A pallid complexion darkened as night falls

Gives warning of on-setting cold

Swollen bags form paunch-ed folds

Like pockets under sunken eyeballs

Eve could sense his change in mood

Body language – swift movement

Always telling psychic interlude

About secret imaginary trips

For which reality pays


She held his trembling hands

Delicate palm, undulating inside

To touch, soothing tremulous ride

As does convulsive gastric bands

He readjusted and steadied, calm

Usually won this protracted

Struggle; covering with sensitive balm

Whilst he coolly returned

To love’s reassuring bubble


They are a long-standing item

Regularly seen at functions

She obviously predicted his reaction

Shock affected the two of them

He commented on her tightened clothes

Knew how meticulous she was

When it came to fitting her lavish robes

And her fixation with appearance

Due to all the money she selfishly spends


She feels elated, bubbling to brim

Immediately making distance

Between them; with reference

Pays stark attention to marked skin

Swiftly, he closed – predictably clasped

Her pulsing frame, livid affection showering

Kisses; she coos, taken to task

Whilst ensuring compliance

And made to respond with promises


Their stroll takes on new significance

Quaintly aligned with future conduct

She must be allowed to instruct

Her position of dominant intelligence

Love must be balanced with common sense

Wont allow these negligent strops

Marriage requires invisible portents

To ensure longevity

Is nailed to their honeymoon carriage.


John Keats’ Erotic Interlude:

Keats demonstrated he believed in supernatural forces, and they seemed, to all intents, personal to him.  Whether in Godly power, or the innate inward progressive mentality of man, is open to conjecture.  I have read about his fixation with mode of dress and mirror and, I have read about him communicating with A. N. Other, alone.

The set of St. Agnes is a theoretical nightmare, if; you consider the seriously protracted church setting as well, as the poet’s intuitive graphic instruction of religious ceremony.  A key to my introduction, is the description of a layman: ‘ …. frosted breath rising in metaphoric comparison to religious worship. with censer and mention of heaven.  Of course he is ‘skitting’ and alluding to spiritless flesh: ‘ … without death …’  But, is he mocking religion, or Almighty God?  He portrays uncompromising descriptions, to intimate personal annoyance with worshipers, the; heroine he likens to an angel, whilst her suitor is initially rendered little more than an urchin.  The ridiculousness of the affair is the crux of Keats’ erotic story-line, which was probably unprintable at time of writing.  He usurps chivalry and courtly love – gets a passing mention- and focused on improper behavior.

Rebellion against the church and, to a large but subtle extent, the social elevates Keats to a recognized level of social dissent; alongside the aristocrats: Byron and Shelley.  To a man of his working – some say middle – class beginnings, it represents a massive leap in status.  Having been shunned in his earlier embryonic days, this poem shows the rapidly matured John Keats – writing whatsoever he chose, which confirms confidence borne of success.  The poem is written to enthuse and excite women – especially those drawn to adventure.  The male lead is interchangeable for women readers, according to taste and personal imagination.  It’s amazing how Keats describes a seasoned heroic type, with a rugged braggartness that confounds etiquette and behavior – and the old maid who is portrayed, bordering on witchcraft.  These unappealing caricatures serve to deflect attention, onto the principals in the story-line and Keats’ impending allure into erotic writing – the bedroom scene.

The insight Keats gives us, into his personal character, shows a deep resentment of religion and the envy encased in his personal social standing.  The poem usurps the status quo – giving hideous descriptions of the upper-classes.  The most unlikeliest hero gets the girl; a rebellious statement from a master poet: his inversion of the status quo and his wistful demise of the church, proving his intended usurpation of social hierarchy.  The erotic nature of this particular work, would indicate opposition from church authorities; Keats is protesting within the course of the work.  The breast scene, with light reflecting on Madeline’s breasts, is beyond x-rated, to be sure.  Taking us into a woman’s bedroom (chambers) again, is highly taboo at the time of his writing.  There’s a marked tendency, exhibited by the Romantic poets, to change or bring disruption (Foucault) to the normal recourse of the social terrain.

This is one incredibly written love story, with a happy ever after ending.  Keats’ love of Fanny must have played an insightful part in the poem.  The bedroom scene – at times – reverses role play showing Madeline to be as much an instigator, in the elopement, as her lover, who she was in fact dreaming about.  The story-line is original – for that time, in poetry – and would have been totally unexpected, to say the least.  St. Agnes Eve could well be similar, to the Valentine’s day scenario – with the women in Keats’ time having an enhanced and heightened sense of illicit, or secret romance.