What you are, is a thing that I must veil;
5
What can this be to those who praise or rail?
I never was attached to that great sect
Whose doctrine is that each one should select
Out of the world a mistress or a friend,
And all the rest, though fair and wise, commend
10
To cold oblivion—though ’tis in the code
Of modern morals, and the beaten road
Which those poor slaves with weary footsteps tread
Who travel to their home among the dead
By the broad highway of the world—and so
15
With one sad friend, and many a jealous foe,
The dreariest and the longest journey go.
Free love has this, different from gold and clay,
That to divide is not to take away.
Like ocean, which the general north wind breaks
20
Into ten thousand waves, and each one makes
A mirror of the moon—like some great glass,
Which did distort whatever form might pass,
Dashed into fragments by a playful child,
Which then reflects its eyes and forehead mild;
25
Giving for one, which it could ne’er express,
A thousand images of loveliness.
If I were one whom the loud world held wise,
I should disdain to quote authorities
In commendation of this kind of love:—
30
Why there is first the God in heaven above,
Who wrote a book called Nature, ’tis to be
Reviewed, I hear, in the next Quarterly;
And Socrates, the Jesus Christ of Greece,
And Jesus Christ Himself, did never cease
35
To urge all living things to love each other,
And to forgive their mutual faults, and smother
The Devil of disunion in their souls.
· · · · · · ·
I love you!—Listen, O embodied Ray
Of the great Brightness; I must pass away
40
While you remain, and these light words must be
Tokens by which you may remember me.
Start not—the thing you are is unbetrayed,
If you are human, and if but the shade
Of some sublimer spirit.…
· · · · · · ·
45
And as to friend or mistress, ’tis a form;
Perhaps I wish you were one. Some declare
You a familiar spirit, as you are;
Others with a more inhuman
Hint that, though not my wife, you are a woman;
50
What is the colour of your eyes and hair?
Why, if you were a lady, it were fair
The world should know—but, as I am afraid,
The Quarterly would bait you if betrayed;
And if, as it will be sport to see them stumble
55
Over all sorts of scandals, hear them mumble
Their litany of curses—some guess right,
And others swear you’re a Hermaphrodite;
Like that sweet marble monster of both sexes,
Which looks so sweet and gentle that it vexes
60
The very soul that the soul is gone
Which lifted from her limbs the veil of stone.
· · · · · · ·
It is a sweet thing, friendship, a dear balm,
A happy and auspicious bird of calm,
Which rides o’er life’s ever tumultuous Ocean;
65
A God that broods o’er chaos in commotion;
A flower which fresh as Lapland roses are,
Lifts its bold head into the world’s frore air,
And blooms most radiantly when others die,
Health, hope, and youth, and brief prosperity;
70
And with the light and odour of its bloom,
Shining within the dungeon and the tomb;
Whose coming is as light and music are
’Mid dissonance and gloom—a star
Which moves not ’mid the moving heavens alone—
75
A smile among dark frowns—a gentle tone
Among rude voices, a belovèd light,
A solitude, a refuge, a delight.
If I had but a friend! Why, I have three
Even by my own confession; there may be
80
Some more, for what I know, for ’tis my mind
To call my friends all who are wise and kind,—
And these, Heaven knows, at best are very few;
But none can ever be more dear than you.
Why should they be? My muse has lost her wings,
85
Or like a dying swan who soars and sings,
I should describe you in heroic style,
But as it is, are you not void of guile?
A lovely soul, formed to be blessed and bless:
A well of sealed and secret happiness;
90
A lute which those whom Love has taught to play
Make music on to cheer the roughest day,
And enchant sadness till it sleeps?.…
· · · · · · ·
To the oblivion whither I and thou,
All loving and all lovely, hasten now
95
With steps, ah, too unequal! may we meet
In one Elysium or one winding-sheet!
If any should be curious to discover
Whether to you I am a friend or lover,
Let them read Shakespeare’s sonnets, taking thence
100
A whetstone for their dull intelligence
That tears and will not cut, or let them guess
How Diotima, the wise prophetess,
Instructed the instructor, and why he
Rebuked the infant spirit of melody
105
On Agathon’s sweet lips, which as he spoke
Was as the lovely star when morn has broke
The roof of darkness, in the golden dawn,
Half-hidden, and yet beautiful.
I’ll pawn
My hopes of Heaven—you know what they are worth—
110
That the presumptuous pedagogues of Earth,
If they could tell the riddle offered here
Would scorn to be, or being to appear
What now they seem and are—but let them chide,
They have few pleasures in the world beside;
115
Perhaps we should be dull were we not chidden,
Paradise fruits are sweetest when forbidden.
Folly can season Wisdom, Hatred Love.
· · · · · · ·
Farewell, if it can be to say farewell
To those who
· · · · · · ·
120
I will not, as most dedicators do,
Assure myself and all the world and you,
That you are faultless—would to God they were
Who taunt me with your love! I then should wear
These heavy chains of life with a light spirit,
125
And would to God I were, or even as near it
As you, dear heart. Alas! what are we? Clouds
Driven by the wind in warring multitudes,
Which rain into the bosom of the earth,
And rise again, and in our death and birth,
130
And through our restless life, take as from heaven
Hues which are not our own, but which are given,
And then withdrawn, and with inconstant glance
Flash from the spirit to the countenance.
There is a Power, a Love, a Joy, a God
135
Which makes in mortal hearts its brief abode,
A Pythian exhalation, which inspires
Love, only love—a wind which o’er the wires
Of the soul’s giant harp
There is a mood which language faints beneath;
140
You feel it striding, as Almighty Death
His bloodless steed.…
· · · · · · ·
And what is that most brief and bright delight
Which rushes through the touch and through the sight,
And stands before the spirit’s inmost throne,
145
A naked Seraph? None hath ever known.
Its birth is darkness, and its growth desire;
Untameable and fleet and fierce as fire,
Not to be touched but to be felt alone,
It fills the world with glory—and is gone.
· · · · ·
150
It floats with rainbow pinions o’er the stream
Of life, which flows, like a dream
Into the light of morning, to the grave
As to an ocean.…
· · · · · · ·
What is that joy which serene infancy
155
Perceives not, as the hours content them by,
Each in a chain of blossoms, yet enjoys
The shapes of this new world, in giant toys
Wrought by the busy ever new?
Remembrance borrows Fancy’s glass, to show
160
These forms more sincere
Than now they are, than then, perhaps, they were.
When everything familiar seemed to be
Wonderful, and the immortality
Of this great world, which all things must inherit,
165
Was felt as one with the awakening spirit,
Unconscious of itself, and of the strange
Distinctions which in its proceeding change
It feels and knows, and mourns as if each were
A desolation.…
· · · · · · ·
170
Were it not a sweet refuge, Emily,
For all those exiles from the dull insane
Who vex this pleasant world with pride and pain,
For all that band of sister-spirits known
To one another by a voiceless tone?
· · · · · · ·
175
If day should part us night will mend division
And if sleep parts us—we will meet in vision
And if life parts us—we will mix in death
Yielding our mite [?] of unreluctant breath
Death cannot part us—we must meet again
180
In all in nothing in delight in pain:
How, why or when or where—it matters not
So that we share an undivided lot..…
· · · · · · ·
And we will move possessing and possessed
Wherever beauty on the earth’s bare [?] breast
185
Lies like the shadow of thy soul—till we
Become one being with the world we see.…
ADONAIS
AN ELEGY ON THE DEATH OF JOHN KEATS, AUTHOR OF ENDYMION, HYPERION, ETC.
PREFACE
IT is my intention to subjoin to the London edition of this poem a criticism upon the claims of its lamented object to be classed among the writers of the highest genius who have adorned our age. My known repugnance to the narrow principles of taste on which several of his earlier compositions were modelled prove at least that I am an impartial judge. I consider the fragment of Hyperion as second to nothing that was ever produced by a writer of the same years.
John Keats died at Rome of a consumption, in his twenty-fourth year, on the —– of —– 1821; and was buried in the romantic and lonely cemetery of the Protestants in that city, under the pyramid which is the tomb of Cestius, and the massy walls and towers, now mouldering and desolate, which formed the circuit of ancient Rome. The cemetery is an open space among the ruins, covered in winter with violets and daisies. It might make one in love with death, to think that one should be buried in so sweet a place.
The genius of the lamented person to whose memory I have dedicated these unworthy verses was not less delicate and fragile than it was beautiful; and where cankerworms abound, what wonder if its young flower was blighted in the bud? The savage criticism on his Endymion, which appeared in the Quarterly Review, produced the most violent effect on his susceptible mind; the agitation thus originated ended in the rupture of a blood-vessel in the lungs; a rapid consumption ensued, and the succeeding acknowledgements from more candid critics of the true greatness of his powers were ineffectual to heal the wound thus wantonly inflicted.
It may be well said that these wretched men know not what they do. They scatter their insults and their slanders without heed as to whether the poisoned shaft lights on a heart made callous by many blows or one like Keats’s composed of more penetrable stuff. One of their associates is, to my knowledge, a most base and unprincipled calumniator. As to
Endymion, was it a poem, whatever might be its defects, to be treated contemptuously by those who had celebrated, with various degrees of complacency and panegyric, Paris, and Woman, and a Syrian Tale, and Mrs. Lefanu, and Mr. Barrett, and Mr. Howard Payne, and a long list of the illustrious obscure? Are these the men who in their venal good nature presumed to draw a parallel between the Rev. Mr. Milman and Lord Byron? What gnat did they strain at here, after having swallowed all those camels? Against what woman taken in adultery dares the foremost of these literary prostitutes to cast his opprobrious stone? Miserable man! you, one of the meanest, have wantonly defaced one of the noblest specimens of the workmanship of God. Nor shall it be your excuse, that, murderer as you are, you have spoken daggers, but used none.
The circumstances of the closing scene of poor Keats’s life were not made known to me until the Elegy was ready for the press. I am given to understand that the wound which his sensitive spirit had received from the criticism of Endymion was exasperated by the bitter sense of unrequited benefits; the poor fellow seems to have been hooted from the stage of life, no less by those on whom he had wasted the promise of his genius, than those on whom he had lavished his fortune and his care. He was accompanied to Rome, and attended in his last illness by Mr. Severn, a young artist of the highest promise, who, I have been informed, ‘almost risked his own life, and sacrificed every prospect to unwearied attendance upon his dying friend.’ Had I known these circumstances before the completion of my poem, I should have been tempted to add my feeble tribute of applause to the more solid recompense which the virtuous man finds in the recollection of his own motives. Mr. Severn can dispense with a reward from ‘such stuff as dreams are made of.’ His conduct is a golden augury of the success of his future career—may the unextinguished Spirit of his illustrious friend animate the creations of his pencil, and plead against Oblivion for his name!
I
I WEEP for Adonais—he is dead!
O, weep for Adonais! though our tears
Thaw not the frost which binds so dear a head!
And thou, sad Hour, selected from all years
5
To mourn our loss, rouse thy obscure compeers,
And teach them thine own sorrow, say: ‘With me
Died Adonais; till the Future dares
Forget the Past, his fate and fame shall be
An echo and a light unto eternity!’
II
10
Where wert thou, mighty Mother, when he lay,
When thy Son lay, pierced by the shaft which flies
In darkness? where was lorn Urania
When Adonais died? With veilèd eyes,
’Mid listening Echoes, in her Paradise
15
She sate, while one, with soft enamoured breath,
Rekindled all the fading melodies,
With which, like flowers that mock the corse beneath,
He had adorned and hid the coming bulk of Death.
III
Oh, weep for Adonais—he is dead!
20
Wake, melancholy Mother, wake and weep!
Yet wherefore? Quench within their burning bed
Thy fiery tears, and let thy loud heart keep
Like his, a mute and uncomplaining sleep;
For he is gone, where all things wise and fair
25
Descend;—oh, dream not that the amorous Deep
Will yet restore him to the vital air;
Death feeds on his mute voice, and laughs at our despair.
IV
Most musical of mourners, weep again!
Lament anew, Urania!—He died,
30
Who was the Sire of an immortal strain,
Blind, old, and lonely, when his country’s pride,
The priest, the slave, and the liberticide,
Trampled and mocked with many a loathèd rite
Of lust and blood; he went, unterrified,
35
Into the gulf of death; but his clear Sprite
Yet reigns o’er earth; the third among the sons of light.
V
Most musical of mourners, weep anew!
Not all to that bright station dared to climb;
And happier they their happiness who knew,
40
Whose tapers yet burn through that night of time
In which suns perished; others more sublime,
Struck by the envious wrath of man or god,
Have sunk, extinct in their refulgent prime;
And some yet live, treading the thorny road,
45
Which leads, through toil and hate, to Fame’s serene abode.
VI
But now, thy youngest, dearest one, has perished—
The nursling of thy widowhood, who grew,
Like a pale flower by some sad maiden cherished,
And fed with true-love tears, instead of dew;