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Title: A Day with Keats

Author: May (Clarissa Gillington) Byron

Illustrator: William James Neatby

Release Date: November 11, 2009 [EBook #30451]

Language: English

Character set encoding: ISO-8859-1

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DAYS WITH THE GREAT POETS

KEATS

BY MAY BYRON

HODDER & STOUGHTON
LTD., PUBLISHERS LONDON

Painting by W. J. Neatby.   LA BELLE DAME SANS MERCI. Click to ENLARGE

A DAY WITH KEATS

About eight o'clock one morning in early summer, a young man may be seen sauntering to and fro in the garden of Wentworth Place, Hampstead. Wentworth Place consists of two houses only; in the first, John Keats is established along with his friend Charles Armitage Brown. The second is inhabited by a Mrs. Brawne and her family. They are wooden houses, with festooning draperies of foliage: and the clean countrified air of Hampstead comes with sweet freshness through the gardens, and fills the young man with ecstatic delight. He gazes around him, with his weak dark eyes, upon the sky, the flowers, the various minutiæ of nature which mean so much to him: and although he has severely tried a never robust physique by sitting up half the night in study, a new exhilaration now throbs through his veins. For, in his own words, he loves the principle of beauty in all things: and he repeats to himself, as he loiters up and down in the sunshine, the lines into which he has crystallized, for all time, sensations similar to those of the present:—

Yet John Keats is in some respects out of keeping with the magnificent phraseology of which he is the mouthpiece. "Little Keats," as his fellow medical students termed him, is a small, undersized man, not over five feet high—the shoulders too broad, the legs too spare—"death in his hand," as Coleridge said, the slack moist hand of the incipient consumptive. The only "thing of beauty" about him is his face. "It is a face," to quote his friend Leigh Hunt, "in which energy and sensibility" (i.e., sensitiveness) "are remarkably mixed up—an eager power, wrecked and made impatient by ill-health. Every feature at once strongly cut and delicately alive." There is that femininity in the cast of his features, which Coleridge classed as an attribute of true genius. His beautiful brown hair falls loosely over those eyes, large, dark, glowing, which appeal to all observers by their mystical illumination of rapture—eyes which seem as though they had been dwelling on some glorious sight—which have, as Haydon said, "an inward look perfectly divine, like a Delphian priestess who saw visions."

And he is seeing visions all the while. Some chance sight or sound has wrapt him away from the young greenness of the May morning, and plunged him deep into the opulent colour of September. His prophetic eye sees all the apple-buds as golden orbs of fruit, and the swallows, that now build beneath the eaves, making ready for their departure. And these future splendours shape themselves into lines as richly coloured.

Painting by W. J. Neatby.   AUTUMN. Click to ENLARGE

The voice of Charles Brown at the open window, hailing him cheerily, breaks the spell; Keats goes in, and they sit down together to a simple breakfast-table, and Brown "quizzes" Keats, as the current phrase goes, on his inveterate abstractedness. The young man, with his sweet and merry laugh, defends himself by producing the result of his last-night's meditations, in praise of the selfsame wandering fancy.

Breakfast over, the business of the day begins: and that, with Keats, is poetry, and all that can foster poetic stimulus. He takes no real heed of anything else. A devoted son and brother, one ready to sacrifice himself and his slender resources to the uttermost farthing for his mother, brothers, sister and friends—yet he has no vital interest in other folks' affairs, nor in current events, nor in ordinary social topics. Other people's poetry does not appeal to him, except that of Shakespeare, and of Homer—whom he does not know in the original, but who, through the poor medium of translation, has filled his soul with Grecian fantasies.

This is what he wrote after sitting up one night till daybreak with his friend Cowden Clarke, shouting with delight over the vistas newly revealed to him. And from that time on, he has luxuriated in dreams of classic beauty, warmed to new life by the sorcery of Romance. Immortal shapes arise upon him from the "infinite azure of the past:" and he sees how

He is studying French, Latin, and especially Italian—all with a view of furthering his poetic ability: though no great reader, he has soaked himself in the atmosphere of old Italian tales, and the very spirit of mediæval Florence breathes from the story, borrowed from Boccaccio, "an echo in the north-wind sung," which narrates how the hapless Isabelle hid away the head of her murdered lover.

Painting by W. J. Neatby.   ISABELLA. Click to ENLARGE

Keats has brought himself with difficulty, however, to the perusal of modern poets. His boyish enthusiasm for Leigh Hunt's work has long since evaporated: and after reading Shelley's Revolt of Islam, all he has found to say is, "Poor Shelley, I think he has his quota of good qualities!" But, for the rest, he is not attracted to any kind of knowledge which cannot be "made applicable and subservient to the purposes of poetry,"—his own poetry. For his one desire is to win an immortal name—and he has begun life "full of hopes, fiery, impetuous, and ungovernable, expecting the world to fall at once beneath his pen. Poor fellow!" (Haydon's diary).

But "men of genius," Keats himself has said, "are as great as certain ethereal chemicals, operating in a mass of created matter: but they have not any determined character." That indefiniteness of literary aim—that want of willpower, without which genius is a curse, which have hampered the young man all along—are now still further emphasised by the restlessness of a passionate lover. John Keats cannot stay indoors this fine May morning, "fitting himself for verses fit to live," when the girl who is to him the incarnation of all poetry is visible in the next-door garden. He throws down his pen and hurries out to join her.

Contemporary portraits of Fanny Brawne have not succeeded in representing her as beautiful: and at first sight Keats has complained, that, although she "manages to make her hair look well," she "wants sentiment in every feature." Propinquity, however, has achieved the usual result; and now the young poet believes his inamorata to be the very apotheosis of loveliness: he is never weary of adoring her

If the truth be told, Fanny Brawne is a fairly good-looking young woman, blue-eyed and long-nosed, her hair arranged with curls and ribbons over her brow: she has a curious but striking resemblance to the draped figure in Titian's "Sacred and Profane Love": and for the rest, she is by no means poetic or sentimental, but a voluminous reader, whose strong point is an extraordinary knowledge of the history of costume. She accepts the homage of Keats, much as she accepts the fact of their tacit betrothal, and the fact that her mother disapproves of it—without taking it too seriously in any sense. And now, though not particularly keen on open-air enjoyment, she accepts his daily suggestion of a walk with her; and they go out into the beautiful meadows which were part of Hampstead a hundred years ago.

Keats is in his glory in the fields. Always, the humming of a bee, the sight of a flower, the glitter of the sun, have "seemed to make his nature tremble: then his eyes flashed, his cheek glowed, his mouth quivered." Peculiarly sensitive, as he is, to external influences, his chief delight is to "think of green fields … I muse with the greatest affection on every flower I have known from my infancy." The man who is so soon to "feel the daisies growing over him," takes one of his intensest pleasures in watching the growth of flowers; and now, as an exquisite music, "notes that pierce and pierce," descends through the young green oak-leaves, the poet seizes this golden moment of the May world and transmutes it into song.

Painting by W. J. Neatby.   THE NIGHTINGALE. Click to ENLARGE

The poet is recalled from these rapturous flights to the fugitive sweetness of the present: he is wandering in May meadows, young and impetuous, on fire with hopes, and his heart's beloved beside him. It is almost too good to be true. "I have never known any unalloyed happiness for many days together," he tells Fanny; "the death or sickness of someone has always spoilt my home. I almost wish we were butterflies, and lived but three summer days—three such days with you I could fill with more delight than fifty common years could ever contain." He talks to her earnestly of his dreams, his aspirations, his ambitions: and then the sordid facts of every-day life begin to cast a blighting shadow over his effulgent hopes. What has he, indeed, to offer, worth her taking? A young man of twenty-three, ex-dresser at a hospital, who has abandoned his surgical career without adopting any other: with slender resources, and no occupation beyond that of producing verses which are held up to absolute derision by the great reviews. "I would willingly have recourse to other means," he tells her again, as he has told his friend Dilke, "I cannot: I am fit for nothing else but literature." He talks of taking up journalism—but in his heart he feels unfit for any regular profession, by reason both of physical weakness and a certain lack of system in mental work. The future becomes blackly, blankly overcast; the res augusta domi descend like a curtain between the sublimity of Keats and the calm commonsense of Fanny. They turn homewards in silence, the poet revolving melancholy musings.

Fanny Brawne enters her mother's house, and John Keats goes into his room and sits down, brooding, brooding. "O," he says, "that something fortunate had ever happened to me or my brothers! Then I might hope—but despair is forced upon me as a habit." And he is only too well aware, that although he is naturally "the very soul of courage and manliness," this habit of despair is growing upon him, and eating his energy away. A wintry chill settles down upon the May-time, and his misery finds vent in lovely lines—

Painting by W. J. Neatby.   ENDYMION. Click to ENLARGE

Yet Keats is young, and youth means buoyancy. With an effort—increasingly difficult—he is able to shake off this sombre fit for awhile; and he makes use of the simplest means to that end. "Whenever I feel vapourish," he has said, "I rouse myself, wash, and put on a clean shirt; brush my hair and clothes, tie my shoe-strings neatly, and in fact adonize as if I were going out: then, all clean and comfortable, I sit down to write." These very prosaic methods adopted, he abandons himself to the full flood of inspiration, and lets his mind suffuse itself in antique glory. As Endymion, he receives the divine commands of the passionately bright Moon-Lady, as she stoops at last to bless him.

Or, as Lycius, he succumbs to the serpentine grace of Lamia; or as Porphyro, hidden in the silence, watches Madeline at prayer.

But the inspiration does not well up to-day: its flow is frustrated, in view of the mountainous difficulties which hedge him in. Ill-health, stinted means, hopeless love, and continual lack of success—these are calculated to give the bravest pause. And presently Keats, snatching a few hurried mouthfuls of lunch, is off to the studio of his friend, the painter Haydon—the one man among all his acquaintance who is capable of really understanding him. He sits down morbid and silent in the painting room: for a while nothing will evoke a word from him, good or bad. But his keen interest in matters of art, and the entry of various friends one by one—Wentworth Dilke, Hamilton Reynolds, Bailey and Leigh Hunt—soon arouse him to animated conversation. Keats is shy and ill at ease in women's society: but a "delightful combination of earnestness and pleasantry distinguishes his intercourse with men." He says fine things finely, jokes with ready humour, and at the mention of any oppression or wrong rises "into grave manliness at once, seeming like a tall man." No wonder that his society is much sought after, and himself greatly beloved by these congenial spirits; no wonder that here, at least, he meets with that appreciation of which elsewhere his genius has been starved. In this young fellow of twenty-three, who unites winning, affectionate ways, and habitual gentleness of manner, with the loftiest and most nobly-worded ideals, few would discover that imaginary "Johnny Keats, the apothecary's assistant," upon whom the Blackwood reviewer had lavished such vials of vituperation. He is here openly acknowledged as one of the "bards of passion and of mirth," and his poems are each accepted, as

"No one else in English poetry, save Shakespeare, has in expression quite the fascinating felicity of Keats, his perfection of loveliness." (Matthew Arnold). But only these few friends of his are able to recognise that perfection. Outside their charmed circle, lies an obstinately unappreciative world.

The afternoon wears on, and the friends disperse. Keats, returning to Wentworth Place flushed with hectic exhilaration, finds a veritable douche of cold water awaiting him, in the shape of a letter from his publishers. They refer to his unlucky first volume of poems, brought out in 1817. "By far the greater number of persons who have purchased it from us," they say, "have found fault with it in such plain terms, that we have in many cases offered to take the book back, rather than be annoyed with the ridicule which has time after time been showered upon it. In fact, it was only on Sunday last that we were under the mortification of having our own opinion of its merits flatly contradicted by a gentleman who told us that he considered it 'no better than a take-in.'"

For a few minutes the pendulum swings back to despair. A man whose whole business in life is the creation of the best work, who "never wrote a line of poetry with the least shadow of public thought," who believes that after his death he will be among the English poets, and that if he only has time now, he will make himself remembered—that such a one should be merely the butt and laughing-stock of his readers! It is an unendurable position. Not that Keats attaches undue importance to popular applause. "Praise or blame," he says, "has but a momentary effect upon the man whose love of beauty in the abstract makes him a severe critic on his own works…. In Endymion I leaped headlong into the sea, and thereby have become better acquainted with the soundings, the quicksands, and the rocks, than if I had stayed upon the green shore and took tea and comfortable advice. I was never afraid of failure: for I would sooner fail than not be among the greatest."

But what will Fanny think of such a letter? He falls to miserable meditation over the slings and arrows of outrageous Fortune, and the constant erection of new obstacles in the course of his luckless love. And of Fanny's love he always has had a smouldering doubt: yet he remains her vassal, from the first, as he has told her—irrevocably her slave. He conceives himself an outcast on the wintry hillside, exiled from all his heart's desires.

And now he hears the voice of his Belle Dame ringing light across the garden; while he sits here, a prey to every distress, she is gaily gossiping with her next-door neighbour Brown. At once the unhappy Keats is tormented by a thousand jealous fears. Fanny is transferring her affection to Brown: of that he is quite certain. He rushes out: his black looks banish the much-amused Brown, and very nearly produce an immediate rupture between Fanny and himself. But after a few bitter words, he permits himself to be reassured—or is it cajoled?—and tells her, "I must confess that I love you the more, in that I believe you have liked me for my own sake and for nothing else." The poor boy, from a worldly point of view, has "nothing else" to offer.

The lovers' quarrel is over for the nonce. Visitors begin to drop in for the evening; there is music and singing in Brown's little drawing room. Keats is very fond of music, and can himself, though possessing hardly any voice, "produce a pleasing musical effect." He will sit and listen for hours to a sympathetic performer: but his ear, like all his faculties, is abnormally sensitive: and a wrong note will drive him into a frenzy. As the room grows fuller, he becomes restive. "The poetical character," he has observed, "is not itself—it has no character. When I am in a room with people, the identity of everyone in the room begins to press upon me so that I am in a little time annihilated."

In the light chit-chat of small talk and badinage he has no part: it bewilders and annoys him. Those about him—especially the women—seem to show up in their worst colours. Fanny herself appears, as he has described her at their first meeting, an absolute minx. And presently he contrives to slip stealthily away, and seats himself in some quiet chamber, alone with the darkness and the May-scents of leaf and blossom. "I hope I shall never marry," he groans once more; "the roaring wind is my wife, and the stars through the window-panes are my children: the mighty abstract idea of Beauty I have in all things, stifles the more divided and minute domestic happiness. I do not live in this world alone, but in a thousand worlds. No sooner am I alone, than shapes of epic greatness are stationed round me, and serve my spirit the office which is equivalent to a King's Bodyguard."

The young man now lights his candles, and takes up a familiar and favourite occupation;—the writing of a long letter to his brother George in America. This epistle is, as one might expect, almost entirely concerned with the art of poetry—what else has Keats to write about?—whether from the side of technique, or inspiration. He dwells on the adroit management of open and close vowels—he shows how "the poetry of earth is never dead;" he discusses the need of constant application to work, and how "the genius of poetry must work out its own salvation in a man." And meanwhile, as fitful strains of song reach him from the distance, and his roving gaze rivets itself upon a Wedgwood copy of a Grecian vase—one of Brown's chief treasures—the fleeting wafts of sound, and the lovely symmetry of shape, and the golden chain of figures, blend themselves into one harmonious whole of word-music.

The "shapes of epic greatness" throng closer and mightier around him. The storm and stress of the day's thoughts have utterly drained his small reserve of strength. Outworn by the vehemence of his own conflicting emotions, John Keats lays his aching eyes and dark brown head upon his arm as it rests along the table, and sinks into a dreamless slumber of exhaustion; while, a

the nightingale chants on outside.

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