The Masks of Keats: The Endeavour of a Poet

Front Cover
This book surveys the poetic endeavor of Keats and urges that his true poetry is uniquely constituted by being uttered through three artificial masks, rather than through the natural voice of his quotidian self. The first mask is formed by the attitudes and reality that ensue from a conscious
commitment to the identity of poet as such. The second, called here the Mask of Camelot, takes shape from Keats's acceptance and compelling use of the vogue for medieval imaginings that was sweeping across Europe in his time. The third, the Mask of Hellas, eventuated from Keats's enthusiastic
immersion in the rising tide of Romantic Hellenism. Keats's great achievement, the book argues, can only be ascertained by means of a resuscitation of the defunct critical category of genius, as that informs his use of the masks. To validate this category, the volume is concerned throughout with
the necessity of discriminating the truly poetic from the meretricious in Keats's endeavor. The Mask of Keats thus constitutes a criticism of and rebuke to the deconstructive approach, which must treat all texts and must entirely forgo the conception of quality.

From inside the book

What people are saying - Write a review

We haven't found any reviews in the usual places.


The Two Masks I
The Mask of Camelot
Life Mask and Death Mask
Aspects of the Mask of Hellas
The Narrative Line
The Churning of Genius
The Great Achievement

Common terms and phrases

About the author (2000)

Thomas McFarland is Murray Professor of English Literature Emeritus at Princeton University.

Bibliographic information