The Life and Times of John Keats: Complete Personal letters & Two Extensive Biographies. John Keats

poetry; by Scott, by Byron, by Moore, whose Irish Melodies were an income to him and who was known to have just received a cheque of £3000 in advance for Lalla Rookh. In such an atmosphere Keats, having enough of his inheritance left after payment of his school and hospital expenses to live on for at least a year or two, soon found himself induced to try his luck and his powers with the rest. The backing of his friends was indeed only too ready and enthusiastic. His brothers, including the business member of the family, the sensible and practical George, were as eager that John should become a famous poet as he was himself. So encouraged, he made up his mind to give up the pursuit of surgery for that of literature, and declared his decision, being now of age, firmly to his guardian; who naturally but in vain opposed it to the best of his power. The consequence was a quarrel, which Mr Abbey afterwards related, in a livelier manner than we should have expected from him, in the same document, now unfortunately gone astray, to which I have already referred as containing his character of the poet’s mother. The die was cast. In the Marlborough Street studio, in the Hampstead cottage, in the City lodgings of the three brothers and the social gatherings of their friends, it was determined that John Keats (or according to his convivial alias ‘Junkets’) should put forth a volume of his poems. Leigh Hunt brought on the scene a firm of publishers supposed to be sympathetic, the brothers Charles and James Ollier, who had already published for Shelley and who readily undertook the issue. The volume was printed, and the last proof-sheets were brought one evening to the author amid a jovial company, with the intimation that if a dedication was to be added the copy must be furnished at once. Keats going to one side quickly produced the sonnet To Leigh Hunt Esqr, with its excellent opening and its weak conclusion: —

      Glory and Loveliness have pass’d away;

       For if we wander out in early morn,

       No wreathed incense do we see upborne

       Into the East to meet the smiling day:

       No crowd of nymphs soft-voiced and young and gay,

       In woven baskets bringing ears of corn,

       Roses and pinks, and violets, to adorn

       The shrine of Flora in her early May.

       But there are left delights as high as these,

       And I shall ever bless my destiny,

       That in a time when under pleasant trees

       Pan is no longer sought, I feel a free,

       A leafy luxury, seeing I could please,

       With these poor offerings, a man like thee.

      With this confession of a longing retrospect towards the beauty of the old pagan world and of gratitude for present friendship, the young poet’s first venture was sent forth, amid the applauding expectations of all his circle, in the first days of March 1817.

      Chapter IV

       Table of Contents

      THE ‘POEMS’ OF 1817

      The note of Keats’ early volume is accurately struck in the motto from Spenser which he prefixed to it: —

      What more felicity can fall to creature

      Than to enjoy delight with liberty?

      The element in which his poetry moves is liberty, the consciousness of release from those conventions and restraints, not inherent in its true nature, by which the art had for the last hundred years been hampered. And the spirit which animates him is essentially the spirit of delight: delight in the beauty and activities of nature, in the vividness of sensation, in the charm of fable and romance, in the thoughts of friendship and affection, in anticipations of the future, and in the exercise of the art itself which expresses and communicates all these joys.

      Technically considered, the volume consists almost entirely of experiments in two metrical forms: the one, the Italian sonnet of octave and sestet, not long fully reestablished in England after being disused, with some exceptions, since Milton: the other, the decasyllabic or five-stressed couplet first naturalized by Chaucer, revived by the Elizabethans in all manner of uses, narrative, dramatic, didactic, elegiac, epistolary, satiric, and employed ever since as the predominant English metre outside of lyric and drama. The only exceptions in the volume are the boyish stanzas in imitation of Spenser, — truly rather of Spenser’s eighteenth century imitators; the Address to Hope of February 1815, quite in the conventional eighteenth century style and diction, though its form, the sextain stanza, is ancient; the two copies of verses To some Ladies and On receiving a curious Shell from some Ladies, composed for the Misses Mathew, about May of the same year, in the triple-time jingle most affected for social trifles from the days of Prior to those of Tom Moore; and the set of seven-syllabled couplets drafted in February 1816 for George Keats to send as a valentine to Miss Wylie. So far as their matter goes these exceptions call for little remark. Both the sea-shell verses and the valentine spring from a brain, to quote a phrase of Keats’ own,

      — new stuff’d in youth with triumphs gay

      Of old romance, —

      especially with chivalric images and ideas from Spenser. Of the second set of shell stanzas it may perhaps be noted that they seem to suggest an acquaintance with Oberon and Titania not only through the Midsummer Night’s Dream but through Wieland’s Oberon, a romance poem which Sotheby’s translation had made well known in England and in which the fairy king and queen are divided by a quarrel far deeper and more durable than in Shakespeare’s play.

      Taking first the score or so of sonnets in the volume, we find that none of them are love-sonnets and that few are written in any high mood of passion or exaltation. They are for the most part of the class called ‘occasional’, — records of pleasant experience, addresses of friendly greeting or invocation, or compact meditations on a single theme. They bespeak a temper cordial and companionable as well as enthusiastic, manifest sincerity in all expressions of personal feeling, and contain here and there a passage of fine mature poetry. These, however, are seldom sustained for more than a single quatrain. The great exception of course is the sonnet, almost too well known to quote, — but I will quote it nevertheless, — on Chapman’s Homer. That walk in the morning twilight from Clerkenwell to the Borough had enriched our language with what is by common consent one of its masterpieces in this form, having a close unsurpassed for the combined qualities of serenity and concentration: concentration twofold, first flashing on our mind’s eye the human vision of the explorer and his companions with their looks and gestures, then symbolically evoking through that vision a whole world-wide range of the emotions of discovery.

      Much have I travell’d in the realms of gold,

       And many goodly states and kingdoms seen;

       Round many western islands have I been

       Which bards in fealty to Apollo hold.

       Oft of one wide expanse had I been told

       That deep-brow’d Homer rul’d as his demesne;

       Yet did I never breathe its pure serene

       Till I heard Chapman speak out loud and bold:

       Then felt I like some watcher of the skies

       When a new planet swims into his ken;

       Or like stout Cortez when with eagle eyes

       He star’d at the Pacific — and all his men

       Look’d at each other with a wild surmise —

       Silent, upon a peak in Darien.

      The ‘realms of gold’ lines in the Chapman sonnet, recording Keats’ range of reading in our older poetry, had been in a measure anticipated in this other, written six months earlier: —

      How many bards gild the lapses of time!

       A few of them have ever been the food

       Of my delighted fancy, — I could brood

       Over their beauties,