U JOHN KEATS (1795-1821) PON the death of his mother in 1810 Keats became an apprentice to a surgeon. Although he followed this profession for seven years, he did not find it congenial and finally in 1817 abandoned it for poetry. His first volumes were harshly criticized by the reviews. Some of his contemporaries suggested that this harsh treatment was the chief cause of his early death. But his spirit was not broken by it although he undoubtedly felt the injustice of the prejudiced criticism. He had always had a delicate constitution, and during a walking tour he caught a cold which developed into consumption. He sought health in the warmer climate of Italy, but the disease had advanced so far that he died soon after his arrival at Rome. In a letter written to his friend Bailey in 1817 Keats expressed the dominating influence of his life and poetry, “Oh for a life of Sensations rather than of Thoughts!" With such a wish it is not strange that he should have evolved as his creed, "Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know." He found this beauty in the classical and medieval legends. He expressed it in colorful and imaginative language so vivid that every word added a distinctive touch. Keats was primarily a word painter of the sensuous. Nowhere throughout his poetry are these traits more effectively illustrated than in The Eve of St. Agnes. Keats was not only inspired by the spirit of medieval romance, but he has also breathed that spirit into every stanza. The poem is a reproduction of a romantic mood rather than a narrative of actual events. Keats should be read by the business writer who wishes to acquire distinctive and colorful diction. THE EVE OF ST. AGNES I St. Agnes' Eve-Ah, bitter chill it was! The hare limp'd trembling through the frozen grass, Numb were the Beadsman's fingers, while he told Seem'd taking flight for heaven, without a death, II His prayer he saith, this patient, holy man; The sculptur'd dead, on each side, seem to freeze, Knights, ladies, praying in dumb orat❜ries, He passeth by; and his weak spirit fails To think how they may ache in icy hoods and mails. III Northward he turneth through a little door, And all night kept awake, for sinners' sake to grieve. IV That ancient Beadsman heard the prelude soft; The carved angels, ever eager-eyed, Star'd, where upon their heads the cornice rests, With hair blown back, and wings put cross-wise on their breasts. V At length burst in the argent revelry, The brain, new-stuff'd, in youth, with triumphs gay VI They told her how, upon St. Agnes' Eve, Of Heaven with upward eyes for all that they desire. VII Full of this whim was thoughtful Madeline: And back retir'd; not cool'd by high disdain, But she saw not: her heart was otherwhere: She sigh'd for Agnes' dreams, the sweetest of the year. VIII She danc'd along with vague, regardless eyes, 'Mid looks of love, defiance, hate, and scorn, IX So, purposing each moment to retire, She linger'd still. Meantime, across the moors, For Madeline. Beside the portal doors, Buttress'd from moonlight, stands he, and implores All saints to give him sight of Madeline, But for one moment in the tedious hours, That he might gaze and worship all unseen; Perchance speak, kneel, touch, kiss-in sooth such things have been. X He ventures in: let no buzz'd whisper tell: XI Ah, happy chance! the aged creature came, The sound of merriment and chorus bland: And grasp'd his fingers in her palsied hand, Saying, "Mercy, Porphyro! hie thee from this place: "They are all here to-night, the whole blood-thirsty race! XII "Get hence! get hence! there's dwarfish Hildebrand; "He had a fever late, and in the fit "He cursed thee and thine, both house and land: "Then there's that old Lord Maurice, not a whit "More tame for his gray hairs-Alas me! flit! "Flit like a ghost away."-"Ah, Gossip dear, "We're safe enough; here in this arm-chair sit, "And tell me how"-"Good Saints! not here, not here; "Follow me, child, or else these stones will be thy bier." |