* Science, Technology, Medicine. Innovation, these are the necessity of human life.
* Literature, Philosophy, Music, Romance, these make us humans.
From John Keating
* Science, Technology, Medicine. Innovation, these are the necessity of human life.
* Literature, Philosophy, Music, Romance, these make us humans.
From John Keating
Keating: any questions?
Charlie: yeah, a few.
Keating: … would you care to share them with me?
Keating: so I can answer them?
Charlie: oh, no thanks.
From my trip to Rome two years ago
thank the heavens for my darling mothers who named me charlie after our very own charlie dalton.
whenever someone calls me "hey charlie?", i go "damn it, the name's nuwanda."
I can’t stop taking to people about “Bright Star” please send help
wait i didn’t realise that mary shelley wrapped percy shelley’s heart in pages of adonais and holy fuck is that fitting
the outfits in dps >>>>>
oH HELL YEAH THEY ADDED DEAD POETS SOCIETY ONTO YOUTUBE FOR FREE
Keating: I feel like all my kids grew up and married each other. It’s every parent’s dream
Oh Captain, My Captain!
Part One - Opening Scene & Historical Context | Part Two - Uniform & Non-Conformity
Common Room Scene
Like the badges, this scene is evidence of the poets being nerds while others play darts, guitar, or chess.
Charlie wears a t-shirt, once again dressed in the least layers and styled to stand out from the multitude of long-sleeve, button-up shirts or flannels worn by the other boys.
Neil and Cameron are dressed in red flannels, symbolising their shared interest in the study group they arranged in the opening scene of the film.
On one hand, their marked difference from Charlie represents him tagging along as Neil's bff and Cameron's roommate to their hang outs. On the other hand, Cameron also wears a t-shirt beneath his flannel which could indicate an underlying similarity to his roommate.
Although Todd studies separately from the group, he is also dressed in flannel which visually links them to him. The green colour highlights this separation from their red, but interestingly, green is a colour heavily associated with Neil. When re-watching, this is a sign of their inevitable closeness.
Meeks & Pitts wear complimentary outfits once again as they work as a team on the radio.
Neil and Todd are often in complimentary colours. Their most common non-uniform look consists of beige trousers with a jumper and converse. Todd wears blue with light coloured shoes, and Neil wears green with dark coloured shoes. This is a satisfying visual balance of sameness and opposites, conveying their ability to balance out one another's personalities.
Green and blue are also associated with the land and sea, complimentary elemental forces and essential aspects of nature which are paired together.
Neil also has a green blanket. It functions as an object of reassurance and comfort when he tells Todd about his dream of becoming an actor and the opportunities he lost because, "my father wouldn't let me."
He throws it off once Todd accidentally reminds him of reality - Mr. Perry will never support him. "Can't I just enjoy the idea?" Neil says once the blanket is off, showing that his confident discussion of his dreams and their possibility (with the blanket on) was his vulnerability, not the cold, daily reality of his Father's expectations.
Todd is shown composing his poem in this blue & beige ensemble. In the following scene, Keating wears almost the same outfit (dark coloured jumper and similar watch) in a clear parallel as he guides Poet!Todd.
Keating also wears this outfit when he speaks to Neil about his father after class. However, the jumper is not in calm tones, it is bright red to signal danger (and blood) as Neil lies. This foreshadows his last attempt to help Neil and the tragedy ahead.
The dark jumper/beige trouser combination appears again as Keating cries in his classroom over Neil's death. This positions Keating alongside Todd as they grieve over someone they had a close relationship with and tried to help.
Musical Poetry Chase!
Chameron fans, I'd like to acknowledge that these roommates haven't bothered to change out of their rowing clothes. Were they too busy hanging out? Their clothes replicate the matching of Meeks & Pitts in grey/black shorts and grey/white jumpers.
Clashing colours would indicate conflict so complimentary colours imply their relationship is not purely antagonistic. Charlie hold bongos so he was likely playing them in his room, so why is the anderperry noise an issue for Cameron when Charlie's music seemingly wasn't? The costume indicates Cameron is familiar with it and accepting.
God of the Cave
Meeks is in full uniform while Pitts has removed part of his to relax. This (P2) shows Meek's image hiding his quiet rebellion of sneaking out to smoke, while Pitts is more open about it. They are still matching as the only two in uniform.
Charlie, Knox, and Cameron are in similar light coloured jumpers, but the textures are different. Cameron's chunky knit is practical for warmth. Charlie's backwards rowing jumper reminds audiences of his determination not to conform, while his beret is beatnik inspired to compliment his beatnik appreciation of jazz music. Knox wears the most plain outfit which reflects his claim, "I've been calm all my life," before using his scarf dramatically to illustrate his new Carpe Diem approach.
Todd is in the anderperry signature outfit again. The bold colour makes him stand out but he appears comfortable, showing how much his confidence has grown since the opening scene (P1) where he stood nervously in his brown suit.
This also highlights Neil's absence as the balance of colours is off. When Neil enters the scene he reveals his green jumper and sits beside Todd, visually restoring order and forming a more visually satisfying image.
Their standard-issue school coats have been stripped off and thrown carelessly aside, symbolising the boys' freedom from Welton's rigid expectations in the cave.
Chris is introduced as an angelic figure. She is presented as ultra-feminine in white, fluffy clothing with accents of pink and gold, and framed by an open doorway like a photograph in a frame, or a polaroid in a locker door. This image of conventional beauty is further elevated by the halo-like light shining from above her head. Another light shines from a lamp on the table to her left (the heart side, indicating romance).
The colour palette of white and pink is consistent across all further interaction with Knox at the party and in her school. This use of typically feminine colours, tight fitting tops/skirts, hair ribbons, and jewellery emphasises her difference from the boys at Welton in their dark uniforms. Chris is represented as an embodiment of 1950s femininity, and as an ideal, she is also a dream.
This dream status is confronted before the play when Chris turns up at Welton in a dark coat similar to Knox's. Although her gender still excludes her from Welton, the similarity in costuming gives her a more grounded and almost terrifyingly attainable image. Only her white gloves carry any hint of her usual, angelic framing. This signals to the audience that Knox has his "one chance" at achieving his romantic dream.
In the theatre, Chris' coat has been removed to reveal white & pink clothing. However, dark pink is worn to show her distance from Chet as she wears light pink with him (this is also used when Knox visits her class). Along with Knox's smile, this costume change indicates that Knox has attained his dream and Chris will leave Chet.
All the poets wear plaid suits.
Unlike the others, Cameron's grey suit has a very faint red and blue pattern, resulting in it appearing plain at first glance. This shows that he is part of the group (plaid pattern & laughing with Todd), but also the fragility of his position, foreshadowing his fading friendship bonds by the end.
Plaid (especially Todd's) draws associations with the nightwear worn by the boys. This emphasises the dream-like state of the play both in a literal sense of its title & themes, but also for Neil (the only one not in plaid) living his dream on stage. This parallel in costume shows the Shakespearean nature of dps as the play is a dream to wake up from, a tragedy in the end.
The Last Goodbye
As Todd passes Neil at the theatre exit, they are shown wearing complimentary colours in the same frame.
Todd's suit features the colours worn by the other poets that night, and his blue and red scarf matches Neil's coat, which combines with the grey of his jumper to match Todd's clothes.
Todd still wears an accent of blue, but Neil lacks his signature green, hinting that something is off-balance. The usual, visual harmony of an anderperry scene is disrupted, and this disturbance adds to the sense of ominous tension building at the end.
I had some stuff about Knox's fashion™ outfit and Meek's funky jumper but I've typed so much that all three posts are glitching. I can make a P4 with the extras if anyone is interested. I've analysed so much my brain hurts.
Part One - Opening scene & Historical Analysis | Part Three - Casual Wear, Chris & the Play
Introduction to the Dead Poets
He wears a brown suit instead of the Welton uniform, yet he wears the Welton tie (or at least one closely resembling it). This highlights his position as the new kid - the odd one out - while the tie provides a hint of similarity and future belonging.
When he does wear uniform, Todd obeys the dress code and leaves only his blazer undone. However, he is mostly dressed in layers and does not remove his blazer. This preference for the ability to hide his body is perhaps a visual manifestation of his anxiety. There is only one exception (other than grief), the flying desk set scene, where Todd's emotional disarray alongside his vulnerability is reflected in his more stripped down, messy and under-dressed state.
He is seen zooming through the corridor and stopping to greet Neil on his whirlwind social tour. Pure, untameable chaos and its hard to see the state of his uniform. There is a similar scene later on as he runs down to dinner with his shirt untucked and blazer half-way down his arms. He complies with uniform codes seemingly just as often as he break them, much like his attitude towards most school rules.
His uniform is worn in perfect adherence to the dress code with his watch and badges on display. His study group conversation, combined with the significant number of badges, suggests that his friendship with Neil initially developed over academics.
Cameron's absence from the gathering highlights his position on the fringes of the friendship group.
Throughout the film, Cameron is shown to obey common uniform rules such as wearing his blazer around school grounds. He only removes his blazer in class. This contrast shows a level of comfort within the traditionally structured learning environment.
Neil, Charlie, Knox, and Meeks
These boys represent a sliding scale of conformity in this introductory scene through their uniform.
Neil and Charlie's difference to the uniform of the other boys marks them for a more distinct path.
Unlike the others, Meeks is introduced with perfect uniform much like Cameron, but his presence (and acceptance into the group) for the alternative four pillars suggests a level of quiet rebellion beneath his image of conformity.
With six badges, Meeks bridges the gap between Neil (the overachiever), and the group average of five badges. This middle-ground is reflected in the consistency of both his uniform (which remains unchanged throughout the film) and his sustained behaviour of secret rule-breaking (radio free america).
Initially, he seems like the archetype of the overachieving (several badges) yet popular (converses happily with many) student. He appears in almost perfect uniform with only his blazer left undone to separate him in the eyes of audience from the more stereotypically nerdy students.
Unlike Meeks, Neil's uniform changes throughout the film. As the school day unfolds uniform becomes more relaxed. His blazer, rather than being purely undone, is often removed. And in the first English lesson where the students are exhausted, Neil is without a blazer or jumper in one of his most minimal looks. It is also a moment of vulnerability and foreshadowing with the close-up of his stricken face at the mention of death.
This variation in garment layers can possibly be linked to stress or tiredness, therefore working as a visible deconstruction of Neil's projected image of excellence. His uniform is potentially a sign of the variation in his mental and emotional well-being. This is consolidated by the scene at the Perry house where Neil systematically removes his shirt and crown while at his breaking point.
Generally, Neil is positioned as the second most visually rebellious, only one step above Charlie in uniform standards.
The exception to this trend occurs during the flying desk set scene. Here, Todd is underdressed while Neil is composed and wearing layers including a coat. This switch in costuming techniques emphasises Todd's vulnerability, and highlights Neil as a good influence since he is clear-headed enough to dress appropriately for the colder weather.
"You've just illustrated the point," Keating tells Charlie after he exercises the right not to walk, "swim against the stream." And swimming against the stream describes Charlie's approach to school uniform.
From his first appearance in Neil's room, Charlie consistently wears his tie loose and his top button undone. He is often seen with his blazer, or both his blazer and jumper off, leaving him in either the least layers of the group, or with the most below standard uniform.
i saw someone claim the tie thing is because of a choking kink. one of you is going to suggest it, so i'm jumping in to say that's not this conversation
While Knox is happy to leave his blazer undone or make himself comfortable in class by ditching his blazer altogether, he never joins Charlie in violating dress codes during class.
After the Danburry dinner, Knox is at his messiest. He walks into the common room with his blazer thrown over his shoulder, his sleeve buttons and top button undone, and a loosened tie. It serves as a mirror of his self-declared internal state of 'tragedy' over Chris.
I made another post speculating on the badges which has a lot of discussion in the notes but:
Looking in more detail, I realised that at 0:02:59 it's clear that while Neil has seven badges, many other older boys only have one. So, either the costume department was running low, or the dead poets are a group of nerds.
Much like their students, the teachers appear to follow a standard (perhaps unwritten) of dress.
In the famous mashed-potato scene, the camera zooms out to show the staff table, and most are wearing black, grey, or brown suits. Keating wears green corduroy, signifying his own non-conformity to the expectations of Welton.
Keating's metaphorical walk along a knife's edge as teacher is clear in his costuming. In the montage of English lessons, Keating often wears elements of Welton approved clothing, such as a brown suit, mixed in with more unconventional items like his purple shirt, blue patterned tie, or the cosy jumper and beige trousers outfit that I examine the significance of in part three.
Only Todd remains fully clothed in this scene to emphasise his lacking confidence through his avoidance of being seen in a vulnerable state of undress. Again, the wearing of more layers symbolises anxiety.
In the following scene, Todd is alone in his room with damp hair and a towel slung around his neck. The lamp being on suggests the approach of evening, and these details combine to indicate that he waited until the changing rooms were empty to shower.
This scene and costume choice along with his preference for wearing layers is the source of many trans Todd headcanons.
Poetry-ball with Coach Keating
Mr Keating is dressed like a British farmer. I don't know what to do with this. He even has the flat cap. Sir, is teaching boys like herding livestock?
Anyway, Meeks and Pitts are showing off their duo status in almost matching outfits. Their minds are on the same wavelength; a perfect team.
Once again, Todd wears a substantial amount of material with that extra cosy hoodie to put distance between himself and being perceived (or to hide a binder if you headcanon trans Todd). Plus, no one else has the option of a hood to pull up and hide their face in.
In this scene, Todd stands apart from the other dead poets which highlights Neil's absence. The fact that this costume covers more skin than those worn in any other sports related scene is significant, it implies a need for more protection from the outer-world without Neil to help him navigate it.
Charlie wears his rowing outfit - backwards jumper included as a mark of both his refusal to conform, and his internalisation of Keating's lesson to look at things in a different way. In the close-up shot the label stitched into the back of the garment is visible through the material on his front. Perhaps the deleted scene where the boys eat left-handed for a new perspective inspired Charlie to wear his clothes backwards.
Knox is dressed somewhere in-between his friends. He wears a similar outfit to Pitts, but his shorts cut-off awkwardly above the knee like he's taken scissors to full-length sweatpants. I get the impression that he isn't very sporty beyond soccer.
Neil's absence can be explained by his audition. I couldn't spot Cameron so perhaps he was at a club or tutoring, or maybe just away from the others in the back?
Game day with Coach Keating
In this more traditional game, all of the boys are in matching black shorts and red sweaters with a white 'W' on the front. The exception is Charlie, he remains unique in a red and white striped shirt as goalkeeper.
Keating's favouritism is obvious in the costumes as all the dead poets (plus Stick) are on the same team. Since Stick is also present at the dead poets lunch table (and is perhaps Knox's roommate), I can believe he had some idea about their activities. If not the cave, he likely knew about their habit of doing things in new ways. Putting these more familiar students on the same team indicates they work well together towards a common goal (literally in terms of the game, and figuratively in terms of having more open minds).
The opposing teams is marked by yellow bibs. At my school, these general sports bibs always smelled of wet grass and sweat so students didn't want to wear them. I am willing to speculate that these students unknown to the audience are those less willing to accept poetry and independent thought.
Part Two - Uniform & Non-Conformity | Part Three - Casual Wear, Chris & the Play
Look, this is a long, long post I put together throughout this week as an insomnia project. Actually, just think of all my long posts as my version of Gansey’s mini Henrietta model in trc. Useless passion projects.
The opening shots establish the context of Welton. We are shown a Mother fixing the uniform of a young boy. However, this is not quite the expected display of maternal fussing, it is the perfecting of a performance, and this is conveyed through costume.
The mother is only visible by her gloves as she straightens her son's tie and collar. This focus on formal dress emphasises a level of detachment in their relationship as there is no skin-on-skin contact (something promoted for new mothers and their babies).
This is reinforced by the accompanying dialogue, "keep your shoulders back." Immediately, all concern for the student is centred on the presentation of his uniform as a representation of both his family and his school. Thus, the Welton uniform is shown as restrictive. It is a symbol of both the expectations and the weight of tradition which is impressed on the children required to wear it as they learn to uphold the inherited image of excellence.
There is no individuality amongst the students in this assembly. As the camera pans over the Chapel we are shown hundreds of almost identical boys in a sea of black blazers, white shirts, and striped ties.
The tone of tradition - the first banner to be held up to the camera - is set by the details of the ceremony, notably the use of Catholicism alongside Scottish (and potentially Irish) culture.
Most modern Catholic schools in the US were founded in the 19th century (like Welton in 1859) to accommodate the increase of Irish immigration to North America. Most schools at this time were Protestant, and in 1852, the First Plenary Council of Baltimore (a meeting of archbishops & bishops) aimed for every Catholic parish in the US to open its own religious schools.
These institutions were considered a fundamental method of preserving the values threatened by anti-Catholic bills. They formed close communities with the parents (whose financial contributions were essential) and alumni (representatives moulded by their values). For this reason, tradition and discipline became key features of these schools.
I find it interesting that the Welton procession is led by students in traditional kilts (part of both Irish and Scottish heritage) who play 'Scotland the brave' on bagpipes. The headmaster, Mr. Nolan, has an Irish name meaning 'noble.' These hallmarks of older (and primarily Catholic) cultures add to the oppressive weight of history felt in the Chapel setting.
This general atmosphere is then visually broken down to focus on how it affects the main characters.
Cameron holds the first banner with 'tradition' which highlights its relevance to his individual character arc. He is arguably the one who struggles most with his relationship to tradition, ultimately falling back on it for a sense of safety after Neil's death.
The next poet in line is Knox holding 'discipline.' Knox's main struggle is achieving a balance between two unhealthy extremes. He declares, 'I've been calm all my life," before gaining the courage to ring Chris, and this reflects the rigidity he's always known. However, his supposedly romantic storyline highlights how Knox abandons all necessary self-discipline as he learns the freedom of Carpe Diem.
Finally, is Neil with 'excellence,' foreshadowing how trapped he becomes by his reputation as a model student, and by the expectations of authority figures. This is consolidated at the end of the ceremony when Nolan says, "we expect great things from you this year," and Mr. Perry replies, "he won't disappoint." By jumping in to reply for his son, Mr. Perry asserts his authority over Neil while also showing that his son's achievements are (in his view) inextricably tied to his own.
'Honour,' the final banner, is not held by any of the dead poets. This indicates that none of the main characters feels a sense of honour in themselves, the school, or its traditions and values.
Each teacher wears full academic regalia, a long black gown with a coloured hood denoting their subject of study. This strict adherence to academia indicates the prestige of Welton Academy and the high standard of education that its individual staff has received.
Keating and McAllister both wear white around their necks to signify the study of the arts and humanities.
Nolan also wears a medallion to signify his status as headmaster. This is often an element of formal dress worn by college presidents, which shows Nolan's connection to the Ivy Leagues (where he boasts many of his students attend). Mr. Nolan also has velvet around the neck of the gown to signify a doctorate.
Each teacher also has a coloured trim on their gowns that I can't find the official meaning of. Some staff, like McAllister, have a matching hood and ribbon trim. Others, like Keating, do not as his hood is white and the ribbon trim is purple.
Historically, purple has been a colour reserved for the clothing of royalty or those with power and wealth. In modern history, purple began to be perceived as a colour of creativity and wisdom. By dressing only Keating in subtle hints of purple, this introduction to his character hints at the leadership and wealth of knowledge he provides for the dead poets.
Keating is also shown in a light purple shirt during class, which I mention in part two.
I do also want to note (for the purpose of Keating as a queer-friendly figure) that purple is a colour that carries significance within LGBTQ+ history and literature:
The flower is mentioned frequently in Sappho's fragments and has been used as wlw code
During the 1920s, 'violet' was a slang term for lesbians
Édouard Bourdet's play 'The Captive' (1926) was censored for its lesbian themes, including a female character sending violets to another female as a symbol of her love. There was a trend in Paris of people wearing violets on their lapels in support of Bourdet's play
The derogatory term 'a streak of lavender' was used to describe men whose masculinity did not match social expectations, hinting that he may be a homosexual, known as a 'lavender boy'
In the 1970s, sapphic feminists, such as Rita Mae Brown, wore t-shirts with the slogan 'The Lavender Menace' as a protest until they were admitted to mainstream feminist circles. This was a response to the well-known feminist author, Betty Friedan, claiming that lesbians were a 'lavender menace' who would undermine feminist efforts
The Lavender Scare
A lesser-known branch of McCarthyism under Senator Joseph McCarthy, most well-known for his anti-communist 'red-scare.'
McCarthy led a very public campaign to rid the government of 'communists and homosexuals' who were considered to be a threat to morality and to national security
Thousands lost their jobs despite a subcommittee investigation concluding that there was no evidence suggesting gay or lesbian civil servants had been blackmailed into betraying state secrets
Purple and its developing association with queerness
The invention of synthetic purple dye in the mid-nineteenth century caused the colour to become widely available. Historically, the colour had been expensive due to its source from a species of snail found in modern-day Lebanon. Until the 1850s, it had been a colour reserved for royals and the wealthy
In the late-nineteenth century, purple clothing became highly fashionable due to its new availability and novelty. As the movement of Aestheticism arose, purple became a popular colour amongst the Aesthetes who many deemed effeminate, or associated with Oscar Wilde and his 'purple hours' of drink and relations with men. Thus, purple began to be associated with a subculture many queer men participated in, and eventually with the queer community
(My A-level American History course)
Catholic Schools in the US: here and here and the Plenary Council
Anti-Catholicism in the US: here and here
Academic Regalia: here and here
The Lavender Menace
The Lavender Scare
Lavender as an LGBTQ symbol
The history of purple dye
Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Through the dull brain perplexes and retards:
Already with thee! tender is the night
Ode to a Nightingale // John Keats
a lot of kids at henley hall are queer.
this doesn't take long for neil to learn, cause they all seem pretty open about it. and those who aren't, well, they don't seem to care. and -- its not that neil doesn't trust his friends, but he does find it much easier to come out to these kids than the friends he made at a catholic all-boys boarding school. you know ? someday.
anyway. the friends he makes in theater do end up being massive part of him coming to terms with/accepting the fact he's gay, and it's not long before he starts telling them about todd. nervously, at first, but they love to gently tease him about it and they only barely tone it down once neil does start dragging him along to rehearsals.
the first day, todd's content to shyly say hello to all of neil's friends then sit around and watch, but he gets more comfortable chatting with them as coming along becomes more normal. some days its just cause he likes the environment (and being close to neil) and he'll busy himself reading or writing or studying, while on others he helps out wherever he can or laughs along with kids messing around. and of course he still loves to simply watch neil, see how long he can stay focused and in his element before breaking and meeting todd's eyes, turning red and grinning back.
eventually neil's friends wear him down, joking that they're sick of listening to and seeing his pining when it's so obvious that todd likes him back, so he promises he'll confess the night of their first performance. after. if he doesn't forget, and if he's not too tired. it's not a perfect plan, but nobody lets the general excitement over the show (and for neil, neil's first show!!) overshadow forgetting about his promise. they keep reminding him, tonight. you're gonna tell him tonight. remember? right? and he brushes them off, blushing, yeah, yeah, now don't miss your cue.
the show goes well (mr perry never finds out about it), and after a few minutes of celebrating, one of his friends nudges neil. everyone's leaving. go back with your friends, this is your chance. so neil says he's gonna go, tells everyone they did amazing and accepts his last round of praise before rushing out to find his friends. it takes a couple minutes, and he almost turns around to just ask someone else for a ride back, but then he hears it. neil! neil, you did great! neil, over here! and he spots charlie, and keating and todd and everyone else. they all seem to be buzzing with just as much excitement as he is, talking over each other to give him praise. keating eventually gets to pull him aside and say his thing, before giving him permission to rejoin his friends and walk back to the school.
a few minutes into the walk, as they get further away from the crowd, a calm sort of silence falls over everyone, and neil finds himself falling back, walking beside todd. his heart is practically racing out of his chest, his promise echoing in his mind. their hands keep brushing, and neil deliberately bumps their shoulders together, making todd laugh. you did great, by the way. he eventually says. sorry, i'm sure that's all you've heard tonight, but - but really. it's cause it's true. and neil can't help but smile. thanks. it- it means a lot, coming from you. he responds. and what he wouldn't give to stay in that moment forever -- snow falling, their friends ahead laughing, not noticing the two that've fallen behind. todd looking at him like that. and suddenly he realizes they've stopped walking all together, and now they're just standing, waiting for someone to make the first move.
neil is about to, about to keep his promise, but todd beats him to it. by the way, um. i like you, neil. i like you a lot.
and any ounce of fear or doubts washes away when neil doesn't miss a beat, grabbing his hand and saying, good. i like you, too.
they both smile again, and walk back in a comfortable silence, hand in hand.
once they get back to their dorms and have taken off their jackets and shoes, todd only hesitates for a second before kissing neil. once chastely, still nervous, just to see how he'd react. and then neil's smiling, so he kisses him again, hands coming up to neil's face, feeling him smile.
maybe they chat a bit more, giddy and still awake from the adrenaline and cold, or maybe they're tired and promise to talk the next day. regardless, it doesn't take long the next time neil sees his theater friends for him to admit, no, he's not just excited about the show, todd beat him to it and todd likes him back and todd kissed him. todd kissed him! there's a chorus of genuine congratulations, and then of course the teasings of you broke your promise, you took too long!! he beat you to it!? and i told you! i knew he liked you back. but neil doesn't mind, neil doesn't mind at all because he finally thinks, this is it. this is where i want to be.
Modern dead poets society except Mr. Keating avoids the poets whenever he sees them in public because he knows they’re just going to rope him into some￼ chaotic scheme￼
"As to the poetical character...it is not itself – it has no self – it is everything and nothing – It has no character – it enjoys light and shade; it lives in gusto, be it foul or fair, high or low, rich or poor, mean or elevated–It has as much delight in conceiving an Iago as an Imogen...A poet is the most unpoetical of any thing in existence, because he has no Identity – he is continually in for and ﬁlling some other Body – The Sun, the Moon, the Sea and Men and Women, who are creatures of impulse, are poetical, and have about them an unchangeable attribute; the poet has none...If then he has no self, and if I am a Poet, where is the Wonder that I should say I would write no more?"
John Keats, Letter to Richard Woodhouse