![]() ![]() The marginalia rather than the printed text (at least one copy of which she and her When Keats gave the volumes to Maria Dilke, the significance of the gift resided in The whereabouts of Marianne Reynolds’s and George Keats’s copies of Paradise Lost are currently unknown. (NOTE) The information about Marianne Reynolds comes from Forman 5: 291. Reproducing not only the notes but all of Keats’s markings into her personal copy ![]() Of his own edition of Milton’s poem, and Marianne Reynolds went to the trouble of George Keats copied eleven of the nineteen notes onto the flyleaf The Paradise Lost marginalia have long been valued by those interested in Keats, starting with hisįamily and friends. They nowīelong to Keats House in Hampstead and are housed in the London Metropolitan Archives. Dilke’s bookplate, and they eventually were donated to the Hampstead Librariesīy his grandson Sir Charles Dilke as part of the valuable Dilke bequest. Keats.” Keats’s Paradise Lost remained in the Dilke family throughout the nineteenth century. Is inscribed “ M rs Dilke from / her sincere friend / J. Transmission and Publication HistoryKeats gave these volumes to Maria Dilke before he left for Italy the second volume This patternĬould reflect either that Keats found the beginning of the poem more significant andĮngaging than the end or that he simply became less committed to recording his responses Markings occur in every book of the poem, though both notes and markings are mostĮxtensive in the earlier books and become less frequent in the last three. In addition, on the flyleaf of volume two Keats wrote a draft of his sonnet To triple lines, indicating varying degrees of intensity in Keats’s response to particular Keats’s marginalia in the Paradise Lost volumes consist of nineteen notes and extensive markings: underlining (single, double,Īnd triple) as well as vertical lines in the margin (also ranging from single, double, The title page vignette of Eve handing Adam an apple has not been identified. Information about Daniel Lizars is from The Oxford Dictionary of National Biography online (accessed 9 Nov. Titles for each illustration derive from Weinglass and Pointon. Pointon 198 Ravenhall 529-89 and Weinglass 202-06. (NOTE) The artists are not identified in Keats’s edition I was able to do so by consulting All are engraved by Daniel Lizars, a painter and engraver who worked Paintings by Henry Fuseli ( Satan Calling Up His Legions from book 1 Satan Encountering Death at Hell’s Gate, Sin Interposing from book 2 Satan Starting from the Touch of Ithuriel’s Spear from book 4 The Triumphant Messiah from book 6 and The Explusion from Paradise from book 12), and one is after William Hamilton ( Eve Tempted from book 9). The volumesĪlso include six engraved illustrations of Milton’s poem. It contains no marginalia.īesides the text of Paradise Lost, this edition contains at the beginning of volume 1 a “Life of Milton” by Elijah Fenton, a postscript that lists passages added to the 2nd, twelve-book edition of Paradise Lost, a Latin poem by Samuel Barrow, “In Paradisum Amissam Summi Poetae Johannes Miltoni,” Andrew Marvell’s poem “On Paradise Lost,” and Milton’s explanatory paragraph “On the Verse.” None of these items in the front matter is marked or annotated by Keats. In an ornate hand, “John Keats / 1810,” indicating that the book was probably given to the poet when he was a student at On the inside front cover of the surviving second volume is written (NOTE) Keats also possessed a 1775 edition of Paradise Lost (8th ed., 2 vols., printed in London for J. Keats’s edition of Paradise Lost was published in Edinburgh, printed for W. To one of his most important literary precursors, but of his reading practices, aesthetic The book provides a remarkable record, not just of Keats’s response The Paradise Lost volumes, by contrast, contain markings and annotations throughout the entirety of in A Midsummer Night’s Dream there are but two pages” marked (5: 269n). in Romeo and Juliet the markings extend over the first half of the play. (NOTE) According to Forman, “ The First Part of King Henry the Fourth is marked only in the first eight pages. ( Troylus and Cressida and King Lear) are marked throughout. In the latter, however, only five plays are marked by Keats and of these only two Owned by Keats House and stored in the London Metropolitan William Shakespeare’s Comedies, Histories, & Tragedies. That only two of Keats’s annotated books contain notes that offer “serious critical commentary:” his Paradise Lost and his folio Shakespeare (191). Scholarly IntroductionKeats’s two-volume, 1807 copy of Milton’s Paradise Lost is one of the most valuable of the poet’s surviving books. View documentation on encoding principals by Daniel Johnson View technical introduction by Daniel Johnson ![]()
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