ABSTRACT This article re-examines the impact on Keats’s poetics of his brother Tom’s illness and death by paying attention to the disregarded references to Tom’s feverish body in the framing sections at the beginning and ends of Keats’s letters. While many critics have sought to abstract from these letters Keats’s literary and philosophical ideas, I resituate his memorable metaphysical passages within an epistolary structure that continually returns to an acute awareness of physical mortality. I show that this structural pattern also imprints on the endings of the poems Keats wrote while nursing and mourning Tom, especially The Eve of St. Agnes (1819), ‘Ode to a Nightingale’ (1819), and the revised fragment of the Hyperion project (1818–19). I argue that Tom’s body emerges at the end of Keats’s literary productions because physical suffering is what causes metaphysical and romantic fantasy – and even communication itself – to falter. However, Tom’s suffering is also, paradoxically, what motivates Keats’s to write in the first place – it is the origin of his poetic imagination and the conclusion of his poetic project.

中文翻译：

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“——我的汤姆兄弟好多了——”：济慈书信和诗歌结尾的受难身体

摘要 本文通过关注济慈信件开头和结尾的框架部分对汤姆发烧身体的无视引用，重新审视了他的兄弟汤姆的病死对济慈诗学的影响。虽然许多批评家试图从这些书信中抽象出济慈的文学和哲学思想，但我将他令人难忘的形而上学段落重新置于一个书信结构中，这种结构不断回归对肉体死亡的敏锐意识。我表明这种结构模式也印刻在济慈在护理和悼念汤姆时所写的诗的结尾，尤其是圣艾格尼丝的前夜（1819 年）、“夜莺颂”（1819 年）和海波龙的修订片段项目（1818-19）。我认为汤姆的身体出现在济慈文学作品的结尾，因为身体上的痛苦是导致形而上学和浪漫幻想——甚至交流本身——动摇的原因。然而，矛盾的是，汤姆的苦难也是济慈写作的最初动力——它是他诗意想象的起源，也是他诗意计划的结束。