[On Monckton Milne's Life of Keats] An attempt to make us eat dead dog by exquisite currying and cooking [...] The kind of man that Keats was gets ever more horrible to me. Forces of hunger for every pleasure of every kind, and want of all other force -- that is a combination! Such a structure of soul, it would once have been very evident, was a chosen 'Vessel of Hell' [...]
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Thomas Carlyle, in J.A. Froude, Thomas Carlyle: A History of His Life in London, 1834 - 1881 (1884)John Keats
Here are Johnny Keats's piss a-bed poetry [...] There is such trash of Keats and the like upon my tables, that I am ashamed to look at them [...] No more Keats, I entreat: flay him alive; if some of you don't I must skin him myself: ther eis no bearing the driveling idiotism of the Mankin.
John Keats
[Keats] was the very soul of courage and manliness, and as much like the holy Ghost as Johnny Keats.
John Keats
He had one of the rarest qualities in all literature, and it's a great shame that the word for it has been thoroughly debased by the cosmetic racketeers, so that one is almost ashamed to use it to describe a real distinction. Nevertheless, the word is charm — charm as Keats would have used it. Who has it today? It's not a matter of pretty writing or clear style. It's a kind of subdued magic, controlled and exquisite, the sort of thing you get from good string quartettes.
F. Scott Fitzgerald
The important thing is to get yourself born. You’re entitled to that. But you’re not entitled to life. Because if you were entitled to life, then the life would have to be quantified. How many years? Seventy? Sixty? Shakespeare was dead at fifty-two. Keats was dead at twenty-six. Thomas Chatterton at seventeen.
Anthony Burgess
Man is not supposed to make life. Only God can make a tree. Why should you make a living organism? You should make images of living organisms. It seems presumptuous to attempt to make a thing which breathes and pulsates right there by itself. It’s unnatural. What’s inhuman about it is, the human way to create, I think, the way we see, from part to part. You do this and then you do that, then you do that and that. Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where even though you naturally have to paint, after all a painting is only a painting, the painting is always saying, what do you want from me, I can only be a painting, you have to go from part to part, but you shouldn’t see yourself go from part to part, that’s the whole point That’s some kind of a leap.. ..I’m describing the process of painting.
Phillip Guston
Keats, John
Keble, John
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