Keats also uses this idea of concealment to also show an obsession that is prohibited. In Eve of St Agnes, Porphyro watches Madeline through her closet and sneaks around her house “He ventures in: let no buzz’d whisper tell:/ All eyes muffled, or a hundred swords/ Will storm his heart…”. His behaviour isn’t typical of a lover, with the secretive “let no buzz’d whisper tell” and invasive nature (“sword”) indicates to rather to an obsession. This is highlighted in Enduring love in the quote “The recording tape was still turning…I walked quickly into my study, picked up my fax phone and called the police.” as it suggests that despite being not allowed in, Parry still manages to find a way into Joe’s home as his voice penetrates his house. This
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Ode to a Nightingale conveys this in stanza 5 where the speaker describes different plants he can see and smell including “White hawthorn” and “Fast-Fading violets”. The lexis of these two plants that bloom in different seasons suggests he’s simultaneously experiencing both summer at spring and has therefore left the strict confines of reality. The speaker’s intense fixation on death and the nightingale causes him to have this vision which transports him to a world where his obsessions become appear to him to be real. This idea of fanciful obsession is reinforced in the starting line of the last stanza “Forlorn! The very word is like a bell / To toll me back from thee to my sole self! / Adieu! The fancy cannot cheat so well”. There is an onomatopoeic assonance of the letter ‘l’ in the “bell…toll[ing]” signalling the reader to also come back to reality. This type of obsession is also present in Dorian Grey, as he is obsessed with what is ultimately an illusion while his real face decays in the painting “He grew more and more enamoured by his own beauty, more and more interested in the corruption of his own soul…”all art is quite useless > beauty doesn’t actually reveal anything? This reveals a parallel between Dorian and the character Narcissus in Greek mythology, whose obsession with himself ended up being the cause of his own
Ode to a Nightingale conveys this in stanza 5 where the speaker describes different plants he can see and smell including “White hawthorn” and “Fast-Fading violets”. The lexis of these two plants that bloom in different seasons suggests he’s simultaneously experiencing both summer at spring and has therefore left the strict confines of reality. The speaker’s intense fixation on death and the nightingale causes him to have this vision which transports him to a world where his obsessions become appear to him to be real. This idea of fanciful obsession is reinforced in the starting line of the last stanza “Forlorn! The very word is like a bell / To toll me back from thee to my sole self! / Adieu! The fancy cannot cheat so well”. There is an onomatopoeic assonance of the letter ‘l’ in the “bell…toll[ing]” signalling the reader to also come back to reality. This type of obsession is also present in Dorian Grey, as he is obsessed with what is ultimately an illusion while his real face decays in the painting “He grew more and more enamoured by his own beauty, more and more interested in the corruption of his own soul…”all art is quite useless > beauty doesn’t actually reveal anything? This reveals a parallel between Dorian and the character Narcissus in Greek mythology, whose obsession with himself ended up being the cause of his own