LITMIR.BIZ

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talk of these, particularly as I have been recently examining Voltaire’s opinions concerning Christianity, and turmoiling my head to ascertain fully my right to put him into my picture!

      Though Leigh Hunt is not deep in knowledge, moral, metaphysical, or classical, yet he is intense in feeling, and has an intellect for ever on the alert. He is like one of those instruments on three legs, which, throw it how you will, always pitches on two, and has a spike sticking for ever up and ever ready for you. He ‘sets’ at a subject with a scent like a pointer. He is a remarkable man, and created a sensation by his independence, his courage, his disinterestedness in public matters, and by the truth, acuteness, and taste of his dramatic criticisms he raised the rank of newspapers, and gave by his example a literary feeling to the weekly ones more especially.

      As a poet, I think him full of the genuine feeling. His third canto in Rimini is equal to anything in any language of that sweet sort. Perhaps in his wishing to avoid the monotony of the Pope school, he may have shot into the other extreme, and his invention of obscure words to express obscure feelings borders sometimes on affectation. But these are trifles compared with the beauty of the poem, the intense painting of the scenery, and the deep burning in of the passion which trembles in every line. Thus far as a critic, an editor, and a poet. As a man, I know none with such an affectionate heart, if never opposed in his opinions. He has defects of course: one of his great defects is getting inferior people about him to listen, too fond of shining at any expense in society, and a love of approbation from the darling sex bordering on weakness; though to women he is delightfully pleasant, yet they seem more to dandle him as a delicate plant. I don’t know if they do not put a confidence in him which to me would be mortifying.

      He is a man of sensibility tinged with morbidity, and of such sensitive organisation of body that the plant is not more alive to touch than he. I remember once, walking in a field, we came to a muddy place concealed by grass. The moment Hunt touched it, he shrank back, saying, ‘It’s muddy!’ as if he meaned that it was full of adders…. He is a composition, as we all are, of defects and delightful qualities, indolently averse to worldly exertion, because it harasses the musings of his fancy, existing only by the common duties of life, yet ignorant of them, and often suffering from their neglect.

      A few days later, on October 31, we find Keats writing to Cowden Clarke of his pleasure at ‘the thought of seeing so soon this glorious Haydon and all his creations.’ The introduction was arranged to take place at Leigh Hunt’s cottage, where they met for dinner. Haydon, the sublime egoist, could be rapturously sympathetic and genuinely kind to those who took him at his own valuation, and there was much to attract the spirits of eager youth about him as a leader. Keats and he were mutually delighted at first sight: each struck fire from the other, and they quickly became close friends and comrades. After an evening of high talk at the beginning of their acquaintance, on the 19th of November, 1816, the young poet wrote to Haydon as follows, joining his name with those of Wordsworth and Leigh Hunt: —

      Last evening wrought me up, and I cannot forbear sending you the following: —

      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 steadfastness would never take

       A meaner sound than Raphael’s whispering.

       And other spirits there are standing apart

       Upon the forehead of the age to come;

       These, these will give the world another heart,

       And other pulses. Hear ye not the hum

       Of mighty workings in some distant mart?

       Listen awhile, ye nations, and be dumb.

      Haydon was at no time of his life unused to compliments of this kind. About the same time as Keats another young member of Hunt’s circle, John Hamilton Reynolds, also wrote him a sonnet of eager sympathy and admiration; and the three addressed to him some years later by Wordsworth are well known. In his reply to Keats he proposed to hand on the above piece to Wordsworth — a proposal which ‘puts me,’ answers Keats, ‘out of breath — you know with what reverence I would send my well-wishes to him.’ Haydon suggested moreover the needless, and as it seems to me regrettable, mutilation of the sonnet by leaving out the words after ‘workings’ in the last line but one. The poet, however, accepted the suggestion, and his editors have respected his decision.

      Some time after the turn of the year we find Keats presented with a copy of Goldsmith’s Greek History ‘from his ardent friend, B. R. Haydon.’ All the winter and early spring the two met frequently, sometimes at Haydon’s studio in Great Marlborough Street, sometimes in the rooms of the Keats brothers in the Poultry or in those of their common acquaintance, and discussed with passionate eagerness most things in heaven and earth, and especially poetry and painting. ‘I have enjoyed Shakespeare,’ declares Haydon, ‘with John Keats more than with any other human being.’ Both he and Keats’ other painter friend, Joseph Severn, have testified that Keats had a fine natural sense for the excellencies of painting and sculpture. Both loved to take him to the British Museum and expatiate to him on the glories of the antique; and it would seem that through Haydon he must have had access also to the collection of one at least of the great dilettanti noblemen of the day. After a first visit to the newly acquired Parthenon marbles with Haydon at the beginning of March 1817, Keats tried to embody his impressions in a couple of sonnets, which Hunt promptly printed in the Examiner. It is characteristic of his unfailing sincerity with his art and with himself that he allows himself to break into no stock raptures, but strives faithfully to get into words the confused sensations of spiritual infirmity and awe that have overpowered him: —

      My spirit is too weak — mortality

       Weighs heavily on me like unwilling sleep.

       And each imagin’d pinnacle and steep

       Of godlike hardship, tells me I must die

       Like a sick Eagle looking at the sky.

       Yet ’tis a gentle luxury to weep

       That I have not the cloudy winds to keep,

       Fresh for the opening of the morning’s eye.

       Such dim-conceived glories of the brain

       Bring round the heart an undescribable feud;

       So do these wonders a most dizzy pain,

       That mingles Grecian grandeur with the rude

       Wasting of old Time — with a billowy main —

       A sun — a shadow of a magnitude.

      He sends this with a covering sonnet to Haydon asking pardon for its immaturity and justly praising the part played by Haydon in forcing the acceptance of the marbles upon the nation: —

      Haydon! forgive me that I cannot speak

       Definitely on these mighty things;

       Forgive me that I have not Eagle’s wings —

       That what I want I know not where to seek;

       And think that I would not be over meek

       In rolling out upfollow’d thunderings,

       Even to the steep of Heliconian springs,

       Were I of ample strength for such a freak —

       Think too, that all those numbers should be thine;

       Whose else? In this who touch thy vesture’s hem?

       For when men star’d at what was most divine

       With browless idiotism — o’erwise phlegm —

       Thou hadst beheld the Hesperian shine

       Of their star in the East, and gone to worship them.

      Haydon’s

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