A fortnight after their first meeting Keats re-affirms to his brother the view he had formerly expressed to Haydon that ‘If there were three things superior in the modern world they were The Excursion, Haydon’s Pictures, and Hazlitt’s depth of Taste.’ About the same time, that is in the course of January, he writes of having ‘seen Wordsworth frequently’: and again ‘I have seen a good deal of Wordsworth.’ A later allusion implies that he has seen him ‘with his beautiful wife and his enchanting sister.’ At one meeting Keats must have heard talk or reading that delighted him, for Severn tells how while he was toiling late one night over his miniature painting, Keats burst into his lodging fresh from Wordsworth’s company and in a state of eager elation over his experience. It is hard to refrain from conjecture as to what had happened. What one would like to think is that Wordsworth had been reading Keats some of those great passages in the Prelude without which the master cannot truly be more than half known and which remained unpublished until the year of his death. Or may we possibly trace a clue to the evening’s enjoyment in this further note of Hazlitt’s on a phase of Wordsworth’s conversation?—
It is fine to hear him talk of the way in which certain subjects should have been treated by eminent poets, according to his notions of the art. Thus he finds fault with Dryden’s description of Bacchus in the Alexander’s Feast, as if he were a mere good-looking youth, or boon companion
| Flushed with a purple grace, He shows his honest face— |
Instead of representing the god returning from the conquest of India, crowned with vine-leaves, and drawn by panthers, and followed by troops of satyrs, of wild men and animals that he had tamed. You would think, in hearing him speak on this subject, that you saw Titian’s picture of the meeting of Bacchus and Ariadne—so classic were his conceptions, so glowing his style.[4]
It is tempting to seek some kind of connexion between Keats in his great Bacchic ode in Endymion and Wordsworth in this vein of talk. Had we not known that Endymion was finished before the elder and the younger poet met, we might have been inclined to attribute to Wordsworth’s eloquence some part of Keats’s inspiration. And even as it is such possibility remains open, for it must be remembered that Keats carefully re-copied the several cantos of his poem during the spring, the fourth canto not until March, at Teignmouth, and it is conceivable, though unlikely, that the triumph of Bacchus might have been an addition made in re-copying.
It was most likely a result of the interest taken by Wordsworth in Keats that the young poet received at this time a friendly call, of which he makes passing mention, from Crabb Robinson.
But the more Keats saw of Wordsworth himself, the more critically, as his letters show, he came gradually to look upon him. He disliked the idea of a man so revered dining with the foolish Kingston, and refused to dine and meet him there. He regrets, after Wordsworth has gone, that he has ‘left a bad impression wherever he has visited in town by his egotism, Vanity, and bigotry;’ adding, ‘yet he is a great poet if not a philosopher.’ The fullest expression of this critical attitude occurs in a letter written to Reynolds at the beginning of February. Keats is for the moment out of conceit with the poets of his own time; particularly with Wordsworth, whom he had always devoutly reverenced from a distance, and with Hunt, next to Cowden Clarke his earliest encourager and sympathiser, whom to his disappointment he had lately found more ready to carp than praise when he read him the early books of Endymion. It seems Hunt would have liked the talk of Endymion and Peona to come nearer his own key of simpering triviality in Rimini. ‘He says,’ writes Keats ‘the conversation is unnatural and too high-flown for Brother and Sister—says it should be simple, forgetting do ye mind that they are both overshadowed by a supernatural Power and perforce could not talk like Francesca in the Rimini. He must first prove that Caliban’s poetry is unnatural. This with me completely overturns his objections.’ In revising Endymion for press Keats proved his wise adherence to his own point of view by cutting out some of the passages most infected with the taint of Hunt’s familiar tea-party manner. The words in which he expresses his impatience of the several dogmatisms of Wordsworth and Hunt are vital in relation to his own conception of poetry and of its right aim and working:—
It may be said that we ought to read our contemporaries, that Wordsworth etc., should have their due from us. But, for the sake of a few fine imaginative or domestic passages, are we to be bullied into a certain Philosophy engendered in the whims of an Egotist? Every man has his speculations, but every man does not brood and peacock over them till he makes a false coinage and deceives himself. Many a man can travel to the very bourne of Heaven, and yet want confidence to put down his half-seeing. Sancho will invent a Journey heavenward as well as anybody. We hate poetry that has a palpable design upon us, and, if we do not agree, seems to put its hand into its breeches pocket. Poetry should be great and unobtrusive, a thing which enters into one’s soul, and does not startle or amaze it with itself, but with its subject. How beautiful are the retired flowers! how would they lose their beauty were they to throng into the highway crying out, ‘Admire me, I am a violet! Dote upon me, I am a primrose!’ Modern poets differ from the Elizabethans in this: each of the moderns like an Elector of Hanover governs his petty state, and knows how many straws are swept daily from the Causeways in all his dominions, and has a continual itching that all the Housewives should have their coppers well scoured. The ancients were Emperors of vast Provinces, they had only heard of the remote ones and scarcely cared to visit them. I will cut all this—I will have no more of Wordsworth or Hunt in particular.... I don’t mean to deny Wordsworth’s grandeur and Hunt’s merit, but I mean to say we need not be teazed with grandeur and merit when we can have them uncontaminated and unobtrusive.
These winter letters of Keats are full of similar first fruits of young reflection, thoughts forming or half-forming themselves in absolute sincerity as he writes, intuitions of his first-endeavouring mind on the search for vital truths of art and nature and humanity. Imperfect, half-wrought phrases often come from him which prove, when you have lived with them, to be more sufficient as well as more suggestive than if they had been chiselled into precision by longer study and a more confident mind. For instance: ‘the excellence of every art is its intensity, capable of making all disagreeables evaporate from their being in close relationship with Beauty and Truth’: a sentence worth whole treatises and fit, sketchy as it is, to serve as text to all that can justly be discoursed concerning problems of art in its relation to nature,—of realism, romance, and the rest. Or this:—
Brown and Dilke walked with me and back to the Christmas pantomime. I had not a dispute, but a disquisition, with Dilke upon various subjects; several things dove-tailed in my mind, and at once it struck me what quality went to form a man of achievement, especially in literature, and which Shakespeare possessed so enormously—I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason. Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half-knowledge. This pursued through volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.