This essay aims to explore how Keats’s poetics of dissolution are vital to some of his achievements as a poet. The very form of the ode-stanzas, composed as they are of inter-connected but ultimately self-contained units, contributes to enhance this effect of fluidity.
On the eve of Armageddon, with the entire galaxy at war, seven pilgrims set forth on a final voyage to Hyperion seeking the answers to the unsolved riddles of their lives. One way Keats achieves this effect is by subordinating the traditional mythological identity of these characters to the fact of their physicality and he also uses a number of other techniques and strategies which work within the poems in conjunction with such foregrounding. In the Valley of the Time Tombs, where huge, brooding structures move backward through time, the Shrike waits for them all. The mythical figures invoked in Keats’s poems are at once allusive and elusive.
In his unsigned review of Endymion and Keats’s 1820 volume of poems, Francis Jeffrey noted that the author borrowed little more from ‘the Pagan mythology’ than a ‘general conception’, bestowing ‘an original character and distinct individuality’ upon the beings he peopled his poetry with. She also revealed the truth about the Farcasters. This essay seeks to explore the mobility of Keats’s poetic discourse - the way his poetry seems to manifest presence and identity only to immediately dissolve or qualify it - through an analysis of his use of mythology in some of his odes. Over 270 years after the destruction of the WorldWeb and the Fall, the young woman Aenea, child of a human woman and AI cybrid, began to reveal the truth of the TechnoCores motivations and involvement with humanity through the Pax Church.
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