he reviews Keats’s first collection; as their friendships peters (by late 1816), Keats moves into more a more serious and progressive cultural circle via Leigh Hunt.
milman_h: (Milman, H. H.) Milman, H. H. (1791–1868): [Henry Hart] poet, hymn writer, historian, dramatist, professor, editor, translator ecclesiastic (Dean of St. Paul’s); prolific contributor to the Quarterly Review; Keats sees Milman’s verse drama Fazio (previously billed, unbeknownst to Milman, as The Italian Wife) on opening night at Covent Garden, 5 February 1818—the play, Keats says, hung rather heavily me.
milton_j: (Milton, John) Milton, John (1608–1674): pamphleteer and polemical writer, lyric and epic poet, particularly noteworthy for Paradise Lost; staunch republican sympathies; Keats studies Milton very deeply, as noted by his detailed marginalia in his copy of Paradise Lost; though he decides that while Milton’s accomplishment is a “wonder,” and that his imaginative scope is almost unapproachably grand, aspects of his style may be to artful (or just not natural enough) for him to pursue, though Keats’s unfinished Hyperion projects are ways for Keats to come to terms with Milton’s poetic powers.
monkhouse_t: (Monkhouse, Thomas) Monkhouse, Thomas (1783–1825): well-to-do London merchant; close cousin of Mary Wordsworth (née Hutchinson), wife of William Wordsworth; in late 1817, Benjamin Robert Haydon arranges for Keats to meet Wordsworth via Monkhouse at Monkhouse’s residence; Keats will have a few subsequent meetings with Wordsworth; a few later, Monkhouse runs into Keats and invites him to meet with Wordsworth again in June 1820, but health problems warn him off.
montagu_b: (Montagu, Basil) Montagu, Basil (1770–1851): barrister, member of Chancery bar, writer on topics related to copyright, bankruptcy, the death penalty, human rights, prevention of cruelty to animals, Lord Bacon; good friends with Samuel Taylor Coleridge and William Wordsworth (to whom he is introduced by William Godwin; during a difficult period Montagu’s life, Wordsworth and his sister Dorothy care for Montagu’s son); Montagu represents Keats’s acquaintance Percy Shelley in a custody case; on 16 February 1817, Montagu is present at a dinner with Shelley and his wife Mary, Leigh Hunt, William Hazlitt, and Godwin, where they read Keats’s On First Looking into Chapman’s Homer, of which Hunt has a copy—they apparently deem it extraordinary.
moore_t: (Moore, Thomas) Moore, Thomas (1779–1852): poet, editor, satirist, biographer, historian, composer; good friend of Lord Byron; contributor to and then editor of The Edinburgh Review; during Keats lifetime, perhaps most famous for his poem Lalla Rookh (1817) and gatherings of Irish Melodies; Keats: I like that Moore (3 May 1818) and does not admire Moore (18 Feb 1819); Percy Shelley summons Moore (among other poets) as a mourner of Keats in his elegy on Keats, Adonais (1821).
newton_i: (Newton, Isaac) Newton, Isaac (1642-1727): singularly significant English physicist and mathematician who gave mathematical descriptions and explanations of light, gravity, and planetary motion. Some Romantic thinkers debated the practice of reducing the understanding of nature to scientific explanation.
novellos_t: (The Novellos) The Novellos: Via Leigh Hunt’s circle, Keats has some social contact with this highly musical and large family, headed by the mother, Mary, and father, Vincent (1781-1861), though Keats also finds the overly witty behaviour of their company fairly tiresome. Vincent is central to the musical society of the day: organist, pianist, music teacher, composer, choir master, conductor, a founding member of the Philharmonic Society, and, importantly, musical publisher; besides Hunt, Novello circle Charles Ollier, Charles and Mary Lamb, Henry Robinson, Charles Ollier, and many others. A few of his daughters will become established singers. In 1828, one of Novello’s daughters, Mary Victoria, will marry Keats’s earliest mentor, Charles Cowden Clarke.
ollier_c: (Ollier, Charles) Ollier, Charles (Ollier brothers, Charles [1788–1859] and James [1795–1851]): publishers, stationers, booksellers; on commission, publishers of Keats’s first collection, Poems, by John Keats, 1817; Charles has some interest in writing poetry; as publishers, James covers more of the business end; publisher of others in Keats’s circle, including Leigh Hunt, Percy Shelley, Charles Lamb; after his first collection, Keats drops the Olliers (for Taylor & Hessey), in part because he does not want to pay for publication, and the Olliers complain that the volume did not sell—Keats felt they did not promote the collection enough; in truth, Poems is a bit of a mess, even at the level of layout; the Olliers are within Hunt’s circle, and Keats does occasional socializing with them.
ollier_j: (Ollier, James) Ollier, James (Ollier brothers, Charles [1788–1859] and James [1795–1851]): publishers, stationers, booksellers; on commission, publishers of Keats’s first collection, Poems, by John Keats, 1817; publisher of others in Keats’s circle, including Leigh Hunt, Percy Shelley, Charles Lamb; as publishers, James mainly covers the business end; after his first collection, Keats drops the Olliers (for Taylor & Hessey), in part because he does not want to pay for publication, and the Olliers complain that the volume did not sell—Keats felt they did not promote it enough; in truth, Poems is a bit of a mess, even at the level of layout.
peacock_t: (Peacock, Thomas Love) Peacock, Thomas Love (1785–1866): essayist, poet, novelist; mainly self-educated; opinionated, observant; rises to a senior position in the East India Company; most famous for his satirical novels, Headlong Hall (1816), Melincourt (1817), and Nightmare Abbey (1818), which, propelled by conversation, intelligently mock political and philosophical subjects and positions; Peacock’s most noteworthy poetry is Rhododaphne (1818); close friends with Percy Shelley; Keats meets Peacock via Leigh Hunt, early 1818.
quincey_t: (Quincey, Thomas de) Quincey, Thomas de (1785–1859): editor, essayist, journalist, translator; friends with William Wordsworth, William Southey, Samuel Taylor Coleridge, Charles Lamb, and William Hazlitt; most famous for The Confessions of an English Opium-Eater: Being an Extract from the Life of a Scholar (1821/1822).
randall_j: (Randall, Jack) Randall, Jack (1794–1828): popular bare-knuckle boxer (16-0-1), known as the Nonpareil and the prime Irish Lad, and the first professional boxer to retire undefeated; Keats sees Randall battle Ned Turner in Sussex, 5 December 1818 (Randall knocks Turner out in the 34th round); the prize fight is just a few days after the death of Keats’s younger brother, Tom (Keats’s friends likely think the outing might be a good distraction).
reynolds_j: (Reynolds, John Hamilton) Reynolds, John Hamilton (1794–1852): clerk, poet, reviewer, novelist, playwright, lawyer; witty, outgoing; meets Keats via Leigh Hunt, becomes a very close and supportive friend of Keats, and seems to get the direction and level of Keats’s poetic aspirations; Keats writes some significant letters to Reynolds about poetry and his role as a poet; connects Keats with other important friends; Keats also writes a casual verse epistle to Reynolds in March 1818, containing some meandering ideas about art, the imagination, and intensity—key subjects for Keats; Reynolds provides critical feedback to Keats during Keats’s poetic development; Keats friendly with Reynolds’ sister, Jane and Mariane; eventually bankrupt by 1838; on his tombstone: The Friend of Keats.
rice_j: (Rice, James) Rice, James (1792–1832): lawyer, well read; known in the Keats circle as wise, unconditionally kind, noble, witty, sensible, and gentlemanly; poor health; Keats stays with him for about a month on the Isle of Wight; Keats meets via Reynolds; one of the financial supporters in getting Keats to Italy; becomes Fanny Keats’s lawyer.
richards_c: (Richards, Charles) Richards, Charles
richards_t: (Richards, Thomas) Richards, Thomas (?-?): government worker (ordnance office), sometimes theatre reviewer; a casual friend to Keats and some in Keats’s circle; Keats apparently gets so drunk at a gathering at Richards’ on 14 December 1816 that he is useless the next day (a whoreson night, he calls it—the weather or his state?); he also dines with Richards occasionally through the next few years, up until early 1820; on 17 January 1820, Keats compares Richards to two of his other friends, with the suggestion that Richards is hard to fathom; Charles Richards, Thomas’ brother, is the printer of Keats’s 1817 collection, Poems, though result suggests some inexperience on the part of Charles; the connection with the Richards brothers comes from the circumstance of both of them attending the same school as Keats at Enfield.
scott_j: (Scott, John) Scott, John (1784–1821): editor of various magazines, including The London Magazine and earlier The Champion; publishes many important writers of the era; often contributor to his magazines; strong liberal sympathies with some idealist tendencies; public supporter of the reputation of Keats and his circle; Tom Keats gives copy book of Keats’s poetry to Scott in Paris, 1817; in February 1821 is wounded and then dies in a duel over literary matters peripherally related to a defence of Keats, after Scott’s constant attacks on the integrity of Blackwood’s Edinburgh Magazine, with mutual abuse returned from Blackwood’s.
scott_w: (Scott, Walter) Scott, Walter (1771–1832): Scottish poet and novelist; also editor, literary critic, biographer, historian, though originally trained as a lawyer; perhaps the most popular and influential writer of Keats’s era; especially famous for The Lay of the Last Minstrel (1805), Marmion (1808), The Lady of the Lake (1810—all ballad epics), and the Waverly novels; extraordinary early success is levelled by financial stress beginning in 1813 and increasing by 1825-26, when Scott is forced to confront bankruptcy; prolific output continues, but mainly to pay off creditors; Keats assesses Scott as two of the three literary kings in our Time: the poet Scott, the novelist Scott, and Lord Byron (letters, ?29 Dec 1818).
severn_j: (Severn, Joseph) Severn, Joseph (1793–1897): versatile and devoted painter, but mainly a subject painter; attended Royal Academy; initially a friend of Keats, believer in Keats’s genius and in promoting it; introduces some art to Keats; paints famous miniature of Keats (exhibited May 1818); as a last-moment decision, he accompanies Keats to Rome and closely nurses Keats through his final, agonizing months (and details it), which is a defining feature of Severn’s reputation—this earns Severn clear intimacy with Keats; some suggestion that Severn was keen to accompany Keats to Italy because of an illegitimate child; has some early success as a painter in Rome; later British Consul in Rome; buried beside Keats in Rome in matching graves; profited by (and culturally nurtured) his association with Keats.
shakespeare_w: (Shakespeare, William) Shakespeare, William (1564–1616): playwright, poet, theatre owner; Shakespeare’s reputation very high in the Romantic era as a creative, poetic genius, an unparalleled seer-into nature and human nature; Keats deliberately studies Shakespeare until he feels he understands Shakespeare to his depths; Keats attempts to emulate aspects of Shakespeare’s dramatic and poetic powers, and in particular the poet’s imaginative absorption into the subject.
shelley_m: (Shelley, Mary) Shelley, Mary (1797–1851): novelist (most famously of Frankenstein, 1818), editor, biographer; intellectual, generally private; daughter of William Godwin and Mary Wollstonecraft; marries Percy Shelley; Keats meets on a few occasions.
shelley_p: (Shelley, Percy Bysshe) Shelley, Percy Bysshe (1792–1822): poet; unrelenting radical and reformist enthusiasms, anti-authoritarian, dedicated pursuit of idealised, visionary truths and social justice; eccentric, intellectually precocious, generous, sometimes erratic; marries Mary Wollstonecraft Shelley (author of Frankenstein, editor of Shelley’s poetry after his death), William Godwin’s daughter; both Percy and Mary acquainted with Keats via Leigh Hunt, and they do some socializing with Keats; Percy is more enthused by Keats than Keats with him; Shelley invites Keats to Italy to stay with him when Keats is ill—Keats declines; implicit competition and pairing with Keats; writes brilliant elegy to Keats, Adonais; drowns in a sailing accident, aged 29, with Keats’s final collection stuffed into his pocket; buried not too far from Keats in Rome.
smith_h: (Smith, Horace (Horatio)) Smith, Horace (Horatio) (1779–1849): stockbroker, quite successful as a journal and newspaper contributor, but a very minor poet, writer of historical novels and parody; known to Percy Shelley as generous.
southey_r: (Southey, Robert) Southey, Robert (1774–1843): poet, critic, historian; prolific, popular, but generally considered unimaginative and unintense as a poet; Poet Laureate from 1813 until his death; strong early connections to Wordsworth and Coleridge, as well as to the Quarterly Review; because, over time, his early radical sympathies are perceived to be compromised, by some he is lampooned for his turn to conservatism (notably by Lord Byron and Thomas Love Peacock; also disliked by William Hazlitt); Keats did not admire him.
spenser_e: (Spenser, Edmund) Spenser, Edmund (?1552–1599): key poet of the English high middle ages, most famously of the masterful and allusive The Faerie Queen, a long epic romance embedded with allegorical intent that brushes up against politics, morality, and religion; innovative stylist (the Spenserian stanza, in particular); highly influential in guiding Keats’s very early poetical aspirations, though Spencer is never fully left behind in Keats’s poetic progress, ranging from the level of diction to Keats’s attraction to romance.
spurgin_j: (Spurgin, John) Spurgin, John (1797-1866): medical student, then physician, sometimes writer on medical matters, as well as occasional inventor; long-serving Chairman of the Swedenborg Society of London. Keats may have met Spurgin via the Mathews’ social events or through St. Thomas’s Hospital, where Spurgin trained 1813-1815. In a long, detailed December 1815 letter, he attempts to attune Keats to Swedenborgian teachings; earlier, the two must have exchanged some books as well as ideas about religion and belief; it is clear Spurgin hopes to convert skeptical Keats. He fades from Keats’s circle.
taylor_j: (Taylor, John) Taylor, John (1781–1864): scholarly, progressive publisher and bookseller; editor, minor writer, pyramidologist; half of Keats’s publisher, Taylor & Hessey; Keats meets through Reynolds; extremely generous with Keats; very loyal to and supportive of Keats and his poetry; helpful biographical knowledge about Keats; along with Hessey, he more or less sponsors Keats’s later publishing; Keats in his will wants, somehow, Taylor to be repaid for his friendship and generosity.
turner_n: (Turner, Ned) Turner, Ned (1792–1826): bare-knuckle prize fighter and the first Welsh champion, known as the pugilistic Prince of Wales; he spent a few months in jail for killing a man in the ring in 1816; Keats sees him defeated by Jack Randal, 5 December 1818.
virgil: (Virgil) Virgil (70-19 BCE): classical Roman poet, most famous for The Aeneid; Keats, as a teen-aged student, and under the general guidance of his headmaster’s son at Enfield (Charles Cowden Clarke), takes up the challenge to translate The Aeneid, and confident and smart enough to suggest flaws in the poem’s narrative structure; Keats no doubts gets some first sense of epic grandeur (and passion for poetry’s scope and power) by undertaking the translation; Keats is utterly conversant with Virgil, as demonstrated in various quotes from him thrown into his letters, as well as occasional allusions.
voltaire: (Voltaire) Voltaire (1694–1778): French dramatist, poet, philosopher, novelist, historian; best known for his satirical novel Candide and his free-thinking, humanistically-styled sense of virtues, tempered by skepticism; Keats is familiar with Voltaire, reinforced, perhaps, by his friend, the critic William Hazlitt; Keats casually quotes from and refers to Voltaire in passing on a few occasions, and we know he is reading Voltaire’s Le Siècle de Louis XIV in early 1819.
webbe_c: (Webbe, Cornelius) Webbe, Cornelius (1789–1850?) [also Webb]: fairly prolific poet of the second rank, with some popularity and critical approval; later an essayist, again of minor note; great admirer of Keats; Webbe writes a glowing, over-poeticized sonnet (To John Keats, on his First Poems) that celebrates Keats’s earliest collection and its connection with Spencer, who he deems Keats’s sire; Webbe is forever connected with Keats as poets of the Cockney school under the tutelage of Leigh Hunt; Keats knows Webbe via Hunt and Hampstead gatherings; Keats gives a copy of his 1817 Poems to Webbe; Webbe is perhaps most famous for, in a poem, placing Keats and Hunt alongside Chaucer, Spencer, Shakespeare, Milton, Byron, and Wordsworth, as if Hunt and Keats are their poetic equals: Z (John Gibson Lockhart) abuses Webbe’s words (capitalizing HUNT, and KEATS) to begin a devastating assault on Hunt, published in Blackwood’s Edinburgh Magazine, October 1817 (Webbe will also be nominated as Corny Webb, just as Keats is little Johnny); Keats in a letter of 3 November 1817 says he has never read any thing so virulent, and he anticipates a forthcoming attack on himself.
wells_c: (Wells, Charles) Wells, Charles (1800–1879): solicitor; spirited friend of Keats; sometimes dramatist and poet; friend, too, of Keats’s youngest brother, Tom, who schooled with Wells; Keats writes an early poem to Wells; Keats gives an inscribed copy of his first collection the 1817 Poems, by John Keats, to Wells; Keats later very upset with Wells when, in 1818, he looks at the fake letters that Wells, as a joke, had sent to Tom back in 1816; has some reputation with the Pre-Raphaelites.
west_b: (West, Benjamin) West, Benjamin (1738–1820): prominent American painter, primarily of historical topics (though many portraits); perhaps the first American painter to carefully study Italian art in Italy; influential in England, France, as well as in the United States (leaving a legacy of painters); one of the founders of London’s Royal Academy; at points he benefits from the patronage of George III and William Beckford; crucially, Keats sees one of West’s more famous canvases, Death on a Pale Horse, in December 1817, which, in a letter of 21 (?27) December 1817, directly triggers some of Keats’s most important pronouncements: how truly excellent art must possess intensity, and with it, the power to evaporate all “disagreeables” in having close relationship with Beauty & Truth (Keats emphasizes that West’s painting does not possess such intensity)—this line of thinking leads Keats, in the same letter, to a seminal articulation in his poetic development: Negative Capability.
westbrook_h: (Westbrook, Harriet) Westbrook, Harriet (1795–1816): smart, pleasant, lively, graceful; the first wife of Keats’s acquaintance and fellow poet Percy Shelley, who is also a member of the Leigh Hunt circle; in 1811, Shelley (19) and Harriet (16) marry in Scotland (they remarry in London, March 1814); they spend little time together; she gives birth to a daughter (Eliza Ianthe) in June 1813, and a son (Charles Bysshe), in November 1814; Shelley subsequently elopes with Mary Godwin (16), daughter of William Godwin, in July 1814 and a month later he writes a letter inviting Harriet to Switzerland to live as friends; Harriet commits suicide late November, drowning herself, aged 21, in a state of advanced pregnancy; Shelley is not likely the father; Shelley blames Harriet’s detestable family for the tragedy; Shelley is denied custody of his two children; Keats is aware of all of this, having some contact with Shelley and Mary during the public legal proceedings, which made the newspapers.
woodhouse_r: (Woodhouse, Richard) Woodhouse, Richard (1788–1834): educated at Eton; scholar, writer, conveyancer, legal advisor to Keats’s publisher, Taylor & Hessey; organizes Keats’s copyright transfer to them before Keats is off to Italy; singularly important collector of Keatsiana; practical and detail oriented; extraordinarily generous with Keats, and a close friend to the end; absolutely sure of Keats’s poetic genius; Keats writes his famous “poetical Character” and “camelion poet” letter to Woodhouse, 27 October 1818; central in organizing Keats’s trip to Italy; dies of tuberculosis.
wordsworth_m: (Wordsworth, Mary) Wordsworth, Mary (1770–1859): (née Hutchinson); wife of poet William Wordsworth (married 4 October 1802); like William’s sister Dorothy, Mary at times acts as Wordsworth’s amanuensis; Keats meets Mary when she is with William in London in early 1815; Keats (like others) have the sense that Dorothy and Mary (who both live with William) are overly protective of and reverent to William; in a letter 21 March 1818, Keats writes that William has returned to his Shell—with his beautiful wife and enchanting sister.
wordsworth_w: (Wordsworth, William) Wordsworth, William (1780–1850): the most significant contemporary poet for Keats; Keats is deeply ambivalent about Wordsworth, based mainly on the older poet’s growing pretensions and conservative political affiliation; Keats meets Wordsworth (initially via Haydon) a few times late 1817 into early 1818; in contra-distinguishing himself from Wordsworth, Keats famously condemns the “wordsworthian or egotistic sublime” in poetry (letter, 27 October 1818); Keats is nevertheless fully in awe of Wordsworth’s poetic depths, which in some of his mature poetry he attempts to emulate—in his own terms, he feels Reverence toward the older poet; Wordsworth is Poet Laureate after 1843 until his death; forever paired with Samuel Taylor Coleridge.
wylies_t: (Wylies, the) Wylies, the (May 1818): George Keats (Keats’s brother) marries Georgiana Augusta Wylie (?1797-1879). Georgiana’s parents (her father was a military man) have two sons, Henry and Charles. Via George, Keats comes to know the family and to frequently socialize with them; he is particularly fond of Mrs. Wylie. George and Georgiana emigrate to Kentucky for cheap property and opportunity; they are eventually very successful in business and in creating offspring—eight in total. Some of Keats’s most important letters are written to George and Georgiana after they move to Kentucky; Keats’s tone in these letters marks his familiarity and openness with Georgiana, as well as interest in her family of origin.

data-poem

(For the name of a poem, @data-poem points to the id of that poem, which is its filename without the .xml extension.)

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index_of_poems: (index_of_poems) Index of Keats’s complete poems
poem_addressed_to_haydon: (poem_addressed_to_haydon) Addressed to Haydon
poem_addressed_to_the_same: (poem_addressed_to_the_same) Addressed to the Same
poem_after_dark_vapours_have_oppressed_our: (poem_after_dark_vapours_have_oppressed_our) After dark vapours have oppressed our plains
poem_ah_ken_ye_what_i_met: (poem_ah_ken_ye_what_i_met) Ah! ken ye what I met the day
poem_ah_woe_is_me_poor_silver-wing: (poem_ah_woe_is_me_poor_silver-wing) Ah! woe is me! poor Silver-wing
poem_all_gentle_folks_who_owe_a: (poem_all_gentle_folks_who_owe_a) All gentle folks who owe a grudge
poem_and_what_is_love_it_is: (poem_and_what_is_love_it_is) And what is Love? — It is a doll dress’d up
poem_apollo_to_the_graces: (poem_apollo_to_the_graces) Apollo to the Graces
poem_as_from_the_darkening_gloom_a: (poem_as_from_the_darkening_gloom_a) As from the darkening gloom a silver dove
poem_as_hermes_once_took_to_his: (poem_as_hermes_once_took_to_his) As Hermes once took to his feathers light
poem_asleep_o_sleep_a_little_while: (poem_asleep_o_sleep_a_little_while) Asleep! O sleep a little while white pearl
poem_bards_of_passion_and_of_mirth: (poem_bards_of_passion_and_of_mirth) Bards of passion and of mirth
poem_before_he_went_to_live_with_owls_and_bats: (poem_before_he_went_to_live_with_owls_and_bats) Before he went to live with owls and bats
poem_blue_tis_the_life_of_heaven: (poem_blue_tis_the_life_of_heaven) Blue! — ’Tis the life of heaven — the domain
poem_bright_star_would_i_were_stedfast: (poem_bright_star_would_i_were_stedfast) Bright star, would I were stedfast as thou art
poem_calidore_a_fragment: (poem_calidore_a_fragment) Calidore: A Fragment
poem_character_of_cb: (poem_character_of_cb) Character of C. B.
poem_daisys_song: (poem_daisys_song) Daisy’s Song
poem_dear_reynolds_as_last_night_i: (poem_dear_reynolds_as_last_night_i) Dear Reynolds, as last night I lay in bed
poem_endymion_book_i: (poem_endymion_book_i) ENDYMION: A Poetic Romance.
poem_endymion_book_ii: (poem_endymion_book_ii) Endymion: A Poetic Romance BOOK II
poem_endymion_book_iii: (poem_endymion_book_iii) Endymion: A Poetic Romance BOOK III
poem_endymion_book_iv: (poem_endymion_book_iv) Endymion: A Poetic Romance BOOK IV
poem_extracts_from_an_opera: (poem_extracts_from_an_opera) Extracts from an Opera
poem_fancy: (poem_fancy) Fancy
poem_fill_for_me_a_brimming_bowl: (poem_fill_for_me_a_brimming_bowl) Fill for me a brimming bowl
poem_follys_song: (poem_follys_song) FOLLY’S SONG
poem_for_theres_bishops_teign: (poem_for_theres_bishops_teign) For there’s Bishop’s Teign
poem_four_seasons_fill_the_measure_of: (poem_four_seasons_fill_the_measure_of) Four seasons fill the measure of the year
poem_fragment_of_a_castle-builder: (poem_fragment_of_a_castle-builder) Fragment of a Castle-builder
poem_give_me_women_wine_and_snuff: (poem_give_me_women_wine_and_snuff) Give me women, wine, and snuff
poem_give_me_your_patience_sister_while: (poem_give_me_your_patience_sister_while) Give me your patience sister while I frame
poem_god_of_the_golden_bow: (poem_god_of_the_golden_bow) God of the golden bow
poem_god_of_the_meridian: (poem_god_of_the_meridian) God of the Meridian
poem_had_i_a_mans_fair_form: (poem_had_i_a_mans_fair_form) Had I a man’s fair form, then might my sighs
poem_hadst_thou_livd_in_days_of: (poem_hadst_thou_livd_in_days_of) Hadst thou liv’d in days of old
poem_happy_is_england_i_could_be: (poem_happy_is_england_i_could_be) Happy is England! I could be content
poem_hence_burgundy_claret_and_port: (poem_hence_burgundy_claret_and_port) Hence burgundy, claret, and port
poem_hither_hither_love: (poem_hither_hither_love) Hither, hither, love
poem_how_many_bards_gild_the_lapses: (poem_how_many_bards_gild_the_lapses) How many bards gild the lapses of time
poem_hush_hush_tread_softly_hush_hush: (poem_hush_hush_tread_softly_hush_hush) Hush, hush, tread softly, hush, hush, my dear
poem_hyperion_a_dream_canto_i: (poem_hyperion_a_dream_canto_i) The Fall of Hyperion: A Dream CANTO I
poem_hyperion_a_dream_canto_ii: (poem_hyperion_a_dream_canto_ii) [The Fall of Hyperion: A Dream] CANTO II
poem_hyperion_a_fragment_book_i: (poem_hyperion_a_fragment_book_i) Hyperion: A Fragment. BOOK I
poem_hyperion_a_fragment_book_ii: (poem_hyperion_a_fragment_book_ii) Hyperion: A Fragment. BOOK II
poem_hyperion_a_fragment_book_iii: (poem_hyperion_a_fragment_book_iii) Hyperion: A Fragment. BOOK III
poem_i_am_as_brisk: (poem_i_am_as_brisk) I am as brisk
poem_i_cry_your_mercy_pity_love: (poem_i_cry_your_mercy_pity_love) I cry your mercy — pity — love! — aye, love
poem_i_had_a_dove_and_the: (poem_i_had_a_dove_and_the) I had a dove, and the sweet dove died
poem_i_stood_tip-toe_upon_a_little: (poem_i_stood_tip-toe_upon_a_little) I stood tip-toe upon a little hill
poem_if_by_dull_rhymes_our_english: (poem_if_by_dull_rhymes_our_english) If by dull rhymes our English must be chain’d
poem_imitation_of_spenser: (poem_imitation_of_spenser) Imitation of Spenser
poem_in_after_time_a_sage_of: (poem_in_after_time_a_sage_of) In after time a sage of mickle lore
poem_in_drear_nighted_december: (poem_in_drear_nighted_december) In Drear Nighted December
poem_isabella_or_the_pot_of_basil: (poem_isabella_or_the_pot_of_basil) Isabella; or, The Pot of Basil
poem_keen_fitful_gusts_are_whispring_here: (poem_keen_fitful_gusts_are_whispring_here) Keen, fitful gusts are whisp’ring here and there
poem_king_stephen_act_i_scene_i: (poem_king_stephen_act_i_scene_i) King Stephen: A Fragment of a Tragedy ACT I SCENE I
poem_king_stephen_act_i_scene_ii: (poem_king_stephen_act_i_scene_ii) King Stephen: A Fragment of a Tragedy ACT I SCENE II
poem_king_stephen_act_i_scene_iii: (poem_king_stephen_act_i_scene_iii) King Stephen: A Fragment of a Tragedy ACT I SCENE III
poem_king_stephen_act_i_scene_iv: (poem_king_stephen_act_i_scene_iv) King Stephen: A Fragment of a Tragedy ACT I SCENE IV
poem_la_belle_dame_sans_merci: (poem_la_belle_dame_sans_merci) La Belle Dame sans Merci: A Ballad
poem_lamia: (poem_lamia) Lamia
poem_lines_on_seeing_a_lock_of: (poem_lines_on_seeing_a_lock_of) Lines on Seeing a Lock of Milton’s Hair Ode.
poem_lines_on_the_mermaid_tavern: (poem_lines_on_the_mermaid_tavern) Lines on the Mermaid Tavern
poem_lines_written_on_29_may_the: (poem_lines_written_on_29_may_the) Lines Written on 29 May, the Anniversary of Charles’s Restoration, on Hearing the Bells Ringing
poem_mother_of_hermes_and_still_youthful: (poem_mother_of_hermes_and_still_youthful) Mother of Hermes! and still youthful Maia
poem_nature_withheld_cassandra_in_the_skies: (poem_nature_withheld_cassandra_in_the_skies) Nature withheld Cassandra in the skies
poem_not_aladdin_magian: (poem_not_aladdin_magian) Not Aladdin magian
poem_o_blush_not_so_o_blush: (poem_o_blush_not_so_o_blush) O blush not so! O blush not so
poem_o_come_dearest_emma_the_rose: (poem_o_come_dearest_emma_the_rose) O come, dearest Emma! the rose is full blown
poem_o_grant_that_like_to_peter: (poem_o_grant_that_like_to_peter) O grant that like to Peter I
poem_o_i_am_frightend_with_most: (poem_o_i_am_frightend_with_most) O, I am frighten’d with most hateful thoughts
poem_o_solitude: (poem_o_solitude) O Solitude! if I must with thee dwell
poem_o_thou_whose_face_hath_felt: (poem_o_thou_whose_face_hath_felt) O thou whose face hath felt the winter’s wind
poem_ode_on_a_grecian_urn: (poem_ode_on_a_grecian_urn) Ode on a Grecian Urn
poem_ode_on_indolence: (poem_ode_on_indolence) Ode on Indolence
poem_ode_on_melancholy: (poem_ode_on_melancholy) Ode on Melancholy
poem_ode_to_a_nightingale: (poem_ode_to_a_nightingale) Ode to a Nightingale
poem_ode_to_apollo: (poem_ode_to_apollo) Ode to Apollo
poem_ode_to_psyche: (poem_ode_to_psyche) Ode to Psyche
poem_of_late_two_dainties_were_before: (poem_of_late_two_dainties_were_before) Of late two dainties were before me plac’d
poem_oh_chatterton_how_very_sad_thy: (poem_oh_chatterton_how_very_sad_thy) Oh Chatterton! how very sad thy fate
poem_oh_how_i_love_on_a: (poem_oh_how_i_love_on_a) Oh! how I love, on a fair summer’s eve
poem_old_meg_she_was_a_gipsey: (poem_old_meg_she_was_a_gipsey) Old Meg she was a gipsey
poem_on_a_leander_which_miss_reynolds: (poem_on_a_leander_which_miss_reynolds) On a Leander Which Miss Reynolds, My Kind Friend, Gave Me
poem_on_fame_how_fevered_is_the: (poem_on_fame_how_fevered_is_the) On Fame (How fever’d is the man)
poem_on_fame_like_a_wayward_girl: (poem_on_fame_like_a_wayward_girl) On Fame (Fame, like a wayward girl)
poem_on_first_looking_into_chapmans_homer: (poem_on_first_looking_into_chapmans_homer) On First Looking into Chapman’s Homer
poem_on_leaving_some_friends_at_an: (poem_on_leaving_some_friends_at_an) On Leaving Some Friends at an Early Hour
poem_on_peace: (poem_on_peace) On Peace
poem_on_receiving_a_curious_shell_and: (poem_on_receiving_a_curious_shell_and) On Receiving a Curious Shell, and a Copy of Verses, from the Same Ladies
poem_on_receiving_a_laurel_crown_from: (poem_on_receiving_a_laurel_crown_from) On Receiving a Laurel Crown from Leigh Hunt
poem_on_seeing_the_elgin_marbles: (poem_on_seeing_the_elgin_marbles) On Seeing the Elgin Marbles
poem_on_sitting_down_to_read_king: (poem_on_sitting_down_to_read_king) On Sitting Down to Read King Lear Once Again
poem_on_some_skulls_in_beauley_abbey: (poem_on_some_skulls_in_beauley_abbey) On Some Skulls in Beauley Abbey, near Inverness
poem_on_the_grasshopper_and_cricket: (poem_on_the_grasshopper_and_cricket) On the Grasshopper and Cricket
poem_on_the_sea: (poem_on_the_sea) On the sea
poem_on_the_story_of_rimini: (poem_on_the_story_of_rimini) On The Story of Rimini
poem_on_visiting_the_tomb_of_burns: (poem_on_visiting_the_tomb_of_burns) On Visiting the Tomb of Burns
poem_otho_act_i_scene_i: (poem_otho_act_i_scene_i) Otho the Great: A Tragedy in Five Acts: Act I SCENE I
poem_otho_act_i_scene_ii: (poem_otho_act_i_scene_ii) Otho the Great: A Tragedy in Five Acts: Act I SCENE II
poem_otho_act_i_scene_iii: (poem_otho_act_i_scene_iii) Otho the Great: A Tragedy in Five Acts: Act I SCENE III
poem_otho_act_ii_scene_i: (poem_otho_act_ii_scene_i) Otho the Great: A Tragedy in Five Acts: Act II SCENE I
poem_otho_act_ii_scene_ii: (poem_otho_act_ii_scene_ii) Otho the Great: A Tragedy in Five Acts: Act II SCENE II
poem_otho_act_iii_scene_i: (poem_otho_act_iii_scene_i) Otho the Great: A Tragedy in Five Acts: Act III SCENE I
poem_otho_act_iii_scene_ii: (poem_otho_act_iii_scene_ii) Otho the Great: A Tragedy in Five Acts: Act III SCENE II
poem_otho_act_iv_scene_i: (poem_otho_act_iv_scene_i) Otho the Great: A Tragedy in Five Acts: Act IV SCENE I
poem_otho_act_iv_scene_ii: (poem_otho_act_iv_scene_ii) Otho the Great: A Tragedy in Five Acts: Act IV SCENE II
poem_otho_act_v_scene_i: (poem_otho_act_v_scene_i) Otho the Great: A Tragedy in Five Acts: Act V SCENE I
poem_otho_act_v_scene_ii: (poem_otho_act_v_scene_ii) Otho the Great: A Tragedy in Five Acts: Act V SCENE II
poem_otho_act_v_scene_iii: (poem_otho_act_v_scene_iii) Otho the Great: A Tragedy in Five Acts: Act V SCENE III
poem_otho_act_v_scene_iv: (poem_otho_act_v_scene_iv) Otho the Great: A Tragedy in Five Acts: Act V SCENE IV
poem_otho_act_v_scene_v: (poem_otho_act_v_scene_v) Otho the Great: A Tragedy in Five Acts: Act V SCENE V
poem_over_the_hill_and_over_the: (poem_over_the_hill_and_over_the) Over the hill and over the dale
poem_pensive_they_sit_and_roll_their: (poem_pensive_they_sit_and_roll_their) Pensive they sit, and roll their languid eyes
poem_read_me_a_lesson_muse_and: (poem_read_me_a_lesson_muse_and) Read me a lesson, Muse, and speak it loud
poem_robin_hood: (poem_robin_hood) Robin Hood
poem_shed_no_tear_o_shed_no: (poem_shed_no_tear_o_shed_no) Shed no tear — O shed no tear
poem_sleep_and_poetry: (poem_sleep_and_poetry) Sleep and Poetry
poem_song: (poem_song) Song
poem_song_of_four_fairies_fire_air: (poem_song_of_four_fairies_fire_air) Song of Four Fairies: Fire, Air, Earth, and Water
poem_sonnet_to_sleep: (poem_sonnet_to_sleep) Sonnet to Sleep
poem_specimen_of_an_induction_to_a: (poem_specimen_of_an_induction_to_a) Specimen of an Induction to a Poem
poem_spenser_a_jealous_honorer_of_thine: (poem_spenser_a_jealous_honorer_of_thine) Spenser, a jealous honorer of thine
poem_spirit_here_that_reignest: (poem_spirit_here_that_reignest) Spirit here that reignest
poem_stay_ruby_breasted_warbler_stay: (poem_stay_ruby_breasted_warbler_stay) Stay, ruby breasted warbler, stay
poem_sweet_sweet_is_the_greeting_of: (poem_sweet_sweet_is_the_greeting_of) Sweet, sweet is the greeting of eyes
poem_the_day_is_gone_and_all: (poem_the_day_is_gone_and_all) The day is gone, and all its sweets are gone
poem_the_eve_of_st_agnes: (poem_the_eve_of_st_agnes) The Eve of St. Agnes
poem_the_eve_of_st_mark: (poem_the_eve_of_st_mark) The Eve of St. Mark
poem_the_gothic_looks_solemn: (poem_the_gothic_looks_solemn) The Gothic looks solemn
poem_the_jealousies_a_faery_tale_written: (poem_the_jealousies_a_faery_tale_written) The Cap And Bells; Or, The Jealousies: A Faery Tale — Unfinished
poem_there_is_a_joy_in_footing: (poem_there_is_a_joy_in_footing) There is a joy in footing slow across a silent plain
poem_there_was_a_naughty_boy: (poem_there_was_a_naughty_boy) There was a naughty boy
poem_think_not_of_it_sweet_one: (poem_think_not_of_it_sweet_one) Think not of it, sweet one, so
poem_this_living_hand_now_warm_and: (poem_this_living_hand_now_warm_and) This living hand, now warm and capable
poem_this_mortal_body_of_a_thousand: (poem_this_mortal_body_of_a_thousand) This mortal body of a thousand days
poem_times_sea_hath_been_five_years: (poem_times_sea_hath_been_five_years) Time’s sea hath been five years at its slow ebb
poem_tis_the_witching_time_of_night: (poem_tis_the_witching_time_of_night) ’Tis the “witching time of night”
poem_to_a_friend_who_sent_me: (poem_to_a_friend_who_sent_me) To a Friend Who Sent Me Some Roses
poem_to_a_young_lady_who_sent: (poem_to_a_young_lady_who_sent) To a Young Lady Who Sent Me a Laurel Crown
poem_to_ailsa_rock: (poem_to_ailsa_rock) To Ailsa Rock
poem_to_autumn: (poem_to_autumn) To Autumn
poem_to_charles_cowden_clarke: (poem_to_charles_cowden_clarke) To Charles Cowden Clarke
poem_to_fanny: (poem_to_fanny) Ode to Fanny
poem_to_gaw: (poem_to_gaw) To G. A. W.
poem_to_george_felton_mathew: (poem_to_george_felton_mathew) To George Felton Mathew
poem_to_haydon_with_a_sonnet_written: (poem_to_haydon_with_a_sonnet_written) To Haydon with a Sonnet Written on Seeing the Elgin Marbles
poem_to_homer: (poem_to_homer) To Homer
poem_to_hope: (poem_to_hope) To Hope
poem_to_jr: (poem_to_jr) To J. R.
poem_to_kosciusko: (poem_to_kosciusko) To Kosciusko
poem_to_leigh_hunt_esq: (poem_to_leigh_hunt_esq) To Leigh Hunt, Esq.
poem_to_lord_byron: (poem_to_lord_byron) To Lord Byron
poem_to_mrs_reynoldss_cat: (poem_to_mrs_reynoldss_cat) To Mrs. Reynolds’s Cat
poem_to_my_brother_george_1: (poem_to_my_brother_george_1) To My Brother George [1]
poem_to_my_brother_george_2: (poem_to_my_brother_george_2) To My Brother George [2]
poem_to_my_brothers: (poem_to_my_brothers) To My Brothers
poem_to_one_who_has_been_long: (poem_to_one_who_has_been_long) To one who has been long in city pent
poem_to_some_ladies: (poem_to_some_ladies) To Some Ladies
poem_to_the_ladies_who_saw_me: (poem_to_the_ladies_who_saw_me) To the Ladies Who Saw Me Crown’d
poem_to_the_nile: (poem_to_the_nile) To the Nile
poem_two_or_three_posies: (poem_two_or_three_posies) Two or three posies
poem_unfelt_unheard_unseen: (poem_unfelt_unheard_unseen) Unfelt, unheard, unseen
poem_upon_my_life_sir_nevis_i: (poem_upon_my_life_sir_nevis_i) Upon my life, Sir Nevis, I am piqu’d
poem_welcome_joy_and_welcome_sorrow: (poem_welcome_joy_and_welcome_sorrow) Welcome joy, and welcome sorrow
poem_what_can_i_do_to_drive: (poem_what_can_i_do_to_drive) What can I do to drive away
poem_when_i_have_fears_that_i: (poem_when_i_have_fears_that_i) When I have fears that I may cease to be
poem_when_they_were_come_unto_the: (poem_when_they_were_come_unto_the) When they were come unto the Faery’s court
poem_where_be_ye_going_you_devon: (poem_where_be_ye_going_you_devon) Where be ye going, you Devon maid
poem_wheres_the_poet_show_him_show: (poem_wheres_the_poet_show_him_show) Where’s the Poet? Show him! show him
poem_why_did_i_laugh_tonight: (poem_why_did_i_laugh_tonight) Why did I laugh tonight? No voice will tell
poem_woman_when_i_behold_thee_flippant: (poem_woman_when_i_behold_thee_flippant) Woman, when I behold thee flippant, vain
poem_written_in_disgust_of_vulgar_superstition: (poem_written_in_disgust_of_vulgar_superstition) Written in Disgust of Vulgar Superstition
poem_written_on_a_blank_space_at: (poem_written_on_a_blank_space_at) Written On A Blank Space At The End Of Chaucer’s Tale Of The Flowre And The Lefe
poem_written_on_the_day_that_mr: (poem_written_on_the_day_that_mr) Written on the Day That Mr. Leigh Hunt Left Prison
poem_you_say_you_love_but_with: (poem_you_say_you_love_but_with) You say you love; but with a voice

Member of

model.keatsPhrase

Contained by

xhtml5: a blockquote caption em figcaption h3 h4 h5 li p q span strong summary td th

May contain

xhtml5: a br em figcaption iframe img q span strong summary

character data

Schematron

<sch:rule context="xh:span"> <sch:assert test="@data-id or (not(@class='name') or ancestor::xh:li[@id])"> A span element containing a reference to a person must have a data-id attribute identifying the person. </sch:assert> </sch:rule>

Schematron

<sch:rule context="xh:span"> <sch:assert test="@class or @style"> A span element must have either a style or a class attribute. </sch:assert> </sch:rule>

Content model

<content>
 <alternate minOccurs="0"
  maxOccurs="unbounded">
  <macroRef key="macro.keatsParaContent"/>
  <elementRef key="br"/>
 </alternate>
</content>
    ⚓

Schema Declaration

element span
{
   att.classable.attribute.style,
   attribute class
   {
      list
      {
         (
            "bookTitle"
          | "journalTitle"
          | "poemTitle"
          | "articleTitle"
          | "chapterTitle"
          | "artTitle"
          | "name"
          | "placeName"
          | "speaker"
         )+
      }
   }?,
   attribute data-id
   {
      "abbey_r"
    | "bailey_b"
    | "beaumont_f"
    | "bentham_j"
    | "bewick_w"
    | "boccaccio"
    | "brawne_f"
    | "brougham_h"
    | "brown_c"
    | "burns_r"
    | "byron"
    | "chatterton_t"
    | "chaucer_g"
    | "christie_j"
    | "clairmont_c"
    | "clark_j"
    | "clarke_c"
    | "coleridge_s"
    | "cox_j"
    | "croker_j"
    | "dante"
    | "davenports_t"
    | "dilke_c"
    | "elgin_l"
    | "elmes_j"
    | "fletcher_j"
    | "godwin_w"
    | "hammond_t"
    | "haslam_w"
    | "haydon_br"
    | "hazlitt_w"
    | "hessey_j"
    | "hill_t"
    | "hogg_t"
    | "holmes_e"
    | "homer"
    | "hunt_j"
    | "hunt_l"
    | "hunt_r"
    | "hutchinson_s"
    | "jefferys_t"
    | "jennings_a"
    | "jennings_f"
    | "jennings_j"
    | "jennings_r"
    | "jones_i"
    | "jonson_b"
    | "kean_e"
    | "keats_f"
    | "keats_g"
    | "keats_g2"
    | "keats_t_jun"
    | "keats_t_sen"
    | "kingston_j"
    | "lamb_c"
    | "lockhart_j"
    | "lowther_l"
    | "mackintosh_j"
    | "mathew_g"
    | "milman_h"
    | "milton_j"
    | "monkhouse_t"
    | "montagu_b"
    | "moore_t"
    | "newton_i"
    | "novellos_t"
    | "ollier_c"
    | "ollier_j"
    | "peacock_t"
    | "quincey_t"
    | "randall_j"
    | "reynolds_j"
    | "rice_j"
    | "richards_c"
    | "richards_t"
    | "scott_j"
    | "scott_w"
    | "severn_j"
    | "shakespeare_w"
    | "shelley_m"
    | "shelley_p"
    | "smith_h"
    | "southey_r"
    | "spenser_e"
    | "spurgin_j"
    | "taylor_j"
    | "turner_n"
    | "virgil"
    | "voltaire"
    | "webbe_c"
    | "wells_c"
    | "west_b"
    | "westbrook_h"
    | "woodhouse_r"
    | "wordsworth_m"
    | "wordsworth_w"
    | "wylies_t"
   }?,
   attribute data-poem
   {
      "index_of_poems"
    | "poem_addressed_to_haydon"
    | "poem_addressed_to_the_same"
    | "poem_after_dark_vapours_have_oppressed_our"
    | "poem_ah_ken_ye_what_i_met"
    | "poem_ah_woe_is_me_poor_silver-wing"
    | "poem_all_gentle_folks_who_owe_a"
    | "poem_and_what_is_love_it_is"
    | "poem_apollo_to_the_graces"
    | "poem_as_from_the_darkening_gloom_a"
    | "poem_as_hermes_once_took_to_his"
    | "poem_asleep_o_sleep_a_little_while"
    | "poem_bards_of_passion_and_of_mirth"
    | "poem_before_he_went_to_live_with_owls_and_bats"
    | "poem_blue_tis_the_life_of_heaven"
    | "poem_bright_star_would_i_were_stedfast"
    | "poem_calidore_a_fragment"
    | "poem_character_of_cb"
    | "poem_daisys_song"
    | "poem_dear_reynolds_as_last_night_i"
    | "poem_endymion_book_i"
    | "poem_endymion_book_ii"
    | "poem_endymion_book_iii"
    | "poem_endymion_book_iv"
    | "poem_extracts_from_an_opera"
    | "poem_fancy"
    | "poem_fill_for_me_a_brimming_bowl"
    | "poem_follys_song"
    | "poem_for_theres_bishops_teign"
    | "poem_four_seasons_fill_the_measure_of"
    | "poem_fragment_of_a_castle-builder"
    | "poem_give_me_women_wine_and_snuff"
    | "poem_give_me_your_patience_sister_while"
    | "poem_god_of_the_golden_bow"
    | "poem_god_of_the_meridian"
    | "poem_had_i_a_mans_fair_form"
    | "poem_hadst_thou_livd_in_days_of"
    | "poem_happy_is_england_i_could_be"
    | "poem_hence_burgundy_claret_and_port"
    | "poem_hither_hither_love"
    | "poem_how_many_bards_gild_the_lapses"
    | "poem_hush_hush_tread_softly_hush_hush"
    | "poem_hyperion_a_dream_canto_i"
    | "poem_hyperion_a_dream_canto_ii"
    | "poem_hyperion_a_fragment_book_i"
    | "poem_hyperion_a_fragment_book_ii"
    | "poem_hyperion_a_fragment_book_iii"
    | "poem_i_am_as_brisk"
    | "poem_i_cry_your_mercy_pity_love"
    | "poem_i_had_a_dove_and_the"
    | "poem_i_stood_tip-toe_upon_a_little"
    | "poem_if_by_dull_rhymes_our_english"
    | "poem_imitation_of_spenser"
    | "poem_in_after_time_a_sage_of"
    | "poem_in_drear_nighted_december"
    | "poem_isabella_or_the_pot_of_basil"
    | "poem_keen_fitful_gusts_are_whispring_here"
    | "poem_king_stephen_act_i_scene_i"
    | "poem_king_stephen_act_i_scene_ii"
    | "poem_king_stephen_act_i_scene_iii"
    | "poem_king_stephen_act_i_scene_iv"
    | "poem_la_belle_dame_sans_merci"
    | "poem_lamia"
    | "poem_lines_on_seeing_a_lock_of"
    | "poem_lines_on_the_mermaid_tavern"
    | "poem_lines_written_on_29_may_the"
    | "poem_mother_of_hermes_and_still_youthful"
    | "poem_nature_withheld_cassandra_in_the_skies"
    | "poem_not_aladdin_magian"
    | "poem_o_blush_not_so_o_blush"
    | "poem_o_come_dearest_emma_the_rose"
    | "poem_o_grant_that_like_to_peter"
    | "poem_o_i_am_frightend_with_most"
    | "poem_o_solitude"
    | "poem_o_thou_whose_face_hath_felt"
    | "poem_ode_on_a_grecian_urn"
    | "poem_ode_on_indolence"
    | "poem_ode_on_melancholy"
    | "poem_ode_to_a_nightingale"
    | "poem_ode_to_apollo"
    | "poem_ode_to_psyche"
    | "poem_of_late_two_dainties_were_before"
    | "poem_oh_chatterton_how_very_sad_thy"
    | "poem_oh_how_i_love_on_a"
    | "poem_old_meg_she_was_a_gipsey"
    | "poem_on_a_leander_which_miss_reynolds"
    | "poem_on_fame_how_fevered_is_the"
    | "poem_on_fame_like_a_wayward_girl"
    | "poem_on_first_looking_into_chapmans_homer"
    | "poem_on_leaving_some_friends_at_an"
    | "poem_on_peace"
    | "poem_on_receiving_a_curious_shell_and"
    | "poem_on_receiving_a_laurel_crown_from"
    | "poem_on_seeing_the_elgin_marbles"
    | "poem_on_sitting_down_to_read_king"
    | "poem_on_some_skulls_in_beauley_abbey"
    | "poem_on_the_grasshopper_and_cricket"
    | "poem_on_the_sea"
    | "poem_on_the_story_of_rimini"
    | "poem_on_visiting_the_tomb_of_burns"
    | "poem_otho_act_i_scene_i"
    | "poem_otho_act_i_scene_ii"
    | "poem_otho_act_i_scene_iii"
    | "poem_otho_act_ii_scene_i"
    | "poem_otho_act_ii_scene_ii"
    | "poem_otho_act_iii_scene_i"
    | "poem_otho_act_iii_scene_ii"
    | "poem_otho_act_iv_scene_i"
    | "poem_otho_act_iv_scene_ii"
    | "poem_otho_act_v_scene_i"
    | "poem_otho_act_v_scene_ii"
    | "poem_otho_act_v_scene_iii"
    | "poem_otho_act_v_scene_iv"
    | "poem_otho_act_v_scene_v"
    | "poem_over_the_hill_and_over_the"
    | "poem_pensive_they_sit_and_roll_their"
    | "poem_read_me_a_lesson_muse_and"
    | "poem_robin_hood"
    | "poem_shed_no_tear_o_shed_no"
    | "poem_sleep_and_poetry"
    | "poem_song"
    | "poem_song_of_four_fairies_fire_air"
    | "poem_sonnet_to_sleep"
    | "poem_specimen_of_an_induction_to_a"
    | "poem_spenser_a_jealous_honorer_of_thine"
    | "poem_spirit_here_that_reignest"
    | "poem_stay_ruby_breasted_warbler_stay"
    | "poem_sweet_sweet_is_the_greeting_of"
    | "poem_the_day_is_gone_and_all"
    | "poem_the_eve_of_st_agnes"
    | "poem_the_eve_of_st_mark"
    | "poem_the_gothic_looks_solemn"
    | "poem_the_jealousies_a_faery_tale_written"
    | "poem_there_is_a_joy_in_footing"
    | "poem_there_was_a_naughty_boy"
    | "poem_think_not_of_it_sweet_one"
    | "poem_this_living_hand_now_warm_and"
    | "poem_this_mortal_body_of_a_thousand"
    | "poem_times_sea_hath_been_five_years"
    | "poem_tis_the_witching_time_of_night"
    | "poem_to_a_friend_who_sent_me"
    | "poem_to_a_young_lady_who_sent"
    | "poem_to_ailsa_rock"
    | "poem_to_autumn"
    | "poem_to_charles_cowden_clarke"
    | "poem_to_fanny"
    | "poem_to_gaw"
    | "poem_to_george_felton_mathew"
    | "poem_to_haydon_with_a_sonnet_written"
    | "poem_to_homer"
    | "poem_to_hope"
    | "poem_to_jr"
    | "poem_to_kosciusko"
    | "poem_to_leigh_hunt_esq"
    | "poem_to_lord_byron"
    | "poem_to_mrs_reynoldss_cat"
    | "poem_to_my_brother_george_1"
    | "poem_to_my_brother_george_2"
    | "poem_to_my_brothers"
    | "poem_to_one_who_has_been_long"
    | "poem_to_some_ladies"
    | "poem_to_the_ladies_who_saw_me"
    | "poem_to_the_nile"
    | "poem_two_or_three_posies"
    | "poem_unfelt_unheard_unseen"
    | "poem_upon_my_life_sir_nevis_i"
    | "poem_welcome_joy_and_welcome_sorrow"
    | "poem_what_can_i_do_to_drive"
    | "poem_when_i_have_fears_that_i"
    | "poem_when_they_were_come_unto_the"
    | "poem_where_be_ye_going_you_devon"
    | "poem_wheres_the_poet_show_him_show"
    | "poem_why_did_i_laugh_tonight"
    | "poem_woman_when_i_behold_thee_flippant"
    | "poem_written_in_disgust_of_vulgar_superstition"
    | "poem_written_on_a_blank_space_at"
    | "poem_written_on_the_day_that_mr"
    | "poem_you_say_you_love_but_with"
   }?,
   ( macro.keatsParaContent | br )*
}⚓

Appendix A.1.26 <strong>

<strong> Text that needs to be highlighted because it is important; will be rendered by default in bold.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsPhrase
Contained by	xhtml5: a blockquote caption em figcaption h3 h4 h5 li p q span strong summary td th
May contain	xhtml5: a em figcaption iframe img q span strong summary character data
Content model	<content> <macroRef key="macro.keatsParaContent"/> </content> ⚓
Schema Declaration	element strong { att.classable.attributes, macro.keatsParaContent }⚓

Appendix A.1.27 <style>

<style> style element; used only in the search page.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Member of	macro.keatsDivContent
Contained by	xhtml5: details div
May contain	Character data only
Content model	<content> <textNode/> </content> ⚓
Schema Declaration	element style { text }⚓

Appendix A.1.28 <summary>

<summary> Single-line summary for detaile element.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsPhrase
Contained by	xhtml5: a blockquote caption details em figcaption h3 h4 h5 li p q span strong summary td th
May contain	xhtml5: a em figcaption iframe img q span strong summary character data
Content model	<content> <macroRef key="macro.keatsParaContent"/> </content> ⚓
Schema Declaration	element summary { att.classable.attributes, macro.keatsParaContent }⚓

Appendix A.1.29 <table>

<table> A table.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Attributes	att.classable @class @style
Member of	model.keatsDivBody
Contained by	xhtml5: details div
May contain	xhtml5: caption tr
Content model	<content> <sequence minOccurs="1" maxOccurs="1"> <elementRef key="caption" minOccurs="0" maxOccurs="1"/> <elementRef key="tr" minOccurs="1" maxOccurs="unbounded"/> </sequence> </content> ⚓
Schema Declaration	element table { att.classable.attributes, ( caption?, tr+ ) }⚓

Appendix A.1.30 <td>

<td> A table data cell.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Contained by	xhtml5: tr
May contain	xhtml5: a em figcaption iframe img q span strong summary character data
Content model	<content> <macroRef key="macro.keatsParaContent"/> </content> ⚓
Schema Declaration	element td { macro.keatsParaContent }⚓

Appendix A.1.31 <th>

<th> A table label or heading cell.

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

scope

Status	Optional
Legal values are:	col (Scope of this heading is the column below it.) row (Scope of this heading is the row to the right of it.)

Contained by

xhtml5: tr

May contain

xhtml5: a em figcaption iframe img q span strong summary

character data

Content model

<content>
 <macroRef key="macro.keatsParaContent"/>
</content>
    ⚓

Schema Declaration

element th { attribute scope { "col" | "row" }?, macro.keatsParaContent }⚓

Appendix A.1.32 <tr>

<tr> A table row.
Namespace	http://www.w3.org/1999/xhtml
Module	xhtml5
Contained by	xhtml5: table
May contain	xhtml5: td th
Content model	<content> <sequence minOccurs="1" maxOccurs="unbounded"> <elementRef key="th" minOccurs="0" maxOccurs="unbounded"/> <elementRef key="td" minOccurs="0" maxOccurs="unbounded"/> </sequence> </content> ⚓
Schema Declaration	element tr { ( th, td )+ }⚓

Appendix A.1.33 <ul>

<ul> Unordered list, usually bulleted.

Namespace

http://www.w3.org/1999/xhtml

Module

xhtml5

Attributes

att.classable
- class
- @style

class

Status	Optional
Legal values are:	gallery (A list of images to be presented in the form of a gallery.) people (A list of individuals mentioned in the documents.) places (A list of places mentioned in the documents and appearing on maps.) topicIndex (A list of topic items forming an index to the site. This will be constructed automatically by the build process; do not edit it.)

Member of

model.keatsDivBody

Contained by

xhtml5: blockquote details div li nav

May contain

xhtml5: li

Content model

<content>
 <elementRef key="li" minOccurs="1"
  maxOccurs="unbounded"/>
</content>
    ⚓

Schema Declaration

element ul
{
   att.classable.attribute.style,
   attribute class { "gallery" | "people" | "places" | "topicIndex" }?,
   li+
}⚓

Appendix A.2 Model classes

Appendix A.2.1 model.attributable

model.attributable groups elements that contain a word or phrase that can be attributed to a source. [3.3.3. Quotation 4.3.2. Floating Texts]
Module	tei
Used by	model.inter
Members	model.quoteLike

Appendix A.2.2 model.divPart

model.divPart groups paragraph-level elements appearing directly within divisions. [1.3. The TEI Class System]
Module	tei
Used by
Members	model.lLike model.pLike
Note	Note that this element class does not include members of the model.inter class, which can appear either within or between paragraph-level items.

Appendix A.2.3 model.global

model.global groups elements which may appear at any point within a TEI text. [1.3. The TEI Class System]
Module	tei
Used by	model.paraPart
Members	model.global.edit model.global.meta model.milestoneLike model.noteLike

Appendix A.2.4 model.highlighted

model.highlighted groups phrase-level elements which are typographically distinct. [3.3. Highlighting and Quotation]
Module	tei
Used by	model.phrase
Members	model.emphLike model.hiLike

Appendix A.2.5 model.inter

model.inter groups elements which can appear either within or between paragraph-like elements. [1.3. The TEI Class System]
Module	tei
Used by	model.paraPart
Members	model.attributable[model.quoteLike] model.biblLike model.egLike model.labelLike model.listLike model.oddDecl model.stageLike

Appendix A.2.6 model.keatsDivBody

model.keatsDivBody Groups elements which can appear below the heading in a div.
Module	xhtml5
Used by	macro.keatsDivContent
Members	audio blockquote details div figure img nav noscript ol p table ul

Appendix A.2.7 model.keatsDivHeading

model.keatsDivHeading Groups elements which can function as headings at the top of a div.
Module	xhtml5
Used by	macro.keatsDivContent
Members	h3 h4 h5

Appendix A.2.8 model.keatsPhrase

model.keatsPhrase Groups elements which can appear at the phrase level.
Module	xhtml5
Used by	macro.keatsParaContent
Members	a em figcaption iframe img q span strong summary

Appendix A.2.9 model.limitedPhrase

model.limitedPhrase groups phrase-level elements excluding those elements primarily intended for transcription of existing sources. [1.3. The TEI Class System]
Module	tei
Used by
Members	model.emphLike model.hiLike model.pPart.data[model.addressLike model.dateLike model.measureLike model.nameLike[model.nameLike.agent model.offsetLike model.placeStateLike[model.placeNamePart]]] model.pPart.editorial model.pPart.msdesc model.phrase.xml model.ptrLike

Appendix A.2.10 model.nameLike

model.nameLike groups elements which name or refer to a person, place, or organization.
Module	tei
Used by	model.pPart.data
Members	model.nameLike.agent model.offsetLike model.placeStateLike[model.placeNamePart]
Note	A superset of the naming elements that may appear in datelines, addresses, statements of responsibility, etc.

Appendix A.2.11 model.pPart.data

model.pPart.data groups phrase-level elements containing names, dates, numbers, measures, and similar data. [3.6. Names, Numbers, Dates, Abbreviations, and Addresses]
Module	tei
Used by	model.limitedPhrase model.phrase
Members	model.addressLike model.dateLike model.measureLike model.nameLike[model.nameLike.agent model.offsetLike model.placeStateLike[model.placeNamePart]]

Appendix A.2.12 model.pPart.edit

model.pPart.edit groups phrase-level elements for simple editorial correction and transcription. [3.5. Simple Editorial Changes]
Module	tei
Used by	model.phrase
Members	model.pPart.editorial model.pPart.transcriptional

Appendix A.2.13 model.paraPart

model.paraPart groups elements that may appear in paragraphs and similar elements [3.1. Paragraphs]
Module	tei
Used by
Members	model.gLike model.global[model.global.edit model.global.meta model.milestoneLike model.noteLike] model.inter[model.attributable[model.quoteLike] model.biblLike model.egLike model.labelLike model.listLike model.oddDecl model.stageLike] model.lLike model.phrase[model.graphicLike model.highlighted[model.emphLike model.hiLike] model.lPart model.pPart.data[model.addressLike model.dateLike model.measureLike model.nameLike[model.nameLike.agent model.offsetLike model.placeStateLike[model.placeNamePart]]] model.pPart.edit[model.pPart.editorial model.pPart.transcriptional] model.pPart.msdesc model.phrase.xml model.ptrLike model.segLike model.specDescLike]

Appendix A.2.14 model.phrase

model.phrase groups elements which can occur at the level of individual words or phrases. [1.3. The TEI Class System]
Module	tei
Used by	model.paraPart
Members	model.graphicLike model.highlighted[model.emphLike model.hiLike] model.lPart model.pPart.data[model.addressLike model.dateLike model.measureLike model.nameLike[model.nameLike.agent model.offsetLike model.placeStateLike[model.placeNamePart]]] model.pPart.edit[model.pPart.editorial model.pPart.transcriptional] model.pPart.msdesc model.phrase.xml model.ptrLike model.segLike model.specDescLike
Note	This class of elements can occur within paragraphs, list items, lines of verse, etc.

Appendix A.2.15 model.placeStateLike

model.placeStateLike groups elements which describe changing states of a place.
Module	tei
Used by	model.nameLike
Members	model.placeNamePart

Appendix A.3 Attribute classes

Appendix A.3.1 att.classable

att.classable Groups elements which can have a class attribute.

Module

xhtml5

Members

a audio blockquote br details div em figcaption figure h3 h4 h5 iframe img li nav ol p q span strong summary table ul

Attributes

class

(The class attribute provides styles through rules in the CSS stylesheet. )

Status	Optional
Datatype	1–∞ occurrences of teidata.word separated by whitespace

style

(The style attribute provides one-off style options for specific and unusual cases. Do not use this unless you know that the element you're styling is unlike any other element on the site.)

Status	Optional
Datatype	teidata.text

Appendix A.3.2 att.identifiable

att.identifiable Groups elements which may have an id attribute.

Module

xhtml5

Members

audio data details div figure iframe img li noscript p

Attributes

Status	Optional
Datatype	ID

Appendix A.4 Macros

Appendix A.4.1 macro.keatsDivContent

macro.keatsDivContent Content model for div container.
Module	xhtml5
Used by	details div
Content model	<content> <sequence minOccurs="1" maxOccurs="1"> <classRef key="model.keatsDivHeading" minOccurs="0" maxOccurs="unbounded"/> <classRef key="model.keatsDivBody" minOccurs="0" maxOccurs="unbounded"/> <elementRef key="script" minOccurs="0" maxOccurs="unbounded"/> <elementRef key="style" minOccurs="0" maxOccurs="unbounded"/> <elementRef key="search" minOccurs="0" maxOccurs="1"/> </sequence> </content> ⚓
Declaration	macro.keatsDivContent = model.keatsDivHeading, model.keatsDivBody, script, style, search?⚓

Appendix A.4.2 macro.keatsParaContent

macro.keatsParaContent Content model for paragraph-type containers such as paragraphs, list items, and so on.
Module	xhtml5
Used by	a blockquote caption em figcaption h3 h4 h5 li p q span strong summary td th
Content model	<content> <alternate minOccurs="0" maxOccurs="unbounded"> <textNode/> <classRef key="model.keatsPhrase"/> </alternate> </content> ⚓
Declaration	macro.keatsParaContent = ( text \| model.keatsPhrase )*⚓

Appendix A.5 Datatypes

Appendix A.5.1 teidata.certainty

teidata.certainty defines the range of attribute values expressing a degree of certainty.
Module	tei
Used by	teidata.probCert
Content model	<content> <valList type="closed"> <valItem ident="high"/> <valItem ident="medium"/> <valItem ident="low"/> <valItem ident="unknown"/> </valList> </content> ⚓
Declaration	teidata.certainty = "high" \| "medium" \| "low" \| "unknown"⚓
Note	Certainty may be expressed by one of the predefined symbolic values high, medium, or low. The value unknown should be used in cases where the encoder does not wish to assert an opinion about the matter.

Appendix A.5.2 teidata.count

teidata.count defines the range of attribute values used for a non-negative integer value used as a count.
Module	tei
Used by
Content model	<content> <dataRef name="nonNegativeInteger"/> </content> ⚓
Declaration	teidata.count = xsd:nonNegativeInteger⚓
Note	Any positive integer value or zero is permitted

Appendix A.5.3 teidata.duration.iso

teidata.duration.iso defines the range of attribute values available for representation of a duration in time using ISO 8601 standard formats
Module	tei
Used by
Content model	<content> <dataRef name="token" restriction="[0-9.,DHMPRSTWYZ/:+\-]+"/> </content> ⚓
Declaration	teidata.duration.iso = token { pattern = "[0-9.,DHMPRSTWYZ/:+\-]+" }⚓
Example	<time dur-iso="PT0,75H">three-quarters of an hour</time>
Example	<date dur-iso="P1,5D">a day and a half</date>
Example	<date dur-iso="P14D">a fortnight</date>
Example	<time dur-iso="PT0.02S">20 ms</time>
Note	A duration is expressed as a sequence of number-letter pairs, preceded by the letter P; the letter gives the unit and may be Y (year), M (month), D (day), H (hour), M (minute), or S (second), in that order. The numbers are all unsigned integers, except for the last, which may have a decimal component (using either `.` or `,` as the decimal point; the latter is preferred). If any number is 0, then that number-letter pair may be omitted. If any of the H (hour), M (minute), or S (second) number-letter pairs are present, then the separator `T` must precede the first ‘time’ number-letter pair. For complete details, see ISO 8601 Data elements and interchange formats — Information interchange — Representation of dates and times.

Appendix A.5.4 teidata.duration.w3c

teidata.duration.w3c defines the range of attribute values available for representation of a duration in time using W3C datatypes.
Module	tei
Used by
Content model	<content> <dataRef name="duration"/> </content> ⚓
Declaration	teidata.duration.w3c = xsd:duration⚓
Example	<time dur="PT45M">forty-five minutes</time>
Example	<date dur="P1DT12H">a day and a half</date>
Example	<date dur="P7D">a week</date>
Example	<time dur="PT0.02S">20 ms</time>
Note	A duration is expressed as a sequence of number-letter pairs, preceded by the letter P; the letter gives the unit and may be Y (year), M (month), D (day), H (hour), M (minute), or S (second), in that order. The numbers are all unsigned integers, except for the `S` number, which may have a decimal component (using `.` as the decimal point). If any number is 0, then that number-letter pair may be omitted. If any of the H (hour), M (minute), or S (second) number-letter pairs are present, then the separator `T` must precede the first ‘time’ number-letter pair. For complete details, see the W3C specification.

Appendix A.5.5 teidata.enumerated

teidata.enumerated defines the range of attribute values expressed as a single XML name taken from a list of documented possibilities.
Module	tei
Used by
Content model	<content> <dataRef key="teidata.word"/> </content> ⚓
Declaration	teidata.enumerated = teidata.word⚓
Note	Attributes using this datatype must contain a single ‘word’ which contains only letters, digits, punctuation characters, or symbols: thus it cannot include whitespace. Typically, the list of documented possibilities will be provided (or exemplified) by a value list in the associated attribute specification, expressed with a <valList> element.

Appendix A.5.6 teidata.language

teidata.language defines the range of attribute values used to identify a particular combination of human language and writing system. [6.1. Language Identification]
Module	tei
Used by
Content model	<content> <alternate> <dataRef name="language"/> <valList> <valItem ident=""/> </valList> </alternate> </content> ⚓
Declaration	teidata.language = xsd:language \| ( "" )⚓
Note	The values for this attribute are language ‘tags’ as defined in BCP 47. Currently BCP 47 comprises RFC 5646 and RFC 4647; over time, other IETF documents may succeed these as the best current practice. A ‘language tag’, per BCP 47, is assembled from a sequence of components or subtags separated by the hyphen character (-, U+002D). The tag is made of the following subtags, in the following order. Every subtag except the first is optional. If present, each occurs only once, except the fourth and fifth components (variant and extension), which are repeatable. language The IANA-registered code for the language. This is almost always the same as the ISO 639 2-letter language code if there is one. The list of available registered language subtags can be found at https://www.iana.org/assignments/language-subtag-registry. It is recommended that this code be written in lower case. script The ISO 15924 code for the script. These codes consist of 4 letters, and it is recommended they be written with an initial capital, the other three letters in lower case. The canonical list of codes is maintained by the Unicode Consortium, and is available at https://unicode.org/iso15924/iso15924-codes.html. The IETF recommends this code be omitted unless it is necessary to make a distinction you need. region Either an ISO 3166 country code or a UN M.49 region code that is registered with IANA (not all such codes are registered, e.g. UN codes for economic groupings or codes for countries for which there is already an ISO 3166 2-letter code are not registered). The former consist of 2 letters, and it is recommended they be written in upper case; the list of codes can be searched or browsed at https://www.iso.org/obp/ui/#search/code/. The latter consist of 3 digits; the list of codes can be found at http://unstats.un.org/unsd/methods/m49/m49.htm. variant An IANA-registered variation. These codes ‘are used to indicate additional, well-recognized variations that define a language or its dialects that are not covered by other available subtags’. extension An extension has the format of a single letter followed by a hyphen followed by additional subtags. These exist to allow for future extension to BCP 47, but as of this writing no such extensions are in use. private use An extension that uses the initial subtag of the single letter x (i.e., starts with `x-`) has no meaning except as negotiated among the parties involved. These should be used with great care, since they interfere with the interoperability that use of RFC 4646 is intended to promote. In order for a document that makes use of these subtags to be TEI-conformant, a corresponding <language> element must be present in the TEI header. There are two exceptions to the above format. First, there are language tags in the IANA registry that do not match the above syntax, but are present because they have been ‘grandfathered’ from previous specifications. Second, an entire language tag can consist of only a private use subtag. These tags start with `x-`, and do not need to follow any further rules established by the IETF and endorsed by these Guidelines. Like all language tags that make use of private use subtags, the language in question must be documented in a corresponding <language> element in the TEI header. Examples include sn Shona zh-TW Taiwanese zh-Hant-HK Chinese written in traditional script as used in Hong Kong en-SL English as spoken in Sierra Leone pl Polish es-MX Spanish as spoken in Mexico es-419 Spanish as spoken in Latin America The W3C Internationalization Activity has published a useful introduction to BCP 47, Language tags in HTML and XML.

Appendix A.5.7 teidata.name

teidata.name defines the range of attribute values expressed as an XML Name.
Module	tei
Used by
Content model	<content> <dataRef name="Name"/> </content> ⚓
Declaration	teidata.name = xsd:Name⚓
Note	Attributes using this datatype must contain a single word which follows the rules defining a legal XML name (see https://www.w3.org/TR/REC-xml/#dt-name): for example they cannot include whitespace or begin with digits.

Appendix A.5.8 teidata.numeric

teidata.numeric defines the range of attribute values used for numeric values.
Module	tei
Used by	Element: iframe/@width iframe/@height img/@width img/@height
Content model	<content> <alternate> <dataRef name="double"/> <dataRef name="token" restriction="(\-?[\d]+/\-?[\d]+)"/> <dataRef name="decimal"/> </alternate> </content> ⚓
Declaration	teidata.numeric = xsd:double \| token { pattern = "(\-?[\d]+/\-?[\d]+)" } \| xsd:decimal⚓
Note	Any numeric value, represented as a decimal number, in floating point format, or as a ratio. To represent a floating point number, expressed in scientific notation, ‘E notation’, a variant of ‘exponential notation’, may be used. In this format, the value is expressed as two numbers separated by the letter E. The first number, the significand (sometimes called the mantissa) is given in decimal format, while the second is an integer. The value is obtained by multiplying the mantissa by 10 the number of times indicated by the integer. Thus the value represented in decimal notation as 1000.0 might be represented in scientific notation as 10E3. A value expressed as a ratio is represented by two integer values separated by a solidus (/) character. Thus, the value represented in decimal notation as 0.5 might be represented as a ratio by the string 1/2.

Appendix A.5.9 teidata.outputMeasurement

teidata.outputMeasurement defines a range of values for use in specifying the size of an object that is intended for display.
Module	tei
Used by
Content model	<content> <dataRef name="token" restriction="[\-+]?\d+(\.\d+)?(%\|cm\|mm\|in\|pt\|pc\|px\|em\|ex\|ch\|rem\|vw\|vh\|vmin\|vmax)"/> </content> ⚓
Declaration	teidata.outputMeasurement = token { pattern = "[\-+]?\d+(\.\d+)?(%\|cm\|mm\|in\|pt\|pc\|px\|em\|ex\|ch\|rem\|vw\|vh\|vmin\|vmax)" }⚓
Example	<figure> <head>The TEI Logo</head> <figDesc>Stylized yellow angle brackets with the letters <mentioned>TEI</mentioned> in between and <mentioned>text encoding initiative</mentioned> underneath, all on a white background.</figDesc> <graphic height="600px" width="600px" url="http://www.tei-c.org/logos/TEI-600.jpg"/> </figure>
Note	These values map directly onto the values used by XSL-FO and CSS. For definitions of the units see those specifications; at the time of this writing the most complete list is in the CSS3 working draft.

Appendix A.5.10 teidata.pointer

teidata.pointer defines the range of attribute values used to provide a single URI, absolute or relative, pointing to some other resource, either within the current document or elsewhere.
Module	tei
Used by	Element: a/@href iframe/@src img/@src img/@data-lg-version
Content model	<content> <dataRef restriction="\S+" name="anyURI"/> </content> ⚓
Declaration	teidata.pointer = xsd:anyURI { pattern = "\S+" }⚓
Note	The range of syntactically valid values is defined by RFC 3986 Uniform Resource Identifier (URI): Generic Syntax. Note that the values themselves are encoded using RFC 3987 Internationalized Resource Identifiers (IRIs) mapping to URIs. For example, `https://secure.wikimedia.org/wikipedia/en/wiki/%` is encoded as `https://secure.wikimedia.org/wikipedia/en/wiki/%25` while `http://موقع.وزارة-الاتصالات.مصر/` is encoded as `http://xn--4gbrim.xn----rmckbbajlc6dj7bxne2c.xn--wgbh1c/`

Appendix A.5.11 teidata.probCert

teidata.probCert defines a range of attribute values which can be expressed either as a numeric probability or as a coded certainty value.
Module	tei
Used by
Content model	<content> <alternate> <dataRef key="teidata.probability"/> <dataRef key="teidata.certainty"/> </alternate> </content> ⚓
Declaration	teidata.probCert = teidata.probability \| teidata.certainty⚓

Appendix A.5.12 teidata.probability

teidata.probability defines the range of attribute values expressing a probability.
Module	tei
Used by	teidata.probCert
Content model	<content> <dataRef name="double"> <dataFacet name="minInclusive" value="0"/> <dataFacet name="maxInclusive" value="1"/> </dataRef> </content> ⚓
Declaration	teidata.probability = xsd:double⚓
Note	Probability is expressed as a real number between 0 and 1; 0 representing certainly false and 1 representing certainly true.

Appendix A.5.13 teidata.temporal.w3c

teidata.temporal.w3c defines the range of attribute values expressing a temporal expression such as a date, a time, or a combination of them, that conform to the W3C XML Schema Part 2: Datatypes Second Edition specification.
Module	tei
Used by
Content model	<content> <alternate> <dataRef name="date"/> <dataRef name="gYear"/> <dataRef name="gMonth"/> <dataRef name="gDay"/> <dataRef name="gYearMonth"/> <dataRef name="gMonthDay"/> <dataRef name="time"/> <dataRef name="dateTime"/> </alternate> </content> ⚓
Declaration	teidata.temporal.w3c = xsd:date \| xsd:gYear \| xsd:gMonth \| xsd:gDay \| xsd:gYearMonth \| xsd:gMonthDay \| xsd:time \| xsd:dateTime⚓
Note	If it is likely that the value used is to be compared with another, then a time zone indicator should always be included, and only the dateTime representation should be used.

Appendix A.5.14 teidata.text

teidata.text defines the range of attribute values used to express some kind of identifying string as a single sequence of Unicode characters possibly including whitespace.
Module	tei
Used by	Element: a/@title img/@alt img/@title
Content model	<content> <dataRef name="string"/> </content> ⚓
Declaration	teidata.text = string⚓
Note	Attributes using this datatype must contain a single ‘token’ in which whitespace and other punctuation characters are permitted.

Appendix A.5.15 teidata.truthValue

teidata.truthValue defines the range of attribute values used to express a truth value.
Module	tei
Used by
Content model	<content> <dataRef name="boolean"/> </content> ⚓
Declaration	teidata.truthValue = xsd:boolean⚓
Note	The possible values of this datatype are 1 or true, or 0 or false. This datatype applies only for cases where uncertainty is inappropriate; if the attribute concerned may have a value other than true or false, e.g. unknown, or inapplicable, it should have the extended version of this datatype: teidata.xTruthValue.

Appendix A.5.16 teidata.versionNumber

teidata.versionNumber defines the range of attribute values used for version numbers.
Module	tei
Used by
Content model	<content> <dataRef name="token" restriction="[\d]+[a-z][\d](\.[\d]+[a-z][\d]){0,3}"/> </content> ⚓
Declaration	teidata.versionNumber = token { pattern = "[\d]+[a-z][\d](\.[\d]+[a-z][\d]){0,3}" }⚓

Appendix A.5.17 teidata.word

teidata.word defines the range of attribute values expressed as a single word or token.
Module	tei
Used by	teidata.enumeratedElement: figure/@class img/@class span/@class
Content model	<content> <dataRef name="token" restriction="[^\p{C}\p{Z}]+"/> </content> ⚓
Declaration	teidata.word = token { pattern = "[^\p{C}\p{Z}]+" }⚓
Note	Attributes using this datatype must contain a single ‘word’ which contains only letters, digits, punctuation characters, or symbols: thus it cannot include whitespace.

Appendix A.5.18 teidata.xTruthValue

teidata.xTruthValue (extended truth value) defines the range of attribute values used to express a truth value which may be unknown.
Module	tei
Used by
Content model	<content> <alternate> <dataRef name="boolean"/> <valList> <valItem ident="unknown"/> <valItem ident="inapplicable"/> </valList> </alternate> </content> ⚓
Declaration	teidata.xTruthValue = xsd:boolean \| ( "unknown" \| "inapplicable" )⚓
Note	In cases where where uncertainty is inappropriate, use the datatype teidata.TruthValue.

Appendix A.5.19 teidata.xpath

teidata.xpath defines attribute values which contain an XPath expression.
Module	tei
Used by
Content model	<content> <textNode/> </content> ⚓
Declaration	teidata.xpath = text⚓
Note	Any XPath expression using the syntax defined in 6.2.. When writing programs that evaluate XPath expressions, programmers should be mindful of the possibility of malicious code injection attacks. For further information about XPath injection attacks, see the article at OWASP.

Appendix A.6 Constraints

Schematron	<sch:rule context="xh:img"> <sch:assert test="matches(@src, '^[a-zA-Z0-9/\._\-]+$') and (not(@data-lg-version) or matches(@data-lg-version, '^[a-zA-Z0-9/\._\-]+$'))"> Image file paths must be well-formed (no spaces or punctuation). </sch:assert> <sch:assert test="matches(@src, '^(images/)\|(neighbourhoodMaps/)\|(gallery/)')"> Image file paths must begin with images/, neighbourhoodMaps/, or gallery/. </sch:assert> <sch:assert test="not(@data-lg-version) or matches(@data-lg-version, '^(images/)\|(neighbourhoodMaps/)\|(gallery/)')"> Image file paths must begin with images/, neighbourhoodMaps/, or gallery/. </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:div/xh:p[not(ancestor::xh:div[@class='poem'])]"> <sch:assert test="not(xh:br)"> Don't use br tags (linebreaks) inside paragraphs. </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:div"> <sch:assert test="not(count(*) = 1 and child::xh:figure)"> There's no need to wrap a figure element in a div. </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:h3"> <sch:assert test="not(xh:a[@href])"> Don't place links inside h3 elements. </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:a"> <sch:assert test="not(descendant::xh:a[@href])"> Don't place links inside other links. </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:div[@class='chronology']/xh:ul/xh:li"> <sch:assert test="not(matches(., '\.\s*$'))"> Don't terminate a chronology entry with a period. </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:*[text()][not(ancestor-or-self::xh:script or ancestor-or-self::xh:style)]"> <sch:assert test="not(text()[matches(., $straightQuotes)])"> Do not use straight quotes in text. Use the q or span elements wherever possible; for apostrophes, use the smart version (’). </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:a"> <sch:assert test="not(matches(@href, '\s+'))"> There should be no spaces in href attributes (links). </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:img"> <sch:assert test="every $att in @* satisfies local-name($att) = ('src', 'data-lg-version', 'alt', 'title', 'width', 'height', 'id', 'style', 'class')"> Only the following attributes are allowed on img: 'src', 'data-lg-version', 'alt', 'title', 'id', 'style', 'class', 'width' and 'height'. </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:span[@class=('poemTitle', 'articleTitle', 'artTitle')][not(matches(., '[!\?]$'))]"> <sch:assert test="not(following-sibling::node()[1][matches(., '^[\.,]')])"> Periods and commas belong inside the span element for a poem title or an article title, because the poem or article title will be rendered with quotation marks. </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:a[@href]"> <sch:assert test="not(matches(., '[\.,:;]\s$')) or matches(., '((Esq\.)\|(A\.\sW\.)\|(\.\s\.\s\.))$')"> Don't include trailing periods and commas inside link text. </sch:assert> </sch:rule>
Schematron	<sch:ns uri="http://www.w3.org/1999/xhtml" prefix="xh"/> <sch:pattern> <sch:let name="smartDouble" value="'[“”]'"/> <sch:let name="smartSingle" value="'[‘’]'"/> <sch:let name="straightDouble" value="'"'"/> <sch:let name="straightApos" value="''''"/> <sch:let name="straightQuotes" value="concat('[', $straightDouble, $straightApos, ']')"/> </sch:pattern>
Schematron	<sch:rule context="xh:*[text()]"> <sch:assert test="not(text()[matches(., '[^\.]\.[A-Z]')])"> Don't forget to put a space after every period. </sch:assert> </sch:rule>
Schematron	<sch:rule context="xh:*[text()]"> <sch:assert test="not(text()[matches(., '\.\.\.')])"> Use an ellipsis (…) rather than three periods. </sch:assert> </sch:rule>

Schema and Documentation for Mapping Keats’s Progress project

Table of contents

Mapping Keats’s Progress

Manual for Author, Editors and Coders

4.1. Installing a Subversion client

4.1.1. Windows

4.1.2. Macintosh

4.1.3. Linux

4.2. Checking out the repository for the first time

4.3. Using SVN in your daily work

10.1. How to get the project materials

10.2. How to open the Oxygen project

10.3. How to edit an existing file

10.4. How to create a new file

10.5. How to test your changes to a page

10.6. How to add an image to a page

10.7. How to add an image to the gallery

10.8. How to add items to the topic index

10.9. How to rebuild the site

10.10. How to upload a new version of the site to the server

11.1. Titles of poems, books etc.

11.2. People's names

11.3. Linking Keats's poem titles to poems

11.4. Tagging quotations

Appendix A

Appendix A.1 Elements

Appendix A.1.1 <a>

Appendix A.1.2 <audio>

Appendix A.1.3 <blockquote>

Appendix A.1.4 <br>

Appendix A.1.5 <caption>

Appendix A.1.6 <data>

Appendix A.1.7 <details>

Appendix A.1.8 <div>

Appendix A.1.9 <em>

Appendix A.1.10 <figcaption>

Appendix A.1.11 <figure>

Appendix A.1.12 <h3>

Appendix A.1.13 <h4>

Appendix A.1.14 <h5>

Appendix A.1.15 <iframe>

Appendix A.1.16 <img>

Appendix A.1.17 <li>

Appendix A.1.18 <nav>

Appendix A.1.19 <noscript>

Appendix A.1.20 <ol>

Appendix A.1.21 <p>

Appendix A.1.22 <q>

Appendix A.1.23 <script>

Appendix A.1.24 <search>

Appendix A.1.25 <span>

Appendix A.1.26 <strong>

Appendix A.1.27 <style>

Appendix A.1.28 <summary>

Appendix A.1.29 <table>

Appendix A.1.30 <td>

Appendix A.1.31 <th>

Appendix A.1.32 <tr>

Appendix A.1.33 <ul>

Appendix A.2 Model classes

Appendix A.2.1 model.attributable

Appendix A.2.2 model.divPart

Appendix A.2.3 model.global

Appendix A.2.4 model.highlighted

Appendix A.2.5 model.inter

Appendix A.2.6 model.keatsDivBody

Appendix A.2.7 model.keatsDivHeading

Appendix A.2.8 model.keatsPhrase

Appendix A.2.9 model.limitedPhrase

Appendix A.2.10 model.nameLike

Appendix A.2.11 model.pPart.data

Appendix A.2.12 model.pPart.edit

Appendix A.2.13 model.paraPart

Appendix A.2.14 model.phrase

Appendix A.2.15 model.placeStateLike

Appendix A.3 Attribute classes

Appendix A.3.1 att.classable

Appendix A.3.2 att.identifiable

Appendix A.4 Macros

Appendix A.4.1 macro.keatsDivContent