Poor Keats! he little anticipated, and as little deserved, the cowardly and scoundrel treatment that was in store for him upon the publication of his second composition, the "Endymion." It was in the interval of the two productions that he had moved from the Poultry, and had taken a lodging in Well Walk, Hampstead,—in the first or second house, on the right hand, going up to the Heath. I have an impression that he had been some weeks absent at the sea-side before settling in this domicile; for the "Endymion" had been begun, and he had made considerable advances in his plan. He came to me one Sunday, and I walked with him, spending the whole day in Well Walk. His constant and enviable friend Severn, I remember, was present on the occasion, by the circumstance of our exchanging looks upon Keats's reading to us portions of his new work that had pleased himself. One of these, I think, was the "Hymn to Pan"; and another, I am sure, was the "Bower of Adonis," because his own expression of face will never pass from me (if I were a Reynolds or a Gainsborough, I could now stamp it forever) as he read the description of the latter, with the descent and ascent of the ear of Venus. The "Hymn to Pan" occurs early in the First Book:—
"O thou, whose mighty palace-roof doth hang
From jagged trunks," etc.
And the "Bower of Adonis," in the Second Book, commences,—
"After a thousand mazes overgone."
Keats was indebted for his introduction to Mr. Severn to his school-fellow Edward Holmes, who also had been one of the child-scholars at Enfield; for he came to us in the frock-dress. They were sworn companions at school, and remained friends through life. Mr. Holmes ought to have been an educated musician from his first childhood; for the passion was in him. I used to amuse myself with the piano-forte after supper, when all had gone to bed. Upon some sudden occasion, leaving the parlor, I heard a scuffle on the stairs, and discovered that my young gentleman had left his bed to hear the music. At other times, during the day, and in the intervals of school-hours, he would stand under the window, listening. He at length intrusted to me his heart's secret, that he should like to learn music. So I taught him his notes; and he soon knew and could do as much as his tutor. Upon leaving Enfield, he was apprenticed to the elder Seeley, a bookseller in Fleet Street; but, hating his occupation, left it, I believe, before he was of age. He had not lost sight of me; and I introduced him to Mr. Vincent Novello, who had made himself a friend to me, and who not merely, with rare profusion of bounty, gave Holmes instruction, but received him into his house, and made him one of his family. With them he resided some years. I was also the fortunate means of recommending him to the chief proprietor of the "Atlas" newspaper; and to that journal, during a long period, he contributed a series of essays and critiques upon the science and practice of music, which raised the journal into a reference and an authority in the art. He wrote for the proprietors of the "Atlas" that elegant little book of dilettante criticism, "A Ramble among the Musicians in Germany." He latterly contributed to the "Musical Times" a whole series of masterly essays and analyses upon the Masses of Haydn, Mozart, and Beethoven. But the work upon which his reputation will rest was a "Life of Mozart," which was purchased by Chapman and Hall.
I have said that Holmes used to listen on the stairs. In after-years, when Keats was reading to me his "Eve of St. Agnes," (and what a happy day was that! I had come up to see him from Ramsgate, where I then lived,) at the passage where Porphyro in Madeleine's chamber is fearfully listening to the hubbub of the icing and the music in the hall below, and the verse says,—
"The boisterous midnight festive clarion,
The kettle-drum and far-heard clarionet,
Affray his ears, though but in dying tone:
The hall-door shuts again, and all the noise is gone,"—
"That line," said he, "came into my head when I remembered how I used to listen, in bed, to your music at school." Interesting would be a record of the germs and first causes of all the greatest poets' conceptions! The elder Brunei's first hint for his "shield," in constructing the tunnel under the Thames, was taken from watching the labor of a sea-insect, which, having a projecting hood, could bore into the ship's timber, unmolested by the waves.
I fancy it was about this time that Keats gave that signal example of his courage and stamina, in the recorded instance of his pugilistic contest with a butcher-boy. He told me—and in his characteristic manner—of their "passage of arms." The brute, he said, was tormenting a kitten, and he interfered, when a threat offered was enough for his mettle, and they set to. He thought he, should be beaten; for the fellow was the taller and stronger; but, like an authentic pugilist, my young poet found that he had planted a blow which "told" upon his antagonist. In every succeeding round, therefore, (for they fought nearly an hour,) he never failed of returning to the weak point; and the contest ended in the hulk being led or carried home. In all my knowledge of my fellow-beings, I never knew one who so thoroughly combined the sweetness with the power of gentleness and the irresistible sway of anger as Keats. His indignation would have made the boldest grave; and those who have seen him under the influence of tyranny, injustice, and meanness of soul will never forget the expression of his features,—"the form of his visage was changed."
He had a strong sense of humor; yet, so to speak, he was not, in the strict sense of the term, a humorist. His comic fancy lurked in the outermost and most unlooked-for images of association,—which, indeed, maybe said to be the components of humor; nevertheless, I think they did not extend beyond the quaint, in fulfilment and success. But his perception of humor, with the power of transmitting it by imitation, was both vivid and irresistibly amusing. He once described to me his having gone to see a bear-baiting,—the animal, the property of a Mr. Tom Oliver. The performance not having began, Keats was near to and watched a young aspirant, who had brought a younger under his wing to witness the solemnity, and whom he oppressively patronized, instructing him in the names and qualities of all the magnates present. Now and then, in his zeal to manifest and impart his knowledge, he would forget himself, and stray beyond the prescribed bounds, into the ring,—to the lashing resentment of its comptroller, Mr. William Soames; who, after some hints of a practical nature, to "keep back," began laying about him with indiscriminate and unmitigable vivacity,—the Peripatetic signifying to his pupil,—"My eyes! Bill Soames giv' me sich a licker!"—evidently grateful, and considering himself complimented, upon being included in the general dispensation. Keats's entertainment with this minor scene of low life has often recurred to me. But his subsequent description of the baiting, with his position, of his legs and arms bent and shortened, till he looked like Bruin on his hind-legs, dabbing his fore-paws hither and thither, as the dogs snapped at him, and now and then acting the gasp of one that had been suddenly caught and hugged, his own capacious mouth adding force to the personation, was a memorable display. I am never reminded of this amusing relation, but it is associated with that forcible picture in Shakspeare, (and what subject can we not associate with him?) in the "Henry VI":—