INDEX.
Abbey, Mr Richard, [11], [17], [70], [77], [138], [144], [192].
Adonaïs (Shelley’s), [209], [210].
Adventures of a younger Son (Trelawney’s), [75].
Alfieri, [205].
Alfred, The, [124].
Anatomy of Melancholy (Burton’s), [167].
Antiquary (Scott’s), [115].
Apollo, Ode to, [21-22].
Autumn, Ode to, [177].
Bailey, Benjamin, [75], [76], [77], [122], [213], [214].
Beattie, [21].
Biographia Literaria (Coleridge’s), [64].
Boccaccio, [148].
Bonaparte, Pauline, Princess Borghese, [204].
Brawne, Miss Fanny, [131] seq., [180-181], [197], [198].
Britannia’s Pastorals (Browne’s), [31].
Brown, Charles, [13], [73], [111] seq., [128], [143] seq., [181], [200], [210].
Browne, [31].
Browning, Robert, [218].
Burnet, [10].
Byron, [1], [19], [65], [210];
Sonnet to, [22].
Canterbury, [71].
Cap and Bells, [183] seq.
Castlereagh, [25].
Champion, The, [82].
Chatterton, [157], [158];
Sonnet to, [22].
Chaucer, [28].
Chichester, [133].
Clarke, Cowden, [3], [8], [12], [22], [23], [72], [84].
Clarke, Rev. John, [4].
‘Cockaigne, King of,’ [121].
Cockney School of Poetry (Articles in Blackwood’s Magazine), [77], [121] seq.
Coleridge, [16], [25], [26], [33], [64].
Cooper, Astley, [18].
Cotterill, Miss, [202], [203].
Cox, Miss Charlotte, [130].
Dante (Cary’s), [113].
Death, Stanzas on, [21];
Keats’ contemplation of, [140];
longing for, [200].
De Quincey, [26].
Devonshire, [87].
Dictionary (Lempriere’s), [10].
Dilke, [73], [210].
Dilke, Charles Wentworth, [73], [128], [135].
Don Juan (Byron’s), [184], [202], [210].
Dryden, [29], [30], [53].
Edmonton, [5], [6], [11], [14], [20].
Eldon, [25].
Elton, Lieutenant, [204].
Emancipation, Literary, [63-64].
Endymion, [66], [68], [71], [76], [80], [83], [86], [91];
Keats’ low opinion of the poem, [91];
its beauties and defects, [91], [106-109];
Drayton’s and Fletcher’s previous treatment of the subject, [94-95];
Keats’ unclassical manner of treatment, [96];
its one bare circumstance, [87];
scenery of the poem, [97];
its quality of nature-interpretation, [98];
its love passages, [100];
comparison of description with a similar one in Richard III., [103];
its lyrics, [104-106];
appreciation of the lyrics a test of true relish for poetry, [106];
its rhythm and music, [109];
Keats’ own preface the best criticism of the poem, [110].
Enfield, [4], [12].
Epistles, their tributes to the conjoined pleasures of literature and friendship, [53];
ungrammatical slips in, [54];
characteristic specimens of, [54-55].
Epithalamium (Spenser’s), [12].
Eve of St Agnes, its simple theme, [160];
its ease and directness of construction, [161];
its unique charm, [163].
Eve of St Mark, contains Keats’ impressions of three Cathedral towns, [164];
its pictures, [164];
the legend, [164];
its pictorial brilliance, [165];
its influence on later English poetry, [165].
Examiner, The (Leigh Hunt’s), [25].
Faerie Queene (Spenser’s), [12], [13], [35].
Faithful Shepherdess (Fletcher’s), [95].
Fanny, Lines to, [134].
Feast of the Poets (Leigh Hunt’s), [32].
Fletcher, [95].
Foliage (Leigh Hunt’s), [73].
Genius, births of, [1].
Gisborne, Letter to Maria (Shelley’s), [30].
Goethe, [154].
Grasshopper and Cricket, [35].
Gray, [113].
Greece, Keats’ love of, [58], [77], [154].
Guy Mannering (Scott’s), [115].
Hammond, Mr, [11], [14].
Hampstead, [72], [77].
Haslam, William, [45], [212] (note).
Haydon, [3], [40], [65], [68], [78], [137], [138], [191], [214].
Hazlitt, William, [83], [84].
History of his own Time (Burnet’s), [10].
Holmes, Edward, [8].
Holy Living and Dying (Jeremy Taylor’s), [206].
Homer, On first looking into Chapman’s (Sonnet), [23-24].
Hood, [219].
Hope, address to, [21].
Horne, R. H., [11].
Houghton, Lord, [75], [211-213].
Hunt, John, [25].
Hunt, Leigh, [22], [24], [25], [32], [35], [39], [49], [51], [68], [72], [78], [196].
Hyperion, [129], [133], [144];
its purpose, [152];
one of the grandest poems of our language, [157];
the influences of Paradise Lost on it, [158];
its blank verse compared with Milton’s, [158];
its elemental grandeur, [160];
remodelling of it, [185] seq.;
description of the changes, [186-187];
special interest of the poem, [187].
Imitation of Spenser (Keats’ first lines), [14], [20].
Indolence, Ode on, [174-175].
Isabella, or the Pot of Basil, [86];
source of its inspiration, [148];
minor blemishes, [149];
its Italian metre, [149];
its conspicuous power and charm, [149];
description of its beauties, [151].
Isle of Wight, [67].
Jennings, Mrs, [5], [11].
Jennings, Capt. M. J., [7].
Joseph and his Brethren (Wells’), [45].
Kean, [81].
Keats, John, various descriptions of, [7], [8], [9], [46], [47], [76], [136], [224];
birth, [2];
education at Enfield, [4];
death of his father, [5];
school-life, [5-9];
his studious inclinations, [10];
death of his mother, [10];
leaves school at the age of fifteen, [11];
is apprenticed to a surgeon, [11];
finishes his school-translation of the Æneid, [12];
reads Spenser’s Epithalamium and Faerie Queene, [12];
his first attempts at composition, [13];
goes to London and walks the hospitals, [14];
his growing passion for poetry, [15];
appointed dresser at Guy’s Hospital, [16];
his last operation, [16];
his early life in London, [18];
his early poems, [20] seq.;
his introduction to Leigh Hunt, [24];
Hunt’s great influence over him, [26] seq.;
his acquaintance with Shelley, [38];
his other friends, [40-45];
personal characteristics, [47-48];
goes to live with his brothers in the Poultry, [48];
publication of his first volume of poems, [65];
retires to the Isle of Wight, [66];
lives at Carisbrooke, [67];
changes to Margate, [68];
money troubles, [70];
spends some time at Canterbury, [71];
receives first payment in advance for Endymion, [71];
lives with his two brothers at Hampstead, [71];
works steadily at Endymion, [71-72];
makes more friends, [73];
writes part of Endymion at Oxford, [76];
his love for his sister Fanny, [77];
stays at Burford Bridge, [80];
goes to the ‘immortal dinner,’ [82];
he visits Devonshire, [87];
goes on a walking tour in Scotland with Charles Brown, [113];
crosses over to Ireland, [116];
returns to Scotland and visits Burns’ country, [118];
sows there the seeds of consumption, [120];
returns to London, [120];
is attacked in Blackwood’s Magazine and the Quarterly Review, [121];
Lockhart’s conduct towards him, [122];
death of his young brother Tom, [128];
goes to live with Charles Brown, [128];
falls in love, [130-131];
visits friends in Chichester, [133];
suffers with his throat, [133];
his correspondence with his brother George, [139];
goes to Shanklin, [143];
collaborates with Brown in writing Otho, [143];
goes to Winchester, [144];
returns again to London, [146];
more money troubles, [146];
determines to make a living by journalism, [146];
lives by himself, [146];
goes back to Mr Brown, [181];
Otho is returned unopened after having been accepted, [182];
want of means prevents his marriage, [190];
his increasing illness, [191] seq.;
temporary improvement in his health, [194];
publishes another volume of poems, [196];
stays with Leigh Hunt’s family, [197];
favourable notice in the Edinburgh Review, [197];
lives with the family of Miss Brawne, [198];
goes with Severn to spend the winter in Italy, [199];
the journey improves his health, [200];
writes his last lines, [201];
stays for a time at Naples, [203];
goes on to Rome, [203-204];
further improvement in his health, [205];
sudden and last relapse, [205];
he is tenderly nursed by his friend Severn, [206];
speaks of himself as already living a ‘posthumous life,’ [207];
grows worse and dies, [208];
various tributes to his memory, [214].
His genius awakened by the Faerie Queene, [13];
influence of other poets on him, [21];
experiments in language, [21], [64], [147], [169];
employment of the ‘Heroic’ couplet, [27], [30];
element and spirit of his own poetry, [50];
experiments in metre, [52];
studied musical effect of his verse, [55];
his Grecian spirit, [58], [77], [95], [114], [154];
view of the aims and principles of poetry, [61];
imaginary dependence on Shakspere, [69];
thoughts on the mystery of Evil, [88];
puns, [72], [202];
his poems Greek in idea, English in manner, [96];
his poetry a true spontaneous expression of his mind, [110];
power of vivifying, [161];
verbal licenses, [169];
influence on subsequent poets, [218];
felicity of phrase, [219].
Personal characteristics:
Celtic temperament, [3], [58], [70];
affectionate nature, [6], [7], [9], [10], [77];
morbid temperament, [6], [70], [211];
lovable disposition, [6], [8], [19], [212], [213];
temper, [7], [9], [233];
personal beauty, [8];
penchant for fighting, [8], [9], [72];
studious nature, [9], [112];
humanity, [39], [89], [114-115];
sympathy and tenderness, [47], [213];
eyes, description of, [46], [207], [224];
love of nature, [47], [55-56];;
voice, 47;
desire of fame, [60], [125], [141], [207];
natural sensibility to physical and spiritual spell of moonlight, [95];
highmindedness, [125-126];
love romances, [127], [130-134], [180-181], [197], [200], [203], [212];
pride and sensitiveness, [211];
unselfishness, [213], [214];
instability, [215].
Various descriptions of, [7], [8], [9], [46], [47], [76], [136], [224].
Keats, Admiral Sir Richard, [7].
Keats, Fanny (Mrs Llanos), [77].
Keats, Mrs (Keats’ mother), [5], [10].
Keats, George, [90], [113], [192], [193], [210].
Keats, Thomas (Keats’ father), [2], [5].
Keats, Tom, [6], [127].
King Stephen, [179].
‘Kirk-men,’ [116-117].
La Belle Dame sans Merci, [165], [166], [218];
origin of the title, [165];
a story of the wasting power of love, [166];
description of its beauties, [166].
Lamb, Charles, [26], [82], [83].
Lamia, [143];
its source, [167];
versification, [167];
the picture of the serpent woman, [168];
Keats’ opinion of the Poem, [168].
Landor, [75].
Laon and Cythna, [76].
Letters, extracts, etc., from Keats’, [66], [67], [68], [69], [77], [78], [79], [81], [85], [87], [88], [89], [90], [91], [114], [116-117], [118], [126], [127], [129], [130], [134], [137], [139], [141], [145], [146], [157], [181], [182], [190], [194-195], [200], [203], [226].
‘Little Keats,’ [19].
Lockhart, [33], [122], [123].
London Magazine, [71].
Mackereth, George Wilson, [18].
Madeline, [162] seq.
‘Maiden-Thought,’ [88], [114].
Man about Town (Webb’s), [38].
Man in the Moon (Drayton’s), [93].
Margate, [68].
Mathew, George Felton, [19].
Meg Merrilies, [115-116].
Melancholy, Ode on, [175].
Milton, [51], [52], [54], [88].
Monckton, Milnes, [211].
Moore, [65].
Morning Chronicle, The, [124].
Mother Hubbard’s Tale (Spenser’s), [31].
Mythology, Greek, [10], [58], [152], [153].
Naples, [203].
Narensky (Brown’s), [74].
Newmarch, [19].
Nightingale, Ode to a, [136], [175], [218].
Nymphs, [73].
Odes, [21], [137], [145], [170-171], [172], [174], [175], [177], [218].
Orion, [11].
Otho, [143], [144], [180], [181].
Oxford, [75], [77].
Oxford Herald, The, [122].
Pan, Hymn to, [83].
Pantheon (Tooke’s), [10].
Paradise Lost, [88], [152], [154], [158].
Patriotism, [115].
Peter Corcoran (Reynolds’), [36].
Plays, [178], [179], [181], [182].
Poems (Keats’ first volume), faint echoes of other poets in them, [51];
their form, [52];
their experiments in metre, [52];
merely poetic preludes, [53];
their rambling tendency, [53];
immaturity, [60];
attractiveness, [61];
characteristic extracts, [63];
their moderate success, [65-66].
Poetic Art, Theory and Practice, [61], [64].
Poetry, joys of, [55];
principle and aims of, [61];
genius of, [110].
Polymetis (Spence’s), [10].
Pope, [19], [29], [30].
‘Posthumous Life,’ [207].
Prince Regent, [25].
Proctor, Mrs, [47].
Psyche, Ode to, [136], [171], [172].
Psyche (Mrs Tighe’s), [21].
Quarterly Review, [121], [124].
Rainbow (Campbell’s), [170].
Rawlings, William, [5].
Reynolds, John Hamilton, [36], [211], [214].
Rice, James, [37], [142].
Rimini, Story of, [27], [30], [31], [35].
Ritchie, [82].
Rome, [204].
Rossetti, [220].
Safie (Reynolds’), [36].
Scott, Sir Walter, [1], [33], [65], [115], [123], [124].
Scott, John, [124].
Sculpture, ancient, [136].
Sea-Sonnet, [67].
Severn, Joseph, [45], [72], [135], [191], [199] seq.
Shakspere, [67], [69].
Shanklin, [67], [143].
Shelley, [16], [32], [38], [56], [85], [110], [199], [203], [209].
Shenstone, [21].
Sleep and Poetry, [52], [60], [61], [109].
Smith, Horace, [33], [81].
Sonnets, [22], [23], [43], [48], [49], [57], [201].
Specimen of an Induction to a Poem, [52].
Spenser, [19], [20], [21], [31], [35], [54], [55].
Stephens, Henry, [18-20].
Surrey Institution, [84].
Taylor, Mr, [71], [81], [126], [144], [146], [206], [211].
Teignmouth, [87].
Tennyson, [218].
Thomson, [21].
Urn, Ode on a Grecian, [136], [172-174].
Vision, The, [187], [193] (see [Hyperion]).
Webb, Cornelius, [38].
Wells, Charles, [45].
Wilson, [33].
Winchester, [143-145].
Windermere, [113], [114].
Wordsworth, [1], [44], [46], [56], [64], [82], [83], [158], [219].
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Footnotes:
[2] Ibid.
[3] John Jennings died March 8, 1805.
[4] Rawlings v. Jennings. See below, [p. 138], and Appendix, [p. 221].
[5] Captain Jennings died October 8, 1808.
[6] Houghton MSS.
[7] Rawlings v. Jennings. See Appendix, [p. 221].
[8] Mrs Alice Jennings was buried at St Stephen’s, Coleman Street, December 19, 1814, aged 78. (Communication from the Rev. J. W. Pratt, M.A.)
[9] I owe this anecdote to Mr Gosse, who had it direct from Horne.
[10] Houghton MSS.
[11] A specimen of such scribble, in the shape of a fragment of romance narrative, composed in the sham Old-English of Rowley, and in prose, not verse, will be found in The Philosophy of Mystery, by W. C. Dendy (London, 1841), p. 99, and another, preserved by Mr H. Stephens, in the Poetical Works, ed. Forman (1 vol. 1884), p. 558.
[12] See [Appendix].
[13] See C. L. Feltoe, Memorials of J. F. South (London, 1884), p. 81.
[14] Houghton MSS. See also Dr B. W. Richardson in the Asclepiad, vol. i. p. 134.
[15] Houghton MSS.
[16] What, for instance, can be less Spenserian and at the same time less Byronic than—
“For sure so fair a place was never seen
Of all that ever charm’d romantic eye”?
[19] See particularly the Invocation to Sleep in the little volume of Webb’s poems published by the Olliers in 1821.
[21] See Praeterita, vol. ii. chap. 2.
[23] Compare Chapman, Hymn to Pan:—
“the bright-hair’d god of pastoral,
Who yet is lean and loveless, and doth owe,
By lot, all loftiest mountains crown’d with snow,
All tops of hills, and cliffy highnesses,
All sylvan copses, and the fortresses
Of thorniest queaches here and there doth rove,
And sometimes, by allurement of his love,
Will wade the wat’ry softnesses.”
[24] Compare Wordsworth:—
“Bees that soar for bloom,
High as the highest peak of Furness Fells,
Will murmur by the hour in foxglove bells.”
Is the line of Keats an echo or merely a coincidence?
[25] Mr W. T. Arnold in his Introduction (p. xxvii) quotes a parallel passage from Leigh Hunt’s Gentle Armour as an example of the degree to which Keats was at this time indebted to Hunt: forgetting that the Gentle Armour was not written till 1831, and that the debt in this instance is therefore the other way.
[27] The facts and dates relating to Brown in the above paragraph were furnished by his son, still living in New Zealand, to Mr Leslie Stephen, from whom I have them. The point about the Adventures of a Younger Son is confirmed by the fact that the mottoes in that work are mostly taken from the Keats MSS. then in Brown’s hands, especially Otho.
[28] Houghton MSS.
[32] In the extract I have modernized Drayton’s spelling and endeavoured to mend his punctuation: his grammatical constructions are past mending.
[33] Mrs Owen was, I think, certainly right in her main conception of an allegoric purpose vaguely underlying Keats’s narrative.
[34] Lempriere (after Pausanias) mentions Pæon as one of the fifty sons of Endymion (in the Elean version of the myth): and in Spenser’s Faerie Queene there is a Pæana—the daughter of the giant Corflambo in the fourth book. Keats probably had both of these in mind when he gave Endymion a sister and called her Peona.
[35] Book 1, Song 4. The point about Browne has been made by Mr W. T. Arnold.
[36] The following is a fair and characteristic enough specimen of Chamberlayne:—
“Upon the throne, in such a glorious state
As earth’s adored favorites, there sat
The image of a monarch, vested in
The spoils of nature’s robes, whose price had been
A diadem’s redemption; his large size,
Beyond this pigmy age, did equalize
The admired proportions of those mighty men
Whose cast-up bones, grown modern wonders, when
Found out, are carefully preserved to tell
Posterity how much these times are fell
From nature’s youthful strength.”
[38] Houghton MSS.
[40] Severn in Houghton MSS.
[41] Houghton MSS.
[42] Dilke (in a MS. note to his copy of Lord Houghton’s Life and Letters, ed. 1848) states positively that Lockhart afterwards owned as much; and there are tricks of style, e.g. the use of the Spanish Sangrado for doctor, which seem distinctly to betray his hand.
[43] Leigh Hunt at first believed that Scott himself was the writer, and Haydon to the last fancied it was Scott’s faithful satellite, the actor Terry.
[44] Severn in the Atlantic Monthly, Vol. XI., p. 401.
[47] Houghton MSS.
[48] The house is now known as Lawn Bank, the two blocks having been thrown into one, with certain alterations and additions which in the summer of 1885 were pointed out to me in detail by Mr William Dilke, the then surviving brother of Keats’s friend.
[51] Decamerone, Giorn., iv. nov. 5. A very different metrical treatment of the same subject was attempted and published, almost simultaneously with that of Keats, by Barry Cornwall in his Sicilian Story (1820). Of the metrical tales from Boccaccio which Reynolds had agreed to write concurrently with Keats (see above, [p. 86]), two were finished and published by him after Keats’s death in the volume called A Garden of Florence (1821).
[52] As to the date when Hyperion was written, see Appendix, [p. 228]: and as to the error by which Keats’s later recast of his work has been taken for an earlier draft, ibid., [p. 230].
[53] If we want to see Greek themes treated in a Greek manner by predecessors or contemporaries of Keats, we can do so—though only on a cameo scale—in the best idyls of Chénier in France, as L’Aveugle or Le Jeune Malade, or of Landor in England, as the Hamadryad or Enallos and Cymodamia; poems which would hardly have been written otherwise at Alexandria in the days of Theocritus.
[54] We are not surprised to hear of Keats, with his instinct for the best, that what he most liked in Chatterton’s work was the minstrel’s song in Ælla, that fantasia, so to speak, executed really with genius on the theme of one of Ophelia’s songs in Hamlet.
[55] A critic, not often so in error, has contended that the deaths of the beadsman and Angela in the concluding stanza are due to the exigencies of rhyme. On the contrary, they are foreseen from the first: that of the beadsman in the lines,
“But no—already had his death-bell rung;
The joys of all his life were said and sung;”
that of Angela where she calls herself
“A poor, weak, palsy-stricken, churchyard thing,
Whose passing bell may ere the midnight toll.”
[57] Chartier was born at Bayeux. His Belle Dame sans Merci is a poem of over eighty stanzas, the introduction in narrative and the rest in dialogue, setting forth the obduracy shown by a lady to her wooer, and his consequent despair and death.—For the date of composition of Keats’s poem, see Appendix, [p. 230].
[58] This has been pointed out by my colleague Mr A. S. Murray: see Forman, Works, vol. iii. p. 115, note; and W. T. Arnold, Poetical Works, &c., p. xxii, note.
[59] Houghton MSS.
[60] “He never spoke of any one,” says Severn, (Houghton MSS.,) “but by saying something in their favour, and this always so agreeably and cleverly, imitating the manner to increase your favourable impression of the person he was speaking of.”
[62] Auctores Mythographi Latini, ed. Van Staveren, Leyden, 1742. Keats’s copy of the book was bought by him in 1819, and passed after his death into the hands first of Brown, and afterwards of Archdeacon Bailey (Houghton MSS.). The passage about Moneta which had wrought in Keats’s mind occurs at p. 4, in the notes to Hyginus.
[63] Mrs Owen was the first of Keats’s critics to call attention to this passage, without, however, understanding the special significance it derives from the date of its composition.
[64] Houghton MSS.
[65] See below, [p. 193], note 2.
[66] “Interrupted,” says Brown oracularly in Houghton MSS., “by a circumstance which it is needless to mention.”
[67] This passing phrase of Brown, who lived with Keats in the closest daily companionship, by itself sufficiently refutes certain statements of Haydon. But see Appendix, [p. 232].
[68] A week or two later Leigh Hunt printed in the Indicator a few stanzas from the Cap and Bells, and about the same time dedicated to Keats his translation of Tasso’s Amyntas, speaking of the original as “an early work of a celebrated poet whose fate it was to be equally pestered by the critical and admired by the poetical.”
[69] See Crabb Robinson. Diaries, Vol. II. p. 197, etc.
[71] Houghton MSS. In both the Autobiography and the Correspondence the passage is amplified with painful and probably not trustworthy additions.
[72] I have the date of sailing from Lloyd’s, through the kindness of the secretary, Col. Hozier. For the particulars of the voyage and the time following it, I have drawn in almost equal degrees from the materials published by Lord Houghton, by Mr Forman, by Severn himself in Atlantic Monthly, Vol. XI. p. 401, and from the unpublished Houghton and Severn MSS.
[73] Severn, as most readers will remember, died at Rome in 1879, and his remains were in 1882 removed from their original burying-place to a grave beside those of Keats in the Protestant cemetery near the pyramid of Gaius Cestius.
[74] Haslam, in Severn MSS.
[75] Severn MSS.
[76] Houghton MSS.
[77] Ibid.
[78] Houghton MSS.
[79] Ibid.
