A Day with Keats Part 2

"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.

Thou still unravish'd bride of quietness, Thou foster-child of Silence and slow Time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady?

What men or G.o.ds are these? what maidens loath?

What mad pursuit? What struggle to escape?

What pipes and timbrels? What wild ecstasy?

Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear'd, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal--yet, do not grieve; She cannot fade, though hast not thou thy bliss, For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love!

For ever warm and still to be enjoy'd, For ever panting, and for ever young; All breathing human pa.s.sion far above, That leaves a heart high sorrowful and cloy'd, A burning forehead, and a parching tongue.

Who are these coming to the sacrifice?

To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest?

What little town by river or sea-sh.o.r.e, Or mountain-built with peaceful citadel, Is emptied of its folk, this pious morn?

And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return.

O Attic shape! Fair att.i.tude! with brede Of marble men and maidens overwrought, With forest branches and trodden weed; Thou, silent form! dost tease us out of thought As doth eternity: Cold Pastoral!

When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty"--that is all Ye know on earth, and all ye need to know.

_Ode to a Grecian Urn._

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

"Happy melodist, unwearied, For ever singing songs for ever new,"

the nightingale chants on outside.