Levinson critiques Keats criticism in general for its commitment to a recognized Keats which suppresses what Keats’s contemporary reviews called vulgarity, the marker of his class origin and class ambition. She observes that rescuing Keats …show more content…
Keats negotiates what we call the actor’s version of the theatrics of sympathy. This chapter, from now on, goes to show Keats mediates his poetic ideal of sympathy/ negative capability and anti-ideal of the egotistical sublime and along with them, his developing conception of his own status as a poet and the text of the analysis is devoted to a reading of “This Living Hand,” examining the way in which this poem-fragment turns sympathy on its head and reveals the problematic aspects of it, especially, the difference between the supply and demand of