31 John Keats

Dr. Beena Agarwal

30.0      Learning Outcomes

30.1      Introduction

30.2      John Keats: A Biographical Sketch

30.3      John Keats: A Critical Evaluation of His Art and Ideas

30.4      Critics on Keats

30.5      Authenticity of Imagination: A Critical Evaluation

30.6      Authenticity of Imagination: Significant Extracts

30.7      Wordsworth‟s Poetry: A Critical Evaluation

30.8      Wordsworth‟s Poetry: Significant Extracts

30.9      Keats Axiom‟s in Poetry: A Critical Evaluation

30.10    Keats Axiom‟s in Poetry: Significant Extracts

30.11   Chambers of Human Life: A Critical Evaluation

30.12    Chambers of Human Life: Significant Extracts

30.13    Poet Has No Identity: A Critical Evaluation

30.14    Poet Has No Identity: Significant Extracts

30.15    Vale of Soul Making: Critical Evaluation

30.16    Vale of Soul Making: Significant Extracts

30.17    Summing Up

30.18    Self-Assessment: Test Your Knowledge (Multiple Choice Questions)

30.19   Self-Assessment: Elaborate the Idea

30.20    Self-Assessment: Answer the Questions

30.21    Know More: Bibliography

30.0 Learning Outcomes

Students will get ample information about the life and works of John Keats. The detailed analysis of the concept of romanticism will help students to get an insight into the romantic ideology of Keats. The detail analysis of the selected letters will open the possibilities for the students to seek interpretations of Keats vision and theory of poetry constructed in his letters. The citation of significant statements will provide more opportunity to promote fresh interpretations of Keats concept of poetry. Exercise in the form of multiple choice questions and long questions will help them in making an assessment of their own knowledge. Bibliography for further reading will open the resources to gather more information about the vision and ideology of Keats.

30.1 Introduction

The literature of early nineteenth century is of paramount significance for the contribution of romantic poets in expanding the horizon of English poetry. Among the romantic poets there are two generations of romantics. Elder of Generation including Wordsworth, Coleridge and Southey who discarded the revolutionary ideology of French Revolution and expressed their sympathy for poor peasants. The younger group of Romantics include Byron, Shelley and Keats who were inspired by the the spirit of Revolt. Being inspired by Romantic Ideals, they constructed their own world of imagination beyond all cramped conventions of social order. They expressed intense passion for liberty, for beauty, for individual dignity. To seek a relief, they turned to Middle Ages. They were impressed by the tendencies of Medievalism and Hellenism.

“Romanticism” is a confusing term and has invited numerous interpretations and justifications. It is controversially denotes the tendencies that stand in sharp contrast to classicism. It usually recommends the spontaneous display of imagination and the expression of emotions and passion. It stands for the qualities of subjectivity, naturalism, humanism and liberalism. Prof. Herford looks at Romanticism as “an extraordinary development of imaginative sensibility.” Water Pater defines romanticism as “strangeness added to Beauty.” Abercumbie in his analysis of the concept of romanticism gives importance to the Quality of “Inner experiences”. In C.H. herford‟s opinion “Romanticism” is the expression of “liberty of Imagination”. Walts Dunton defines it as “Renaissance of Wonder”. According to Grievs, Romanticism stress on spirit rather than on form. T.S. Eliot considers Romanticism inferior to classicism because it focuses on the quality of “individualism”. According to Douglas Bush Romanticism represents turning away from „reason‟ to „scenes‟, feeling, imagination, institution, primitive, medieval, from the sophistication of urban society to the natural surroundings of rural countryside, from real to the ideal, from the expression of accepted moral faith to the discovery of truth, from belief in God to belief in man, from established philosophical creeds to established self revelation, from the ideal or order to the principle of flexibility and freedom, from traditionalism to self conscious originality. All these major elements of romanticism became the integral part of the sensibility and creative impulse of John Keats. Both in his letter and poems, we can appreciate the Qualities of love for beauty, passion for sensuousness, supernaturalism, medievalism, Hellenism, sympathetic realization of human suffering and matchless artistic excellence. It gave a new direction to English poetry emancipating it from the neoclassical ideals of rationality and correctness.

30.2 John Keats: A Biographical Sketch

John Keats was born in 1795 in London in the family of an Ostler. His father died when he was only nine year old and consequently at the age of fifteen was apprenticed to a Surgeon. For him, to join medical profession was a method to compromise with adverse conditions and was a matter of his choice. From Cowden Clark he got a copy of Spencer‟s Faerie Queene and the reading of it inspired his sensitive genius to realize the sensuous charm of poetic creed. In his medical profession he used to contemplate of a world of beauty and fantacy. After getting a copy of Chapman‟s translation of Homer, Keats got a meticulous exposure to Greek art and beauty Homer‟s Illiad revealed to him a world of beauty. In 1816, Keats came in contact with Leigh Hunt who significantly influenced him to modify his sensibility.

Keats first volume of poems appeared in the year 1817. This volume contained his first celebrated poem Sleep and Poetry. In this poems Keats exposed his sensuousness and passion for beauty. In the year 1818, he produced his ambitious poem Endymion where he categorically mentioned, “A thing of beauty is a joy forever.” It is an allegorical poem revealing the love of moon Goddess Cynthia and Shephard Prince of Mount Latmus. It is a poem in which there is an excess of sensation than that of the depth of thoughts. Endymion was bitterly criticized by the critics in Blackwood’s Magazine and the Quarterly Review. Keats famous odes „Ode to Autumn‟, „Ode to Nightingale‟, „Ode to Gracian Urn‟, „Ode to Psyche‟ and „Ode to Indolence‟ were composed during 1818-19. In 1820, Keats produced a volume of poems containing Isebella, Lamia and Eve of St. Agnes. Isebella is based on Boccaccio‟s Decameron based on the idea of love. Lamia, a narrative poem is the story of a serpent woman. The Eve of St. Agnes is based on the theme of love composed in the atmosphere of magic and fantacy of middle ages. Keat‟s two popular poems The Eve of St. Mark and Hyperion remain unpublished. Besides these major poems, Keats left a large number of poems that were published only after his death.

Keats in his life time wrote a large number of letters to his friends including Benjamin Brilley, John Hemilton Reynolds, John Taylor, Richard Woodhouse, James Rice and Others. These letters are not the exchange of ideas only but a sincere contemplation on the art of poetry and sympathy for humanity. It brings a vivid view of Keats sensibility, expectations and ideology. These letters are authentic revelation and justification of Keats philosophy of life and therefore, they are rich treasure of English literature.

30.3 John Keats: A Critical Evaluation of His Art and Ideas

John Keats with his poetic sensibility set the model of lofty ideas and consummate artistic skill. For him poetry should be great and unobtrusive and it must have a direct effect on the soul of reader. Moreover true poetry must be free from the burden of didacticism and utilitarian motives. Poetry, for Keats is not an expression of intellectual ability but must be spontaneous and natural. In absence of spontaneity, poet fails to communicate intensity of his emotions.

Further the greatness of poetry consists in its effect. Keats admits that poetry should surprise by the fine excess not by singularity. Keats concept of poetry is comprehensive and therefore, he exhorts that good poetry must embody all experiences of life. He compares human life with different chambers representing different stages of growth and sensibility including pre-sensuous stage, thinking principal, sensuous pleasure and the ultimate expression of philosophical realizations that lead to „fine excess‟. Poetry according to Keats is not abstract thought – it is never mere sensation, it is rich thought with sensation, it is beauty which is truth. According to Keats a true poet must have negative capability. It suggests poets capacity to modify his sensibility according to different situations, experiences and characters. He admits, “A poet is the most unpoetical of anything in existence, because he has no identity.”

Keats is designated as a „pure pet‟ because his poetry is free from the burden of preaching and spiritual messages. He believes that poet must represent the experiences that are close to his natural sensibility and therefore it must be „spontaneous‟ and full of intensity. It brings joy born out of the realization of beauty. He admits, “A thing of beauty is a joy forever.” For Kats with a poet the idea of beauty overcomes all other considerations. It is therefore, he prefers the authenticity of „Sensation‟ instead of „speculations‟. In the depiction of nature or in the presentation of middle ages, Keat is swayed by the cult of intense passion instead of any idealism or reflective tone. In his odes he presents the different spectacles of nature like the beauty of Autumn, beauty of green trees, beauty of the song of Nightingale only to get sensational pleasure out of them. Through these pleasures he was endeavoring to search out truth. The realization of beauty is a gateway to the realization of truth. He accepts, “a poet will never be able to rest in thoughts and readings, which do not also satisfy imagination and give to truth which is also reality. He admits that poet must be indifferent to the contradictory experiences of joys and sorrow. Poet must present the things as they are without being lost in temptation of idealizing them because the realization of beauty transcends the limitations of time, space and individuality.

Keats is convinced that “with a great poet, the sense of beauty overcome every other consideration.” In the lap of nature, he enjoys the beauty of the objects of nature because in Endymion he mentioned, “A thing of beauty is a joy or ever”. In his long poems Lamia and The Eve of St. Agnes he enjoys the beauty of magical world as it used be celebrated in Middle Ages. H enjoys the beauty with all five senses. However it is evident that Keats in his enjoyment of beauty reflects on the misery of human existence. In his sensuousness there is touch of sentiments, in pleasure the realization of human suffering and in his aestheticism there are the echoes of intellectualism. His idea of principal of beauty in all things is the realization of Supreme Truth behind the grossness of phenomenal world. This quest for truth enables us to establish that Keats was not out an escapist but was seriously related to the realities of life. Keats accepts life in its totality with all its joy and beauty as well as its pain and despair.

Keats in the realm of Romantic literature particularly English poetry, got exclusive recognition for his “Hellenism” a tendency to love and appreciate Greek art, culture and spirit. In his writings, Greek influence came through his reading of Greek classics. Lampier‟s classical dictionary and through Greek sculptures. He borrowed the subject matter for his poetry through Greek sources. His passions for Greek sculpture can be appreciated in On Seeing the English Marbles, Old to Indolence and Ode on a Gracian Urn, Endymion etc. In describing the spectacle of nature, he reconstructs Greek mythology. It was the result of Greek culture that Keats worships the ideal of beauty in all objects. Like Greeks, he avoids burdening his poetry with profound philosophy. Greeks Hellenism consists in his love for beauty, pagan delight in nature, attraction for Greek writings and sculptures, the use of concrete imagery and clarity of expression.

Besides of Hellenism, Keats romantic temper motivated him to turn back to middle ages. Against the gloomy and melancholic conditions, he constructs the fanciful atmosphere of middle ages. He stresses upon the romance of chivalry, superstitions, magic and legends. Keat‟s The Eve of St. Agnes is the narrative account of love and atmosphere in medieval setting. La Belle Dame Merci is also medieval in its setting and atmosphere. In Ode to Nightingale the flights of imagination to present the ideal world of beauty exposes the impact of middle ages.

Keats in his love for beauty, sensation, art and culture, gloomy picture contrasting rapturous atmosphere claims his romantic temper. However, it is true that Keats romantic temper shares the sublimity of classicism. Keats vision and art is a fine blending of romanticism and classicism. Keats derived his classical spirit from Greek mythology and Greek poetry. He appreciates the glories of nature with pagan delight. Like pagan Greek he had passion for beauty. Keats classical temper best reflects in his rigid order and restrain. In his odes, he tried to present a harmonious union between two contradictory elements – classical order and romantic spontaneity, elegance of poetic art and the excessive display of imagination. In his odes he achieved the perfection of style with the ease and grace of romantic ideology.

30.4 Critics on Keats

1.  There is no need to insist further that the World Philosophy in Keat‟s writing does not mean the technical subject which bears that name what it means is comprehension of the mystery of human life. (Middleton Murry)
2.   Keats was far from being indifferent to truth, or from considering it unimportant for poetry.
3. It was a temper in Keats of unruffled pleasure, a sensitive, girl like, sensuous pleasure in beauty, and in the consolation of beauty in the soul; a pleasure which loved also to have the body comfortable while the soul enjoyed, so that all the things might be in harmony. It was also a temper in him which freed from religious and philosophical troubles of men, could play with nature (Stafford A. Brooke)
4.   It is this approach to poetry as an art rather a vehicle for prophecy that accounts for the marked distinction between the distinction of Keats and that of either Wordsworth or Shelley. (Grierzon)
5. The odes of Keats like all great poetry reveal to us striking novelty of thought. The emotions that pulse through them are as old as man‟s aspirations and man‟s acting heart. But nowhere in our literature, save in some of Shakespeare‟s sonnets, do these emotions affects us with the same haunting pathos, for no where else do they find such intensely imaginative expression. (Selin Court)
6. The spirit which animates the poetry of Keats, is essentially the spirit of delight, delight in the beauty of nature and the vividness of sensation, delight in the charms of fables and romance, in the thoughts of friendship and affection, in the anticipation of future and in the exercise of art itself which expresses and communicates all these joys. (Sidney Colvin)
7.  As artist Keats can live in the moment, in the setting sun or in the sparrow picking about the gravel. But the next sentence brings him to the resources of human spirit in meeting misfortune. (M.H. Abhram)

30.5 The Authenticity of Imagination: A Critical Evaluation

This letter was addressed to Benjamin Bailey on November 27, 1877. At the outset of the letter Keats reflects on his relationship with Haydon and concludes that inspite of the understanding at mental levels, there is a lack of the understanding of emotions and motives. This breach leads to all confusions and conflicts. He said, “two minds meet, and do not understand each other time enough to prevent any shock or surprise at the conduct of either party.” (273) In this spirit Keats dwells on exposing the distinction of Genius and Heart. It implies the distinction of sensitivity and intellect. Keats admits that man can develop „humility‟ and capability of „submission‟ with the feelings of heart. Man of Genius can control the resources of power with their intellect but they have no power of character to prevail upon the sensitivity of others. According to Keats each individual must be capable enough to retain his individual sensitivity. He points out, “Man of Genius are great as certain ethereal chemicals operating on the mass of neutral intellect – but they have not any individuality – any determined character – I would call the top and head of those who have a proper self Man of Power.”

Keats recommends that the end of all problems is the authenticity of imagination. Imagination is an expression of the real self of an individual beyond the rational control of intellect. The passions are true to human self and they can lead to the realization and creation of essential beauty. He compares imagination to “Adam‟s dream”. It implies the idea of truthful realization of fancy beyond the domain of physical world. According to Keats, “reasoning” cannot lead to the construction and revelation of truth. It is therefore, he expresses his longing for life of sensation as compare to the life governed by rational intellect, “O for a life of sensation rather than of thought”. According to Kats, the real „happiness‟ in this world can be sought only after enjoying the pleasures with sensation or the sensuous pleasures. Being inspired by such a vision Keats advises that the wasteful search after truth is useless because one can seek delight only in „sensation‟. His vision is that imagination and its „empyreal reflection‟ is suggestive of spiritual life. For Keats the pleasure of sensation is the pleasure of spirituality.

John Keats in this letter to Bailey points out that the persons who are governed by imagination have their rewards. They exhibit the power to assimilate the seeming contradictions of this world. He can compare great things with small. In their artistic revelation, one can find oneself in a state of elevation rising on the wings of imagination all grossness diminishes and one can find beauty, delight and sensation everywhere. He addresses imagination as Old Wine of Heaven. He further admits that this state of delight moved by imagination expands the horizon of thinking “increase in knowledge and know all things.” Keats makes a distinction between the physical realization of events the imaginative perception of them. All the physical experiences provide only momentary pleasures. These experiences have no power to lead beyond the moment, “I scarcely remember counting upon any happiness, nothing startles me beyond the moment.” Keats defends that the real responses and experiences are not the ultimate expression of feelings. He makes a confession that his cold responses are not the expression of “heartlessness” but of “abstraction”. It is, therefore, the external expressions are not the sign of the real feelings. Still Keats puts an end of discussion with the observation, “As soon as soon as one steps feeling the influence of passion, there is essentially the lack genuineness of feelings.

30.6 Authenticity of Imagination: Significant Extracts

1. I am certain of nothing but the holiness of the hearts affections and truth of imagination.
2. O‟ for a life of sensation rather than of thought! It is “vision in the form of youth” a shadow of reality to come.
3.  What Time! I am continually running away from the subject – sure this cannot be exactly to the case with a complex mind. One that is imaginative and at the same time careful of fruits – who would exist partly on sensation partly on thought to whom it is necessary the years should bring philosophic mind – such as one I consider yours and therefore, it is necessary to your eternal happiness that you not only drink this Old Wine of Heaven.

30.7 Wordsworth’s Poetry: A Critical Evaluation

The letter entitled Wordsworth‟s poetry addressed to Reynolds appeared on February 3, 1818. Keats inherit romantic temper and attained the excellence like that of Shakespeare, still in his letters and observations, he pays rich tribute to William Wordsworth. Here he expresses his positive view for the cause of simplicity that was the basis of Wordsworth‟s poetic theory and convention. He admits, “simplicity is the only thing.” Even in his „egoistical sublime‟ there are the instances of simplicity containing the profound philosophy of life conditions. The over speculative temperament often spoils the grace of expression and the expressions moves in the direction of falsehood. Keats finds it useless to make false expression with the overbrooding on the given issue. He says, “Every man has his speculations, but every man does not brood and peacock over them till he makes a false coinage and deceives himself.” It is seen that people look in poetry for pretension designs instead of pulpable designs. It is only an un-obstructive and non decorative poetry that can effect human soul and sensitivity. Making his point more explicit, Keats cites the example of flowers. Even the faded flowers require no pomp and show to make their beauty felt all around.

In his defence of simplicity, Keats makes a comparison of modern poets and Elizabethan poets. He admits that modern poets are like “Elector of Hannovers”. They run after the search of exceptional and minute details sacrificing the cause of naturalness and simplicity. Even the search for remote and farfetched facts is not desirable in poetry. Appreciating the approach of ancients Wordsworth admits, “The ancients are Emperors of vast Provinces, they had only heard of the remote ones and scarcely cared to visit them.” He makes a rhetorical interrogation and tries to assert one should take direct, simple and straight forward course without falling into the web of intricacies, “Why should we kick against the Pricks, when we can walk on Roses?” The tendency to receive and to express directly adds a rare grace and dignity. In this respect he even often criticizes Wordsworth and Leigh Hunt for the extraordinary imagination.

30.8 Wordsworth’s Poetry: Significant Extracts

1. Every man has his own speculations but every man does not brood and peacock over them till he makes a fable coinage and deceive himself.
2. Poetry should be great and unobtrusive, a thing which enters into one‟s soul, and does not startle it or amuse it with itself – but with its subject.
3. I don‟t mean to deny Wordsworth‟s grandeur and Hunt‟s merit, but I mean to say we need not be teased with grandeur, and merit when we can have them uncontaminated and unobtrusive.

30.9 Keats Axioms in Poetry: A Critical Evaluation

This extract is a part of letter of Keats addressed to John Taylor written on February 27th, 1818. In this letter, Keats expresses his resentment at the prejudiced criticism of the critics on his creative verses. Taylor advised him to make alteration of punctuation marks in his monumental work Endymion. He points out that hyper-criticism is not of much harm as compare to the prejudiced observations on a work of art. It does a great harm to the poetic sensibility and the endeavours of a creative artist. The prejudiced observations hurt an individual in an unconscious manner. He makes his confession that in Endymion, he has his own grounds of justification that no logical proof or justification. In his observation he emphasizes two facts: Poetry is not an expression of individual talent only. The power of poetry lines in „fine excess‟ in other words in the capacity to move others. Poetry has a direct and instant effect on the reader because poetry is expression of highest thoughts. It surpasses the limitations of rational verbal and grammatical structures. Here Keats equates it to „remembrance‟. It implies that greater poetry remains rooted in memory.

For Keats‟ beauty of a work of art has an instant effect. It has no midway between liking or disliking. The beauty of poetry can‟t be estimated in terms of greatness of content but in terms of its instant power to make readers breathless. In this respect Keats promotes the „Effective Theory‟ of poetry as it was recommended by Longinus in his treatise on the sublime. He compares the rise, the progress, the setting of imagery to Sun that can illumine all darkness.

Keats admits that poetry is natural and spontaneous but poetry does not drop as naturally as leaves come to tree. In Endymion even if there are imperfections, Keats expresses his satisfaction about it. He expresses his contentment for his realization of the depths of Shakespeare. He can write with ease without taking recourse to affectations and artificial decorations. Like Shakespeare, he possesses his ability to identity with the objects that are being presented. He accepts with all humbility the attention that he has received from his friends. He considers humbleness in his writings and life better than arrogance. However with all confidence he makes an assertion that a poet is supposed to maintain his self identity instead of mechanical imitation yielding under the force of great masters. In this letter Axion of Poetry, Keats emphasizes ideals of individuality, naturalness, self respect, sublimity of thoughts as compare to the grandeur of language, and effectiveness of poetic expressions.

30.10 Keats Axiom’s of Poetry: Significant Extracts

1. I think poetry should surprise by a fine excess and not by singularity. It should strike the reader as strong wording of his own highest thoughts and appear almost remembrances.
2.  I have a great reason to be content, for thank God! I can read and perhaps understand Shakespeare to his depths; I have, I am sure many friends, who if, I fail, will attribute any change in my life and temper to humbleness rather than pride.

30.11 Chambers of Human Life: A Critical Evaluation

This letter of Keats that has been referred as Chamber of Human Life is addressed to John Hamilton Reynolds and it was written on May 3rd, 1818. Keats begins the letter with the confession that a sensible poem or letter can‟t be composed in a state of “disgusted feeling”. The state of gloom essentially effects nature, structure and effect of the work of art. Poet denies it perhaps because the end of art is pleasure and delight not gloom or despair. Keats sincerely shares his feels for Tom who was confined to bed in hospital. He also expresses his pain for learning his medical profession. But he has a realization that the change of profession with growing maturity will lead to no fruitful changes. In childhood individual perceives reality within the framework of reality but with growing maturity one strengthens the will and sensibility, “Every Department of Knowledge we see excellent and calculated towards a great whole – I am so convinced of this that I am glad, at not having given away my medical books.”

This letter of Keats was written as a response to one single observation of Reynolds, “I fear there is little change of anything else in this life.” (Hamilton) Keats draws the identical conclusion but makes a comparison of the genius of Milton and Wordsworth to sanctify his point. In drawing a comparison between Wordsworth and Milton, Keats categorically mentions that Wordsworth‟s passion for humanity was suggestive and deep rooted. On the other hand Milton‟s concept of humanity was uncertain and far fetched. He appreciates that the assumptions of philosophy are justified only so long they are close to human heart. For Keats philosophical canons are significant as they directly correspond to human will and ambitions.

Keats considers that before constructing any sort of philosophy, one must have a realization of those experiences with those realizations, the reader looses the “rough edge” or “fragments” of a work and moves in the direction of a “whole”. It suggests that the surface realization of the facts are firesome what Byron defines, “Knowledge is sorrows.” However constructing the philosophy of life beyond them in which individual soul elevates, it brings joy, delight and pleasure. He recommends the cause of compactness and „wholeness‟. The absence of this wholeness lead to digressions and misbelief. He defines this idea of compactness in contrast to his letter and confesses, “I hope you will find all my long letters of that species and all will be well for by merely touching the spring deliberately and eternally, the rough edged will fly immediately into a proper „compactness‟ and thus you may make a good wholesome leaf, with your heaven in it, of my fragment.”

In the second part of the letter, he turns to evaluate the vision and genius of Wordsworth avoiding unwanted details. He appreciates Wordsworth for his “extended vision or circumscribed grandeur.” He subsequently investigates Wordsworth‟s philosophy of human life. He accepts that like Wordsworth human life is like a “large Mansion of many apartments.” Infancy is the first step of the mansion of life. It is a state of innocence in which the reflective and speculative life no longer begins. Keats defines childhood as “thoughtless chamber”. Wordsworth in Immortality ode admits that child comes with the “trailing colonds of glory” and remains unaffected by the weight of “unintelligent world”. However, in the second stage even without deliberate efforts, the infancy thrusts in the second chamber by “reawakening of the thinking principle within us.” Idea is that with the attainment of maturity man gets involved in the crisis of the world. Keats defines this second chamber as “chambers of Maiden Thought”. Man starts getting insight into the complexity of human nature. In this involvement in thinking process man finds a reflection of gloom and melancholy. Man finds this world full of misery, heart attacks, pain, sickness and oppression. It is a dark part of human life. The realization of these horrors spoil all grace and beauty. Besides of sorrow and darkness, the bitter experiences of worldly order leads to anxiety, uncertainty and confusion. Keats mention that chamber of Maiden thoughts open several ways but “all leading to dark passage.” He praises Wordsworth because with his mystic vision he has tried to explore “burden mystery” in the poem Tinter Abbey. Keats is influenced by Wordsworth because in Wordsworth‟s vision, he finds a justification of his own suffering. Keats accepts, “He is a genius and superior to use.” He considers that Wordsworth is deeper than Milton. Keats admits that Milton‟s philosophy can be understood even by a man of average intellect. Milton‟s philosophy was the product of a time thriving under conflicting pull of ideas. Inspite of his preference to Wordsworth, Keats accepts the greatness of genius of Milton and gives him an equal status to Wordsworth. He acknowledges that only poet‟s capacity to sink into human heart can bring everlasting grace and beauty to a poet. Regarding these two poets, Keats comments, “He did not think into the human heart as Wordsworth has done. Yet Milton as a philosopher had sure as great powers as Wordsworth.”

In the concluding part of the letter Keats becomes sad when he finds Tom spitting blood in the hospital. Still Keats exhibits his confidence in the presence of ultimate truth, the reality existing behind phenomenal world. Keats gives not specific description of „Third Chamber of Life‟ but considers it lucky one because it is “started with the wine love.” The abrupt silence at this stage is suggestive of the fact that Keats cherishes the passions for love and friend. The abrupt binding of thought gives an insight into the personal frustrations and failures occurred in his life. The emotional undertone, philosophical intensity, reflective mood, gentleness of spirit is remarkable in Chambers of Human Life.

30.12 Chambers of Human Life: Significant Extracts

1. I feel it would not make the least difference in my poetry, when the mind is in its infancy a Bias is in reality a Bias, but when we have acquired more strength, a Bias becomes no Bias.
2. An extensive knowledge is needful to thinking people – it takes away the heat and fever; and helps by widening speculation to ease the Burden of Mystery, a thing which I begin to understand a little, and which weighed upon you the most gloomy and true sentence in your letter.
3. I compare human life to a large mansion of many apartments, two of which I can only describe, the doors of the rest being as yet shut upon me. The first was step into we call the infant or the thoughtless chamber in which we remain as long as we do not thinking.
4. After all, there is certainly something real in the World – Moor‟s present to Hozlitt is real, but I know truth is there in something real in the world.

30.13 Poet Has No Identity: A Critical Evaluation

The letter that came on October 27, 1818 entitled „Poet has No Identity‟ is addressed to Richard Woodhouse. In this letter, Keats makes his personal observation on the identity and the sensibility of a poet. The in depth analysis of thoughts contained in the letter give contradictory suggestions. In the beginning of later, Keats conveys his thanks to his friend for the warmth of sentiments that he conveys in these letters. Here Keats ventures to expose two principles of poetry – at the first place he talks of the nature of poetical character and in the second place he reveals his views of life as he supposed to follow.

In his discussion on poetical character he acknowledges the independent characters of the great poet like Wordsworth. He considers himself only as a member of poetic community without having any independent status as one can often define Wordsworthian. The discussion suggests Keats concept of Negative Capability. A poet even in absence any specified identity retains his capacity to identity himself with different characters and situations. Beneath the surface, it gives suggestion of Keat‟s faith in the supreme identity of a poet. For him poet has cosmic self in which there is no two identities. Poets seem to be governed by the power that is beyond and above the phenomenal reality. He says, “It is not itself. It has no self. It is everything and nothing. It has no character.” It suggests that poet‟s identity can‟t be defined in specified order. In his nature poet remains indifferent to the experiences of pleasure and pain. Poet can share the sensibility rich and poor, mean or elevated. He can share each experience and can identify himself with each object. Keats inspite of being a romantic poet defends that poet should be objective. For him, there is no difference in the images of Iago and Imogen. In a state of speculation poet can equally frame the gloomy experiences as well as delightful experiences. Equilibrium and consistency contributes to the personality of a poet. It is the distinction of poets real self that he can involve with others without sharing his own inner self. Poets shares and conveys that state of thought and sensibility that can ensure the expression of the feelings of others. Keats categorically points out, “The poet has none, no identity – he is certainly the most unpoetical of all Gods creatures. If then he has no self, and I am a poet, there is the wonder that I should say I would write no more?” Keats is more precise in his view when he admits that poets views should not be taken as an experience of independent views because poet cannot expresses his real nature or real self in his writings. This idea of „absence of identity‟ is not a weakness but it indicates the comprehensiveness of poet‟s personality to be a part and parcel of everything that is outside his personality. He can put his self in his inner self as both in the life of a child as well as of a grown up person.

In the second place Keats tries to expose his mission of life that he intends to practice. He admits that he has realization of the suffering of humanity and with his poetry, he wants to do good for the sake of humanity, “I am ambitious of dosing the world some good.” Moreover he is ambitious to achieve “high summit” of poetry. However he expresses his desire to forget himself in the world of art and beauty. The confessions made in this letter justifies that the Keats is not an escapist. For him the greatness of poetry consists of its celebration of the dignity of humanity. He expresses his desire that he must retain his interest in humanity. “All I hope is that I may not lose all interest in human affair.” He considers that his interest for humanity will spoil the grace of his vision. Keats further admits that the pleasure of life lies in „feelings‟ born out of the realization of beauty. He intends to write his poets with the love for humanity and the delight in beautiful. “I should write from the mere yearning and fondness, I have for the beautiful.” For him beauty is not a concept of individual interest only but an uncompromising faith in human dignity.

30.14 Poet Has No Identity: Significant Extracts

1. It is not itself? It has no self – it is everything and nothing. It has no character. It enjoys a light and shade, it lives in Gusto, be it foul or fair, high or low, rich or poor, mean or elevated. It has as much delight in convincing an Iago as an Imager.
2. The poet has none – no identity, he is critically the most unpractical of all God‟s creatures. It then he has no self, and the wonder that I should say I would write no more?

30.15 Vale of Soul Making: A Critical Evaluation

The letter addressed to George and Georgians Keats subtitled as Vale of „Soul making‟ appeared on 14th Feb. and 13th May, 1819. It is a letter with complex philosophical notions in which Keats focuses on the issue of conditions of life instead of exploring the poetic theory. It is motivated by an incident in which he got black eye hit by a cricket ball. Kats with this problem come in a state of withdrawal. He feels dull and is not motivated by external agencies. He finds himself in a state of „langour‟ or „laziness‟ where his mind is not motivated to take up any work enthusiastically. Instead of being frustrated, he has a realization of consolation that he can relax both in body and mind. For a while he becomes indifferent to the worldly experiences, “Neither poetry nor ambition nor here have any alterness of countenance.” He remains indifferent to all activities around. More than the state of physical withdrawal, the mental withdrawal is more significant. This state of solitude and withdrawal has been defined as a state of „happiness‟, a happiness born out of calm stoicism to worldly affairs, “This is the happiness, a rare instance of advantage in the body over powering mind.”

Keats reflects on the conditions of world where pain dominates in all forms. „The weariness‟, „the fever‟ and „the fact‟ provide no opportunity for comfort and consolation. The quest for love, pleasure and delight are all illusions only. Man finds himself lost in the ordeal of circumstances because “circumstances are like clouds continually gathering and bursting.” The analogy of clouds suggest the abrupt appearance of adverse condition that provide a man no opportunity to relax. Keats accepts that man gets rare opportunity for pleasures and self affirmation. The occasions of pleasure and laughter leads to pain and oddity. The momentarily pleasures are the prefaces to upcoming sorrows and adversities. In this world, one is bound to share the burden of agonies not only of his own doings but also of doings of friends and kins.

Keats in the exposition of thought in this letter turns to reflective mode on the realization of the futility of human conditions. In a state of langour for a while he is indifferent to worldly affairs but he makes confession that it is difficult for a man to develop complete „indifference‟ or „disinterestedness of mind.‟ Even in sharing the misery of other, man finds occasions of some melo-dramatic conditions. According to Keats, a person can‟t overcome subjective perception of events. To survive for the sake of other is only an illusion of human predicament. It is the spiritual strength and honesty of Keats that he admits his limitations and it has no cause of injury to society. It is a strategy of survival to proceeds with personal interest remaining indifferent to the pain of others. If man give himself only to the pain of others, he find it difficult to get the occasions for his own survival. Keats seeks the identification of this philosophy in the animal world where Hawk depends on Robin and Robin survives on the conditions of worms. It is also the condition of human world that like Hawk that men make their way on the miseries and sufferings of others. It is a part of their instinctive behaviour. Keats seeks similarities in the instinctive behaviour of man and animal. Born of them require shelter to survive and „wandering eye‟ as we can find it in Hawk. However there are differences of the modes of pleasures and amusements. Each creature in this world has its own mechanism of amusement but the „eagerness‟ of survival is similar everywhere. However each human being has a purpose and eye to attain his own amusements.

In the subsequent expansion of idea, Keats proceeds with the observation of Wordsworth, “We have all one human heart.” Keats elaborating the meaning of this observation admits that man no longer survives in isolation because retains „electric fire‟ that generates the sensibility for improvement, purification and new heroism. Inspite of the ills and evils of human life, the tendency for upward elevation and the growth of soul is a distinction of human personality. Keats defines this quest for purifying as „pearl in rubbish.‟ This tendency for purification is an exceptional tribute but is difficult to find. In this context Keats makes reference only to the lives of Socrates and Jesus who promoted absolute „disinterestedness‟ and sacrificed their lives for others. It is the quality of „disinterestedness‟ that imparts greatness and timeless appeal to the thoughts and actions. He pays his rich tribute to Socrates whose life has become a parable of human dignity for his quality of „disinterestedness‟. Inspite of his indifference to expression of his own ideas his Mind (philosophy) and saying for posterity have been transmitted by others. Kats establishes that great thoughts like that of Socrates are conducive to dispel the darkness of illusions and ignorance. In this respect, Keats was aware of far reaching impact of good thoughts and good writings in the social order. He defines writings as “straining of particles of light in the midst of great darkness.” He accepts that greatness consists in its effect instead of it status.

Sublimity, too is an instinctive attribute. He categorically defines, “the commonest man shows a grace in his quarrel.” This realization of the greatness even in simple objects constitutes the spirit of poetry. It is, therefore, poetry is the celebration of the real and authentic experiences. It gives an insight into Keats theory of poet. For him poetry is not the celebration of „Ideal‟ or „imaginary‟ only but the celebration of the real reality that is a part and parcel of experiences of life. He confesses, “No – not for myself feeling grateful as I do to have got into a state of mind to relish them properly – nothing ever becomes real till it is experienced. Even a proverb is no proverb to you till your life is illustrated.” Such a deep felt observation is significant to refute the change of escapist brought against Keats.

Keats further ventures to expose the truth that it is very difficult in human world to get peace of mind. If there is any peace, it can be inherited only after being governed by “unsophisticated senses.” It suggest that senses are true to human sensibility. Man is not free from the burden of mishappening and injustice. He has to bear the „debts and providences‟ of civilized life. Man is subjected to „mischances‟ like „beasts of forest‟. It shows the suffering is an instinctive human experience and the pressure of them spoils all grace, dignity, intellect and good sense. Man‟s efforts to emancipate himself from „weariness‟ of this world is only a little hope. Even the efforts to come out these sufferings lead to another mode of pain and suffering. Keats reflecting on the futility of human efforts asserts, “they are waiting for a fresh set of annoyance.” However like a super observer of the panorama of human existence he, admits that morality is a consolation. All imperfection and miseries are the part of human life and after death heaven can restore perpetual peace and comfort. Keats warns that it is difficult for mankind to bear the pain of all troubles in the hope of happiness after death. It is difficult to idealize the situations of happiness. Such as a person tries to philosophize the ice away from the Rivers.

Keats after a close reflection on the issue of pain and happiness dwells on exposing the truthfulness of sensation. It is difficult to escape the power of sensation. He illustrates this fact by citing the example of a rose. As soon as a rose blooms on a beautiful morning, it enjoys but as soon as it faces cold wind, it withers away. It shows that happiness and pains depends on the natural sensation and it is difficult to escape their impact. Happiness consists in a state of pure sensation beyond the painful events. Keats quotes that according to general assumption, the life is a „Vale of Tears‟. It implies the idea that painful experiences are the integral part of human existence. Side by side he accepts that the world is for “Soul making”

For Keats „soul‟ is different from abstract „intellect‟. For soul denotes the process of the construction of identity. He tries to investigate the process how divine spark contribute in the formation of soul. He says, “This point I sincerely wish to consider, because, I think it grandeur system of salvation than the Christian religion.” Keats accepts the process of the making of soul depends on three elements. These three elements are – Intelligence, Human Heart and The World of Elemental space. They consistently work upon one another.

Keats radical ideology consists in his observation that the process of soul formation takes place in adverse and painful situations. He asserts that the world of pains and troubles is necessary for the formation of soul. He emphasizes that human heart must suffer in diverse ways for the growth and formation of soul. For Keats the painful conditions of world are like „Mind‟s Bible‟, „Mind‟s experience‟, „Text from which mind or intelligence suck it identity.‟ Here Keats theory has come close to Indian theory of „Karma‟. Tagore and others in India are convinced that the development of soul is possible only through Karma. He points out that only children survive with their own sensation without being lost in the formation of soul or the formation of identity. This process of formation of soul is beyond the limitations of logics or humanity. It leads to redemption from all pains of this life, “I think it probable that this system of soul-making may have been the parent of all the more palpable scheme of redemption among the Zoroastrians, the Christians and the Hindoos.” In this analysis Keats concludes that the real identity of man is formed by circumstances. These circumstances are the touchstone of human heart identity is formed with the medium of heart (sensation) and this heart, become a medium in the rearing and relating to circumstances.

30.16 The Vale of Soul Making: Significant Extracts

1. Circumstances are like clouds continually gathering and bursting. While we are laughing the seed of some trouble, it put into the wide arable land of events – while we are laughing it sprouts is (for it) grows and suddenly bears a poison fruit which we must pluck.

2.For in wild nature the Hawk would loose his breakfast of Robins and the Robin his of worms. The lion must starve well as the swallow. The greater parts of men make their way with the same instinctiveness, the same unwandering eye from their purpose, the same eagerness as the Hawk.

3. The common cognomen of this world among the misguided and superstitious is „a vale of tears‟ from which we are to b redeemed by a certain arbitrary interposition of God and taken to Heaven. What a little circumscribed straightened notion! Call the world if you please „The Vale of Soul Making”.

4.  Do you see how necessary a world of pain and troubles is to school an intelligence and make it a soul? Place where the heart must feel and suffer in a Thousand diverse ways! Not merely is the Heartic Hombook. It is minds Bible, it is the minds experience; it is the teat from which the mind or intelligence sucks its identity.

30.17 Summing Up

Keats letters are not the letters only but rich documents of his vision of life and literature. With his friends, he frankly shares his views on the concept of imagination, the process of poetic creation, idea of greatness, immensity of poet‟s sensibility, the views on artistic excellence and the irresistible power of sensation. In Keats letters, all the elements of Romanticism have been emphasized for the permanent value of art and poetry. He expresses his faith in sensitivity to common man, truthfulness of sensation, profound human love, appropriateness of images, simplicity, philosophical understanding of human conditions, spontaneity, realization of human suffering, concept of beauty and the ease of expression.

Keats defends that poetry must be simple and unobtrusive free from the burden of artificial presentation. Simplicity is a quality essential to articulate the voices of sensations and spirit beyond the artificially constructed images of life.

Keats in his letters recommends the idea of truth of imagination, poet‟s affirmation with each experience for the creation of effective poetry. Poet in the process of contemplating life, accepts the whole of life and identifies himself with every phase of it. Poet promotes negative capability, a sort of universal sympathy.

Keats defends that a poet must retain his individuality in the presentation of poetic thoughts. It is, therefore, he recommends the cause of „effectiveness‟ for determining the power of poetry. A good poetry must have a direct effect on the consciousness of the readers.

With a specific emphasis Keats defends that poet most depend on the authenticity of sensations instead of being dominated by speculations and thoughts.

According to Keats, true imagination is the expression of spiritual life beyond the domains of logical justifications. However, this imagination must be the expression of the real experiences. It is therefore, it must admit the qualities of spontaneity and intensity.

Keats expresses his pain on the prejudiced criticism against the creative artists. The prejudice of critics spoils the real sensibility and artistic skills of a poet.

The greatness of poetry must be estimated in terms of its instant effect instead of its artistic embellishment. It is only the power of poetry that can motivate the readers to share the sensibility of others.

Keats like Wordsworth acknowledges the power of childhood experiences. The expressions of the experiences of this first chamber of life are the only authentic experiences because they are true, simple and unaffected by the burden of life.

Keats defends that only the perfect control on the knowledge of experience can impart real greatness to a work of art.

Poet has no well defined identity of his own but is endowed to share the pleasures and pain of others with the perfect peace of mind. However, poet‟s absence of identity is not a sign of weakness but it expresses the idea of immensity of poet‟s personality and sensibility.

• Keats accepts life in its totality. Life is made of smiles and tears and the real experience of these contradictions, experience is essential to achieve wholeness.
• The experience of „pain‟ is more important than the experience of delight. The encounter with sorrow leads to the elevation of soul. He admits that life is „not a vale of tears‟ but a „vale of soul making‟. The gloomy experience leads to the growth of soul.
• Letters of Keats are the authentic documents of his personal sensibility and deep felt emotions. The language is replete with emotional current, speculative depth and sweeping impact. In this regard, they are the rich treasures of Romantic literature.

Reference

• Amy Lowell. John Keats, Houghton Miffin Company, 1925.
• Buxton Foreman. The Complete Works of John Keats, Five Volume Gowans and Gray London, 1901.
• C.H. Herford. John Keats in The Cambridge History of English Literature, G.P. Putam’s Sons.
• Cowden Clarke. Recollection of Keats, Atlantic VII.
• Finney, Claude L. The Evolution of Keat’s Poetry, (2 Volumes), Cambridge, 1936.
• Harold Bloom. The Visionary Company, New York, 1961.
• J.M. Murry. Keats and Shakespeare, London, 1930.
• Kenneth Muir. John Keats : A Reassessment. Liverpool, 1958.
• Mathew Arnold. Essays in Criticism, Second Series Macmillan & Co., 1888.
• R.D. Havness. Influence of Milton on English Poetry, Harvart University Press, 1922.
• Sidney Colvin. John Keats : His Life and Poetry, His Friends, Critics and After. Fame Charles Scriber’s Sons, 1917.
• Sidney Colvin. Letters of John Keats, Macmillan & Company, 1891.
• William, J. Dawson. The Makers of Indian Poetry, Whittaker, 1902.