This study of four of Keats's greatest poems explores a dynamic pattern in the poet's imagination: a relationship between the oral/fusional imagery and the romantic/oedipal themes. The poet's imagination seems to have been propelled backward from oedipal conflict to earlier narcissistic/oral unrest and pleasure.
Is the breast taken into the mouth the same as both breasts as seen by the infant? In no way does taking the breast into the mouth exclude a certain erotic pleasure for both parties as has been shown by several studies that try to claim that the breast is no longer significant merely as a so-called "partial" object. This is what the iconography in Roman and Christian charity confirms.