ne.) And just at this moment of blossoming every breeze was dusty with the golden pollen of Greece, Rome, and Italy.
If Keats could say, when he first opened Chapman's Homer,—
Then felt I like some watcher of the skies When a new planet swims stout Cortez when with eagle eyes He stared at the Pacific, and all his men Looked at each other with a wild surmise, if Keats could say this, whose mind had been unconsciously fed with the results of this culture,—results that permeated all thoughf classical association by adding an episode to Ovid's story of Arachne.
Talking the other day with a friend (the late Mr. Keats) about Dante, he observed that whenever so great a poet told us anything in addition or continuation of an ancient storins, Gray, and Akenside show traces of him; and in our own day his influence reappears in Wordsworth, Byron, Shelley, and Keats.
Landor is, I believe, the only poet who ever found him tedious.
Spenser's mere manner has not had so many imitators as
re wanting touches of fleshliness which strike us oddly as coming from Wordsworth.
Wordsworth's purity afterwards grew sensitive almost to prudery.
The late Mr. Clough told me that he heard him at Dr. Arnold's table denounce the first line in Keats's Ode to a Grecian Urn as indecent, and Haydon records that when he saw the group of Cupid and Psyche he exclaimed, The dev-ils!
Farewell! those forms that in thy noontide shade Rest near their little plots of oaten glade, Those steadfast eye. pp. 5-6.
Wordsworth found fault with the repetition of the concluding sound of the participles in Shakespeare's line about bees:
The singing masons building roofs of gold. This, he said, was a line that Milton never would have written.
Keats thought, on the other hand, that the repetition was in harmony with the continued note of the singers.
Leigh Hunt's Autobiography. Wordsworth writes to Crabb Robinson in 1837, My ear is susceptible to the clashing of sounds almost to disease.
ong involutions of Latin periods, helped him to give that variety of pause and that majestic harmony to his blank-verse which have made it so unapproachably his own. Landor, who, like Milton, seems to have thought in Latin, has caught somewhat more than others of the dignity of his gait, but without his length of stride.
Wordsworth, at his finest, has perhaps approached it, but with how long an interval!
Bryant has not seldom attained to its serene equanimity, but never emulates its pomp.
Keats has caught something of its large utterance, but altogether fails of its nervous severity of phrase.
Cowper's muse (that moved with such graceful ease in slippers) becomes stiff when (in his translation of Homer) she buckles on her feet the cothurnus of Milton.
Thomson grows tumid wherever he assays the grandiosity of his model.
It is instructive to get any glimpse of the slow processes by which Milton arrived at that classicism which sets him apart from, if not above, all our other poet
hints of their personal history than those of Keats; yet there are, perhaps, even fewer whose real greatly shocked by knowing that the father of Keats (as Lord Houghton had told us in an earlier bigrandeurs.
It is true Leigh Hunt asserts that Keats was a little too sensitive on the score of hiss well as we can make out, then, the father of Keats was a groom in the service of Mr. Jennings, anl at the least, as it would have been well for Keats's literary prosperity if he had been.
At any (afterward Sir James) Clark.
The lodging of Keats was on the Piazza di Spagna, in the first housok that was perfectly divine.
The faults of Keats's poetry are obvious enough, but it should be upplied with motives by the duties of life.
Keats certainly had more of the penetrative and symplways finds its representatives in its poets.
Keats rediscovered the delight and wonder that lay emall academy of the immortals.
The poems of Keats mark an epoch in English poetry; for, however [21 more...]