FREE BOOKS

Author's List




PREV.   NEXT  
|<   125   126   127   128   129   130   131   132   133   134   135   136   137   138   139   140   141   142   143   144   145   146   147   148   149  
150   151   152   153   154   155   156   157   >>  
line. This is the sonnet of which we have already spoken, the dream of Paolo and Francesca. The "Why did I laugh to-night?" is a strange personal utterance, in which the poet (not yet attacked by his mortal illness) exalts death above verse, fame, and beauty, in the same mood of mind as in the lovely passage of the "Ode to a Nightingale"; but the sonnet, considered as an example of its own form of art, is too exclamatory and uncombined. There are several minor poems by Keats of which--though some of them are extremely dear to his devotees--I have made no mention. Such are "Teignmouth," "Where be you going, you Devon maid?" "Meg Merrilies," "Walking in Scotland," "Staffa," "Lines on the Mermaid Tavern," "Robin Hood," "To Fancy," "To the Poets," "In a drear-nighted December," "Hush, hush, tread softly," four "Faery Songs." Most of these pieces seem to me over-rated. As a rule they have lyrical impulse, along with the brightness or the tenderness which the subject bespeaks; but they are slight in significance and in structure, pleasurable but not memorable work. One enjoys them once and again, and then their office is over; they have not in them that stuff which can be laid to heart, nor that spherical unity and replenishment which can make of a mere snatch of verse an inscription for the adamantine portal of time. The feeling with which Keats regarded women in real life has been already spoken of. As to the tone of his poems respecting them we have his own evidence. A letter of his to Armitage Brown, dated towards the first days of September 1820, says, in reference to the "Lamia" volume: "One of the causes, I understand from different quarters, of the unpopularity of this new book, is the offence the ladies take at me. On thinking that matter over, I am certain that I have said nothing in a spirit to displease any woman I would care to please; but still there is a tendency to class women in my books with roses and sweetmeats; they never see themselves dominant." The long poems in the volume in question were "Isabella," "The Eve of St. Agnes," "Hyperion," and "Lamia." In "Hyperion" women are of course not dominant; but, as regards the other three poems, they are surely dominant enough in one sense. In "Isabella" the heroine is the sole figure of prime importance--so also in "Lamia"; and in the "Eve of St. Agnes" she counts for much more than Porphyro, though the number of stanzas about her may be fewer. Nevertheless it
PREV.   NEXT  
|<   125   126   127   128   129   130   131   132   133   134   135   136   137   138   139   140   141   142   143   144   145   146   147   148   149  
150   151   152   153   154   155   156   157   >>  



Top keywords:
dominant
 

Isabella

 

Hyperion

 

spoken

 

volume

 
sonnet
 
reference
 

understand

 
unpopularity
 

ladies


feeling

 

offence

 
quarters
 

portal

 
Armitage
 

letter

 
evidence
 
regarded
 

respecting

 

September


inscription

 

snatch

 

adamantine

 

figure

 

importance

 

heroine

 

surely

 

counts

 

Nevertheless

 

stanzas


Porphyro

 
number
 

displease

 

spirit

 

matter

 
question
 

sweetmeats

 
tendency
 

replenishment

 
thinking

slight
 

exclamatory

 
uncombined
 
Nightingale
 

considered

 

Teignmouth

 
mention
 

extremely

 
devotees
 

passage