But Mr. Keats had advanced no dogmas which he was bound to support by examples. His nonsense, therefore, is quite gratuitous; he writes it for its own sake, and, being bitten by Mr. Leigh Hunt's insane criticism, more than rivals the insanity of his poetry.

'Mr. Keats's preface hints that his poem was produced under peculiar circ.u.mstances. "Knowing within myself." he says, "the manner in which this poem has been produced, it is not without a feeling of regret that I make it public. What manner I mean will be quite clear to the reader, who must soon perceive great inexperience, immaturity, and every error denoting a feverish attempt rather than a deed accomplished." We humbly beg his pardon, but this does not appear to us to be "quite so clear"; we really do not know what he means. But the next pa.s.sage is more intelligible. "The two first books, and indeed the two last, I feel sensible, are not of such completion as to warrant their pa.s.sing the press." Thus "the two first books" are, even in his own judgment, unfit to appear, and "the two last" are, it seems, in the same condition; and, as two and two make four, and as that is the whole number of books, we have a clear, and we believe a very just, estimate of the entire work.

'Mr. Keats, however, deprecates criticism on this "immature and feverish work" in terms which are themselves sufficiently feverish; and we confess that we should have abstained from inflicting upon him any of the tortures of the "fierce h.e.l.l" of criticism[15] which terrify his imagination if he had not begged to be spared in order that he might write more; if we had not observed in him a certain degree of talent which deserves to be put in the right way, or which at least ought to be warned of the wrong; and if finally he had not told us that he is of an age and temper which imperiously require mental discipline.

'Of the story we have been able to make out but little. It seems to be mythological, and probably relates to the loves of Diana and Endymion; but of this, as the scope of the work has altogether escaped us, we cannot speak with any degree of certainty, and must therefore content ourselves with giving some instances of its diction and versification.

And here again we are perplexed and puzzled. At first it appeared to us that Mr. Keats had been amusing himself and wearying his readers with an immeasurable game at _bouts rimes_; but, if we recollect rightly, it is an indispensable condition at this play that the rhymes, when filled up, shall have a meaning; and our author, as we have already hinted, has no meaning. He seems to us to write a line at random, and then he follows, not the thought excited by this line, but that suggested by the _rhyme_ with which it concludes. There is hardly a complete couplet enclosing a complete idea in the whole book. He wanders from one subject to another, from the a.s.sociation, not of ideas, but of sounds; and the work is composed of hemistichs which, it is quite evident, have forced themselves upon the author by the mere force of the catchwords on which they turn.

'We shall select, not as the most striking instance, but as that least liable to suspicion, a pa.s.sage from the opening of the poem;--

"Such the sun, the moon, Trees old and young, sprouting a shady boon For simple sheep; and such are daffodils, With the green world they live in; and clear rills That for themselves a cooling covert make 'Gainst the hot season; the mid-forest brake Rich with a sprinkling of fair musk-rose blooms; And such too is the grandeur of the dooms We have imagined for the mighty dead," &c.

Here it is clear that the word, and not the idea, _moon_, produces the simple sheep and their shady _boon_, and that "the _dooms_ of the mighty dead" would never have intruded themselves but for the "fair musk-rose _blooms_."

'Again:--

"For 'twas the morn. Apollo's upward fire Made every eastern cloud a silvery pyre Of brightness so unsullied that therein A melancholy spirit well might win Oblivion, and melt out his essence fine Into the winds. Rain-scented eglantine Gave temperate sweets to that well-wooing sun; The lark was lost in him; cold springs had run To warm their chilliest bubbles in the gra.s.s; Man's voice was on the mountains; and the ma.s.s Of Nature's lives and wonders pulsed tenfold To feel this sunrise and its glories old."

Here Apollo's _fire_ produces a _pyre_--a silvery pyre--of clouds, _wherein_ a spirit might _win_ oblivion, and melt his essence _fine_; and scented _eglantine_ gives sweets to the _sun_, and cold springs had _run_ into the _gra.s.s_; and then the pulse of the _ma.s.s_ pulsed _tenfold_ to feel the glories _old_ of the new-born day, &c.

'One example more:--

"Be still the unimaginable lodge For solitary thinkings, such as dodge Conception to the very bourne of heaven, Then leave the naked brain; be still the leaven That spreading in this dull and clodded earth, Gives it a touch ethereal--a new birth."

_Lodge, dodge--heaven, leaven--earth, birth_--such, in six words, is the sum and substance of six lines.

'We come now to the author's taste in versification. He cannot indeed write a sentence, but perhaps he may be able to spin a line. Let us see.

The following are specimens of his prosodial notions of our English heroic metre:--

"Dear as the temple's self, so does the moon, The pa.s.sion poesy, glories infinite.

"So plenteously all weed-hidden roots.

"Of some strange history, potent to send.

"Before the deep intoxication.

"Her scarf into a fluttering pavilion.

"The stubborn canvas for my voyage prepared.

"Endymion, the cave is secreter Than the isle of Delos. Echo hence shall stir No sighs but sigh-warm kisses, or light noise Of thy combing hand, the while it travelling cloys And trembles through my labyrinthine hair."

'By this time our readers must be pretty well satisfied as to the meaning of his sentences and the structure of his lines. We now present them with some of the new words with which, in imitation of Mr. Leigh Hunt, he adorns our language.

'We are told that turtles _pa.s.sion_ their voices; that an arbour was _nested_, and a lady's locks _gordianed_ up; and, to supply the place of the nouns thus verbalized, Mr. Keats, with great fecundity, sp.a.w.ns new ones, such as men-slugs and human _serpentry_, the _honey-feel_ of bliss, wives prepare _needments_, and so forth.

'Then he has formed new verbs by the process of cutting off their natural tails, the adverbs, and affixing them to their foreheads. Thus the wine out-sparkled, the mult.i.tude up-followed, and night up-took: the wind up-blows, and the hours are down-sunken. But, if he sinks some adverbs in the verbs, he compensates the language with adverbs and adjectives which he separates from the parent stock. Thus a lady whispers _pantingly_ and close, makes _hushing_ signs, and steers her skiff into a _ripply_ cove, a shower falls _refreshfully_, and a vulture has a _spreaded_ tail.

'But enough of Mr. Leigh Hunt and his simple neophyte. If any one should be bold enough to purchase this Poetic Romance, and so much more patient than ourselves as to get beyond the first book, and so much more fortunate as to find a meaning, we entreat him to make us acquainted with his success. We shall then return to the task which we now abandon in despair, and endeavour to make all due amends to Mr. Keats and to our readers.'

This criticism is not, I think, exactly what Sh.e.l.ley called it in the Preface to _Adonais_--'savage:' it is less savage than contemptuous, and is far indeed from competing with the abuse which was from time to time, and in various reviews, poured forth upon Sh.e.l.ley himself. It cannot be denied that some of the blemishes which it points out in _Endymion_ are real blemishes, and very serious ones. The grounds on which one can fairly object to the criticism are that its tone is purposely ill-natured; its recognition of merits scanty out of all proportion to its censure of defects; and its spirit that of prepense disparagement founded not so much on the poetical errors of Keats as on the fact that he was a friend of Leigh Hunt, the literary and also the political antagonist of the _Quarterly Review_. The editor, Mr. Gifford, seems always to have been regarded as the author of this criticism--I presume, correctly so.

That Keats was a friend of Leigh Hunt in the earlier period of his own poetical career is a fact; but not long after the appearance of the _Quarterly Review_ article he conceived a good deal of dislike and even animosity against this literary ally. Possibly the taunts of the _Quarterly Review_, and the alienation of Keats from Hunt, had some connexion as cause and effect. In a letter from John Keats to his brother George and his sister-in-law occurs the following pa.s.sage[16], dated towards the end of 1818: 'Hunt has asked me to meet Tom Moore some day--so you shall hear of him. The night we went to Novello's there was a complete set-to of Mozart and punning. I was so completely tired of it that, if I were to follow my own inclinations, I should never meet any one of that set again; not even Hunt, who is certainly a pleasant fellow in the main, when you are with him--but in reality he is vain, egotistical, and disgusting in matters of taste, and in morals. He understands many a beautiful thing; but then, instead of giving other minds credit for the same degree of perception as he himself professes, he begins an explanation in such a curious manner that our taste and self-love are offended continually. Hunt does one harm by making fine things petty, and beautiful things hateful. Through him I am indifferent to Mozart, I care not for white busts; and many a glorious thing, when a.s.sociated with him, becomes a nothing. This distorts one's mind--makes one's thoughts bizarre--perplexes one in the standard of Beauty.'

For the text of _Adonais_ in the present edition I naturally have recourse to the original Pisan edition, but without neglecting such alterations as have been properly introduced into later issues; these will be fully indicated and accounted for in my Notes. In the minor matters of punctuation, &c., I do not consider myself bound to reproduce the first or any other edition, but I follow the plan which appears to myself most reasonable and correct; any point worthy of discussion in these details will also receive attention in the Notes.

ADONAIS:

ITS ARGUMENT.

The poem of _Adonais_ can of course be contemplated from different points of view. Its biographical relations have been already considered in our preceding sections: its poetical structure and value, its ideal or spiritual significance, and its particular imagery and diction, will occupy us much as we proceed. At present I mean simply to deal with the Argument of _Adonais_. It has a thread--certainly a slender thread--of narrative or fable; the personation of the poetic figure Adonais, as distinct from the actual man John Keats, and the incidents with which that poetic figure is a.s.sociated. The numerals which I put in parentheses indicate the stanzas in which the details occur.

(1) Adonais is now dead: the Hour which witnessed his loss mourns him, and is to rouse the other Hours to mourn. (2) He was the son of the widowed Urania, (6) her youngest and dearest son. (2) He was slain by a nightly arrow--'pierced by the shaft which flies in darkness.' At the time of his death Urania was in her paradise (pleasure-garden), slumbering, while Echoes listened to the poems which he had written as death was impending. (3) Urania should now wake and weep; yet wherefore?

'He is gone where all things wise and fair descend.' (4) Nevertheless let her weep and lament. (7) Adonais had come to Rome. (8) Death and Corruption are now in his chamber, but Corruption delays as yet to strike. (9) The Dreams whom he nurtured, as a herdsman tends his flock, mourn around him, (10) One of them was deceived for a moment into supposing that a tear shed by itself came from the eyes of Adonais, and must indicate that he was still alive. (11) Another washed his limbs, and a third clipped and shed her locks upon his corpse, &c. (13) Then came others--Desires, Adorations, Fantasies, &c. (14 to 16) Morning lamented, and Echo, and Spring. (17) Aibion wailed. May 'the curse of Cain light on his head who pierced thy innocent breast,' and scared away its angel soul! (20) Can it be that the soul alone dies, when nothing else is annihilated? (22) Misery aroused Urania: urged by Dreams and Echoes, she sprang up, and (23) sought the death-chamber of Adonais, (24) enduring much suffering from 'barbed tongues, and thoughts more sharp than they.' (25) As she arrived, Death was shamed for a moment, and Adonais breathed again: but immediately afterwards 'Death rose and smiled, and met her vain caress.' (26) Urania would fain have died along with Adonais; but, chained as she was to Time, this was denied her. (27) She reproached Adonais for having, though defenceless, dared the dragon in his den. Had he waited till the day of his maturity, 'the monsters of life's waste' would have fled from him, as (28) the wolves, ravens, and vultures had fled from, and fawned upon, 'the Pythian of the age.' (30) Then came the Mountain Shepherds, bewailing Adonais: the Pilgrim of Eternity, the Lyrist of lerne, and (31) among others, one frail form, a pard-like spirit. (34) Urania asked the name of this last Shepherd: he then made bare his branded and ensanguined brow, which was like Cain's or Christ's. (35) Another Mountain Shepherd, 'the gentlest of the wise,'

leaned over the deathbed. (36) Adonais has drunk poison. Some 'deaf and viperous murderer' gave him the envenomed draught.

[I must here point out a singular discrepancy in the poem of _Adonais_, considered as a narrative or apologue. Hitherto we had been told that Adonais was killed by an arrow or dart--he was 'pierced by the shaft which flies in darkness,' and the man who 'pierced his innocent breast'

had incurred the curse of Cain: he had 'a wound' (stanza 22). There was also the alternative statement that Adonais, unequipped with the shield of wisdom or the spear of scorn, had been so rash as to 'dare the unpastured dragon in his den'; and from this the natural inference is that not any 'shaft which flies in darkness,' but the dragon himself, had slaughtered the too-venturous youth. But now we hear that he was done to death by poison. Certainly when we look beneath the symbol into the thing symbolized, we can see that these divergent allegations represent the same fact, and the readers of the Elegy are not called upon to form themselves into a coroner's jury to determine whether a 'shaft' or a 'dragon' or 'poison' was the instrument of murder: nevertheless the statements in the text are neither identical nor reconcileable for purposes of mythical narration, and it seems strange that the author should not have taken this into account. It will be found as we proceed (see p. 66) that the reference to 'poison' comes into the poem as a direct reproduction from the Elegy of Moschus upon Bion--being the pa.s.sage which forms the second of the two mottoes to _Adonais_.]

(36) This murderer, a 'nameless worm,' was alone callous to the prelude of the forthcoming song. (37) Let him live on in remorse and self-contempt. (38) Neither should we weep that Adonais has 'fled far from these carrion-kites that scream below.' His spirit flows back to its fountain, a portion of the Eternal. (39) Indeed, he is not dead nor sleeping, but 'has awakened from the dream of life.' Not he decays, but we. (41) Let not us, nor the powers of Nature, mourn for _Adonais_. (42) He is made one with Nature. (45) In 'the unapparent' he was welcomed by Chatterton, Sidney, Lucan, and (46) many more immortals, and was hailed as the master of a 'kingless sphere' in a 'heaven of song.' (48) Let any rash mourner go to Rome, and (49) visit the cemetery. (53) And thou, my heart, why linger and shrink? Adonais calls thee: be no longer divided from him. (55) The soul of Adonais beacons to thee 'from the abode where the Eternal are.'

This may he the most convenient place for raising a question of leading importance to the Argument of _Adonais_--Who is the personage designated under the name Urania?--a question which, so far as I know, has never yet been mooted among the students of Sh.e.l.ley. Who is Urania? Why is she represented as the mother of Adonais (Keats), and the chief mourner for his untimely death?

In mythology the name Urania is a.s.signed to two divinities wholly distinct. The first is one of the nine Muses, the Muse of Astronomy: the second is Aphrodite (Venus). We may without any hesitation a.s.sume that Sh.e.l.ley meant one of these two: but a decision, as to which of the two becomes on reflection by no means so obvious as one might at first suppose. We will first examine the question as to the Muse Urania.

To say that the poet Keats, figured as Adonais, was son to one of the Muses, appears so natural and straightforward a symbolic suggestion as to command summary a.s.sent. But why, out of the nine sisters, should the Muse of Astronomy be selected? Keats never wrote about astronomy, and had no qualifications and no faintest inclination for writing about it: this science, and every other exact or speculative science, were highly alien from his disposition and turn of mind. And yet, on casting about for a reason, we can find that after all and in a certain sense there is one forthcoming, of some considerable amount of relevancy. In the eyes of Sh.e.l.ley, Keats was princ.i.p.ally and above all the poet of _Hyperion_; and _Hyperion_ is, strictly speaking, a poem about the sun. In like manner, _Endymion_ is a poem about the moon. Thus, from one point of view--I cannot see any other--Keats might be regarded as inspired by, or a son of, the Muse of Astronomy. A subordinate point of some difficulty arises from stanza 6, where Adonais is spoken of as 'the nursling of thy [Urania's] widowhood'--which seems to mean, son of Urania, born after the father's death. Urania is credited in mythology with the motherhood of two sons--Linus, her offspring by Amphimacus, who was a son of Poseidon, and Hymenaeus, her offspring by Apollo. It might be idle to puzzle over this question of Urania's 'widowhood,' or to attempt to found upon it (on the a.s.sumption that Urania the Muse is referred to) any theory as to who her deceased consort could have been: for it is as likely as not that the phrase which I have cited from the poem is not really intended to define with any sort of precision the parentage of the supposit.i.tious Adonais, but, practically ignoring Adonais, applies to Keats himself, and means simply that Keats, as the son of the Muse, was born out of time--born in an unpoetical and unappreciative age. Many of my readers will recollect that Milton, in the elaborate address which opens Book 7 of _Paradise Lost_, invokes Urania. He is careful however to say that he does not mean the Muse Urania, but the spirit of 'Celestial Song,' sister of Eternal Wisdom, both of them well-pleasing to the 'Almighty Father.' Thus far for Urania the Muse.

I now come to Aphrodite Urania. This deity is to be carefully distinguished from the Cyprian or Pandemic Aphrodite: she is different, not only in attribute and function, but even in personality and origin.

She is the daughter of Heaven (Ura.n.u.s) and Light; her influence is heavenly: she is heavenly or spiritual love, as distinct from earthly or carnal love. If the personage in Sh.e.l.ley's Elegy is to be regarded, not as the Muse Urania, but as Aphrodite Urania, she here represents spiritual or intellectual aspiration, the love of abstract beauty, the divine element in poesy or art. As such, Aphrodite Urania would be no less appropriate than Urania or any other Muse to be designated as the mother of Adonais (Keats). But the more cogent argument in favour of Aphrodite Urania is to be based upon grounds of a.n.a.logy or transfer, rather than upon any reasons of antecedent probability. The part a.s.signed to Urania in Sh.e.l.ley's Elegy is very closely modelled upon the part a.s.signed to Aphrodite in the Elegy of Bion upon Adonis (see the section in this volume, _Bion and Moschus_). What Aphrodite Cypris does in the _Adonis_, that Urania does in the _Adonais_. The resemblances are exceedingly close, in substance and in detail: the divergences are only such as the altered conditions naturally dictate. The Cyprian Aphrodite is the bride of Adonis, and as such she bewails him: the Uranian Aphrodite is the mother of Adonais, and she laments him accordingly.

Carnal relationship and carnal love are transposed into spiritual relationship and spiritual love. The hands are the hands, in both poems, of Aphrodite: the voices are respectively those of Cypris and of Urania.

It is also worth observing that the fragmentary poem of Sh.e.l.ley named _Prince Athanase_, written in 1817, was at first named _Pandemos and Urania_; and was intended, as Mrs. Sh.e.l.ley informs us, to embody the contrast between 'the earthly and unworthy Venus,' and the n.o.bler ideal of love, the heaven-born or heaven-sent Venus. The poem would thus have borne a certain relation to _Alastor_, and also to _Epipsychidion_. The use of the name 'Urania' in this proposed t.i.tle may help to confirm us in the belief that there is no reason why Sh.e.l.ley should not have used the same name in _Adonais_ with the implied meaning of Aphrodite Urania.

On the whole I am strongly of opinion that the Urania of _Adonais_ is Aphrodite, and not the Muse.