It was for death that the die was cast, and from the date of his return to Wentworth Place in October, 1819, begins the melancholy closing chapter of Keats’s history. Of the triple flame which was burning away his life, the flame of genius, of passion, and of disease, while the last kept smouldering in secret, the second burnt every day more fiercely, and the first began from this time forth to sink. Not that he was idle during the ensuing season of autumn and early winter; but the work he did was marked both by infirmity of purpose and failure of power. For the present he determined not to publish Lamia, Isabella, and the other poems written since Endymion. He preferred to await the result of Brown’s attempt to get Otho brought on the stage, thinking, no doubt justly, that a success in that field would help to win a candid hearing for his poetry. In the meantime the scoffs of the party critics had brought him so low in estimation that Brown in sending in the play thought it best to withhold his friend’s name. The great hope of the authors was that Kean would see an opportunity for himself in the part of Ludolph. In this they were not disappointed: the play was accepted: but Elliston, the manager, proposing to keep it back till the next season or the next but one, Keats and Brown objected to the delay, and about Christmas transferred the offer of their MS. to Covent Garden, where Macready, under Harris’s management, was at this time beginning to act the leading parts. It was after a while returned unopened, and with that the whole matter seems to have dropped.
In the meanwhile tragedy was still the goal towards which Keats bent his hopes. “One of my ambitions,” he had written to Bailey from Winchester, “is to make as great a revolution in modern dramatic writing as Kean has done in acting.” And now, in a letter to Mr Taylor of Nov. 17, he says that to write a few fine plays is still his greatest ambition, when he does feel ambitious, which is very seldom. The little dramatic skill he may as yet have, however badly it might show in a drama, would, he conceives, be sufficient for a poem; and what he wishes to do next is “to diffuse the colouring of St Agnes’ Eve throughout a poem in which character and sentiment would be the figures to such drapery.” Two or three such poems would be, he thinks, the best gradus to the Parnassum altissimum of true dramatic writing. Meantime, he is for the moment engaged on a task of a different nature. “As the marvellous is the most enticing, and the surest guarantee of harmonious numbers, I have been endeavouring to persuade myself to untether Fancy, and to let her manage for herself. I and myself cannot agree about this at all.” The piece to which Keats here alludes is evidently the satirical fairy poem of the Cap and Bells, on which we know him to have been at this time busy. Writing of the autumn days immediately following their return to Wentworth Place, Brown says:—
“By chance our conversation turned on the idea of a comic faery poem in the Spenser stanza, and I was glad to encourage it. He had not composed many stanzas before he proceeded in it with spirit. It was to be published under the feigned authorship of ‘Lucy Vaughan Lloyd,’ and to bear the title of the Cap and Bells, or, which he preferred, the Jealousies. This occupied his mornings pleasantly. He wrote it with the greatest facility; in one instance I remember having copied (for I copied as he wrote) as many as twelve stanzas before dinner[59].”
Excellent friend as Brown was to Keats, he was not the most judicious adviser in matters of literature, and the attempt made in the Cap and Bells to mingle with the strain of fairy fancy a strain of worldly flippancy and satire was one essentially alien to Keats’s nature. As long as health and spirits lasted, he was often full, as we have seen, of pleasantry and nonsense: but his wit was essentially amiable[60], and he was far too tender-hearted ever to be a satirist. Moreover the spirit of poetry in him was too intense and serious to work hand-in-hand with the spirit of banter, as poetry and banter had gone hand-in-hand in some of the metrical romances of the Italian Renaissance, and again, with unprecedented dexterity and brilliance, in the early cantos of Don Juan. It was partly the influence of the facetious Brown, who was a great student of Pulci and Boiardo, partly that of his own recent Italian studies, and partly the dazzling example of Byron’s success, that now induced Keats to make an attempt in the same dual strain. Having already employed the measure most fit for such an attempt, the ottava rima of the Italians, in his serious poem of Isabella, he now, by what seems an odd technical perversity, adopted for his comic poem the grave Spenserian stanza, with its sustained and involved rhymes and its long-drawn close. Working thus in a vein not truly his own, and hampered moreover by his choice of metre, Keats nevertheless manages his transitions from grave to gay with a light hand, and the movement of the Cap and Bells has much of his characteristic suppleness and grace. In other respects the poem is not a success. The story, which appears to have been one of his own and Brown’s invention, turned on the perverse loves of a fairy emperor and a fairy princess of the East. The two are unwillingly betrothed, each being meanwhile enamoured of a mortal. The eighty-eight stanzas, which were all that Keats wrote of the poem, only carry us as far as the flight of the emperor Elfinan for England, which takes place at the moment when his affianced bride alights from her aerial journey to his capital. Into the Elfinan part of the story Keats makes it clear that he meant somehow to weave in the same tale which had been in his mind when he began the fragment of St Mark’s Eve at the beginning of the year,—the tale of an English Bertha living in a minster city and beguiled in some way through the reading of a magic book. With this and other purely fanciful elements of the story are mixed up satirical allusions to the events of the day. It was in this year, 1819, that the quarrels between the Prince Regent and his wife were drawing to a head: the public mind was full of the subject: and the general sympathy was vehemently aroused on the side of the scandalous lady in opposition to her thrice scandalous husband. The references to these royal quarrels and intrigues in the Cap and Bells are general rather than particular, although here and there individual names and characters are glanced at: as when ‘Esquire Biancopany’ stands manifestly, as Mr Forman has pointed out, for Whitbread. But the social and personal satire of the piece is in truth aimless and weak enough. As Keats had not the heart, so neither had he the worldly experience, for this kind of work; and beside the blaze of the Byronic wit and devilry his raillery seems but child’s play. Where the fun is of the purely fanciful and fairy kind, he shows abundance of adroitness and invention, and in passages not humorous is sometimes really himself, his imagination becoming vivid and alert, and his style taking on its own happy light and colour,—but seldom for more than a stanza or half-stanza at a time.
Besides his morning task in Brown’s company on the Cap and Bells, Keats had other work on hand during this November and December. “In the evenings,” writes Brown, “at his own desire, he occupied a separate apartment, and was deeply engaged in re-modelling the fragment of Hyperion into the form of a Vision.” The result of this attempt, which has been preserved, is of a singular and pathetic interest in Keats’s history. We have seen how, in the previous August, he had grown discontented with the style and diction of Hyperion, as being too artificial and Miltonic. Now, in the decline of his powers, he took the poem up again[61], and began to re-write and greatly amplify it; partly, it would seem, through a mere relapse into his old fault of overloading, partly through a desire to give expression to thoughts and feelings which were pressing on his mind. His new plan was to relate the fall of the Titans, not, as before, in direct narrative, but in the form of a vision revealed and interpreted to him by a goddess of the fallen race. The reader remembers how he had broken off his work on Hyperion at the point where Mnemosyne is enkindling the brain of Apollo with the inspiration of her ancient wisdom. Following a clue which he had found in a Latin book of mythology he had lately bought[62], he now identifies this Greek Mnemosyne, the mother of the Muses, with the Roman Moneta; and (being possibly also aware that the temple of Juno Moneta on the Capitol at Rome was not far from that of Saturn) makes his Mnemosyne-Moneta the priestess and guardian of Saturn’s temple. His vision takes him first into a grove or garden of delicious fruits, having eaten of which he sinks into a slumber, and awakes to find himself on the floor of a huge primeval temple. Presently a voice, the voice of Moneta, whose form he cannot yet see for the fumes of incense, summons him to climb the steps leading to an image beside which she is offering sacrifice. Obeying her with difficulty, he questions her concerning the mysteries of the place, and learns from her, among other knowledge, that he is standing in the temple of Saturn. Then she withdraws the veils from her face, at sight of which he feels an irresistible desire to learn her thoughts; and thereupon finds himself conveyed in a trance by her side to the ancient scene of Saturn’s overthrow. ‘Deep in the shady sadness of a vale,’ &c.,—from this point Keats begins to weave into the new tissue of his Vision the text of the original Hyperion; with alterations which are in almost all cases for the worse. Neither does the new portion of his work well match the old. Side by side with impressive passages, it contains others where both rhythm and diction flag, and in comparison depends for its beauty far more on single lines and passages, and less on sustained effects. Keats has indeed imagined nothing richer or purer than the feast of fruits at the opening of the Vision, and of supernatural presences he has perhaps conjured up none of such melancholy beauty and awe as that of the priestess when she removes her veils. But the especial interest of the poem lies in the light which it throws on the inward distresses of his mind, and on the conception he had by this time come to entertain of the poet’s character and lot. When Moneta bids him mount the steps to her side, she warns him that if he fails to do so he is bound to perish utterly where he stands. In fact he all but dies before he reaches the stair, but reviving, ascends and learns from her the meaning of the ordeal:—
“None can usurp this height,” returned that shade,
“But those to whom the miseries of the world
Are misery, and will not let them rest.
All else who find a haven in the world,
Where they may thoughtless sleep away their days,
If by a chance into this fane they come,
Rot on the pavement where thou rottedst half.”
“Are there not thousands in the world,” said I,
Encouraged by the sooth voice of the shade,
“Who love their fellows even to the death,
Who feel the giant agony of the world,
And more, like slaves to poor humanity,
Labour for mortal good? I sure should see
Other men here, but I am here alone.”
“Those whom thou spakest of are no visionaries,”
Rejoin’d that voice; “they are no dreamers weak;
They seek no wonder but the human face,
No music but a happy-noted voice:
They come not here, they have no thought to come;
And thou art here, for thou art less than they.
What benefit canst thou do, or all thy tribe,
To the great world? Thou art a dreaming thing,
A fever of thyself: think of the earth:
What bliss, even in hope, is there for thee?
What haven? Every creature hath its home,
Every sole man hath days of joy and pain,
Whether his labours be sublime or low—
The pain alone, the joy alone, distinct:
Only the dreamer venoms all his days,
Bearing more woe than all his sins deserve.
Therefore, that happiness be somewhat shared,
Such things as thou art are admitted oft
Into like gardens thou didst pass erewhile,
And suffer’d in these temples—”[63].
Tracing the process of Keats’s thought through this somewhat obscure imagery,—the poet, he means, is one who to indulge in dreams withdraws himself from the wholesome activities of ordinary men. At first he is lulled to sleep by the sweets of poetry (the fruits of the garden): awakening, he finds himself on the floor of a solemn temple, with Mnemosyne, the mother and inspirer of song, enthroned all but inaccessibly above him. If he is a trifler indifferent to the troubles of his fellow men, he is condemned to perish swiftly and be forgotten: he is suffered to approach the goddess, to commune with her and catch her inspiration, only on condition that he shares all those troubles and makes them his own. And even then, his portion is far harder and less honourable than that of common men. In the conception Keats here expresses of the human mission and responsibility of his art there is nothing new. Almost from the first dawning of his ambition, he had looked beyond the mere sweets of poetry towards—
“a nobler life,
Where I may find the agonies, the strife
Of human hearts.”
What is new is the bitterness with which he speaks of the poet’s lot even at its best.
“Only the dreamer venoms all his days,
Bearing more woe than all his sins deserve,”