From the New York Times (March 26, 2020):
I have seen Naples from his vantage of a ship anchored offshore — one of the most sublime locations in the world, that sweep of coast stacked with apricot, carmine, azure and rose villas; the blue, blue U of the harbor; the emphatic Vesuvius anchoring the view.
In October of 1820, typhus raged in Naples. With his artist friend, Joseph Severn, the British poet John Keats rocked in the city’s harbor for 10 days, not nearly the quaranta giorni — 40 days — that give us our word quarantine.
Before this journey, Keats always felt intense melancholy. In “On Seeing the Elgin Marbles for the First Time,” he wrote “… mortality / Weighs heavily on me like unwilling sleep.” (And in the smooth pentameter of “Ode to a Nightingale”: “I have been half in love with easeful death.”) Not a holiday, this voyage out of England was a desperate trip to the sunny climate of Italy. His cough had grown steadily worse. Since the morning he’d seen a splotch of blood on his pillow, he knew he had little chance of surviving the consumption that had invaded his lungs. His last-ditch: Go to Rome. Meanwhile, exile at sea.
Like Beethoven, the poet Ruth Padel first came to love and understand music through playing the viola. Her great grandfather, a concert pianist, studied music in Leipzig with Beethoven’s friend and contemporary. Her latest collection 
She was joined in an evening of readings and conversation about Beethoven, poetry and music by poets Raymond Antrobus and Anthony Anaxagorou, both of whom are currently engaged in creative projects working on and from the life and work of Beethoven.
Ruth Sophia Padel (born 8 May 1946) is a British poet, novelist and non-fiction author, in whose work “the journey is the stepping stone to lyrical reflections on the human condition”. She is known for her explorations through poetry of migration and refugees,science, and homelessness; for her involvement in wildlife conservation, Greece, and music; and for her belief that poetry “connects with every area of life” and “has a responsibility to look at the world”. She is Trustee for conservation charity New Networks for Nature, has served on the Board of the Zoological Society of London, and broadcasts for BBC Radio 3 and 4 on poetry, wildlife and music. In 2013 she joined King’s College London, where she is Professor of Poetry. 
In The Making of Poetry, Adam Nicolson embeds himself in the reality of this unique moment, exploring the idea that these poems came from this particular place and time, and that only by experiencing the physical circumstances of the year, in all weathers and all seasons, at night and at dawn, in sunlit reverie and moonlit walks, can the genesis of the poetry start to be understood.
Boomers Daily 