The English poet John Keats first discussed the idea of negative capability in a letter he wrote in 1817. It suggests a specific trait of artistic and creative thinking—the capacity to accept ambiguity, contradiction, and uncertainty without looking for easy or conclusive solutions. The ability to remain in a condition of doubt and ambiguity without drawing firm conclusions or applying previous conceptions to a situation or experience is what Keats called “negative capability.”
“The Canterbury Tales” by Geoffrey Chaucer is a frame narrative, or a story in which a main story incorporates or frames a number of other stories. The purpose of the frame tale in frame narratives is essentially to provide the other stories a context; it typically has little storyline of its own. The following stories, on the other hand, are often of a different genre and have a distinct beginning, middle, and finish. The journey to Canterbury serves as the poem’s frame narrative in “The Canterbury Tales”.
Geoffrey Chaucer wrote the well-known framing narrative “The Canterbury Tales“ sometime between 1387 and 1400. A group of 30 pilgrims who are traveling from London to Canterbury are the subject of the storyline. To amuse themselves while traveling, the pilgrims consent to take part in a storytelling competition. Each tale in “The Canterbury Tales“ has a prologue that introduces the character giving the tale. The Knight, the Merchant, and the Friar are a few of “The Canterbury Tales” most popular characters, but the Wife of Bath is possibly the most well-known.
Unquestionably, Keats was one of the most significant figures of early nineteenth-century Romanticism, a movement that promoted the importance of the natural world and the purity of passion and imagination. The beauty of nature, the connection between creativity and imagination, how the feelings react to sorrow and beauty, and the impermanence of human life are just a few of the concepts and topics that are obvious in Keats’ famous odes. The odes’ lavish sensory language, idealistic devotion for truth and beauty, and passionate anguish in the face of death are all Romantic preoccupations—yet they are also all distinctively Keats’s.
Keats, in the words of Shelley, “was a Greek.” Indeed, Wordsworth, Coleridge, and even Shelley could not claim to be Greek thinkers in the same way that Keats could. Keats was introduced to the Greek spirit through literature, sculpture, and an intrinsic tendency. Keats often performs at his best while under the influence of Greek culture.
William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, three Royal Academy students, founded the Brotherhood in 1848 with the goal of reforming the Victorian art world by reviving the pure, uncomplicated art of the Middle Ages. At the Royal Academy and Free Exhibition Show in London in 1849, The Brotherhood made its debut. The initials “PRB” were used by the three men to sign their artworks in addition to their signatures.