From a Cornish Window / A New Edition - Arthur Quiller-Couch

Now, for my part, when in book or newspaper I come upon references to Isaiah lxi. 1-3, or Shakespeare, K. Henry IV., Pt. ii., Act 4, Sc. 5, l. 163, or the like, I have to drop my reading at once and hunt them up. So I hope that these references of Mr. Bridges will induce the reader to take his Keats down from the shelf. And I hope further that, having his Keats in hand, the reader will examine these odes again and make out an order for himself, as I propose to do.

Mr. Bridges's order of merit was: (1) 'Autumn,' (2) the 'Nightingale,' (3) 'Melancholy,' (4) 'Psyche,' (5) 'Grecian Urn,' (6) 'Indolence'; leaving us to rank with these (a) the fragment of the 'May Ode,' and (b) (c) the Odes to 'Pan' and to 'Sorrow' from 'Endymion.'

Now of 'Autumn,' to which he gives the first place 'for its perfection,' one may remark that Keats did not entitle it an Ode, and the omission may be something more than casual. Certainly its three stanzas seem to me to exhibit very little of that progression of thought and feeling which I take to be one of the qualities of an ode as distinguished from an ordinary lyric. The line is notoriously hard to draw: but I suppose that in theory the lyric deals summarily with its theme, whereas the ode treats it in a sustained progressive manner. But sustained treatment is hardly possible within the limits of three stanzas, and I can discover no progression. The first two stanzas elaborate a picture of Autumn; the third suggests a reflection—

"Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too—"

And promptly, with a few added strokes, all pictorial, the poet works that reflection into decoration. A sonnet could not well be more summary. In fact, the poem in structure of thought very closely resembles a sonnet; its first two stanzas corresponding to the octave, and its last stanza to the sestett.

This will perhaps be thought very trivial criticism of a poem which most people admit to be, as a piece of writing, all but absolutely flawless. But allowing that it expresses perfectly what it sets out to express, I yet doubt if it deserve the place assigned to it by Mr. Bridges. Expression counts for a great deal: but ideas perhaps count for more. And in the value of the ideas expressed I cannot see that 'Autumn' comes near to rivalling the 'Nightingale' (for instance) or 'Melancholy.' The thought that Autumn has its songs as well as Spring has neither the rarity nor the subtlety nor the moral value of the thought that:

"In the very temple of Delight
Veil'd Melancholy has her sovran shrine,
Though seen of none save him whose strenuous tongue
Can burst joy's grape against his palate fine;
His soul shall taste the sadness of her might,
And be among her cloudy trophies hung."

To test it in another way:—It is perfect, no doubt: but it has not the one thing that now and then in poetry rises (if I may use the paradox) above perfection. It does not contain, as one or two of the Odes contain, what I may call the Great Thrill. It nowhere compels that sudden 'silent, upon a peak in Darien' shiver, that awed surmise of the magic of poetry which arrests one at the seventh stanza of the 'Nightingale' or before the closing lines of 'Psyche.' Such verse as: