family affection, the gift of righteous indignation, the gift of sober and strict self-knowledge. But it is only a character in the making. A strain of hereditary disease, lurking in his constitution from the first, was developed by over-exertion and aggravated by mischance, so that he never lived to be himself; and from about his twenty-fourth birthday his utterances are those of one struggling in vain against a hopeless distemper both of body and mind.
If a selection could be made from those parts only of Keats’s correspondence which show him at his best, we should have an anthology full of intuitions of beauty, even of wisdom, and breathing the very spirit of generous youth; one unrivalled for zest, whim, fancy, and amiability, and written in an English which by its peculiar alert and varied movement sometimes recalls, perhaps more closely than that of any other writer (for the young Cockney has Shakspeare in his blood), the prose passages of Hamlet and Much Ado about Nothing. Had the correspondence never been printed before, were it there to be dealt with for the first time, this method of selection would no doubt be the tempting one to apply to it. But such a treatment is now hardly possible, and in any case would hardly be quite fair; since the object, or at all events the effect, of publishing a man’s correspondence is not merely to give literary pleasure—it is to make the man himself known; and the revelation, though it need not be wholly without reserve, is bound to be just and proportionate as far as it goes. Even as an artist, in the work which he himself published to the world, Keats was not one of those of whom it could be said, “his worst he kept, his best he gave.” Rather he gave promiscuously, in the just confidence that among the failures and half-successes of his inexperienced youth would be found enough of the best to establish his place among the poets after his death. Considering all things, the nature of the man, the difficulty of separating the exquisite from the common, the healthful from the diseased, in his mind and work, considering also the use that has already been made of the materials, I have decided in this edition to give the correspondence almost unpruned; omitting a few passages of mere crudity, hardly more than two pages in all, but not attempting to suppress those which betray the weak places in the writer’s nature, his flaws of taste and training, his movements of waywardness, irritability, and morbid suspicion. Only the biographer without tact, the critic without balance, will insist on these. A truer as well as more charitable judgment will recognise that what was best in Keats was also what was most real, and will be fortified by remembering that to those who knew him his faults were almost unapparent, and that no man was ever held by his friends in more devoted or more unanimous affection while he lived and afterwards.
There is one thing, however, which I have not chosen to do, and that is to include in this collection the poet’s love-letters to Fanny Brawne. As it is, the intimate nature of the correspondence must sometimes give the reader a sense of eavesdropping, of being admitted into petty private matters with which he has no concern. If this is to some extent inevitable, it is by no means inevitable that the public should be farther asked to look over the shoulder of the sick and presently dying youth while he declares the impatience and torment of his passion to the object, careless and unresponsive as she seems to have been, who inspired it. These letters too have been printed. As a matter of feeling I cannot put myself in the place of the reader who desires to possess them; while as a matter of literature they are in a different key from the rest—not lacking passages of beauty, but constrained and painful in the main, and quite without the genial ease and play of mind which make the letters to his family and friends so attractive. Therefore in this, which I hope may become the standard edition of his correspondence, they shall find no place.
As to the persons, other than those already mentioned, to whom the letters here given are addressed:—Shelley of course needs no words; nor should any be needed for the painter Haydon (1786–1846), or the poet and critic Leigh Hunt (1784–1859). Theirs were the chief inspiring influences which determined the young medical student, about his twentieth year, at the time when this correspondence opens, to give up his intended profession for poetry. Both were men of remarkable gifts and strong intellectual enthusiasm, hampered in either case by foibles of character which their young friend and follower, who has left so far more illustrious a name, was only too quick to detect. Charles Cowden Clarke (1787–1877), the son of Keats’s schoolmaster at Enfield, had exercised a still earlier influence on the lad’s opening mind, and was himself afterwards long and justly distinguished as a Shakspearean student and lecturer and essayist on English literature. Charles Wentworth Dilke (1789–1864), having begun life in the Civil Service, early abandoned that calling for letters, and lived to be one of the most influential of English critics and journalists; he is chiefly known from his connection with the Athenæum, and through the memoir published by his grandson. Charles Brown, afterwards styling himself Charles Armitage Brown (1786–1842), who became known to Keats through Dilke in the summer of 1817, and was his most intimate companion during the two years June 1818 to June 1820, had begun life as a merchant in St. Petersburg, and failing, came home, and took, he also, to literature, chiefly as a contributor to the various periodicals edited by Leigh Hunt. He lived mostly in Italy from 1822 to 1834, then for six years at Plymouth, and in 1841 emigrated to New Zealand, where he died the following year. Joseph Severn (1793–1879) was the son of a musician, himself beginning to practise as a painter when Keats knew him. His devoted tendance of the poet during the last sad months in Italy was the determining event of Severn’s career, earning him the permanent regard and gratitude of all lovers of genius. He established himself for good in Rome, where he continued to practise his art, and was for many years English consul, and one of the most familiar figures in the society of the city.
Lastly, of the poet’s own relations, George Keats (1799–1842) after his brother’s death continued to live at Louisville in America, where he made and lost a fortune in business before he died. His widow (born Georgiana Augusta Wylie), so often and affectionately addressed in these letters, by and by took a second husband, a Mr. Jeffrey, already mentioned as the correspondent of Lord Houghton. Frances Mary Keats (1803–1889), always called Fanny in the delightful series of letters which her brother addressed to her as a young girl,[5] in course of time married a Spanish gentleman, Señor Llanos, and lived in Madrid to a great old age. Several other members of the poet’s circle enjoyed unusual length of days—Mr. William Dilke, for instance, dying a few years ago at ninety, and Mr. Gleig, long Chaplain-General of the Forces, at ninety-two. But with the death of his sister a year and a half ago, passed away probably the last survivor of those who could bear in memory the voice and features of Adonais.
S. C.
May 1891.
LETTERS OF JOHN KEATS TO HIS FAMILY AND FRIENDS
I.—TO CHARLES COWDEN CLARKE.
[London, October 31, 1816.]
My daintie Davie—I will be as punctual as the Bee to the Clover. Very glad am I at the thoughts of seeing so soon this glorious Haydon and all his creation. I pray thee let me know when you go to Ollier’s and where he resides—this I forgot to ask you—and tell me also when you will help me waste a sullen day—God ’ield you[6]—
J. K.
II.—TO BENJAMIN ROBERT HAYDON.
[London,] November 20, 1816.
My dear Sir—Last evening wrought me up, and I cannot forbear sending you the following—
Yours unfeignedly,
John Keats.
Removed to 76 Cheapside.
Great spirits now on earth are sojourning; He of the cloud, the cataract, the lake, Who on Helvellyn’s summit, wide awake, Catches his freshness from Archangel’s wing: He of the rose, the violet, the spring, The social smile, the chain for Freedom’s sake: And lo!—whose stedfastness would never