THE COMPLETE POETICAL WORKS OF JOHN KEATS. John Keats

have learnt the best of what he knew was the great dissector and anatomist, Astley Cooper, then almost in the zenith of his power as a lecturer and of his popular fame and practice. He is described as one of the handsomest and most ingratiating of men, as well as one of the most indefatigable and energetic, with an admirable gift of exposition made racy by a strong East Anglian accent; and it is on record that he took an interest in young Keats, and recommended him to the special care of his own dresser and namesake, George Cooper. It was in consequence of this recommendation that Keats left his solitary lodging in Dean Street and went to live as housemate in St Thomas’s Street with three other students, the aforesaid George Cooper, one George Wilson Mackereth, and Henry Stephens, the last-named afterwards a surgeon in good repute as well as a dabbler in dramatic literature. It is from Stephens that we get much the fullest picture of Keats in these student days. I give the pith of his reminiscences, partly as quoted from his conversation by an intimate friend in the same profession, Sir Benjamin Ward Richardson, partly as written down by himself for Lord Houghton’s information in 1847.

      Whether it was in the latter part of the year 1815 or the early part of the year 1816 that my acquaintance with John Keats commenced I cannot say. We were both students at the united hospitals of St Thomas’s and Guy’s, and we had apartments in a house in St Thomas’s Street, kept by a decent respectable woman of the name of Mitchell I think. [After naming his other fellow students, the witness goes on] — John Keats being alone, and to avoid the expense of having a sitting room to himself, asked to join us, which we readily acceded to. We were therefore constant companions, and the following is what I recollect of his previous history from conversation with him. Of his parentage I know nothing, for upon that subject I never remember his speaking, I think he was an orphan. He had been apprenticed to a Mr Hammond surgeon of Southgate from whence he came on the completion of his time to the hospitals. His passion, if I may so call it, for poetry was soon manifested. He attended lectures and went through the usual routine but he had no desire to excel in that pursuit…. He was called by his fellow students ‘little Keats,’ being at his full growth no more than five feet high…. In a room, he was always at the window, peering into space, so that the window-seat was spoken of by his comrades as Keats’ place…. In the lecture room he seemed to sit apart and to be absorbed in something else, as if the subject suggested thoughts to him which were not practically connected with it. He was often in the subject and out of it, in a dreamy way.

      He never attached much consequence to his own studies in medicine, and indeed looked upon the medical career as the career by which to live in a workaday world, without being certain that he could keep up the strain of it. He nevertheless had a consciousness of his own powers, and even of his own greatness, though it might never be recognised…. Poetry was to his mind the zenith of all his aspirations: the only thing worthy the attention of superior minds: so he thought: all other pursuits were mean and tame. He had no idea of fame or greatness but as it was connected with the pursuits of poetry, or the attainment of poetical excellence. The greatest men in the world were the poets and to rank among them was the chief object of his ambition. It may readily be imagined that this feeling was accompanied with a good deal of pride and conceit, and that amongst mere medical students he would walk and talk as one of the Gods might be supposed to do when mingling with mortals. This pride exposed him, as may be readily imagined, to occasional ridicule, and some mortification.

      Having a taste and liking for poetry myself, though at that time but little cultivated, he regarded me as something a little superior to the rest, and would gratify himself frequently by showing me some lines of his writing, or some new idea which he had struck out. We had frequent conversation on the merits of particular poets, but our tastes did not agree. He was a great admirer of Spenser, his Faerie Queene was a great favourite with him. Byron was also in favour, Pope he maintained was no poet, only a versifier. He was fond of imagery, the most trifling similes appeared to please him. Sometimes I ventured to show him some lines which I had written, but I always had the mortification of hearing them condemned, indeed he seemed to think it presumption in me to attempt to tread along the same pathway as himself at however humble a distance.

      He had two brothers, who visited him frequently, and they worshipped him. They seemed to think their brother John was to be exalted, and to exalt the family name. I remember a student from St Bartholomew’s Hospital who came often to see him, as they had formerly been intimate, but though old friends they did not cordially agree. Newmarsh or Newmarch (I forget which was his name) was a classical scholar, as was Keats, and therefore they scanned freely the respective merits of the Poets of Greece and Rome. Whenever Keats showed Newmarch any of his poetry it was sure to be ridiculed and severely handled.

      Newmarch was a light-hearted and merry fellow, but I thought he was rather too fond of mortifying Keats, but more particularly his brothers, as their praise of their brother John amounted almost to idolatry, and Newmarch and they frequently quarrelled. Whilst attending lectures he would sit and instead of copying out the lecture, would often scribble some doggrel rhymes among the notes of Lecture, particularly if he got hold of another student’s syllabus. In my syllabus of chemical lectures he scribbled many lines on the paper cover. This cover has been long torn off, except one small piece on which is the following fragment of doggrel rhyme: —

      Give me women, wine and snuff

      Until I cry out, ‘hold! enough’

      You may do so, sans objection

      Until the day of resurrection.

       This is all that remains, and is the only piece of his writing which is now in my possession. He was gentlemanly in his manners and when he condescended to talk upon other subjects he was agreeable and intelligent. He was quick and apt at learning, when he chose to give his attention to any subject. He was a steady quiet and well behaved person, never inclined to pursuits of a low or vicious character.

      The last words need to be read in the light of the convivial snatch of verse quoted just above. Keats in these days was no rake, indeed, but neither was he a puritan: his passions were strong in proportion to the general intensity of his being: and his ardent absorption in poetry and study did not save him from the risks and slips incident to appetite and hot blood.

      Another fellow student relates:— ‘even in the lecture room of St Thomas’s I have seen Keats in a deep poetic dream; his mind was on Parnassus with the Muses. And here is a quaint fragment which he one evening scribbled in our presence, while the precepts of Sir Astley Cooper fell unheeded on his ear.’ The fragment tells how Alexander the Great saw and loved a lady of surpassing beauty on his march through India, and reads like the beginning of an attempt to tell the story of the old French Lai d’Aristote in the style and spelling of an early-printed English prose romance, — possibly the Morte d’Arthure. Into his would-be archaic prose, luxuriantly describing the lady’s beauty, Keats works in tags taken direct from Spenser and Shakespeare and Milton, all three. He no doubt knew this favourite mediæval tale — that of the Indian damsel whose charms enslaved first Alexander in the midst of his conquests and then his tutor Aristotle — either in the eighteenth-century prose version of Le Grand or the recent English verse translation by G. L. Way, who turns the tale in couplets of this style: —

      At the first glance all dreams of conquest fade

      And his first thought is of his Indian maid.

       I cannot but think the Indian maiden of this story must have been still lingering in Keats’ imagination when he devised the episode of that other Indian maiden in the fourth book of Endymion.

      Besides these records, we have an actual tangible relic to show how Keats’ attention in the lecture room was now fixed and now wandered, in the shape of a notebook in which some other student has begun to put down anatomy notes and Keats has followed. Beginning from both ends, he has made notes of an anatomical and also of a surgical course, which are not those of a lax or inaccurate student, but full and close as far as they go; only squeezed into the margins of one or two pages there are signs of flagging attention in the shape of sketches, rather prettily touched, of a pansy and other flowers.

      After the first weeks of autumn gloom spent in solitary lodgings in the dingiest part of London, Keats expresses, in a rimed epistle to Felton Mathew, the fear lest his present