Keats is in his glory in the fields. Always, the humming of a bee, the sight of a flower, the glitter of the sun, have "seemed to make his nature tremble: then his eyes flashed, his cheek glowed, his mouth quivered." Peculiarly sensitive, as he is, to external influences, his chief delight is to "think of green fields … I muse with the greatest affection on every flower I have known from my infancy." The man who is so soon to "feel the daisies growing over him," takes one of his intensest pleasures in watching the growth of flowers; and now, as an exquisite music, "notes that pierce and pierce," descends through the young green oak-leaves, the poet seizes this golden moment of the May world and transmutes it into song.
My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
'Tis not with envy of thy happy lot,
But being too happy in thine happiness, —
That thou, light-wingèd Dryad of the trees,
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.
O, for a draught of vintage, that hath been
Cool'd a long age in the deep-delvèd earth,
Tasting of Flora and the country-green,
Dance, and Provençal song, and sunburnt mirth!
O for a beaker full of the warm South,
Full of the true, the blushful Hippocrene,
With beaded bubbles winking at the brim,
And purple-stainèd mouth;
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim:
Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last grey hairs,
Where youth grows pale, and spectre-thin, and dies;
Where but to think is to be full of sorrow
And leaden-eyed despairs;
Where beauty cannot keep her lustrous eyes,
Or new Love pine at them beyond tomorrow…
Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when sick for home,
She stood in tears amid the alien corn;
That same that oft-times hath
Charm'd magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.
Forlorn! the very word is like a bell
To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
As she is famed to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hill-side; and now 'tis buried deep
In the next valley-glades:
Was it a vision, or a waking dream?
Fled is that music: – do I wake or sleep?
Ode to a Nightingale.
The poet is recalled from these rapturous flights to the fugitive sweetness of the present: he is wandering in May meadows, young and impetuous, on fire with hopes, and his heart's beloved beside him. It is almost too good to be true. "I have never known any unalloyed happiness for many days together," he tells Fanny; "the death or sickness of someone has always spoilt my home. I almost wish we were butterflies, and lived but three summer days – three such days with you I could fill with more delight than fifty common years could ever contain." He talks to her earnestly of his dreams, his aspirations, his ambitions: and then the sordid facts of every-day life begin to cast a blighting shadow over his effulgent hopes. What has he, indeed, to offer, worth her taking? A young man of twenty-three, ex-dresser at a hospital, who has abandoned his surgical career without adopting any other: with slender resources, and no occupation beyond that of producing verses which are held up to absolute derision by the great reviews. "I would willingly have recourse to other means," he tells her again, as he has told his friend Dilke, "I cannot: I am fit for nothing else but literature." He talks of taking up journalism – but in his heart he feels unfit for any regular profession, by reason both of physical weakness and a certain lack of system in mental work. The future becomes blackly, blankly overcast; the res augusta domi descend like a curtain between the sublimity of Keats and the calm commonsense of Fanny. They turn homewards in silence, the poet revolving melancholy musings.
But when the melancholy fit shall fall
Sudden from heaven like a weeping cloud,
That fosters the droop-headed flowers all,
And hides the green hill in an April shroud;
Then glut thy sorrow on a morning rose,
Or on the rainbow of the salt sand-wave,
Or on the wealth of globèd peonies;
Or if thy mistress some rich anger shows,
Emprison her soft hand, and let rave,
And feed deep, deep upon her peerless eyes.
She dwells with Beauty – Beauty that must die;
And Joy, whose hand is ever at his lips
Bidding adieu; and aching Pleasure nigh,
Turning to poison while the bee-mouth sips.
Ay, in the very temple of Delight
Veil'd Melancholy has her sovran shrine,
Though seen of none save him whose strenuous tongue
Can burst Joy's grape against his palate fine;
His soul shall taste the sadness of her might,
And be among her cloudy trophies hung.
Ode to Melancholy.
Fanny Brawne enters her mother's house, and John Keats goes into his room and sits down, brooding, brooding. "O," he says, "that something fortunate had ever happened to me or my brothers! Then I might hope – but despair is forced upon me as a habit." And he is only too well aware, that although he is naturally "the very soul of courage and manliness," this habit of despair is growing upon him, and eating his energy away. A wintry chill settles down upon the May-time, and his misery finds vent in lovely lines —
In a drear-nighted December,
Too happy, happy tree,
Thy branches ne'er remember
Their green felicity:
The north cannot undo them,
With a sleety whistle through them;
Nor frozen thawings glue them
From budding at the prime.
In a drear-nighted December,
Too happy, happy brook,
Thy bubblings ne'er remember
Apollo's summer look;
But with a sweet forgetting,