From finishing Endymion at Burford Bridge Keats returned some time before mid-December to his Hampstead lodging. The exact date is uncertain; but it was in time to see Kean play Richard III at Drury Lane on the 15th—the actor’s first performance after a break of some weeks due to illness. J. H. Reynolds had gone to Exeter for a Christmas holiday, and Keats, acting as his substitute, wrote four dramatic criticisms for the Champion: the first, printed on December 21, on Kean in general and his re-appearance as Richard III in particular; a second on a hash of the three parts of Shakespeare’s Henry VI produced under the title Richard Duke of York, with Kean in the name-part and probably Kean also as compiler; a third on a tragedy of small account by one Dillon, called Retribution, or the Chieftain’s Daughter, in which the young Macready played the part of the villain; and a fourth on a pantomime of Don Giovanni. No one, least of all one living in Keats’s circle, could well attempt stage criticism at this time without trying to write like Hazlitt. Keats acquits himself on the whole rather youthfully and crudely. In one point he is cruder than one would have expected, and that is where, after re-reading the three parts of Henry VI for his purpose, he retracts what he had begun to say about them and declares that they are ‘perfect works,’ apparently without any suspicion that Shakespeare’s part in them is at most that of a beginner of genius touching up the hackwork of others with a fine passage here and there.
It is only in the notice of Kean as Richard III that the genius in Keats really kindles. Here his imagination teaches him phrases beyond the reach of Hazlitt, to express (there is nothing more difficult) the specific quality and very thrill of the actor’s voice and utterance. The whole passage is of special interest, both what is groping in it and what is masterly, and alike for itself and for such points as its familiar use of tags from the then recent Christabel and Siege of Corinth:—
A melodious passage in poetry is full of pleasures both sensual and spiritual. The spiritual is felt when the very letters and points of charactered language show like the hieroglyphics of beauty; the mysterious signs of our immortal free-masonry! ‘A thing to dream of, not to tell’! The sensual life of verse springs warm from the lips of Kean and to one learned in Shakespearian hieroglyphics—learned in the spiritual portion of those lines to which Kean adds a sensual grandeur; his tongue must seem to have robbed the Hybla bees and left them honeyless! There is an indescribable gusto in his voice, by which we feel that the utterer is thinking of the past and future while speaking of the instant. When he says in Othello, ‘Put up your bright swords, for the dew will rust them,’ we feel that his throat had commanded where swords were as thick as reeds. From eternal risk, he speaks as though his body were unassailable. Again, his exclamation of ‘blood, blood, blood!’ is direful and slaughterous to the deepest degree; the very words appear stained and gory. His nature hangs over them, making a prophetic repast. The voice is loosed on them, like the wild dog on the savage relics of an eastern conflict; and we can distinctly hear it ‘gorging and growling o’er carcase and limb.’ In Richard, ‘Be stirring with the lark to-morrow, gentle Norfolk!’ comes from him as through the morning atmosphere towards which he yearns.... Surely this intense power of anatomizing the passions of every syllable, of taking to himself the airings of verse, is the means by which he becomes a storm with such fiery decision; and by which, with a still deeper charm, he does his spiriting gently. Other actors are continually thinking of their sum-total effect throughout a play. Kean delivers himself up to the instant feeling, without a shadow of a thought about anything else. He feels his being as deeply as Wordsworth, or any other of our intellectual monopolists. From all his comrades he stands alone, reminding us of him, whom Dante has so finely described in his Hell:
| and sole apart retir’d the Soldan fierce.[1] |
Although so many times he has lost the battle of Bosworth Field, we can easily conceive him really expectant of victory, and a different termination of the piece.
Keats was by this time left alone in Well Walk, having seen his brothers off for Teignmouth, whither George carried the invalid Tom for change of climate. His regular occupation for the next two months was revising and copying out Endymion for press. Regular also was his attendance at Hazlitt’s evening lectures on the English Poets at the Surrey Institution. Of the lectures on Shakespeare which Coleridge was in the same weeks delivering in Fetter Lane Keats makes no mention, and it is clear that he made no effort to go and hear them, though the distance of the lecture-hall from his Hampstead lodging was so much less. The reader who would fain conjure up for himself the contrasted personalities and styles in public discourse of these two master critics, the shy and saturnine, yet vigorously straight-hitting and trenchantly effective Hazlitt, and the ramblingly mellifluous, sometimes beautifully inspired and sometimes painfully drug-beclouded Coleridge, can draw but a faint and tantalized satisfaction from the diaries of Henry Crabb Robinson, that assiduous friend and satellite of men of genius, who punctually records his attendance at both courses, but lacked the touch that should have made his record live.
Keats’s letters to his brothers in these winter months, with a few more to Bailey and Reynolds, give us lively glimpses of his social doings, and others, interesting in the extreme, of the inward growth and workings of his mind. He tells of a certain amount of common-place conviviality: an absurd dance and rackety supper at one Redhall’s; noisy Saturday ‘concerts’ at his own rooms, which means that two or three intimates came to early afternoon dinner and spent the rest of the day drinking claret and keeping up a concerted racket, each in imitation of some musical instrument (Keats himself of the bassoon); but of this pastime he soon got tired and rather ashamed. His social relations began to extend themselves more than he much cared about, or thought consistent with proper industry. We find him dining with Shelley’s friend, the genial and admirable stockbroker and man of letters Horace Smith, in company with some fashionable wits, concerning whom he reflects:—‘They only served to convince me how superior humour is to wit, in respect to enjoyment. These men say things which make one start, without making one feel; they are all alike; they all know fashionables; they have all a mannerism in their eating and drinking, in their mere handling a decanter. They talked of Kean and his low company. “Would I were with that company instead of yours,” said I to myself.’ Sunday evenings were for a while set apart for dining with Haydon, and here, on the last Sunday of the year, Keats met Wordsworth for the first time.
Wordsworth was on one of his rare visits to London, and had been staying since the beginning of December with his brother Christopher at Lambeth rectory. According to Crabb Robinson, he seems to have been in these weeks in one of his stiffest and most domineering moods of egotism, much ruffled by the moderate strictures of Coleridge in Biographia Literaria on certain qualities in his work and not at all appeased by the splendid praise which so much out-balanced them. One evening in conversation he went so far as to treat that great helpless genius, his old bosom-friend and inspirer, with a rudeness of contradiction which even the devoted Robinson found it hard to forgive.[2] Near about the same time, hearing that the next Waverley novel was to be about Rob Roy, he took down his ballad so named, read it aloud, and said ‘I do not know what more Mr Scott can have to say on the subject.’[3] Keats promptly had full experience of Wordsworth’s egotism, but also saw more genial aspects of his character. Quite coolly and briefly he mentions those circumstances of their first meeting which Haydon, in a famous passage of his autobiography, thrusts before us in the insistent colour and illumination of a magic-lantern picture. ‘I think,’ writes Keats, ‘Ritchie is going to Fezan in Africa; thence to proceed if possible like Mungo Park. Then there was Wordsworth, Lamb, Monkhouse, Landseer, and your humble servant. Lamb got tipsy and blew up Kingston—proceeding so far as to take the candle across the room, hold it to his face, and show us what a soft fellow he was.’ It should be explained that Ritchie was a young explorer whom Tom had met the summer before on his run to Paris, and Kingston a thick-witted, thick-skinned, intrusive but kindly gentleman of lion-hunting proclivities, who as Comptroller of Stamps had had some correspondence with Wordsworth and on the strength of this invited himself to join Haydon’s party in the poet’s honour. Now for Haydon:—
On December 28th the immortal dinner came off in my painting-room, with Jerusalem towering up behind us as a background. Wordsworth was in fine cue, and we had a glorious set-to,—on Homer, Shakespeare, Milton and Virgil. Lamb got exceedingly merry and exquisitely witty; and his fun in the midst of Wordsworth’s solemn intonations of oratory was like the sarcasm and wit of the fool in the intervals of Lear’s passion. He made a speech and voted me absent, and made them drink my health. ‘Now,’ said Lamb, ‘you old lake poet, you rascally poet, why do you call Voltaire dull?’ We all defended Wordsworth, and affirmed there was a state of mind when Voltaire would be dull. ‘Well,’ said Lamb, ‘here’s to Voltaire—the Messiah of the French nation, and a very proper one too.’
He then, in a strain of humour beyond description, abused me for putting Newton’s head into my picture,—‘a fellow,’ said he, ‘who believed nothing unless it was as clear as the three sides of a triangle. And then he and Keats agreed he had destroyed all the poetry of the rainbow by reducing it to the prismatic colours. It was impossible to resist him, and we all drank ‘Newton’s health, and confusion to mathematics.’ It was delightful to see the good-humour of Wordsworth in giving in to all our frolics without affectation and laughing as heartily as the best of us.