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

half the volume is taken up with epistles and meditative pieces (Drayton would have called them Elegies and Ben Jonson Epigrams) in the regular five-stressed or decasyllabic couplet. The earliest of these is the epistle to Felton Mathew from which I have already given a quotation. The form of the verse in this case is modelled pretty closely on Browne’s Britannia’s Pastorals. Keats, as has been said, was already familiar with the work of this amiable Spenserian allegorist, so thin and tedious in the allegorical part of his work proper, in romantic invention so poorly inspired, so admirable, genuine, and vivacious on the other hand in his scenes and similitudes from real west-country life and in notes of patriotism both local and national. By the following motto chosen from Browne’s work Keats seems to put the group of Epistles in his volume under that poet’s particular patronage: —

      Among the rest a shepheard (though but young

       Yet hartned to his pipe) with all the skill

       His few yeeres could, began to fit his quill.

      But before coming to questions of the special influences which successively shaped Keats’ aims both as to style and versification in poems of this form, I shall ask the reader to pause with me awhile and get freshly and familiarly into his ear and mind, what to special students is well known but to others only vaguely, the story of the chief phases which this most characteristic of English measures had gone through until the time when Keats tried to handle it in a spirit more or less revolutionary. Some of the examples I shall quote by way of illustration are passages which we know to have been specially familiar to Keats and to which we shall have occasion to recur. Let us first consider Chaucer’s use, as illustrated in a part of the prayer of Emilia to Diana in the Knightes Tale: —

      O chastë goddesse of the wodës grene,

       To whom bothe hevene and erthe and see is sene,

       Quene of the regne of Pluto derk and lowe,

       Goddesse of maydens, that myn herte hast knowe

       Ful many a yeer, and woost what I desire,

       As keep me fro thy vengeance and thyn ire,

       That Attheon aboughtë cruelly.

       Chastë goddessë, wel wostow that I

       Desire to been a mayden al my lyf,

       Ne never wol I be no love ne wyf.

       I am, thou woost, yet of thy companye,

       A mayde, and love hunting and venerye,

       And for to walken in the wodës wilde,

       And noght to been a wyf, and be with childe.

       Noght wol I knowë companye of man.

       Now help me, lady, sith ye may and can,

       For tho thre formës that thou hast in thee.

       And Palamon, that hath swich love to me,

       And eek Arcite, that loveth me so sore,

       This grace I preyë thee with-outë more,

       As sendë love and pees bitwixte hem two;

       And fro me turne awey hir hertës so,

       That al hir hotë love, and hir desyr,

       And al hir bisy torment, and hir fyr

       Be queynt, or turnëd in another place;

       And if so be thou wolt not do me grace,

       Or if my destinee be shapen so,

       That I shal nedës have oon of hem two,

       As sende me him that most desireth me.

      The rime-syllables with which Chaucer ends his lines are as a rule strong and followed by a pause, or at least by the grammatical possibility of a pause, though there are exceptions like the division of ‘I | desire.’ The general effect of the metre is that of a succession of separate couplets, though their separation is often slight and the sentence is allowed to run on with little break through several couplets divided from each other by no break of more than a comma. When a full stop comes and ends the sentence, it is hardly ever allowed to break a line by falling at any point except the end. On the other hand it is as often as not used to divide the couplet by falling at the end not of the second but of the first line, so that the ear has to wait a moment in expectancy until the second, beginning a new sentence, catches up the rime of the first like an echo. Other, slighter pauses fall quite variably where they will, and there is no regular breathing pause or caesura dividing the line after the second or third stress.

      When the measure was revived by the Elizabethans two conflicting tendencies began to appear in its treatment. One was to end each line with a full and strong rime-syllable, noun or verb or emphatic adjective, and to let each couplet consist of a single sentence, or at any rate a single clause of a sentence, so as to be both grammatically and rhythmically almost independent of the next. Under this, which is called the closed or stopped couplet system, the rime-pattern and the sense or sentence-pattern, which together compose the formal elements in all rimed verse, are made strictly to coincide, and within the limits of a couplet no full break of the sense is allowed. Rhetorical and epigrammatical point and vigour are the special virtues of this system: its weaknesses are monotony of beat and lack of freedom and variety in sentence structure. The other and opposite tendency is to suffer the sentence or period to develop itself freely, almost as in prose, running over as it will from one couplet into another, and coming to a full pause at any point in the line; and at the same time to let any syllable whatever, down to the lightest of prepositions or auxiliaries, serve at need as a rime-syllable. Under this system the sense and consequent sentence-pattern winds in and out of the rime-pattern variously and deviously, the rime-echo striking upon the ear now with emphasis, now lightly and fugitively, and being sometimes held up to follow a full pause and sometimes hurried on with the merest suggestion or insinuation of a possible pause, or with none at all. The virtues of this system are variety and freedom of movement; its special dangers are invertebrateness and a tendency to straggle and wind itself free of all real observance of rime-effect or metrical law.

      Most of the Elizabethans used both systems interchangeably, now a string of closed couplets, and now a flowing period carried through a succession of couplets overrunning into one another. Spenser in Mother Hubbard’s Tale and Marlowe in Hero and Leander were among the earliest and best revivers of the measure, and both inclined to the closed couplet system, Spenser the more strictly of the two, as the satiric and epigrammatic nature of his theme might naturally dictate. Let us take a well known passage from Marlowe: —

      It lies not in our power to love or hate,

       For will in us is over-ruled by fate.

       When two are stript, long ere the course begin,

       We wish that one should lose, the other win;

       And one especially do we affect

       Of two gold ingots, like in each respect:

       The reason no man knows; let it suffice,

       What we behold is censured by our eyes.

       Where both deliberate, the love is slight:

       Who ever loved, that loved not at first sight?

       He kneeled; but unto her devoutly prayed:

       Chaste Hero to herself thus softly said,

       ‘Were I the saint he worships, I would hear him;’

       And, as she spake those words, came somewhat near him.

       He started up; she blushed as one ashamed;

       Wherewith Leander much more was inflamed.

       He touched her hand; in touching it she trembled:

       Love deeply grounded, hardly is dissembled.

       These lovers parlèd by the touch of hands:

       True love is mute, and oft amazèd stands.

       Thus while dumb signs their yielding hearts entangled,

       The air with sparks of living fire was spangled;

       And Night, deep-drenched in misty Acheron,