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In the final scene of Otho the Great, Ludolph is performing the paradox felt by Keatsian poet. Describing to produce an immortal work, Keats nevertheless uses his creative technique which has its foundations in the notion of a performance where fact and reason are giving up a feminine delight in doubts and mysteries. Masculine certainty and fixity are denied by the very artistic approach adopted. Just as Auranthe's murder is caused to be impossible by the mad performance that Ludolph believes it will bring about her death. Both Ludolph and poet cannot control or fix that state of femininity. Ludolph's performance in the final scene is factly a kind of non-performance in that it can't achieve his desire. And this failure can be related to larger issues within Keats's poetry as a whole. Maron B. Ross notes that Keats's rejection of masculine modes of poetic discourse was to prove ultimately debilitating. Keats's impotence is like Ludolph's impotence in the final scene. Keats's depiction of Ludolph may reveal his own insecurities as a poet, but those insecurities relate to more widely held doubts within society as a whole. In writing a tragedy, Keats was provided with the opportunity to explore the relationship between his own theories of poetry and his ideas of dramatic performance. This play dramatizes the tension in the story of all literatures and provides an enactment of the instabilities of masculinity in the early nineteenth century.