Keats and Hunt in American Romanticism - Research Paper Example

Keats and Hunt Introduction This research paper discusses to what extent has John Keats been influenced by the American Romanticism in general and Leigh Hunt in particular. On the basis of Keats’s biography, his literary works and relations with Leigh Hunt the paper explores the degree of Hunt influence on Keats. Moreover, on the basis of detailed discussion of poems on humanistic theme by Hunt and Keats, there is made a distinction of humanistic appreciation of both writers. Therefore the research paper will be outlined as follows: A) Introduction B) General discussion: 1) American Romanticism: literary background of Hunt and Keats; 2) Leigh Hunt and John Keats: a mentor and a successor; 3) Hunt and Keats on Humanity Appreciation; 4) Keats’ poetry analysis. C) Conclusion Thesis: A perfect creative union of John Keats and Leigh Hunt, their emotional ‘brotherhood’ resulted in poetry innovations, involvement of American Romanticism, Cockney style, freedom of themes and humanity appreciation. Keats’ transformation from sensuous inexperienced romantic poet into serious literary activist on every stage of his working activity development was influenced by creative manner of Leigh Hunt. American Romanticism: literary background of Hunt and Keats The term “Romanticism” is deeply rooted in the Medieval Ages. A story, named ‘romance’ was adventurous and imaginative. Rational novels with realistic plots became obsolete and Romanticism grasped Europe and America approximately from 1770 to 1860 (Jones, 2007). American Romanticism has its peculiarities. Its period has almost coincided with period of Victorian Age (1830-1860 and 1830-1880 correspondingly). Therefore some writers had both features of Romanticism and Victorian epoch. Determinative features of Romanticism can be named as follows: high level of emotional expressivity; attention to an individual; revolutionary motifs; respect of solitude and nature; fantasy; satisfaction of desire; energy creation; outcasts; idealist philosophy etc (Robinson, 2007). All these features characterize Romanticism in general. American Romanticism pays special attention to an individual. Spirits of democracy, liberalism, freedom of choice and glorification of humanity, – all these features have strong historical and political underpinnings (e.g. democratization processes in America). Moreover, not merely individual is appreciated, but an ordinary citizen, a representative of the folk is endowed with his own unique ideas and is struggling for self-distinction of his own ‘elite self’ (Robinson, 2007). American Romanticism is distinguished, because borders of America expanded, immigrants brought in zest of their cultures and traditions. A famous critic, Paul de Man defined poets of Romanticism as those using “the rhetoric of temporality” (Wolfson, 16). De Man considered the crucial intention of romantic character to stay alone with him and because of its impossibility a romantic soul is in constant wanderings. Of course, Romanticism is characterized not only by sensuality, but also by irony and allegory. De Man is an outstanding in his explanation of inner form of poetry, the essence of Romanticism: “Romanticism tends to locate meaning in a prior and essentially unavailable wholeness” (Wolfson, 16). De Man’s claims are grounded on ‘metaphysics of absence’ (Wolfson, 16). What is more important is his remark that the presence is interrelated with the absence. This confusing claim of De Man in reality reflects the spirit of romantic poetry. On the further examples from Keats’s poems, we’ll be persuaded that De Man was right (e.g. in Keats’s lines, where he questions the presence/existence of a poet). Moreover, we can see that Romanticism neither discards, nor follows past blindly; Romanticism looks for interesting features of the past in order to transform and adopt them in the present (refer to Keats’s development of Hunt’s poetic manner). Consequently, Keats’s poetry is an exemplification of experimentation, spontaneity and changes of the past poetic experiences. A crucial role of the past interwoven with the present is perfectly seen on Keats/Hunt interrelatedness. Generally speaking, Keats’s poetry was efficiently influenced by American Romanticism (Jones, 2007). On the example of his poems, which will be analyzed further in this research paper, such features, common for American Romanticism as love to nature, humanity, solitude, individual appreciation etc will be clearly seen. Having adopted this literary trend to his poetry, Keats ‘grew up’ from naïve, burlesque poetry filled with Cockney style to well-structured verses with melodic rhymes, deep senses and made his poetry unique (Robinson, 2007; Minahan, 1992). Therefore Keats turned out to be a brave innovator and didn’t follow Victorian tendency in poetry. Vice versa, he appealed to every reader in his poems, putting an individuality of each of his readers above all. Nevertheless, it should be noted that Keats’s poetry has not only adopted American Romanticism to the fullest extent, but transformed it in a Huntian manner (Wolfson, 17). Thus, when Keats asks the following question in his poem: “Was there a Poet born?”, he underlines that ‘laws’ of Romanticism are followed: an attention is paid to an individuality of poet, though it is clear from the question that a ‘poet’ is artificially created in Keats’s imagination. Moreover, Keats’s transcend from a sensual classical mythology into romantic poems depicts another influence of Hunt. For example, the following poems have notes of Romanticism, though they are experimental searches of Keats directed by Hunt’s poetry. Consequently the poem “Specimen of an Induction to a Poem” and the poem “Calidore. A Fragment” can be considered as attempts to bring in something new into Romanticism’s tradition. Thus, these poems follow romantic Spenser though they moderate him in a manner of Hunt. These poems underline brotherhood of Hunt and Keats, their “delight with liberty” (Wolfson, 16). Romanticism is followed: next to an individual, Keats appreciates liberty. A revolutionary spirit is also seen in these poems. He dedicated them to Hunt’s liberation from prison. Leigh Hunt and John Keats: a mentor and a successor John Keats is an important figure on the skyline of famous British poets. His adaptation of American Romanticism seeds in his poems made his poetry a perfect assimilation of humanistic motifs and deep lyrics. Keats was born on 29 or 31 October, 1795 in London. His interest to poetry was awakened by Charles Cowden Clarke, his junior master at Enfield school. Keats read Spenser’s Epithalamion and comes across The Faerie Queen (Mizukoshi, 147). Being amateur at that time, like an experienced poet, Keats paid attention to every epithet, trying to penetrate into the depth of veiled senses and feel metaphoric spirit of the literary works he read. Naturally, that in his first poem (1813) Keats succeeded to Spenser’s poetry. Moreover, this poet led Keats to other Elizabethan poets and, finally, he got acquainted with Leigh Hunt. Motifs of Elizabethans were enriched by writings of Hunt. Starting from 1816 a friendship between Keats and Hunt widened Keats’s acquaintances with other poets, whom he met at the cottage of Hunt. Hazlitt, Haydon and Shelley poetry was admired by Keats. The first volume of poems by Keats is saturated with gained literary background of the poets he admired. Hunt’s influence can be also traced between the lines of this first volume of poetry. On the one hand, Hunt enriched Keats’s poetry with ‘Ariosto-like charm and ease’, with the restored ‘flexible mode of the rimed couplet’ (Critics Choice, 2005). On the other hand, Hunt’s influence led to ‘bad taste and faults of looseness’ (Critics Choice, 2005). The presence of Hunt can be seen throughout the volume: Hunt’s vision of beauty can be perfectly seen in a manner used by Keats from the stanzas “To some Ladies” and “I stood tiptoe or Sleep and Poetry” (Mizukoshi, 148). Hunt’s vision of beauty is developing throughout the poems by Keats and become purer and more forceful. That is the reason for “Sleep and Poetry” to forecast Hunt’s own song in the future. Further on Keats develops concept of beauty in “Endymion”, where he underlines that the crucial role of beauty is not in “a living presence of the earth”; but beauty is a creation of Greeks Gods and Elizabethans. This poem is also has a spirit of Hunt’s influence. For example, a manner of Keats’s flowing rimed couplets; ‘the caressing charm and joyance of manner’ are reminiscences of Hunt’s poetry. Keats at the end of the poem remembers Hunt and says: The hearty grasp that sends a pleasant sonnet Into the brain ere one can think upon it (Poems). The early poems by Keats and Endymion are considered by modern critics as ‘immature, ‘escapist’, ‘experimental’ and are considered as preparatory to his well-structured and profound works of 1819. Thus critics claim that Keats transcended from ‘a poet of pure senses to a poet of moral seriousness’ (Critic’s Choice). Influence of Leigh Hunt coincides with the early poetry of Keats and marks poetry of this period as vulgar and immature. Keats’s early poetry is considered to be an ‘elementary clichés in the history of English poetry’ (Critics Choice, 2005). Stylistic mocking of Leigh Hunt by Keats resulted in creation of neologisms and usage of colloquialisms. Cockney taste penetrated into Keats’s poetry under guidance of Leigh Hunt. But the tendency of further succeeding of Hunt in Keats’s poetry is generally neglected by critics. Seriousness of Keats in his poetry is perceived without Hunt’s influence. The critics describe Hunt’s influence on Keats’s poetry as follows: J. R. MacGillivray claims that early poetry of Keats was neglected because ‘he was in the way at the wrong time’; Bate, a supporter of positive influence of Hunt on Keats’s poetry underlines that Hunt was ‘a model that could in time be surpassed’ (Mizukoshi, 150). A phenomenon of Leigh Hunt can be hardly explained because he made a significant contribution into the history of letters, but became a mentor of talents. As far as we can see, this inspirer is often correlated with the figure of Keats. How can a man, who wrote only two short poems “Abou Ben Adhem” and “Jenny Kissed Me” instill the seeds of future genius in a young poet, Keats? First of all, in his essay “Young Poets” Hunt commented on young poets, including Keats with his “ardent grappling with nature” (Allen, 2006). This essay was issued in the same volume with Keats’s poem “On First Looking into Chapman's Homer”. Biographers of Keats agreed upon that this essay determined his future career. Consequently, Keats dedicated his first volume of poetry to Hunt with this sonnet: Glory and loveliness have pass'd away; For if we wander out in early morn, No wreathed incense do we see upborne Into the east, to meet the smiling day: No crowd of nymphs soft voic'd and young, and gay, In woven baskets bringing ears of corn, Roses, and pinks, and violets, to adorn The shrine of Flora in her early May. But there are left delights as high as these, And I shall ever bless my destiny, That in a time, when under pleasant trees Pan is no longer sought, I feel a free, A leafy luxury, seeing I could please With these poor offerings, a man like thee (Poems). Therefore a glorification of Leigh Hunt by Keats in this sonnet was justified. Thanks to befriending with Hunt, Keats became known to the public. Keats took part in a sonnet competition with Hunt and Shilley at Hunt’s cottage in Hampstead Heath's Vale. Moreover, influence of Hunt can’t be mentioned without direct influence on early Keats’s manner of writing. In Keats’s early poems in accordance with W.J. Bate, Keats uses literary devices of 18th century; he follows Hunt, but Keats develops Hunt’s ideas and techniques. Hunt can be traced in his following typical features, widely used by Keats: Spenserian tropes of courtesy, open couplets, lyrics combined with cheerfulness (Wolfson, 14). Hunt’s effect can be seen if to look at Hunt and Keats poems in comparative manner. Thus in the following lines, Hunt is clearly seen: “there crept / A little noise-less noise among the leaves, / Born of the very sigh that silence heaves” (“I stood tip-toe”10–12). The word ‘heaves’ The Quarterly determined as the widely used word by Hunt (e.g. he used it 12 times in “Rimini”). Sensuousness of Keats can’t be mentioned without Hunt’s influence on it. Tragic circumstances of Keats’s rise and Hunt’s fall, which occurred simultaneously, resulted in Keats’s laudation as a poet of delicate beauty and frailty (Wolfson, 13). With the help of Shelley's Adonais, Keats was turned from ‘a Cockney poetaster to a sensitive adolescent’ (Wolfson, 13). Female readers of Victorian epoch read Keats passionately though Cockney motifs of Hunt remained unnoticed. Hunt’s contribution to Romanticism was noticed in the middle of the 20th century only. Before those years, Hunt was perceived as a biographical and historical activist. Fortunately in 1955 René Wellek underlined that Hunt should be considered as ‘a middleman of romantic ideas and taste’ in spite of vulgarity of Hunt’s poetry, but due to vivid descriptions and realistic characterization (Wolfson, 14). A perfect determination of Hunt’s role in American poetry and his influence on Keats was provided by in 1994 by Rodney Stenning Edgecombe. He asked a rhetoric question: ‘If the talent [of Hunt] is slim, need we invoke a magisterial poet like Keats to measure the thinness…?’ (Critic’s Choice). Therefore modern critics claim their apprehension of aesthetic pleasure, which is a sign of their preference for Christian over classical pastoral and for epic over pastoral (Mizukoshi, 156). Consequently, Keats is prevailing over Hunt. Interrelatedness of Keats and Hunt is also perfectly described by Adorno and Horkheimer as ‘The secret of aesthetic sublimation is its representation of fulfillment as a broken promise’ (Mizukoshi, 156). At this point it’s worth remembering that because of Keats’s ultimate refusal of pleasure modern critics endow him with high moral and ethical value. On the contrary, poetry of Hunt is perceived as too acceptable and too easily consumable; it’s easy and unpretentious. Critics show their moralist attitude to aesthetic pleasure. Thus currently canonical selection of poets is grounded on moral attitudes of critics. Consequently, Hunt can be drawn closer to critics in his influence on Keats’s public opinion. Poems of the first years of Keats were supported by Hunt, but later woks, “Endymion” for example, was severely criticized by Hunt. Probably Hunt’s judgments were driven by his own literary contribution: i.e. if we consider the poem by Hunt “Abu Ben Adhem and the Angel” we can see simple structures, entertaining spirit of the poem, flavored with Cockney style. The same features can be traced in Keats’s early poems. In accordance with Miller’s words: “What influence lingers is seen in the general theory of versification and in the diction, with some trace in matters of taste” (Mizukoshi, 160). Unfortunately, critical attacks of Hunt on Keats resulted in massive criticism on Cockney School. In a review of Endymion from Blackwood’s Magazine and the Quarterly Review, Keats was criticized as an individual without firm political ideas; Keats’s success was questioned and explained only by Hunt’s review on Keats’s first volume of poems. Otherwise talent of Keats would be neglected. Though the influence of Hunt is clearly evident, Hunt’s reviews on Keats are ambiguous. Thus, at first, Hunt underlined immaturity of Keats’s poetry and lack of imagery and versification, but with regard to the third volume of Keats’s poetry, Hunt acclaim presence of all these features. For example, Hunt names a passage from “The Eve of St. Agnes” as “a sudden and strong maturity of tile author’s genius” (Critic’s Choice). In the following words Hunt describes maturity of Hunt’s genius: “The character of his genius is that of energy and voluptuousness, each able at will to take leave of the other, and possessing in their union, a high feeling of humanity not common in the best authors who can combine them. Mr. Keats undoubtedly takes his seat with the eldest and best of our living poets”. Hunt and Keats on Humanity Appreciation Leigh Hunt tolerance to humanity can be seen in his poem “Abu Ben Adhem and the Angel”. In spite of satiric character of the poem, the author describes human beings as those who are willing to be closer to God though they don’t want to give much for that…The very essence of all humans is shown in a neutral manner, though a certain mockery is made: “I pray thee then/ Write me as one that loves his fellowmen.” In such a way an ordinary man using his cunning mind appeals to angel and succeeds. Leigh Hunt shows in this poem not spoiled nature of any human being, but appraises a great power of forgiveness to all: “…the names whom love of God had blessed/And lo! Ben Adhem’s name led all the rest” (Wolfson, 18). As far as we can see, Hunt’s perception of humanity has a strong religious background; he refers to the Bible and even in the book “Essays of Leigh Hunt” we can see that the Bible “…was a monument to him [Hunt] of the earliest, most lasting, and most awful aspirations of humanity”. An inspirer of Hunt humanistic appreciation was God, and for Keats an inspirer was poetry. Further on we’ll consider humanistic features of Keats. Humanistic features of American Romanticism can be traced in Keats’s poems. He showed a peculiar state of mind when writing his poems; he found an ideal ‘mental stance’ for “the poet” and had a deal with improvisations. For example, a letter of Keats from October 27, 1818 underlines Keats’s concern about ego discard and identities’ effacement: “When I am in a room with People if I ever am free from speculating on creations of my own brain, then not myself goes home to myself: but the identity of every one in the room begins to press upon me that, I am in a very little time annihilated” (Robinson, 2007). Therefore Keats makes and emphasis on the necessity of social self development. An oversight of the society of the period of his creative activity he saw in contradiction of personality and the world. An individual should have been determinant and stay above massive social inconstancy. At this point Keats shows common features of American Romanticism, where an individual is appraised. Feelings are also appraised by Keats; he pays attention to a crucial role of religious feelings: “I am certain of nothing but of the holiness of the heart's affections and the truth of imagination.... I have the same idea of all our passions as of love: they are all, in their sublime, creative of essential beauty” (Robinson, 2007). Keats glorifies creative potential of poetry; for him it’s a powerful motion of humanity spiritual development. The further excerpt from Keats’s poem is evidence that poetry was an embodiment of “high feeling of humanity” underlined by Hunt: What though I am not wealthy in the dower Of spanning wisdom; though I do not know The shiftings of the mighty winds that blow Hither and thither all the changing thoughts Of man: though no great minist'ring reason sorts Out the dark mysteries of human souls To clear conceiving - yet there ever rolls A vast idea before me, and I glean Therefore from my liberty; thence too I've seen The end and aim of Poesy (Poems). These lines reveal us humanity appreciation of Keats; being a poet means to cure souls for him, like being a physician means to cure bodies. Moreover, Keats justifies a deserved name of humanist, given by Hunt to him, in the following lines from “Fall of Hyperion. A Dream”: What am I then?... Sure a poet is a sage; A humanist, physician to all men The Poet and the dreamer are distinct, Diverse, sheer opposite, antipodes. The one pours out a balm upon the world, The other vexes it (Poems). Poet’s mission Keats saw in appreciation of humanity. He was instilled with Hunt’s humanity appreciation and bore this mission proudly and with dignity. As far as we can see, there’s no doubt that there is an influence of Hunt on Keats. The famous critic distilled precious drops from Keats’s talent. Hunt’s acclaim of Keats can be considered as follows: having appraised Keats and humanity of his poems, Hunt underlined his contribution into the poetry of a young Keats. Ideology of humanity appreciation drawn from Hunt was perfectly embodied and developed by Keats. Having compared two approaches to humanistic appreciation of Hunt and Keats, it can be clearly seen that both writers acclaimed the necessity of humanity support and inspiration by the Third Party. Thus Hunt underlined the importance of God’s influence on support and development of humanity and Keats emphasized on Poetry as inspirer of humanity. Keats’ poetry analysis Keats in his poetry used a technique of verbal melody (Minahan, 1992). This tool made his poetry outstanding and brought it nearer to Milton’s and Shakespeare’s works. Keats made his poems melodic intentionally: in accordance with his friend’s words: “One of [Keats's] favorite topics of discourse was the principle of melody in Verse, upon which he had his own notions, particularly in the management of open & closed vowels” (Ormsby, 1998). A perfect vocalic palette can be noticed even by an inexperienced reader. This peculiarity can be also described as “a sheer iridescence of vowels” (Ormsby, 1998). Keats in his poems wanted to “leave the dinned air vibrating silverly” (Ormsby, 1998). Nevertheless, this mastery of Keats can be hardly explained, if we turn our attention to Endymion. There the author rhymes “the Orphean lute” and “listening to't” (book 2, lines 164-65). Maybe, genius of Keats can be witnessed by his literary transcendence from clumsy poetaster into an experienced master of verse. Another analysis of Keats’s verse witnesses his experimental techniques and rich use of imagination. In his poem “Isabella” Keats uses the ottava rima stanza that contradicts with the out-of-the-theme transcending temperament of the poem (Mizukoshi, 165). General impression from this poem is its depressing mood. Isabella’s lover Lorenzo dies and the spirit of death penetrates into every word of the poem. Keats appeals to Boccaccio in order to justify his own usage of ottava rima: O eloquent and famed Boccaccio! Of thee we now should ask forgiving boon, And of thy spicy myrtles as they blow, And of thy roses amorous of the moon, And of thy lilies, that do paler grow Now they can no more hear thy ghittern's tune, For venturing syllables that ill beseem The quiet glooms of such a piteous theme (Poems) This poem underlines novelty of Keats; usage by Keats of “venturing syllables” for such a “piteous theme”. Again, this poem justifies Keats’s melody technique of the poem. The usage of ottava rima by Keats underlines his ‘dialogue’ with Boccaccio, where the former wants not to submit piteous theme of the latter, but to move around this theme. Keats’s manner of mockery can be renewed on the example of this poem. Like in his early years, Keats succeeds to another poet, picks up the best distilled seeds of that poet’s talent and uses them in his poetical work. Further on, we can trace features of American Romanticism in Keats’s “Isabella” when referring to the image of the saved head “with all its twined flowers” (Minahan, 1992). Both literary techniques are employed on the example of this image: “venturing syllables and the stanza’s unwinding of imagination” (Robinson, 2007). Keats not only adopted features of American Romanticism, but also enriched them by his usage of ‘the poetry of the improvvisatrici’. Thus his poem “Isabella” is endowed with improvisation’s ephemerality; this peculiar poetic spirit can’t be reproduced; it’s unique and reflects morality of the poet. Keats’s poetry is saturated with classical and theological topics; his appraisal of humanity and nature. Thus in the beginning of “Sleep and poetry” he glorifies nature, but with his conclusions he comes to poetry mission role. He means poetry, when he says: It has a glory, and naught else can share it: The though thereof is awful, sweet, and holy, Chasing away all worldliness and folly; O Poesy! For thee I hold my pen That am not yet a glorious denizen Of thy wide heaven - Should I rather kneel Upon some mountain-top until I feel A growing splendour round about me hung And echo back the voice of thine own tongue? (Poems). Not only Keats was a poetry mediator, but also poetry was a mediator between humanity and himself, where he could “…find the agonies, the strife/of human hearts” (Poems). Poetry was a creation “…to soothe the cares, and lift the thoughts of man” for Keats. Having analyzed poetic abstracts from rich Keats’s writing activity, we can summarize the following features, most relevant to Keats’s poetry: Melodic poems; Experimental techniques and rich use of imagination; Classical and theological topics; Appraisal of humanity and nature. Conclusion The given paper discussed to what extent has John Keats been influenced by the American Romanticism in general and Leigh Hunt in particular. The research paper resulted in following conclusions: the influence of Hunt on Keats is of large scope. Common literary devices, techniques and manners can be traced on the examples of the poets’ writings. Having compared two approaches to humanistic appreciation of Hunt and Keats, it is possible to conclude that both writers highly praised the necessity of humanity support and inspiration by the Third Party. Thus Hunt underlined the importance of God’s influence on support and development of humanity and Keats emphasized on Poetry as inspirer of humanity. Reconsideration and adaptation by Keats of Hunt’s techniques was made in the framework of American Romanticism. Keats’s poems are characterized by appraisal of nature, individuality, spirit of revolution etc. Moreover, on the background of these typical features, Keats intersperses his poetry with heard echoes of Hunt. Keats’s original literary manner of Hunt’s succession led not to his oblivion, but gave him reputation of innovator. Keats with his poems healed human souls and his humanistic appreciation should be traced at this point, unlike Hunt’s humanistic appreciation, whose inspirer was God, not Poesy. In spite of differences in approaches to humanity appreciation of Hunt and Keats, it should be noted that the main benefit of their literary brotherhood was in novelty of literary devices usage and poetic complement of each other. An important role of the past interwoven with the present is perfectly seen on Keats/Hunt interrelatedness. Keats’s poetry was efficiently influenced by American Romanticism Great poets of beauty and delicacy made a significant contribution in the literature and greatness of their geniuses should be sought in their interrelatedness. Keats’ transformation from sensuous inexperienced romantic poet into serious literary activist on every stage of his working activity development was influenced by creative manner of Leigh Hunt. Works cited 1. All poems of John Keats. Official Site of Poetry. Web. 16 April, 2010. 2. Allen, B. “The Poet in His Dungeon.” New Criterion 24 (6) (2006): 10+. Web. 16 April, 2010. 3. Jones, M. “Population Thinking”: Keats and the Romance of Public Opinion.” Wordsworth Circle 38 (1-2) (2007): 63. Web. 16 April, 2010. 4. “Lost Corner of a Love Triangle; Critic's Choice.” The Daily Mail (January 21, 2005): 64. Web. 16 April, 2010. 5. Minahan, J. A. Word like a Bell: John Keats, Music and the Romantic Poet. Kent, OH: Kent State University Press, 1992. Page Number: 11. Ebrary. Web. 16 April, 2010. 6. Mizukoshi, A. Keats, Hunt and the Aesthetics of Pleasure. New York: Palgrave, 2001. Ebrary. Web. 16 April, 2010. 7. Ormsby, E. “Keats.” New Criterion 16 (May 1998). Web. 16 April, 2010. 8. Robinson, J. C. “Romantic Poetry: The Possibilities for Improvisation.” Wordsworth Circle 38(3) (2007): 94+. Web. 16 April, 2010. 9. Wolfson, S. The Cambridge Companion to John Keats. Princeton University, 2001. Ebrary. Web. 16 April, 2010. Read More