The original, which he sent me, had the phrase,
"Yet could I never tell what men could mean";
which he said was bald, and too simply wondering. No one could more earnestly chastise his thoughts than Keats. His favorite among Chapman's Hymns of Homer was the one to Pan, and which he himself rivalled in the "Endymion."
In one of our conversations about this period, I alluded to his position at St. Thomas's Hospital,—coasting and reconnoitring, as it were, that I might discover how he got on, and, with the total absorption that had evidently taken place of every other mood of his mind than that of imaginative composition, what was his bias for the future, and what his feeling with regard to the profession that had been chosen for him,—a circumstance I did not know at that time. He made no secret, however, that he could not sympathize with the science of anatomy, as a main pursuit in life; for one of the expressions that he used, in describing his unfitness for its mastery, was perfectly characteristic. He said, in illustration of his argument,—"The other day, for instance, during the lecture, there came a sunbeam into the room, and with it a whole troop of creatures floating in the ray; and I was off with them to Oberon and Fairy-land." And yet, with all this self-styled unfitness for the pursuit, I was afterwards informed, that at his subsequent examination he displayed an amount of acquirement which surprised his fellow-students, who had scarcely any other association with him than that of a cheerful, crochety rhymester.
It was about this period, that, going to call upon Mr. Leigh Hunt, who then occupied a pretty little cottage in the "Vale of Health," on Hampstead Heath, I took with me two or three of the poems I had received from Keats. I did expect that Hunt would speak encouragingly, and indeed approvingly, of the compositions,—written, too, by a youth under age; but my partial spirit was not prepared for the unhesitating and prompt admiration which broke forth before he had read twenty lines of the first poem. Mr. Horace Smith happened to be there, on the occasion, and was not less demonstrative in his praise of their merits. The piece which he read out, I remember, was the sonnet,—
"How many bards gild the lapses of time!"
marking with particular emphasis and approbation the last six lines:—
"So the unnumbered sounds that evening store,—
The songs of birds, the whispering of the leaves,
The voice of waters, the great bell that heaves
With solemn sound, and thousand others more,
That distance of recognizance bereaves,—
Make pleasing music, and not wild uproar."
Smith repeated, with applause, the line in Italics, saying, "What a well-condensed expression!" After making numerous and eager inquiries about him, personally, and with reference to any peculiarities of mind and manner, the visit ended in my being requested to bring him over to the Vale of Health. That was a red-letter day in the young poet's life,—and one which will never fade with me, as long as memory lasts. The character and expression of Keats's features would unfailingly arrest even the casual passenger in the street; and now they were wrought to a tone of animation that I could not but watch with intense interest, knowing what was in store for him from the bland encouragement, and Spartan deference in attention, with fascinating conversational eloquence, that he was to receive and encounter. When we reached the Heath, I have present the rising and accelerated step, with the gradual subsidence of all talk, as we drew towards the cottage. The interview, which stretched into three "morning calls," was the prelude to many after-scenes and saunterings about Caen Wood and its neighborhood; for Keats was suddenly made a familiar of the household, and was always welcomed.
It was in the library at Hunt's cottage, where an extemporary bed had been made up for him on the sofa, that he composed the framework and many lines of the poem on "Sleep and Poetry,"—the last sixty or seventy being an inventory of the art-garniture of the room. The sonnet,