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Gaining a Voice: Femininity in Endymion

Begun on 18 April 1817 at Carisbrooke, Isle of Wight, and completed by 28 November 1817 at Burford Bridge, Surrey, Keats's Endymion belongs chronologically to an earlier phase of his poetic career. Yet, in this poetic romance, the treatment of femininity is quite complex and interesting. It is probably the only work by Keats, which shows a gradual progression in the depiction of womanhood from an idealistic and narcissistic self-projection towards a more realistic, independent and autonomous version. In a way, the work depicts the growth and gradual maturity of the male personality as the representative central male figure in the poetic narrative is forced by circumstances to grow out of an idealist narcissistic vision of women to accept and embrace a more realistic and broad-minded view of womanhood as a 'valued other'. A close scrutiny of the biographical strands of Keats's life reveals closely his attitudes towards women. The relationship between mother and son, especially during infancy, childhood and the formative years, is crucially significant in psychoanalytic terms for the development and maturity of the male personality. Being doted upon in childhood, then abandoned and subsequently deserted for ever through death after a tragic return, Keats's mother deeply influenced and complicated the development of his poetic psyche. His diffidence, suspicious nature and vulnerability to anxiety in later life were all repercussions of the deep-rooted traumas he went through in his childhood. In the words of Barbara Schapiro, Keats's