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Thought in the Poetry of Keats by Ida E. McKnight 1904 Submitted to the Department of English of the University of Kansas in partial fulfillment of the requirements for the Degree of Master of Arts

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Msster Thesis

¥eKni*ht, Tor

1904

* Thought i n the p o e t r y o f Rests,••

THOUGHT I N THE

POETRY OF KEATS

BY Ida

McKnight

Thesis f o r the Degree

of

fyaster

..-•-in The U n i v e r s i t y

of Kansas.

1904.

of A r t s .

INTRODUCTION. G e n e r a l c h a r a c t e r o f K e a t s ' p o e t r y ; scope and p l a n o r t r e a t m e n t o f poems i n t h i s t h e s i s -

POEMS CONSIDERED AS REGARDS THOUGHT. I Stood Tip-Toe. Poet's e a r l y a t t i t u d e t o w a r d n a t u r e ; o r i g i n of poetry 3 S l e e p a n d ->oetry; s t a g e s i n m e n t a l d e v e l o p m e n t o f t h e poet; reason and i m a g i n a t i o n ; t h e o r y of powtry; summary o f t h o u g h t 5 Endymion, I t s i n t e r e s t a s a poem; t h e n a r r a t i v e ; t h e a l l e g o r y ; i m p o r t a n c e o f t h o u g h t i n t h e poem 8 Lamia. Source; n a r r a t i v e ; antagonism o f p h i l o s o p h y and i m a g i n a t i o n ; K e a t s * g e n e r a l a t t i t u d e t o w a r d r e a son - - 1 5 Hyperion. Influence of Milton; the motive f o r c e i n a l l t h i n g s

t e a c h i n g o f peem; "beauty 18

Hyperion, A V i s i o n . Importance o f t h e i n t r o d u c t i o n ; i t s i n t e r p r e t a t i o n ; t h e p o e t ' s work and m i s s i o n - 20 The O d e s . T h e i r p l a c e i n K e a t s ' poetry; t h e i r n a t u r e ; t h e o r y o f t r u t h and beauty e x p r e s s e d i n t h e Ode on a G r e c i a n U r n

23

M i n o r Poems. I m p o r t a n c e o f thought f o u n d i n them; K e a t s ' i d e a s upon i m m o r t a l i t y and r e l i g i o n 26 CONCLUSION. nummary o f t h o u g h t i n poems r e v i e w e d ; K e a t s ' m a n n e r of c o m p o s i t i o n ; n a t u r e o f h i sp o e t r y and t e a c h i n g - 2 7 m

r r

BIBLIOGRAPHY. The P o e t i c a l W o r k s o f j o h n K e a t s Gladstone Ed. Thomas Y. C r o w e l l Pub. N.Y. B i o g r a p h i c a l s k e t c h "by N.H. D o l e . A r n o l d foathew, J o h n K e a t s ( I n e s s a y s i n C r i t i c i s m Second

Series)

A r n o l d W.T. P o e t i c a l works of K e a t s , (with and n o t e s ) London 1888.

& Co., 1895.

1889. introduction

B r i d g e s R o b e r t . Poems o f J o h n K e a t s . E d . "by G. Drury. i n t r o d u c t i o n by Robert B r i d g e s (Muses' L i b r a r y ) 1896. B e e r s H.A. H i s t o r y o f E n g l i s h R o m a n t i c i s m teenth Century. 1901. C o u r t h o p e W.J. L i b e r a l Movement pp 159-197.

Thorn

i n t h e Nine-

i n English Literature 1885.

C l a r k e C.C. a n d M r s . M.C. R e c o l l e c t i o n s o f John (In R e c o l l e c t i o n s of Writers) C o l v i n Sidney, Keats, John M o r l e y ) /

Keats

( E n g l i s h Men o f L e t t e r s , -p-d. b y 1887.

C o l v i n Sidney, L e t t e r s c f John K e a t s t o h i s F a m i l y and Friends, London. 1891. Dowden E.V/. Downer A.'C.

T r a n s c r i p t s and

Studies.

The Odes o f K e a t s . Oxford 1867

D e Q u i n c e y T. l o h n K e a t s ( I n B i o g r a p h i c a l and H i s t o r i c a l E s s a y s ) N.Y. 1878. D e V e r e A.T. V e r s a t i l i t y o f S h e l l e y and K e a t s ( I n e s s a y s c h i e f l y on P o e t r y ) 1887 *

F o r m a n H. B u x t o n .

K e a t s ' Works- E d i t o r s P r e f a c e 1883.

*

G o s s e , E W. K e a t s i n 1894. (In C r i t i c a l K i t - K a t s )

1896.

G r o s e r H.G. The P o e t s a n d P o e t r y o f t h e C e n t u r y , "by A . H . M i l e s . I n t r o d u c t i o n b y H.G. Groser. Houghton,Lord. P o e t i c a l Works, Ed. L o r d Houghton ( A l d i n e Ed.) L o w e l l T.R,

Keats

Keats

R o s s e t t i W.M.

R.F.

1892.

(In Literature

( i n e s s a y s on P o e t r y a n d L i f e of K e a t s .

Architects of English

of the

1895. poets) 1886.

1887.

S h a r p W. K e a t s and J o s e p h S e v e r n t e r s of Joseph Severn)

Sharp

by

( I n P r o s e Works v o l . 1 . ) 1891.

M i n t o W. S h e l l e y and K e a t s Georgian Era) N o e l R.

w i t h Memoir

Ed.

( I n L i f e and

Let-

1892. literature. 1900.

S w i n b u r n e A.C. Keats, In Encyclopaedia B r i t a n n i c a N i n t h Ed. V o l . XIV. W o o d b e r r y G.E. On t h e p r o m i s e i n L e t t e r s and L i f e )

of K e a t s

(In Studies

1891.

W a t t s Theodore. Poetry, Encyclopaedia Britannica n i n t h Ed. V o l . X I X .

THOUGHT IN KEATS K e a t s was

T h i s b e a u t y he

saw

though p o w e r f u l i m a g i n a t i o n most d e l i c a t e and v i v i d and

i n ancient

and he

felt The

His perception

n a t u r e and

own

sake i s the r u l i n g p r i n c i p l e of K e a t s

his

poetry

1

the

was

w i t h keen a p p r e c i a t i o n a

a r e s t r o n g l y r e f l e c t e d i n h i s work.

temperament

world of

Beauty f o r i t s art.

i s f o r t h e mort p a r t a e s t h e t i c and

than e t h i c a l or d i d a c t i c .

sensative,

p i c t u r e d f o r t h i n verse of

melodious e x c e l l e n c e .

passionate

l e g e n d , i n human

t h r o u g h the medium o f a and

o f p o e t i c d e l i g h t a b o u t him. t h e man

POETRY,

p r i m a r i l y the p o e t o f b e a u t y ; o f b e a u t y i n

a l l forms, i n a r t , i n nature, emotion.

1

Consequently,

emotional

rather

A sensuous d e l i g h t i n beauty, a f r e e

indulgence i n poetic

imagery and

f a n c y , a r i c h melody o f

verse are, then, the

q u a l i t i e s most c h a r a c t e r i s t i c o f K e a t s

1

poetry* These q u a l i t i e s a r e so p r o m i n e n t outface It

t h a t t h e y sometimes

t h e d e e p e r meaning, w h i c h t h e p o e m s o f t e n c o n t a i n .

is generally

b e l i e v e d t h a t Kefcts shows i n h i s work

o f r e a l t h o u g h t o r m e n t a l power.

On t h e o t h e r hand, a

of h i s a d m i r e r s have t r i e d t o weigh h i s p o e t r y philosophy o r can

and

few

down w i t h more

a l l e g o r i c a l meaning t h a n i t r e a l l y d e s e r v e s ,

g r a c e f u l l y bear.

ly correct.

little

Neither

of these p o s i t i o n s i s whol-

W h i l e i t i s t r u e t h a t K e a t s was

not g i v e n

to

metaphysical .speculation or to subtle i n t e l l e c t u a l i n v e s t i g a t i o n s , y e t , a c l o s e study of h i s poetry w i l l

r e v e a l more

depth of thought than i s u s u a l l y a t t r i b u t e d t o the

poet.

It

i s the purpose

o f t h i s p a p e r t o examine

especially

t h o s e poems o f K e a t s , w h i c h show some r e a l t h o u g h t o r m e a n i n g , s o m e t h i n g b e y o n d t h e mere c h a r m o f t h e v e r s e and t h e o£ t h e n a r r a t i v e .

T h i s method o f t r e a t m e n t w i l l

e x c l u d e f r o m c o n s i d e r a t i o n some o f K e a t s b e a u t i f u l poems, a s w e l l a s much t h a t pass

over those c h a r a c t e r i s t i c s

1

interest

necessarily

i m p o r t a n t and

i s poor. I t w i l l

of K e a t s

1

most also

poetry f o r which

i s b e s t known a n d

f o r w h i c h he

covered here w i l l

s i m p l y be d e f i n e d , n o t d u s c u s s e d as t o i t s

originality.

i s most l o v e d .

A chronological order w i l l

t r e a t m e n t o f t h e poems.

The

he

thought d i s

be f o l l o w e d

i n the

6

Keatft

1

f i r s t volume of p o e t r y c o n t a i n s two i m p o r t a n t works,

w h i c h a r e o f i n t e r e s t t o us as showing t h e e a r l y bent o f t h e p o e t s mind* f

These two a r e t h e poem

upon a L i t t l e H i l l , 1 1

The f i r s t

b e g i n n i n g : " I Stood

Tip-Toe

and t h e one e n t i t l e d "Sleep and P o e t r y " .

shows t h e p o e t s e a r l y a t t i t u d e toward f

To h i m n a t u r e makes a d i r e c t a p p e a l .

nature.

He l o v e s h e r f o r h e r

own sake and enjoys h e r a p a r t f r o m any r e l a t i o n t o man. Keats Sonnett p 382

Gladstone

Ed.

p e r c e p t i o n o f n a t u r e here i s t h a t o f t h e c h i l d -

1

ff

when f a n c y c l e a r t a k e s i n a l l b e a u t y w i t h an easy span".

There i s no p l a c e f o r s e r i o u s thought and

i n t h i s passionate

i n t e n s e enjoyment e f n a t u r a l beauty;

f o r a flood of

images crowd upon t h e v i s i o n and i m m e d i a t e l y - . I Stood Tip-toe l i n e 133

"The

s o u l i s l o s t i n pleasant

N a t u r e i s n o t a prophet

smotherings."

t o f o r t h t e l l the t r u t h s of the

u n i v e r s e And t o r e v e a l t o t h e u n d e r s t a n d i n g o f man t h e g r e a t h e a r t o f t h e i n f i n i t e p u l s a t i n g through a l l h e r v i s i b l e forms. no

No m e t a p h y s i c a l t h e o r i e s o f l i f e and i m m o r t a l i t y ,

i d e a l ' sy£tems|of s o c i a l o r d e r , no s e c r e t s o f human d e s t i n y

a r e seen i n t h e m y s t e r i o u s w o r k i n g s I

Stood Tip-toe 11.70-71

of nature.

"The h u r r y i n g f r e s h n e s s e s aye p r e a c h Ajnatural sermon o e r t h e i r p e b b l y beds," f

b u t t h i s sermon s u g g e s t s no m o r a l o r s p i r i t u a l t e a c h i n g , i n s t e a d o f c a l l i n g t o h i s mind t h e s u f f e r i n g s and r e s p o n s i b i l i t i e s o f l i f e , n a t u r e i n v i t e s man t o d e l i g h t i n h e r b e a u t i e s , ijihe t r e e s , t h e g r a s s , t h e f l o w e r s , "the b l u e c r a g g i n e o s " o f t h e s k y speak b u t a s i m p l e message o f j o y . I t was t h i s sensuous d e l i g h t t h a t man h a s e v e r #* i% e

i n

mature, T Stood Tip-toe 1.142.

which f i r s t

gave r i s e t o p o e t i c c r e a t i o n .

The i m a g i n -

a t i o n was b o r n 0n t h e smooth wind t o realms o f wonderment" f,

where t h e w h i s p e r o f t h e b r e e s e t o l d a t a l e o f f a n c y and myth. The

l e g e n d s o f P s y c h e , N a r c i s s u s and Endymion were f i r s t

sug-

g e s t e d t o t h e mind o f some b a r d under t h e magife s p e l l o f 6

nature.

Moreover

f

-the v e r s e

t h e v e r y music^had

i t s origin

i n t h e rhythm

and melody found i n a l l c r e a t e d t h i n g s , and (l/f- | £S

" I n t h e c a l m grandeur o f a sober l i n e , We see t h e waving o f t h e mountain p i n e . " This e a r l y o b j e c t i v e treatment of nature i s w h o l l y s e n s u o u s , and shows no m e n t a l c o l o r i n g ; b u t i t d e s e r v e s n o t i c e h e r e a s a c o n t r a s t t o t h e s l i g h t element o f thought a s s o c i a t e d w i t h n a t u r e i n t h e poem n e x t t o be c o n s i d e r e d .

S l e e p and P o e t r y i s f u l l

o f meaning.

Sleep

represents

t h e e a r l y s t a t e of t h e mind "before awakened t o a f u l l t i o n of the t r u t h and d e s t i n y of l i f e ,

m

realiza-

t h i s s t a t e the mind

p e r c e i v e s t h e b e a u t i e s o f the e x t e r n a l w o r l d w i t h a keen p a s s i o n a t e d e l i g h t ; b u t a l l p l e a s u r e i s merely

sensuous. Then

p o e t r y , 02* t h e p o e t i c i n f l u e n c e o v e r the mind opens- up realms

of v i s i o n .

The

new

imagination begins to work and passes ?

beyond the v i s i b l e forms o f beauty,

i n t o a w o r l d of

delightful

ideality.

T?ut t h i s new

f r o m man.

f h e mind i n t u r n l e a v e s t h i s second s t a t e f o r a

w o r l d of p o e t i c f a n c y i s s t i l l

h i g h e r one, where human r e s p o n s i b i l i t i e s and concerned. S l e e p and oetry,ll. 122-124

Of t h i s change the poet

apart

interests are

says:

"And can I e v e r b i d t h e s e j o y s f a r e w e l l ? Y e s , I must p a s s them f o r a n o b l e r l i f e , Where I may f i n d t h e a g o n i e s , the s t r i f e Of human h e a r t s , * _ N a t u r e now

11 136150

and

l i v e s anew i n s y m p a t h e t i c

e m o t i o n s o f t h e human h e a r t . i n t e l l e c t u a l discernment t h e u n i v e r s e and

265-266

searches

response

t o the

Moreover i t ' i s not r e a s o n

h e r e t h a t p e n e t r a t e s the s e c r e t s o f out

t#ruth,but,

" t h imagination I n t o most l o v e l y l a b y r i n t h s w i l l be gone" f

and

t h e r e f i n d out t h e m y s t e r i e s of n a t u r e and of human l i f e ,

for >3-165

167-170

or

" I s t h e r e so s m a l l a range In t h e p r e s e n t s t r e n g t h o f manhood t h a t the h i g h I m a g i n a t i o n cannot f l y ? - - ~ ~ ~ Has she not shown us a l l From t h e c l e a r space o f e t h e r , t o the s m a l l B r e a t h o f new bufls u n f o l d i n g ? Of h i m s e l f t h e poet say: 1 1

6

"What though I am n o t w e a l t h y i n t h e dower Of s p a n n i n g wisdom; though I do n o t know The s h i f t i n g s o f t h e m i g h t y w i n d s t h a t "blow H i t h e r and t h i t h e r a l l t h e c h a n g i n g t h o u g h t s Of man: t h o u g h no g r e a t m i n i s t r i n g r e a s o n so Out t h e d a r k m y s t e r i e s o f human s o u l s To c l e a r c o n c e i v i n g : y e t t h e r e e v e r r o l l s A v a s t i d e a b e f o r e me, and I g l e a n ^ h e r e f r o m my l i b e r t y . "

11.284-292

f

K e a t s a l s o s e t s f o r t h i n t h i s poem i t s t r u e a i m and f u n c t i o n .

h i s theory of poetry,

He e x p r e s s e s h i s e n t h u s i a s t i c

l o v e f o r h i s a r t i n t h e words 11.96-97

"0 f o r t e n y e a r s t h a t I may overwhelm myself i n p o e ^ y . " H i s famous l i n e d e s c r i b i n g poesy: "Tis

might h a l f s l u m b r i n g on h i s own r i g h t arm" f

i s a f i n e example o f p o e t r y , b u t an e x c e e d i n g l y vague d e f i n i tion.

Keats b e l i e v e d that poetry should f i r s t

p l e a s u r e and comfort 11.267268

245-24.7

of a l l b r i n g

t o man. T h e r e f o r e

"They s h a l l be a c c o u n t e d

poet kings

Who s i m p l y s a y t h e most h e a r t - e a s i n g t h i n g s . * A g a i n he speaks o f " t h e g r e a t end Of p o e s y , t h a t i t s h o u l d be a f r i e n d To s o o t h t h e c a r e s , and l i f t t h e t h o u g h t s

o f man".

There i s t h e n i n S l e e p and p o e t r y a d e c i d e d i n p o i n t o f thought

o v e r t h e poem f i r s t

advanfcarge

considered.

i s t o be seen i n n a t u r e t h a n mere o b j e c t i v e b e a u t y ,

More poetry,

i n s t e a d o f b e i n g b u t t h e e x p r e s s i o n i n song o r l e g e n d o f t h e e c s t a t i c d e l i g h t caused b y n a t u r e , i s a d i v i n e r a r t , w h i c h has been touched

and h a l l o w e d b y t h e s p i r i t o f human sympathy.

7

B u t b y f a r t h e most i m p o r t a n t found

a d d i t i o n o f thought

i n t h e poem i s t h e p r i n c i p l e t h a t

i ti sthe o f -

f i c e o f t h e i m a g i n a t i o n and not t h a t o f t h e r e a s o n t o f i n d o t r u t h ^ t o " p l u c k out t h e h e a r t o f t h e mystery" and

i n human

life.

i n nature

8

Endymion. Endymion i s a n e x c e e d i n g l y

i n t e r e s t i n g poem a s a

I t n o t o n l y c l a i m s .our a t t e n t i o n f o r i t s b e a r i n g upon

study. Keats

1

p e r s o n a l h i s t o r y , b u t a l s o f o r i t s r e l a t i o n t o t h e development of h i s genius.

I t w i l l be c o n s i d e r e d

here only i n reference

t o t h e r e a l thought m a t e r i a l t h a t i t c o n t a i n s . c u s s i n g t h e poem i t w i l l be w e l l

Before

dis-

t o review the n a r r a t i v e .

E n d y m i o n , t h e s h e p h e r d p r i n c e o f Latmus i s i n l o v e w i t h C y n t h i a , whom he h a s

s e e n i n a v i s i o n , t h o u g h he does n o t

know y e t t h a t she i s t h e moon-goddess,

d i r e c t e d b y a message

t h a t he r e a d s on t h e w i n g s o f a b u t t e r f l y , he d e s c e n d s the

mysteries

of the lower world.

t i m e , s e e i n g r a r e and w o n d e r f u l unusual adventures.

into

Here he wanders f o r some-

s i g h t s and m e e t i n g w i t h many

• He e n c o u n t e r s A d o n i s ,

Venus, C y b e l l , and

other m y t h i c a l personages. Cynthia v i s i t s him i n a b e a u t i f u l bower, and l e a v e s h i m a s l e e p , and

Arethusa,

own, and he

-pjndymion t h e n meets A}.pheus

two l o v e r s who a r e s u f f e r i n g a p a s s i o n l i k e h i s p r a y s f o r them.

He u n e x p e c t e d l y

u n d e r t h e s e a . Here h e meets g l a n c u s

finds himself

and S c y l l a ,

restores

t o l i f e t h e dead l o v e r s who have been drowned a t s e a . He r e t u r n s t o e a r t h and i m m e d i a t e l y

falls

i nlove with a b e a u t i f u l

I n d i a n m a i d e n , whom he f i n d s b e w a i l i n g h e r s o r r o w and l o n l i ness. horses,

T o g e t h e r t h e y a r e b o r n t h r o u g h t h e u p p e r a i r on f l y i n g c y n t h i a a p p e a r s t o Endymion and he a t once f o r g e t s

t h e I n d i a n maiden,who v a n i s h e s .

I n t h e m i d s t o f a hymn t o

D i a n a , Eddymion i s b o r n t o e a r t h a g a i n .

Here h e f i n d s t h e

X n d i a n m a i d e n , and a second t i m e t r a n s f e r s h i s a f f e c t i o n s f r o m t h e goddess t o h e r .

He f i n a l l y d e c i d e s

to forget a l l love

9

and t o l i v e t h e l i f e

of a r e l i g i o u s r e c l u s e .

But now

the

g o d d e s s h e r s e l f a p p e a r s , and he l e a r n s t h a t t h e moon, C y h t h i a and t h e I n d i a n a r e t h e same and Endymion v a n i s h e s w i t h t h e goddess to e n j o y immortal b l i s s . The poem, i f read f o r t h e s t o r y i t s e l f , i s

disappointing.

T h e r e a r e t o o many l o n g e p i s o d e s and d i g r e s s i o n s ,

rjihe t h r e a d

of the n a r r a t i v e i s o f t e n l o s t i n a c o n f u s i o n of f a n c i f u l and

b e w i l d e r i n g images.

E v e n the f r e q u e n t o c c u r r e n c e

o f piassages o f a l m o s t u n s u r p a s s a d p o e t i c b e a u t y does n o t save t h e poem a t t i m e s f r o m b e i n g t e d i o u s . 3pecially

Some o f K e a t s

)ht . B r i d g e s id tors.F.to. e l a b o r a t e and Bwen.

1

a d m i r e r s have read i n t o t h i s poem an

i n v o l v e d a l l e g o r y , w h i c h weighs down w i t h

i n g every d e t a i l of the s t o r y ,

mean-

some o f t h e p r i n c i p a l p o i n t s

of i n t e r p r e t a t i o n are these: Cynthia stands f o r a b s t r a c t beauty, or poetic i d e a l i t y . wanderings

Endymion i s man,

o r t h e human s o u l . H i s

i n s e a r h l f o f h i s l o v e a r e b u t t h e l o n g i n g s and t h e

s t r u g g l e s o f t h e human s o u l a f t e r i d e a l b e a u t y .

Since t h i s

l o n g i n g t a k e s t h e f o r m o f l o v e and s i n c e t h e I n d i a n woman, (human l o v e ) and C y n t h i a ( d i v i n e l o v e ) , p r o v e t o be a t

last

t h e same, t h e n a l l l o v e , human as w e l l as d i v i n e i s t h e same, namely, i d e a l beauty.

I t i s w h i l e communing w i t h

external

n a t u r e t h a t Endymion reads on t h e wings o f a b u t t e r f l y

the

message summoning, h i m t o an unknown w o r l d o f m y s t e r y .

Thus

d o e s n a t u r e e v e r a d m i t h e r communicants i n t o t h e r e a l m s o f h e r m y s t e r i e s and t h e r e r e v e a l s t o them h e r s e c r e t s .

J n the

d a r k and s o l i t a r y u n d e r w o r l d Endymion f i n d s a s h r i n e t o D i a n a . A l s o a moonbeam r e a c h e s h i m i n t h e c o l d ocean d e p t h s . beauty

g

0

i d e a l b e a u t y , permeate a l l t h i n g s and e v e r s h i n e s

doss

10

u p o n h i m who

e a r n e s t l y s e e k s i d e a l i t y . When Endymion f o r g e t s h i s

own

sorrows

to sympathize

w i t h t h e v/oes o f A l p h e u s and

and

when he o f f e r s a i d t o G l a u c u s and

p r o s p e c t s b e g i n t o l o o k up. hastened

on h i s way

toward

f

happiness.

t h e dead l o v e r s , t h e n h i s

S u c c e s s becomes a s s u r e d and he the attainment

s y m p a t h y w i t h t h e c a r e s and a l l e v i a t e o n e s own

sorrows

woes, and

of h i s l o v e . I t

religious

tails

The

in interpre-

o u t l i n e . I have

upon t h e c h i e f and more r e a s o n a b l e read deeper than t h i s

p e ^ a s u s w i t h l o g s o f p r o s e " , and tions,

and

service.

t i n g t h e a l l e g o r y ; o t h e r s not so much.

a p p l i c a t i o n s . .To

to

f i n a l l y brings satisfaction

S o m e . c r i t i c s go more i n t o d e t a i l t h a n t h i s

g i v e n touches

is is,then,

of o t h e r s which h e l p s

H e r e i s v o i c e d t h e common e t h i c a l and

i d e a l of s o c i a l

Arethusa

is certainly

even some o f t h e s e

I t h i n k , are wholly f a n c i f u l . o f t h e s t o r y seem t o h^ve

allegorical

True, the

"hobbling interpreta-

i n c i d e n t s and

de-

a c e r t a i n f i t n e s s f o r the

m e a n i n g s a t t a c h e d t o them, b u t t h a t i s n o t s a y i n g t h a t t h e p o e t s e l e c t e d them w i t h t h e d e l i b e r a t e i n t e n t i o n t i h a t set

they-should

f o r t h such meanings, f o r i t i s p o s s i b l e , by a l i t t l e i n -

g e n u i t y , to read, into almost

any poem some s p i r i t u a l o r p o l i t i c a l

meaning. i n t h e f i r s t p l a c e , I have n o t b e e n a b l e t o f i n d statement

o r i m p l i c a t i o n made by K e a t s h i m s e l f o r b y any

intimate contemporizes On

t h a t t h i s poem was

any of h i s

intended f o r an

allegory.

the other, hand, Keats d i d say of i t i n a l e t t e r t o j j r . B a i l e y ,

w i l l be. a .test o f my powr o f . i m a g i n a t i o n and

c h i e f l y of my-in-

v e n t i o n - w h i c h . i s , a r a r e t h i n g i n d e e d - b y w h i c h I must make 4,000 l i n e s o f one b a r e

circumstance

and

fill

them w i t h p o e t r y .

n

"11

11

T h i s does not sound as i f e v e r y l i t t l e

d e t a i l has a p a r -

t i c u l a r meaning, o r any n e c e s s a r y p l a c e i n t h e development of

a l o n g and c o m p l i c a t e d a l l e g o r y . Moreover

i n t h e poem " I s t o o d T i p - t o e up°n a L i t t l e

Hill

1 1

the

l e g e n d o f Endymion i s spoken o f a s h a v i n g i t s o r i g i n i n

the

mind o f some p o e t u n d e r t h e e c s t a t i c s p e l l o f t h e b e a u t i e s

of

nature.

of

t h e l o v e s o f D i a n a and SJndymion,

ing

I t i s o n l y a b e a u t i f u l myth, o n l y t h e sweet

of the t a l e

story

The o r i g i n and o n l y mean-

i s t o l d as f o l l o w s :

He was a p o e t , s u r e a l o v e r t o o , Who s t o o d on L a t m u s t o p , what t i m e t h e r e b l e w S o f t b r e e z e s f r o m t h e m y r t l e v a l e below; And b r o u g h t i n f a i n t n e s s solemn, sweet, and s l o w A hymn f r o m D i a n s t e m p l e ; w h i l e u p s w e l l i n g , The i n c e n s e went t o h e r own s t a r r y d w e l l i n g . B u t t h o u g h h e r f a e was c l e a r a s i n f a n t s e y e s , Though she s t o o d s m i l i n g o e r t h e s a c r i f i c e , The Poet wept a t h e r so p i t e o u s f a t e , Wept t h a t s u c h b e a u t y s h o u l d be d e s o l a t e : So i n f i n e w r a t h some g o l d e n sounds he won, And gave meek C y n t h i a h e r Endymion. f,

1

11.193-204

f

f

c

f

T h i s passage

i s o f s p e c i a l i n t e r e s t , f o r , i t must be remembered ;

)

fcfctft* i t was w r i t t e n n o t l o n g b e f o r e Endymion and i t i s bel i e v e d b y many t h a t t h e .whole poem f r o m w h i c h t h e s e l i n e s a r e t a k e n was f i r s t w r i t t e n f o r a p r o l o g u e t o t h e l o n g e r E n d y m i o m Now i f K e a t s had i n t e n d e d t o make t h e s t o r y o f Endymion i n each d e t f f i j the of

exposition of

a c a r e f u l l y planned

system

t h o u g h t , t h e r e w o u l d s u r e l y be some m o t i o n o f h i s d e s i g n i n

t h i s e a r l y i n t r o d u c t i o n o r p r o l o g u e t o t h e l a t e r poem, the

tale

i s spoken o f h e r e as m e r e l y t h e f a n c y o f some p o e t and

l o v e r , and t o K e a t s i t )

its

put

seems t h e s t o r y was a t t r a c t i v e f o r )

own s i m p l e theme and n o t f o r t h e s u b t l e meanings t h a t

12

some have t r i e d t o make i t h e a r . The

l a c k o f e x t e r n a l e v i d e n c e cannot a r g u e a g a i n s t an

a l l e g o r i c a l teaching

i n some o f K e a t s

t h e meaning i s w e l l d e f i n e d For

instance

i n such

1

l a t e r works where

or expressly

pointed out.

poems a s H y p e r i o n and L a m i a t h e l e s s o n

i s n o t l e f t t o t h e i n f e r e n c e o f t h e r e a d e r b u t i s c l e a r l y drawn by t h e p o e t h i m s e l f .

x

w i t h i n t h e poem i t s e l f , h i d d e n meaning,

n

Endymion however, t h e r e

i s no e v i d e n c e

n o t even a h i n t , t h a t t h e s t o r y h a s a

jn one p l a c e ^ t h e

p o e t says o f i t

tis a ditty Not o f t h e s e d a y s , but l o n g ago t w a s t o l d By a c a v e r n w i n d unto, a f o r e s t o l d ; And t h e n t h e f o r e s t t o l d i t i n a dream To a s l e e p i n g l a k e , whose c o o l and l e v e l gleam A p o e t caught a s he was j o u r n e y i n g To P h o e b u s s h r i n e ; and i n i t he d i d f l i n g H i s weary l i m b s , b a t h i n g an h o u r s s p a c e , And a f t e r , s t r a i g h t i n t h a t i n s p i r e d p l a c e He sang t h e s t o r y up i n t o t h e a i r g i v i n g i t u n i v e r s a l freedom." , f

f

1

f

Mr.

Bridges

s u g g e s t s t h a t t h e l a s t two l i n e s may i m p l y

that

K e a t s w i s h e d t h e l e g e n d t o be i n t e r p r e t e d a l l e g o r i c a l l y , b u t I c a n see n o t h i n g

i n t h i s whole p a s s a g e t h a t

indicates a

d e e p e r s i g n i f i c a n c e i n t h e legend t h a n t h a t s u g g e s t e d i n t h e l i n e s quoted f r o m t h e p r o l o g u e . *

It

I s b a r e l y p o s s i b l e , however, t h a t K e a t s may have

w i s h e d t h e l e g e n d t o i l l u s t r a t e some meaning i n a v e r y

gener-

a l way even though he had no i n t e n t i o n o f making t h e poem in a l l i t s parts a consistent allegory.

We know v e r y

well

t h a t a l l e g o r i z i n g was a p o e t i c a l manner witth . K e a t s , b u t t h i s h a b ^ i t was n e v e r c a r r i e d t o t h e a b s u r d l y extent

analytical

t h a t some would have i t c a r r i e d t o i n E n d y m i o n ,

13

The main theme may be i n i t s b r o a d e r o u t l i n e m e t a p h o r i c a l , t h a t i s i t may stand f o r t h e l o n g i n g o f t h e human s o u l a f t e r beauty.

^

l s

° t h e i n t r o d u c t i o n o f t h e I n d i a n woman-

e s s a r y t o t h e development significance.

so unnec-

o f t h e s t o r y , may have some s p e c i a l

#he I n d i a n woman, I t h i n k , s t a n d s f o r b e a u t y ,

j u s t as C y n t h i a does. H e r i d e n t i t y w i t h C y n t h i a shows t h a t b e a u t y i s b e a u t y - a l w a y s one

and t h e same

i n e s s e n c e under

whatever f o r m i t may a p p e a r .

I t i s o n l y o u r human i g n o r a n c e

t h a t d i s c r i m i n a t e s between what we suppose t o be d i f f e r e n t k i n d s o f b e a u t y , c o n f u s i n g t h e f o r m w i t h t h e r e a l i t y back of the form.

I t must be remembered t h a t t h e two women a r e

one i n r e a l i t y , never i n fprm o r appearance.

This interpret

t a t i o n may seem f a n c i f u l b u t i t i s c l e a r l y b o r n o u t , I t h i n k , in Hyperion,

yhe f a c t t h a t t h e same thought i s e x p r e s s e d

w i t h much f o r c e and c l e a r n e s s i n t h i s l a t e r poem i s t h e b e s t e v i d e n c e I have f o r b e l i e v i n g t h a t t h e i n c i d e n t h e r e may have been i n t e n d e d t o r e f l e c t t h e meaning f have a t t r i b u t e d t o I t . The t h o u g h t t h e n i n Endymion may be t h i s . There i s i n t h e human s o u l an i n n a t e l o n g i n g f o r t h e a t t a i n m e n t o f i d e a l beauty.

3Jhis b e a u t y , w h i c h permeates

t h e whole

universe,

i s always one i n s u b s t a n c e , though i t may appear under many d i f f e r e n t forms.

I t i s not s a f e , I t h i n k , t o go f u r t h e r ,

and even t h e s e i n t e r p r e t a t i o n s a r e b u t p o s s i b l e . be w h o l l y m i s p l a c e d , Keats

1

p u t i f t h e y s h o u l d be

They may

rejected altogether

p o e t r y would n o t s u f f e r a n y s e r i o u s l o s s i n t h o u g h t .

The f i r s t

I deem o f no remarkable i m p n r t a n c e , f 6 r t h e t h o u g h t

i s a t r u i s m , and t h e second, a s I s a i d , i s p l a i n l y b r o u g h t out i n H y p e r i o n .

14

I t might

seem,perhaps,

t h a t t o o much s p a c e h e r e

v o t e d t o E n d y m i o n when t h e poem i s o f so l i t t l e a s r e g a r d s mere t h o u g h t ,

i s de-

impertance

^ u t E n d y m i o n , more t h a n a n y o t h e r

o f t h e poems o f K e a t s h a s "been o v e r b u r d e n e d v / i t h f a r - f e t c h e d and

t o o - ingenious i n t e r p r e t a t i o n s which c e r t a i n l y give the

poem much more s u b t i l i t y o f t h o u g h t t h a n i t d e s e r v e s . Endymion i s K e a t s

1

first

strong p l e a f o r the b e a u t i -

f u l and b e g i n s w i t h t h e i m m o r t a l l i n e ft

A t h i n g o f b e a u t y i s a j oy f o r e v e r . "

15

Lam i a • Lamia i s one of the most v i v i d as w e l l as the most f i n i s h e d of K e a t s

n a r r a t i v e poems.

1

The

s t o r y i s taken from

Burton s

Anatomy o f 1/ieloncholy, where i t i s quoted from t h e l i f e o f , f

Rossetti s fe of j c e a t s l k p o l l o n i u s " p.108 * f

a work by P h i l o s t r a t u s .

Lamia a serpent-woman g a i n s

complete^mastery over L y c i u s , a young s t u d e n t of p h i l o s o p h y . She b u i l d s f o r him a m a g n i f i c i e n t pal&ce where t h e y d w e l l t o g e t h e r and c e l e b r a t e t h e i r m a r r i a g e f e a s t ,

TO t h i s f e a s t A p o l -

l o n i u s , the o l d p h i l o s o p h e r and t e a c h e r o f Lycftus, comes as an u n b i d d e n g u e s t .

He p u b l i c l y denounces Lamia and r e v e a l s h e r

t r u e c h a r a c t e r , tynder h i s f i e r c e and s t e a d y gaze, the c h a n t r e s s , w i t h a scream, v a n i s h e s .

en-

The poem ends w i t h the

death of L y c i u s . The t e a c h i n g o f the poem i s o b v i o u s .

The

antagonism

of Lamia and A p o l l o n i u s i s the antagonism o f p l e a s u r e p h i l o s o p h y , o r o f the i m a g i n a t i o n and

reason.

and

Of t h i s meaning

I t h i n k t h e r e can be no doubt f o r the poeto draws the l e s s o n h i m s e l f i n the w e l l known l i n e s : Do not a l l charms f l y At the mere t o u c h o f c o l d philosophy!. There was an a w f u l rainbow once i n heaven: We know h e r woof, h e r t e x t u r e ; she i s g i v e n In the d u l l c a t a l o g u e of common t h i n g s . P h i l o s o p h y w i l l c l i p an a n g e l s wings Conquer a l l m y s t e r i e s by r u l e and l i n 8 i Empty the haunted a i r , a n d gnomed mindUnweave a rainbow, as i t e r e w h i l e made The t e n d e r - p e r s o n d Lamia melt i n t o a shade." f,

f

?

f

The p o e t s sympathy i s p l a i n l y w i t h t h e serpent-woman and his

resentment a t the i n t e r f e n e n c e of A p o l l o n i u s w i t h Lamia's

h a p p i n e s s i s b o l d l y a s s e r t e d . He makes p h i l o s o p h y c o l d and u n i n v i t i n g , a p o l l o n i u s laughs as he e n t e r s the p a l a c e as i f p h i l o s o p h y t o o k d e l i g h t i n t h e wanton d e s t r u c t i o n o f p l e a s u r e .

1

16

Lamia though s t a n d s f o r more t h a n mere p h y s i c a l enjoyment. ;

She

i s sense p e r c e p t i o n .

explanation of K e a t s

1

$he

i s imagination,

sympathy w i t h h e r .

T&

i s

must "be t h e

But even t h e n t h e

s t a n d t h e poet t a k e s would "be more c o n s i s t e n t i f he had made t h e opponent o f p h i l o s o p h y good as w e l l as " b e a u t i f u l .

We

can

h a r d l y b r i n g o u r s e l v e s - even w i t h K e a t s - t o champion a h e r o i n e who Lamia I I 1.31

dwells in "That p u r p l e l i n e d p a l a c e o f sweet s i n

1 1

n o r can we blame p h i l o s o p h y f o r d e s t r o y i n g a h a p p i n e s s t h a t of Lamia I I 11.9-10

i t s e l f would have ended i n m i s e r y "but too s h o r t was t h e i r b l i s s To b r e e d d i s t r u s t and h a t e , and make t h e s o f t

But h e r e , as i n Endymion K e a t s s u r e l y d i d not i n t e n d t o

voice hiss" .

;

make the a l l e g o r y o r i n n e r meaning a p p l y a t e v e r y p o i n t . K e a t s a t t i t u d e toward reason o r pure i n t e l l e c t i s f r e q u e n t l y expressed i n h i s o t h e r work*.' I n one p l a c e he s a y s : E p i s t l e to "Oh, n e v e r w i l l the p r i z e , Reynolds H i g h reason, and the l o v e of good and i l l 74-75-76 Be my award!" and a g a i n he speaks o f h i s p o e t i c a l

inspiration:

"My muse had wings, And e v e r ready was t o t a k e h e r c o u r s e W h i t h e r I bent h e r f o r c e , t m i n t e l l e c t u a l , yet d i v i n e t o me;D i v i n e I say! what s e a - b i r d o e r the sea I s a p h i l o s o p h e r the v/hile he goes W i n g i n g a l o n g where the g r e a t water t h r o e s ? "

Lines to Painny 11. 11-17

f

The p o e t ' s need o f knowledge i s set f o r t h i n the song of the t h r u s h What the £hrush S a i d 11.9-12 The

"0 f r e t not a f t e r knowledge- I have none, And y e t my song comes n a t i v e w i t h the warmth 0 f r e t not a f t e r knowledge- I have none, And y e t t h e evening l i s t e n s . "

same i d e a 4* found t h a t f o r }ji'rn

i n Sleep and p o e t r y where K e a t s

>

says

"no g r e a t m i n i s t r i n g r e a s o n s o r t s Out t h e d a r k m y s t e r i e s o f human s o u l s *po c l e a r c o n c e i v i n g . 1

S l e e p and ?oetry 11.268-89

1 1

The poem, t h e n ,

i n a g e n e r a l way seems t o s t a n d f o r

t h e a n t a g o n i s m o f i m a g i n a t i o n and r e a s o n o r s c i e n c e , a n d a s s e r t s t h e s u p e r i o r i t y o f i m a g i n a t i o n as a c o n t r o l i n g p r i n c i p l e i n human

thought.

18

Hyperion. H y p e r i o n i s a fragment •

f\he poem d e a l s w i t h the o v e r -

t h r o w o f t h e o l d T i t a n r a c e of d i v i n i t i e s by the young Olymp i a n gods.

The

i n f l u e n c e o f M i l t o n i s seen i n H y p e r i o n

b o t h i n t h e g e n e r a l p l a n o f t h e p i e c e and i n the s t y l e and diction. passage

The theme i t s e l f

may have been suggested by a

i n Paradise Lost. " T i t a n , Heaven's f i r s t - b o r n , W i t h h i s enormous brood,and b i r t h r i g h t s e i z e d By younger S a t u r n : he f r o m m i g h t i e r J o v e , H i s own and Rhea's son, l i k e measure f o u n d ; So Jove u s u r p i n g r e i g n e d . "

Book I . 11.510-514

The one m o t i f of t h e poem i s s e t f o r t h i n t h e speech of

Oceanus t o t h e 'assembled h o s t of f a l l e n gods. Oceanus

r e a s o n s t h a t t h e young A p o l l o and h i s f o l l o w e r s must i n t u r n g a i n supremacy j u s t a s t h e T i t a n gods s u r p a s s e d i n power and b e a u t y the Hyperion I I . 212-18

o l d e r Chaos and

"So on o u r h e e l s a f r e s h p e r f e c t i o n t r e a d s , A power more s t r o n g i n b e a u t y , b o r n o f us And f a t e d t o e x c e l us, as we p a s s In g l o r y t h a t o l d D a r k n e s s : n o r are we Thereby more conquer'd t h a n by us the r u l e Of s h a p e l e s s fjhaos."

These gods o f t h e new Hyperion I I 11.226-231

Darkness.

hierarchy

"do t o w e r Above us i n t h e i r b e a u t y , and must r e i g n I n r i g h t t h e r e b y ; f o r ' t i s t h e e x t e r n a l law That f i r s t i n b e a u t y s h o u l d be f i r s t i n might: Yea, by t h a t law, a n o t h e r r a c e may d r i v e Our c o n q u e r o r s t o mourn as we do now." B e a u t y i s i m m o r t a l and always t h e same, i t s v i s i b l e

mani-

f e s t a t i o n s o n l y c h a n g i n g f r o m time t o t i m e as new f o r m s , more c a p a b l e o f r e f l e c t i n g t h e r e a l n a t u r e o f beauty, a p p e a r t o s u p e r c e d e t h e o l d ones. beauty i t s e l f ,

only,

But t h e s e v i s i b l e forms a r e n e v e r

19

Hyperion I 3i6-318

"symbols d i v i n e , M a n i f e s t a t i o n s o f t h a t beauteous l i f e , 5 i f f u s d unseen t h r o u g h o u t e t e r n a l space". f

T h i s i d e a i s n o t f u l l y worked

out because t h e poem

f i n i s h e d , b u t t h e t r u t h t h a t t h e poet i n t e n d e d the

w a r f a r e o f t h e G r e c i a n gods i l l u s t r a t e

forth,

I t h i n k , i n t h e passage

quoted,

isrun-

t o make

i s p l a i n l y set

rphis p r i n c i p l e we saw

i n Endymion where t h e I n d i a n woman and C y n t h i a a r e b o t h made t o s t a n d f o r t h e same b e a u t y - t h e i r a p p a r e n t d i f f e r e n c e b e i n g only a d i f f e r e n c e i n degree,

i n beauty

^ y n t h i a i s a f o r m more

c a p a b l e o f r e f l e c t i n g t h e r e a l n a t u r e o f b e a u t y , and t h e r e f o r e t h e I n d i a n woman v a n i s h e s when C y n t h i a a p p e a r s , j u s t a s the

o l d h i e r a r c h y o f gods g i v e s p l a c e t o t h e new

#

Thus, power and supremacy w i l l e v e r pass f r o m one f o r m o r a g e n c y t o a n o t h e r u n t i l a b s o l u t e b e a u t y i s r e v e a l e d t o man i n its reality.

T h i s l a w w o r k i n g i n n a t u r e and i n man makes

b e a u t y t h e dynamic

f o r c e i n a l l change and p r o g r e s s .

20

Hyperion, A V i s i o n , H y p e r i o n , A V i s i o n i s but a r e c a s t of t h e e a r l i e r Hy}

perion.

The s t o r y i s r e p r e s e n t e d as b e i n g r e v e a l e d to t h e

poet by Moneta, t h e o n l y s u r v i v e r o f t h e f a l l e n race o f gods. There i s a n i n t r o d u c t i o n o f 226 l i n e s which i s important a s e x p r e s s i n g some o f t h e a u t h o r ' s own o p i n i o n s c o n c e r n i n g human l i f e

and t h e c h a r a c t e r and m i s s i o n o f t h e poet.

i n t r o d u c t i o n i s perhaps the most p e r s o n a l o f K e a t s

1

!J!his

verses.

The poet f i n d s h i m s e l f i n a b e a u t i f u l garden where a sumptuous f e a s t i s s p r e a d .

He p a r t a k e s o f t h i s f e a s t and

drinks f r e e l y of a "cool vessel of transparent j u i c e " . d r i n k causes h i m t o s i n k iftto a deep swoon,

This

when h i s senses

r e t u r n t h e garden and f e a s t have v a n i s h e d and he i s i n an o l d h a l f - r u i n e d sanctuary*

A veiled priestess i s ministering at

an a l t e r b e f o r e an unknown image.

The poet makes h i s way t o

the s t e p s o f t h e a l t e r where the p r i e s t e s s addresses h i m . 11.107108

" I f t h o u c a n s t not ascend These s t e p s , d i e on the marble where t h o u a r t " and

further"The sands o f t h y s h o r t l i f e a r e spent t h i s hour, 11.114-117 And no hand i n t h e u n i v e r s e can t u r n Thy h o u r - g l a s s , i f these gummed l e a v e s be b u r n t E r e t h o u canst mount up t h e s e immortal s t e p s w i t h d i f f i c u l t y the poet ascends the marble stepB. Then f o l l o w s a very s i g n i f i c a n t 147-155

passage.

None c a n usurp t h i s h e i g h t 'returned t h a t shade ^ g those t o whom the m i s e r i e s o f t h e w o r l d Are m i s e r y , and w i l l not l e t them r e s t . A l l e l s e who f i n d a haven i n the w o r l d , where t h e y may t h o u g h t l e s s s l e e p away t h e i r d a y s , I f by a chance i n t o t h i s fajte t h e y come, Rot on t h e pavement where t h o u r o t t e d s t h a l f ' . •Are t h e s e not thousands i n t h e w o r l d * , s a i d I , u t

21

11.

155-181

Who l o v e t h e i r f e l l o w s even t o the death, Who f e e l the g i a n t agony of the w o r l d , And more, l i k e s l a v e s to poor humanity, Labor f o r m o r t a l good? I sure should see Other men h e r e , But I am here a l o n e , 'ThAse whom thou spakest of are no v i s i o n a r i e s R e j o i n e d t h a t v o i c e ; H h e y are no dreamers weak; They seek no wonder but the human f a c e , No music but a happy-noted v o i c e : They come not h e r e , they have no thought t o come; And t h o u a r t h e r e , f o r thou a r t l e s s t h a n t h e y . What b e n e f i t canst thou do, o r a l l t h y t r i b e , To the g r e a t world? Thou are a dreaming t h i n g , A f e v e r of t h y s e l f : Think o f the e a r t h ; What b l i s s , even i n hope, i s t h e r e f o r thee? What haven? e v e r y c r e a t u r e has i t s home, E v e r y s o l e man has days of j o y and p a i n , Wheth6r h i s l a b o u r s be sublime or lowThe p a i n a l o n e , the j o y a l o n e , d i s t i n c t : Only the dreamer venoms a l l h i s days, B e a r i n g more woes t h a n a l l h i s s i n s deserve* T h e r e f o r e , t h a t happiness be somewhat shared, Such t,hings as t h o u are a r e a d m i t t e d o f t I n t o l i k e gardens t h o u d i d s t pass e r e w h i l e , And s u f f e r e d i n t h e s e temples: f o r t h a t cause Thou standest s a f e beneath t h i s s t a t u e ' s k n e e s . 1

1

1 ff

The poet then l e a r n s t h a t he i s i n the temple of the f a l l e n T i t a n gods and t h a t the image b e f o r e him i s t h a t o f Saturn. 198-200

The p r i e s t e s s p i c t u r e s to him i n a v i s i o n

a war foughten l o n g s i n c e by g i a n t h i e r a r c h y a g a i n s t r e b e l l i o n . " At t h i s p o i n t b e g i n s the s t o r y w

of t h e f i r s t H y p e r i o n . i

T h i s i n t r o d u c t i o n i s c e r t a i n l y a l l e g o r i c a l and a way d e s c r i p t i v e of K e a t s

1

own l i f e ,

is in

tphe garden, the f e a s t ,

and the deep s l e e p stand f o r the e a r l y p e r i o d of h i s p o e t i c growth when sense p e r c e p t i o n alone r u l e d h i s p o e t i c n a t u r e . But he i s awakened from t h i s s l e e p to a r e a l i z a t i o n o f humaa responsibility.

The p r i e s t e s s , o r knowledge, p o i n t s out t o

t h e v i s i o n a r y the importance and n e c e s s i t y o f knowing p r a c t i c a l t h i n g s , knowledge i n s t r u c t s the dreamer t h a t he must

22

s h a r e i n t h e c a r e s and a c t i v i t i e s o f t h e w o r l d i n o r d e r t o s a v e h i m s e l f and t o p e r f o r m f u l l y t h e p o e t ' s m i s s i o n t o mankind.

The

f u r t h e r d i f f e r e n t d e t a i l s o f t h e opening l i n e s

yield

r e a d i l y t o v a r i o u s and f i t t i n g i n t e r p r e t a t i o n s ; but I h e s i t a t e h e r e t o g i v e them any d e f i n i t e meanings f o r t h e r e d a n g e r o f p r e s s i n g an a l l e g o r y too f a r . though that Keats

i s always

It i s very

likely

i n t e n d e d t o e x p r e s s more i n t h i s i n t r o d u c -

t i o n t h a n t h e one g e n e r a l meaning t h a t I have

indicated.

The d e s i r e f o r a h i g h e r sense o f t h e p r a c t i c a l i s f r e q u e n t l y e x p r e s s e d "by K e a t s •

We

saw

i n S l e e p and P o e t r y

t h a t , v e r y e a r l y i n l i f e , he f e l t t h e importance p o e t s s y m p a t h i z i n g w i t h t h e common s o r r o w s and f

o f men.

The

of the experiences

c o n v i c t i o n , t h e n , however, d i d not impress

w i t h suoh f o r c e as i t does h e r e *

T h i s l o n g i n g f o r a deeper

k n o w l e d g e o f human n a t u r e and a w i d e r v i s i o n o f a c t u a l n e v e r m a t e r i a l l y a f f e c t e d Keats« work. had he l i v e d l o n g e r ,

him

events

I t might have done so

^ u t I t h i n k i t i s d o u b t f u l whether t h i s

m e n t a l awakening would have e v e r d e v e l o p e d

into ahything

more t h a n i t d i d - a mere d e s i r e on h i s p a r t t o

interpret

p o e t i c a l l y " t h e a g o n i e s , t h e s t r i f e o f human h e a r t s . 1 1

The Odes. The Odes a r e K e a t s

1

f i n e s t work, and w i t h t h e b e a u t i f u l

Bve o f S t . Agnes, a r e the poems b e s t known and most c h a r a c t e r i s t i c of h i s genius. p r e s e n t no new

B e a u t i f u l as t h e y a r e , however, t h e y

o r p o w e r f u l thought.

There i s

i n them r e f l e c -

t i o n and s e n t i m e n t , some m o r a l i z i n g , and much m e d i t a t i o n , b u t t h e r e i s no deep o r s u b t l e meaning h a l f h i d d e n amidst the splendid

imagery.

The Ode t o Autumn r e v e a l s np i d e a o f n a t u r e d i f f e r e n t f r o m t h a t a l r e a d y e x p r e s s e d by K e a t s i n h i s e a r l i e r poems. The Odes on a G r e c i a n U r n , To P s y c h e , To Maia show K e a t s

1

a p p r e c i a t i o n and l o v e f o r t h e b e a u t y i n a n c i e n t a r t and l e gend.

T h i s t o o , though n e v e r so w e l l , he has e x p r e s s e d be-

fore.

The Odes To a N i g h t i n g a l e and To M e l a n c h o l y r e f l e c t t h e

c h a n g i n g m e n t a l s t a t e s and emotions o f t h e p o e t .

These

c h a n g i n g moods a r e , i n t h e m s e l v e s , as i n t e r e s t i n g as t h e i r e x p r e s s i o n i s b e a u t i f u l , but n^d not be c o n s i d e r e d here as t h e y show no g r e a t d e p t h of t h o u g h t . I n t h e Ode life

on a G r e c i a n Urn, t h e t r a n s i t o r i n e s s o f human

i s a e t o v e r a g a i n s t t h e permanency o f p l a s t i c a r t .

The

p o e t ends w i t h t h e famous axiom: "Beauty i s t r u t h , t r u t h b e a u t y - t h a t i s a l l Ye know on e a r t h , and a l l ye need t o know." A t h i n g , t o be b e a u t i f u l , must be complete p a r t s , must p o s s e s s symmetry and p r o p o r t i o n . K e a t s uses t h e word'completeness Endy.II 757

"beauty.

in a l l i t s I n one

instance

where he c l e a r l y means

"By a l l the s o f t completeness of the. f a c e " , he s a y s .

So a l s o t r u t h cannot he t r u t h and l a c k a n y t h i n g , t h a t i s , be s h o r t o f f u l l completeness.

H e r e i n i s t o be found t h e a n a l o g y

o r r a t h e r , t h e i d e n t i t y o f t r u t h an