THE COMPLETE POETICAL WORKS OF JOHN KEATS. John Keats
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melodious redundance: he will perceive its faults now of scholastic pedantry and now of flagging inspiration, the perplexity and discontinuousness of the allegory, and the absence of real and breathing humanity amidst all that luxuriance of symbolic and decorative invention, and prodigality of romantic incident and detail. It is otherwise with the greedy and indiscriminate imaginative appetite of boyhood. I speak as one of the fortunate who know by experience that for a boy there is no poetical revelation like the Faerie Queene, no pleasure equal to the pleasure of being rapt for the first time along that ever-buoyant stream of verse, by those rivers and forests of enchantment, glades and wildernesses alive with glancing figures of knight and lady, oppressor and champion, mage and Saracen, — with masque and combat, pursuit and rescue, the chivalrous shapes and hazards of the woodland, and beauty triumphant or in distress. Through the new world thus opened to him Keats went ranging with delight: ‘ramping’ is Cowden Clarke’s word: he showed moreover his own instinct for the poetical art by fastening with critical enthusiasm on epithets of special felicity or power. For instance, says his friend, ‘he hoisted himself up, and looked burly and dominant, as he said, “What an image that is — sea-shouldering whales!”’
Spenser has been often proved not only a great awakener of the love of poetry in youth, but a great fertilizer of the germs of original poetical power where they exist; and Charles Brown, Keats’ most intimate companion during the two last years of his life, states positively that it was to the inspiration of the Faerie Queene that his first notion of attempting to write was due. ‘Though born to be a poet, he was ignorant of his birthright until he had completed his eighteenth year. It was the Faerie Queene that awakened his genius. In Spenser’s fairyland he was enchanted, breathed in a new world, and became another being; till enamoured of the stanza, he attempted to imitate it, and succeeded. This account of the sudden development of his poetic powers I first received from his brothers and afterwards from himself. This, his earliest attempt, the Imitation of Spenser, is in his first volume of poems, and it is peculiarly interesting to those acquainted with his history.’ Cowden Clarke places the attempt two years earlier, but his memory for dates was, as he owns, the vaguest. We may fairly take Brown to be on this point the better informed of the two, and may assume that it was some time in the second year after he left school that the Spenser fever took hold on Keats, and with it the longing to be himself a poet. But it was not with Spenser alone, it was with other allegoric and narrative poets as well, his followers or contemporaries, that Keats was in these days gaining acquaintance. Not quite in his earliest, but still in his very early, attempts, we find clear traces of familiarity with the work both of William Browne of Tavistock and of Michael Drayton, and we can conceive how in that charming ingenuous retrospect of Drayton’s on his boyish vocation to poetry, addressed to his friend Henry Reynolds, Keats will have smiled to find an utterance of the same passion that had just awakened in his own not very much maturer self.
Let it be remembered moreover that the years of Keats’ school days and apprenticeship were also those of the richest and most stimulating outburst of the new poetry in England. To name only their chief products, — the Lyrical Ballads of Coleridge and Wordsworth had come while he was only a child: during his school days had appeared Wordsworth’s still richer and not less challenging volumes of 1807, and the succession of Scott’s romantic lays (but these last, in spite of their enormous public success, it was in circles influenced by Leigh Hunt not much the fashion to admire): during his apprentice years at Edmonton, the two first cantos of Byron’s Childe Harold and the still more overwhelmingly successful series of his Eastern tales: and finally Wordsworth’s Excursion, with which almost from the first Keats was profoundly impressed. But it was not, of course, only by reading poetry that he was learning to be a poet. Nature was quite as much his teacher as books; and the nature within easy reach of him, tame indeed and unimpressive in comparison with Wordsworth’s lakes and mountains, had quite enough of vital English beauty to afford fair seed-time to his soul. Across the levels of the Lea valley, not then disfigured as they are now by factories and reservoir works and the squalor of sprawling suburbs, rose the softly shagged undulations of Epping forest, a region which no amount of Cockney frequentation or prosaic vicinity can ever quite strip of its primitive romance. Westward over Hornsey to the Highgate and Hampstead heights, north-westward through Southgate towards the Barnets, and thence in a sweep by the remains of Enfield Chase, was a rich tract of typically English country, a country of winding elm-shadowed lanes, of bosky hedge and thicket and undulating pasture-land charmingly diversified with parks and pleasaunces. Nearly such I can myself remember it some sixty years ago, and even now, off the tram-frequented highways and between the devastating encroachments of bricks and mortar, forlorn patches of its ancient pastoral self are still to be found lurking.
It was in his rambles afield in these directions and in his habitual afternoon and evening strolls to Enfield and back, that a delighted sense of the myriad activities of nature’s life in wood and field and brook and croft and hedgerow began to possess Keats’ mind, and to blend with the beautiful images that already peopled it from his readings in Greek mythology, and to be enhanced into a strange supernatural thrill by the recurring magic of moonlight. It is only in adolescence that such delights can be drunk in, not with conscious study and observation but passively and half unaware through all the pores of being, and no youth ever drank them in more deeply than Keats. Not till later came for him, or comes for any man, the time when the images so absorbed, and the emotions and sympathies so awakened, define and develop themselves in consciousness and discover with effort and practice the secret of rightly expressing themselves in words.
After Keats, under the stimulus of Spenser, had taken his first plunge into verse, he went on writing occasional sonnets and other pieces: secretly and shyly at first like all other young poets: at least it was not until some two years later, in the spring of 1815, that he showed anything that he had written to his friend and confidant Cowden Clarke. This was a sonnet on the release of Leigh Hunt after serving a two years’ sentence of imprisonment for a political offence. Clarke relates how he was walking in to London from Enfield to call on and congratulate the ex-prisoner, whom he not only revered as a martyr in the cause of liberty but knew and admired personally, when Keats met him and turned back to accompany him part of the way. ‘At the last field-gate, when taking leave, he gave me the sonnet entitled Written on the day that Mr Leigh Hunt left prison. This I feel to be the first proof I had received of his having committed himself in verse; and how clearly do I remember the conscious look and hesitation with which he offered it! There are some momentary glances by beloved friends that fade only with life.’ About a score of the pieces which Keats had written and kept secret during the preceding two years are preserved, and like the work of almost all beginners are quite imitative and conventional, failing to express anything original or personal to himself. They include the aforesaid Spenserian stanzas, which in fact echo the cadences of Thomson’s Castle of Indolence much more than those of Spenser himself; an ode to Hope, quite in the square-toed manner of eighteenth century didactic verse, and another to Apollo, in which style and expression owe everything to Gray; a set of octosyllabics recording, this time with some touch of freshness, a momentary impression of a woman’s beauty received one night at Vauxhall, and so intense that it continued to haunt his memory for years; two sets of verses addressed in a vein of polite parlour compliment to lady friends at the seaside; and several quite feeble sonnets in the Wordsworthian form, among them one on the peace of Paris in 1814, one on Chatterton and one on Byron.
Of Keats’ outward ways and doings during these days when he was growing to manhood we know nothing directly except from Cowden Clarke, and can only gather a little more by inference. It is clear that he enjoyed a certain amount of liberty and holiday, more, perhaps, than would have fallen to the lot of a more zealous apprentice, and that he spent part of his free time in London in the society of his brother George, at this time a clerk in Mr Abbey’s counting-house, and of friends to whom George made him known. Among these were the family of an officer of marines named Wylie, to whose charming daughter, Georgiana, George Keats a little later became engaged, and another family of prosperous tradespeople named Mathew. Here too there were daughters, Caroline and Ann, who made themselves pleasant to the Keats brothers, and to whom were addressed the pair of complimentary jingles already mentioned. One of the sisters, asked in later life for her recollections of the time, replied in a weariful strain of evangelical penitence for the frivolities of those days, and found nothing more to the purpose to say of Keats