ABSTRACT
Yeats's famous association of Keats with the sweetshop window offers a valuable point of entry into a study of Keats's luscious aesthetic. After identifying the socio-historical elements that influenced the birth of Keats's luscious aesthetic, the author address key questions more properly labeled psychological. Keats's verse epistle to George Felton Mathew, in contrast, supplies a particularly lucid example of a naturally that is, leafily luscious creative space. Keats's charming style, Betz asserts, was the product of a 'culture' that located 'meaning in the realm of the senses without necessary recourse to 'ideas' and even, at times, in direct contravention of them'. As Lilach Lachman points out, each of the poem's close set moments is a single element in a series of tight spaces that connect through and across one another: In Keats's long poem, every segment is signaled by such a bounded location, where the movement ensures the continuous unfolding of adjacent spaces.
