‘keep back’ began laying about him with indiscriminate and unmitigable vivacity, the Peripatetic signifying to his pupil. ‘My eyes! Bill Soames giv’ me sich a licker!’ evidently grateful, and considering himself complimented upon being included in the general dispensation. Keats’ entertainment with and appreciation of this minor scene of low life has often recurred to me. But his concurrent personification of the baiting, with his position, — his legs and arms bent and shortened till he looked like Bruin on his hind legs, dabbing his fore paws hither and thither, as the dogs snapped at him, and now and then acting the gasp of one that had been suddenly caught and hugged — his own capacious mouth adding force to the personation, was a remarkable and as memorable a display.
Thus stamped by nature, and moving in such a circle as we have described, Keats found among those with whom he lived nothing to check, but rather everything to foster, his hourly growing, still diffident and half awe-stricken, passion for the poetic life. Poetry and the love of poetry were at this period in the air. It was a time when even people of business and people of fashion read: a time of literary excitement, expectancy, discussion, and disputation such as England has not known since. Fortunes, even, had been made or were being made in poetry; by Scott, by Byron, by Moore, whose Irish Melodies were an income to him and who was known to have just received a cheque of £3000 in advance for Lalla Rookh. In such an atmosphere Keats, having enough of his inheritance left after payment of his school and hospital expenses to live on for at least a year or two, soon found himself induced to try his luck and his powers with the rest. The backing of his friends was indeed only too ready and enthusiastic. His brothers, including the business member of the family, the sensible and practical George, were as eager that John should become a famous poet as he was himself. So encouraged, he made up his mind to give up the pursuit of surgery for that of literature, and declared his decision, being now of age, firmly to his guardian; who naturally but in vain opposed it to the best of his power. The consequence was a quarrel, which Mr Abbey afterwards related, in a livelier manner than we should have expected from him, in the same document, now unfortunately gone astray, to which I have already referred as containing his character of the poet’s mother. The die was cast. In the Marlborough Street studio, in the Hampstead cottage, in the City lodgings of the three brothers and the social gatherings of their friends, it was determined that John Keats (or according to his convivial alias ‘Junkets’) should put forth a volume of his poems. Leigh Hunt brought on the scene a firm of publishers supposed to be sympathetic, the brothers Charles and James Ollier, who had already published for Shelley and who readily undertook the issue. The volume was printed, and the last proof-sheets were brought one evening to the author amid a jovial company, with the intimation that if a dedication was to be added the copy must be furnished at once. Keats going to one side quickly produced the sonnet To Leigh Hunt Esqr, with its excellent opening and its weak conclusion: —
Glory and Loveliness have pass’d away;
For if we wander out in early morn,
No wreathed incense do we see upborne
Into the East to meet the smiling day:
No crowd of nymphs soft-voiced and young and gay,
In woven baskets bringing ears of corn,
Roses and pinks, and violets, to adorn
The shrine of Flora in her early May.
But there are left delights as high as these,
And I shall ever bless my destiny,
That in a time when under pleasant trees
Pan is no longer sought, I feel a free,
A leafy luxury, seeing I could please,
With these poor offerings, a man like thee.
With this confession of a longing retrospect towards the beauty of the old pagan world and of gratitude for present friendship, the young poet’s first venture was sent forth, amid the applauding expectations of all his circle, in the first days of March 1817.
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