Hyperion : son of Uranus & Gaea; father of Helios (q.v.), Selene (moon-goddess), & Eos (dawn-goddess). ‘Hyperion’ is also an epithet of the Sun himself.
... like Milton, but direct and original in his artistry, he begins a new era. His astonishing early performance leaves us wondering what might have been the masterpieces of his prime, of which even Hyperion and the Odes are only the unfulfilled promise. His death in the beginning of his powers is the greatest loss ever suffered by human achievement in this field. Alone of all the chief poets of his... Keats, his inner genius, the thing he was striving to bring out of himself is not to be altogether found even here; it lay in that attempt which, first failing in Endymion , was again resumed in Hyperion . It was the discovery of the divine Idea, Power and living norm of Beauty which by its breath of delight has created the universe, supports it and moves towards a greater perfection, inspires the... Endymion by sensuous images of a rich and dim moonlit dream with a sort of allegory or weft of symbols behind the words and thoughts, but his hand is still inexpert and fails in the execution. In Hyperion the idea is clearer and in bolder relief, but it is misconceived under a too intellectual, external and conventionally epic Miltonic influence, and in his second version he turns not quite happily ...
... Agnes' Eve with a greater Page 61 stress of character-play and psychological motive, as a prelude to some strong and rich dramatic projection in the Shakespearean style. His Hyperion would most probably have remained for a long time a fragment; for Keats was getting disgusted with epic and mythological themes. The resonant language which, while treating them, he beat out for... Shakespearean ideal. He was sure to have discovered his mistake — but perhaps at much cost, just as the ludicrous Cap and Bells frittered away the precious energy he should have spent on continuing Hyperion . Shelley's development was much more certain; his death too was more lamentable, since Keats died and inspired Adonais and so in a way his passing was compensated for, while the remembrance... belongs also to the Keatsian group, and Clang through my shaken body like a gong as well as From some long ruined and night-submerg è d star have an undertone from Hyperion . Elsewhere too, in Thompson's verse, the Keats-note is repeatedly sounded — one might almost say he has assimilated Keats as much as Shelley; but his basic temperament is more akin to the latter ...
... es, while Matthew Arnold it was, I believe, who pitied Hugo for imagining that poetry consisted in using "divinité", "infinité" "éternité", as lavishly as possible. And then there is Keats, whose Hyperion compelled even the sneering Byron to forget his usual condescending attitude towards "Johnny" and confess that nothing grander had been seen since Aeschylus. Racine, too, cannot be left out—can he... consideration although their best work is as fine poetry as any written, but they have written nothing on a larger scale which would place them among the greatest creators. If Keats had finished Hyperion (without spoiling it), if Shelley had lived, or Page 369 if Wordsworth had not petered out like a motor car with insufficient petrol, it might be different, but we have to take things ...
... physical fading away into the inffeble and the transcendental. Page 479 Savitri is epical both in tone and conception and its involvement is cosmic. In this respect Keats's Hyperion and Shelley's Prometheus Unbound are nearer to it. The idea Spirit, behold The glorious destiny nascent in Shelley's earlier work, Queen Mab, finds its fuller poetic expression... genii, the beasts and the birds and finally Man, — in a voice of universal sound: This is the day — When Love spings and folds over The world Its healing wings. Keats's Hyperion, a great attempt in epic code, similarly poetises the fall of Uranus (representing the rule of shapeless chaos) at the hands of Saturn (representing the rule of cosmic order), and his fall in turn ...
... mystical tinge and the unfinished Hyperion , where the discovery of the divine Idea, Power and living norm of Beauty creating, sustaining and developing the universe is taken up more explicitly, shows him at his strong. est. To confuse with loss of nerve the high-strung temperament of the poet and the fever of idealistic aspiration, is pretty poor psychology. In Hyperion both that temperament and that ...
... second part in his old age. It is entirely different from the first, just as Milton's Paradise Regained is different from his Paradise Lost . Keats also has two versions of his Hyperion : in the later version Hyperion tends to become an idea. PURANI: Abercrombie remarks about Paradise Lost that its Satan is a symbol of human will struggling against Fate. SRI AUROBINDO: Human will? I always ...
... Joyless he rose and eastward expected the sunrise on Ida. Page 354 Book II: The Book of the Statesman Now from his cycle sleepless and vast round the dance of the earth-globe Gold Hyperion rose in the wake of the dawn like the eyeball Flaming of God revealed by his uplifted luminous eyelid. Troy he beheld and he viewed the transient labour of mortals. All her marble beauty and pomp ...
... Coleridge, but since I read Shelley a great deal and took an intense pleasure in some of Coleridge's poetry, they may have been there without my knowledge. The one work of Keats that influenced me was Hyperion —I dare say my blank verse got something of his stamp through that. The Page 219 poem itself was written in a white heat of inspiration during 14 days of continuous writing—in the mornings ...
... infrequent recourse by him to a semi-Miltonic diction without Milton's compactness. Shelley in sections of Adonais and in large tracts of Prometheus Unbound (minus the lyrics), Keats in Hyperion and even Byron in some of his rare forceful sincerities have to a marked degree the same source of inspiration. But there has entered into that source a totally non-Classical afflatus, because ...
... Eve of St. Agnes, not even in the great Odes does Sri Aurobindo see the real soul of Keats: this "inner genius... lay in that attempt which, first failing in Endymion , was again resumed in Hyperion . It was the discovery of the divine Idea, Power and living norm of Beauty which by its breath of delight has created the universe, supports it and moves towards a greater perfection, inspires the ...
... more elevated Wordsworthian passages as well as in parts of Shelley's Alastor, Julian and Maddalo, Prometheus Unbound, Adonais and of his fragment, The Triumph of Life; also in sections of Keats's Hyperion, here and there in the famous Odes and almost wholly in the fragment of an Ode ending with the line, Leaving great verse unto a little clan. But neither of these elements creates the typical ...
... an unsteady poetic fire in the various parts. If Chattopadhyaya makes something even less colossal yet large and poetic enough, if he fashions a new Prometheus Unbound, essays and finishes another Hyperion or rebuilds a Paradiso, in terms of a fresh and mature mystic originality, he will stand like a giant in the dawn of a new era, his masterpiece gathering its lines of light from a creative Sun beyond ...
... lines which Sri Aurobindo wrote some years earlier than Love and Death and which, in view of its teeming excellences and the poet's young age (barely twenty-three), may be considered with Keats's Hyperion the most remarkable production in blank verse in the English tongue. Urvasie —the story of King Puru-ravus, a mortal hero, who took a nymph of heaven, an Apsara, for bride—is shot with an impetuous ...
... recorded facts we may pick out a few to get the nature of this phenomenon into focus. A brief account is available of how Keats came to describe Apollo in the third book of his unfinished epic, Hyperion. The passage arrived "by chance or magic — as if it were something given to him". He did not realise how beautiful the poetic expressions were, until after he had put them down on paper. When he ...
... course: your lumping together an almost initial thing like mental silence with a supreme and ultimate, hitherto-unaccomplished thing like bodily supramentalisation was like comparing "a Hyperion to a satyr", as your favourite store of quotations would say. However, I have no mind particularly to decide who should be chosen to wear the crown of a dunce's cap in the realm of irrelevance. ...
... lines have strongly associated a "branchy" tree with' bareness, a late-autumnal near-leailessness, in your mind, but poetically there is no reason for the association in general. Take Keats in his Hyperion: As when, upon a tranced summer-night Those green-robed senators of mighty woods, Tall oaks, branch-charmed by the earnest stars, Dream, and so dream all night without a stir ...
... for a divorce. The last effort, on a large scale, was Goethe's Faust, which also falls far short of the epic height and grandeur. Similarly, Shelley' Revolt of Islam, Keats' s incomplete Hyperion have something of the epic accent, but they too do not succeed much. Victor Hugo's La Legende des Siecles, Robert Browning's The Ring and the Book, and Thomas Hardy's Dynasts — all seem to ...
... Titans: Immortal children bom to Gaia (the earth) and Uranus (the sky), the titans form what the Greeks called "the first race". There were twelve of them, six male and six female: Oceanus, Coeus, Hyperion, Crius, lapetus, Cronus.Theia, Rhea, Mnemosyne, Phoebe, Thetys and Themis. Cronus married his sister Rhea and fathered three daughters: Hestia, Demeter and Hera; and three sons: Hades, Poseidon ...
... English? Kindly mention all the epic writers in all the languages—it is good to know them, at least. "Paradise Lost", yes. In the other Milton's fire had dimmed. In English Paradise Lost and Keats' Hyperion (unfinished) are the two chief epics. In Sanskrit Mahabharat, Ramayan, Kalidasa's Kumar Sambhav, Bharavi's Kiratarjuniya. In Bengali Meghnadbodh. In Italian Dante's Divine Comedy and Tasso's (I have ...
... But cannot I create? Cannot I form? Cannot I fashion forth Another world, another universe To overbear and crumble this to naught? Where is another chaos? Where? (Hyperion) In the white heat of his intense impulse the poet did not, perhaps, realise that one chaos was quite enough; and if any scheme of perfection is to be realised it is by a transformation of ...
... himself with the presence that pervades Nature. He describes his experience in one poem thus: " These beauteous forms through a long absence, have not been to me ______________________ 9'Hyperion Page 84 As is a landscape to a blind man's eye; But oft in lonely rooms, and 'mid the din of towns and cities, I have owed to them, In hours of weariness, sensations ...
... margins of the manuscript. Sri Aurobindo apparently intended to cite longer passages.—Ed. × Keats , Hyperion 1.60.— Ed. × These lines (Udyoga Parva 92.23-26) are found at the top of the page in the manuscript ...
... dawns My noonstar in the garish paths of day. He should not see you, sweet. Prithee, go in. Enter Melander. How now? was this your compact? Lift your glance Where yet the primrose-pale Hyperion clings Upon the purple arches of the air Nor on the cornice prints his golden seal. You are too soon. Why with this fire-eyed haste Have you o'ershot the target of your vows? MELANDER Ah ...
... general overhead influence and their difference from fine poetry of the mental order can be marked if we put side by side with their last three verses a snatch from Keats which has a similar motive. In Hyperion an action almost identical with Savitri's is given to Thea, the companion of Saturn during his fallen days: One hand she pressed upon that aching spot Where beats the human heart, as if ...
... language were more or less of the nature of exercises and experiments lacking vitality and inspiration, and have therefore not attained success. Shelley's Revolt of Islam, Keats's incomplete Hyperion have something of the epic accent, but they do not go far enough. Hugo's La Légende des Siécles or Browning's The Ring and the Book, Hardy' s Dynasts — all seem to have some element which ...
... their difference from fine poetry of the mental order can be marked if we put side by side with their last three verses a snatch from Keats Page 18 which has a similar motive. In Hyperion an action almost identical with Savitri's is given to Thea, the companion of Saturn during his fallen days: One hand she pressed upon that aching spot Where beats the human heart, as if ...
... value is not sufficient: both in the harmonisation of the masses and in the disposition of qualities within each mass the poet must be coupled with the artist. For example, the first book of Keats's Hyperion as it was originally prepared was magnificent in its total impression, but there was a curious flaw in the picture with which it opened though every line was admirable. Thus, no poet would be ashamed ...
... despite drops again and again into a half-kindled style, The House of the Titans is a notable performance. There is a reflection of Keats, naturally enough since the theme is affined to that of Hyperion where also grand music is made from the falling of Titana. Especially the start, after the first five lines, is reminiscent of Keats's picture of Saturn stone- Page 322 still ...
... Elizabethan of poets, penning with a conscientious dullness his Borderers , Byron diffusing his elemental energy in bad blank verse and worse dramatic construction, Keats turning from his unfinished Hyperion to wild schoolboy imitations of the worst Page 81 Elizabethan type, Shelley even, forgetting his discovery of a new and fine literary form for dramatic poetry to give us the Elizabethan ...
... Structure of the Poem Please send me some passages from Savitri together with my selections from the blank-verse poetry of Abercrombie that I sent you in order to help me distinguish at a glance "Hyperion from a satyr". Savitri is built on another plan altogether. It is blank verse with out enjambements (except rarely)—each line a thing by itself and arranged in paragraphs of one, two, three ...
... Racine's tragedies. 7 February 1935 With regard to Keats, is it not rather difficult to deny a great poet a possibility when his whole ambition is set towards acquiring it? If we didn't have Hyperion, would we have thought it possible for him to strike the epic note? None of the poets round him had the least epical gift. Page 377 It can easily be seen from Keats' earlier work. And ...
... Paradise Lost , yes. In the other Milton's fire had dimmed. Kindly mention all the epic writers in all the languages—it is good to know, at least. In English Paradise Lost and Keats' Hyperion (unfinished) are the two chief epics. In Sanskrit Mahabharata, Ramayana, Kalidasa's Kumarsambhava, Bharavi's Kiratarjuniya. In Bengali Meghnadbodh. In Italian Dante's Divine Comedy and Tasso's (I ...
... It is for the fulfilment of the loftiest spiritual ends Page 321 that he calls upon Surya; it is for support in the noblest moral victories that he appeals to Agni. This is not Helios Hyperion but another Vivusvan, master of this sun & its beams (that is also evident) but master too of the soul's illumination, sa no dhiyah prachodayat; this is not the limping blacksmith Hephaistos, but ...
... despite drops again and again into a half-kindled style, The House of the Titans is a notable performance. There is a reflection of Keats, naturally enough since the theme is affined to that of Hyperion where also grand music is made from the falling of Titans. Especially the start, after the first five lines, is reminiscent of Keats's picture of Saturn stone-still in the lightless woods with Thea ...
... Ah but he rescued them not, those comrades, much as he wished it. Ruined by their own act of infatuate madness they perished, Fools that they were—who the cows of the sun-god, lord Hyperion, Slaughtered and ate; and he took from the men their day of returning. Sing—whence-ever the lay—sing, Zeus-born goddess for us too! It would seem that today the most promising voice ...
... tely a forgotten voice now) may draw forth an exquisite in-toned somewhat novel music in his Marpessa, but no poet with an authentic and sustained blank-verse soul has come after the writer of Hyperion. Just as the form gloriously exploited by him remains viable at all times, so also the hexameter keeps calling for its Keats and Milton. Whether its call is truly answered or not has to be seen by ...
... older terza rima of Dante for his Triumph of Life. Talking of subject, can we rightly disapprove of Chaucer or Shakespeare writing of Troilus and Cressida or Keats choosing to write of the fall of Hyperion or, on a smaller though not poetically inferior scale, Stephen Phillips conjuring up the story of Marpessa, Idas and Apollo? In our own day, Kazantzakis has written at a gigantic length (33,333 lines) ...
... of application. But one thing is certain: the moment Sri Aurobindo was capable of writing these lines he stood among the elect. That was in 1899, the last year of the century which had produced Hyperion, perhaps the only other poem in English which could compass so well the packed splendour of a Miltonic moment. But Page 16 Sri Aurobindo is not only able to command the grand style ...
... Divine Comedy, it is not an epic. SRI AUROBINDO: It is certainly an epic. Paradise Lost has very little story in it and very few incidents. Yet it is an epic. PURANI: Some think that Keats' Hyperion would have been as great as Milton's poem if he had finished it. SRI AUROBINDO: Well, if the whole had been as great as the first part, then it would have been equal to Milton's work. But I doubt ...
... English language were more or less of the nature of exercises and experiments lacking vitality and inspiration, and have therefore not attained success. Shelley's Revolt of Islam, Keats' incomplete Hyperion have something of the epic accent, but they do not go far enough. Hugo's La Légende des Siècles or Browning's The Ring and the Book, Hardy's Dynasts— all seem to have some element which can ...
... Aurobindo : It is an epic. Paradise Lost has very little story and very few incidents, yet it is an epic. At present men demand something more than a great story from an epic. Disciple : Hyperion of Keats, – is it an epic? Sri Aurobindo : The first draft of it would have been an epic – if he could have kept to the height and finished the poem. But in the second draft there is already ...
... Prolific reader that he was, Sri Aurobindo knew Shakespeare and Milton to the full. "I read Shelley a great deal and took an intense pleasure in some of Coleridge's poetry." Keats too, specially his Hyperion. Among the Victorian poets, Stephen Phillips made a considerable impression on him. "I read Marpessa and Christ in Hades, before they were published and as I was just in the stage of formation ...
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