The Complete Sonnets of John Keats - All 64 Poems in One Edition. John Keats

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СКАЧАТЬ of my young friend, and they were pronounced to be as extraordinary as I thought them. One of them was that noble sonnet on first reading Chapman’s Homer, which terminates with so energetic a calmness, and which completely announced the new poet taking possession.’ But by this time Keats had become an established intimate in the Leigh Hunt household, and was constantly backwards and forwards between London and the Hampstead cottage.

      This intimacy was really the opening of a new chapter both in his intellectual and social life. At first it was a source of unmixed encouragement and pleasure, but seeing that it carried with it in the sequel disadvantages and penalties which gravely affected Keats’ career, it is necessary that we should fix clearly in our mind Hunt’s previous history and the place held by him in the literary and political life of the time. He was Keats’ senior by eleven years: the son of an eloquent and elegant, self-indulgent and thriftless fashionable preacher, sprung from a family long settled in Barbadoes, who having married a lady from Philadelphia had migrated to England and exercised his vocation in the northern suburbs of London. Brought up at Christ’s Hospital about a dozen years later than Lamb and Coleridge, Leigh Hunt gained at sixteen a measure of precocious literary reputation with a volume of juvenile poems which gave evidence of great fluency and, for a boy, of wide and eager reading. A few years later he came into notice as a theatrical critic, being then a clerk in the War Office: an occupation which he abandoned at twenty-four (in 1808) in order to take part in the conduct of the Examiner newspaper, then just founded by his brother John Hunt. For nearly five years the brothers Hunt, as manager and editor of that journal, helped to fight the losing battle of liberalism, in those days of tense grapple with the Corsican ogre abroad and stiff reaction and repression at home, with a dexterous brisk audacity and an unflinching sincerity of conviction. So far they had escaped the usual penalty of such courage. Several prosecutions directed against them failed, but at last, late in 1812, they were caught tripping. To go as far as was safely possible in satire of the follies and vices of the Prince Regent was a tempting exercise to the reforming spirits of the time. Provoked by the grovelling excesses of some of the Prince’s flatterers, the Examiner at last broke bounds and denounced him as ‘a violator of his word, a libertine over head and ears in disgrace, a despiser of domestic ties, the companion of gamblers and demireps, a man who had just closed half a century without one single claim on the gratitude of his country or the respect of posterity.’ This attack followed within a few weeks of another almost as stinging contributed anonymously by Charles Lamb. Under the circumstances the result of a prosecution could not be doubtful: and the two Hunts were condemned to a fine of £500 each and two years imprisonment in separate jails. Leigh Hunt bore himself in his captivity with cheerful fortitude, suffering severely in health but flagging little in spirits or industry. He decorated his apartment in Horsemonger Lane Gaol with a rose-trellis paper and a ceiling to imitate a summer sky, so that it looked, said Charles Lamb, like a room in a fairy tale, and spent money which he had not got in converting its backyard into a garden of shrubs and flowers.

      Very early in life Hunt had been received into a family called Kent at the instance of an elder daughter who greatly admired him. Not long afterwards he engaged himself to her younger sister, then almost a child, and married her soon after the Examiner was started. She proved a prolific, thriftless woman and ill housekeeper, but through all the rubs and pinches of his after years he was ever an affectionate husband and father. His wife was allowed to be with him in prison, and there they received the visits of many friends old and new. Liberal statesmen, philosophers, and writers, including characters so divers as Bentham and Byron, Brougham and Hazlitt, James Mill and Miss Edgeworth, Tom Moore and Wilkie the painter, pressed to offer this victim of political persecution their sympathy and society. Charles Lamb and his sister were the most constant of all his visitors. Tom Moore, who both before and after the sentence on the brothers Hunt managed in his series of verse skits, The Twopenny Post Bag, to go on playing with impunity the game of Prince-Regent-baiting, — the light-hearted Tom Moore joined in deepest earnest the chorus of sympathy with the prisoners: —

      Yet go — for thoughts as blessed as the air

       Of Spring or Summer flowers await you there:

       Thoughts such as He, who feasts his courtly crew

       In rich conservatories, never knew;

       Pure self-esteem — the smiles that light within —

       The Zeal, whose circling charities begin

       With the few lov’d ones Heaven has plac’d it near,

       And spread, till all Mankind are in its sphere;

       The Pride, that suffers without vaunt or plea,

       And the fresh Spirit, that can warble free,

       Through prison-bars, its hymn to Liberty!

      Among ardent young men who brought their tributes was Cowden Clarke with a basket of fruit and flowers from his father’s garden; and this was followed up by a weekly offering in the same kind. ‘Libertas, the loved Libertas,’ was the name found for Hunt by such fond young spirits and adopted by Keats.

      During his captivity Hunt was allowed the full use of his library, and his chief reading was in the fifty volumes of the Parnaso Italiano. As a result he acquired and retained for life a really wide and familiar knowledge of Italian poetry. He continued to edit the Examiner from prison and occupied himself moreover with three small volumes in verse. One of these was The Descent of Liberty, A Mask, celebrating the downfall of Napoleon in 1814, and embodying gracefully enough the Liberal’s hope against hope that with that catastrophe there might return to Europe not only peace but freedom. (We have told already how Keats at Edmonton tried his boyish hand at a sonnet on the same occasion and to the same purpose.) Another of his prison tasks was the writing of his poem, The Story of Rimini; a third, the recasting and annotating of his Feast of the Poets, an airily presumptuous trifle in verse first printed two years before and modelled on the precedent of several rimed skits of the Caroline age such as Suckling’s Session of the Poets and the Duke of Buckinghamshire’s Election of a Poet Laureate. It represented Apollo as convoking the contemporary British poets, or pretenders to the poetical title, to a session, or rather to a supper. Some of those who present themselves the god rejects with scorn, others he cordially welcomes, others he admits with reserve and admonition. In revising this skit while he was in prison, Hunt modified some of his earlier verdicts, but in the main he let them stand. Moore and Campbell fare the best; Southey and Scott are accepted but with reproof; Coleridge and Wordsworth admonished (but Wordsworth in much more lenient terms than in the first edition) and dismissed. Hunt’s notes are of still living interest as setting forth, at that pregnant moment of our literary history, the considered judgments of a kindly and accomplished critic on his contemporaries. Seen at a distance of a hundred years they look short-sighted enough, as almost all contemporary judgments must, and are coloured as a matter of course with party feeling, though not so grossly as was the habit of the hour. Since Coleridge, Southey and Wordsworth had been transformed, first by the Terror and then by the aggressions of Bonaparte, from ardent revolutionary idealists into vehement partisans of reaction both at home and abroad, the bitterness of the ‘Lost Leader’ feeling, common to all liberals, accounts for much of Hunt’s disparagement of them; while besides sharing the prejudice of his party in general against Scott as a known high Tory and friend to kings, he had ignorantly and peevishly conceived a special grudge against that great generous and chivalrous spirit on account of his lenient handling of Charles II in his Life of Dryden. Hunt in his new notes fully acknowledged the genius, while he condemned the defection and also what he thought the poetical perversities, of Wordsworth; but his treatment of Scott, as little more than a mere money-making manufacturer of pinchbeck northern lays in a sham antique ballad dialect, is idly flippant and patronizing. The point is of importance in Keats’ history, for hence, as we shall see in the sequel, came probably a part at least of the peculiar and as it might seem paradoxical rancour with which the genial Hunt, and Keats as his friend and supposed follower, were by-and-by to be persecuted in Blackwood.

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