Titlebook: Keats‘s Places; Richard Marggraf Turley Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Romanticism.Poetry.London.Travel.Pl

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tenuous

,Keats’s Muses ‘In the Midst of Meg Merrilies’ Country’: Meg, Mnemosyne, Moneta and Autumn,ngs to his lover Isabella Jones, seventeen years his senior, to the mothers of his friends—to argue that versions of these women resurface in characterizations of female characters in his poetry. Thomson looks especially at the figure of Meg Merrilies, whom Keats encountered in various guises during

Calculus

,Poetic Genealogies: Keats’s Northern Walking Tour, his career. Leaving his pastoral poetry behind, Keats began to look both physically and metaphorically towards the landscape of the epic. O’Halloran places the walking tour in the context of Keats’s disappointment at finding Wordsworth out when he visited Rydal Mount, an anti-climax made worse by r

linguistics

,Keats’s ‘Natural Sculptures’: Geology, Vitality and the Scottish Walking Tour, and human bodies in Keats’s poetry. Her argument is that Keats’s poetic depictions of sculptures and .’s fallen Titans are more profoundly influenced by the poet’s geological observations in various places, including the British Museum and geological sites visited during the northern walking tour,

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Introduction

Chronic

Monocle

,‘Writ in Water’, Etched in Stone: John Keats and the Experience of Rome,d two days there. Keats’s voice, Albano reminds us, is elusive throughout, and often mediated through Joseph Severn’s own letters and recollections. Albano explores the Eternal City through the prism of Keats’s experience, seeking traces of the poet in three connected places: the area around the Pia

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