Poems List

Sonnet. On A Picture Of Leander

Sonnet. On A Picture Of Leander

Come hither all sweet Maidens soberly
Down looking aye, and with a chasten'd light
Hid in the fringes of your eyelids white,
And meekly let your fair hands joined be,
As if so gentle that ye could not see,
Untouch'd, a victim of your beauty bright,
Sinking away to his young spirit's night,
Sinking bewilder'd 'mid the dreary sea.
'Tis young Leander toiling to his death.
Nigh swooning he doth purse his weary lips
For Hero's cheek, and smiles against her smile.
O horrid dream! see how his body dips
Dead-heavy; arms and shoulders gleam awhile;
He's gone; up bubbles all his amorous breath!
517

Sonnet. A Dream, After Reading Dante's Episode Of Paulo And Francesca

Sonnet. A Dream, After Reading Dante's Episode Of Paulo And Francesca

As Hermes once took to his feathers light,
When lulled Argus, baffled, swooned and slept,
So on a Delphic reed, my idle spright
So played, so charmed, so conquered, so bereft
The dragon-world of all its hundred eyes;
And seeing it asleep, so fled away--
Not to pure Ida with its snow-cold skies,
Nor unto Tempe, where Jove grieved a day;
But to that second circle of sad Hell,
Where in the gust, the whirlwind, and the flaw
Of rain and hail-stones, lovers need not tell
Their sorrows. Pale were the sweet lips I saw,
Pale were the lips I kissed, and fair the form
I floated with, about that melancholy storm.
417

Sonnet XVII. Happy Is England

Sonnet XVII. Happy Is England

Happy is England! I could be content
To see no other verdure than its own;
To feel no other breezes than are blown
Through its tall woods with high romances blent:
Yet do I sometimes feel a languishment
For skies Italian, and an inward groan
To sit upon an Alp as on a throne,
And half forget what world or worldling meant.
Happy is England, sweet her artless daughters;
Enough their simple loveliness for me,
Enough their whitest arms in silence clinging:
Yet do I often warmly burn to see
Beauties of deeper glance, and hear their singing,
And float with them about the summer waters.
447

Sonnet XIV. Addressed To The Same (Haydon)

Sonnet XIV. Addressed To The Same (Haydon)

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 stedfastness 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?-------
Listen awhile ye nations, and be dumb.
419

Sonnet XV. On The Grasshopper And Cricket

Sonnet XV. On The Grasshopper And Cricket

The poetry of earth is never dead:
When all the birds are faint with the hot sun,
And hide in cooling trees, a voice will run
From hedge to hedge about the new-mown mead;
That is the Grasshopper's -- he takes the lead
In summer luxury, -- he has never done
With his delights; for when tired out with fun
He rests at ease beneath some pleasant weed.
The poetry of earth is ceasing never:
On a lone winter evening, when the frost
Has wrought a silence, from the stove there shrills
The Cricket's song, in warmth increasing ever,
And seems to one in drowsiness half lost,
The Grasshopper's among some grassy hills.
776

Sonnet XI. On First Looking Into Chapman's Homer

Sonnet XI. On First Looking Into Chapman's Homer

Much have I travell'd in the realms of gold,
And many goodly states and kingdoms seen;
Round many western islands have I been
Which bards in fealty to Apollo hold.
Oft of one wide expanse had I been told
That deep-brow'd Homer ruled as his demesne;
Yet did I never breathe its pure serene
Till I heard Chapman speak out loud and bold:
Then felt I like some watcher of the skies
When a new planet swims into his ken;
Or like stout Cortez when with eagle eyes
He star'd at the Pacific -- and all his men
Look'd at each other with a wild surmise --
Silent, upon a peak in Darien.
425

Sonnet XIII. Addressed To Haydon

Sonnet XIII. Addressed To Haydon

High-mindedness, a jealousy for good,
A loving-kindness for the great man's fame,
Dwells here and there with people of no name,
In noisome alley, and in pathless wood:
And where we think the truth least understood,
Oft may be found a 'singleness of aim,'
That ought to frighten into hooded shame
A money-mongering, pitiable brood.
How glorious this affection for the cause
Of steadfast genius, toiling gallantly!
What when a stout unbending champion awes
Envy and malice to their native sty?
Unnumbered souls breathe out a still applause,
Proud to behold him in his country's eye.
288

Sonnet VI. To G. A. W.

Sonnet VI. To G. A. W.

Nymph of the downward smile and sidelong glance!
In what diviner moments of the day
Art thou most lovely? -- when gone far astray
Into the labyrinths of sweet utterance,
Or when serenely wandering in a trance
Of sober thought? -- Or when starting away,
With careless robe to meet the morning ray,
Thou sparest the flowers in thy mazy dance?
Haply 'tis when thy ruby lips part sweetly,
And so remain, because thou listenest:
But thou to please wert nurtured so completely
That I can never tell what mood is best;
I shall as soon pronounce which Grace more neatly
Trips it before Apollo than the rest.
347

Sonnet VIII. To My Brothers

Sonnet VIII. To My Brothers

Small, busy flames play through the fresh laid coals,
And their faint cracklings o'er our silence creep
Like whispers of the household gods that keep
A gentle empire o'er fraternal souls.
And while, for rhymes, I search around the poles,
Your eyes are fix d, as in poetic sleep,
Upon the lore so voluble and deep,
That aye at fall of night our care condoles.
This is your birth-day Tom, and I rejoice
That thus it passes smoothly, quietly.
Many such eves of gently whisp'ring noise
May we together pass, and calmly try
What are this world s true joys, ere the great voice,
From its fair face, shall bid our spirits fly.
346

Sonnet To The Nile

Sonnet To The Nile

Son of the old Moon-mountains African!
Chief of the Pyramid and Crocodile!
We call thee fruitful, and that very while
A desert fills our seeing's inward span:
Nurse of swart nations since the world began,
Art thou so fruitful? or dost thou beguile
Such men to honour thee, who, worn with toil,
Rest for a space 'twixt Cairo and Decan?
O may dark fancies err! They surely do;
'Tis ignorance that makes a barren waste
Of all beyond itself. Thou dost bedew
Green rushes like our rivers, and dost taste
The pleasant sunrise. Green isles hast thou too,
And to the sea as happily dost haste.
424

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Identification and basic context

John Keats was a pivotal English Romantic poet. He is often grouped with Lord Byron and Percy Bysshe Shelley as the second generation of great Romantic poets. Despite his short life, his poetry achieved remarkable depth and beauty, making him one of the most influential figures in English literature. He wrote primarily in English and is celebrated for his rich imagery, exploration of beauty and truth, and his profound meditations on life and death.

Childhood and education

Keats's childhood was marked by tragedy, including the early death of his father and later his mother. He received a sound education at John Clarke's school in Enfield, where he developed a passion for classical literature. His early readings of Edmund Spenser's 'The Faerie Queene' and later the works of Leigh Hunt and William Wordsworth were significant influences. He also studied Latin and Greek, which informed his classical allusions and aesthetic sensibilities.

Literary trajectory

Keats initially trained as an apothecary-surgeon but abandoned medicine to pursue poetry. His first volume of poems, 'Poems,' was published in 1817, receiving a mixed reception. His major works, including 'Endymion,' 'The Fall of Hyperion,' and his collection of 1820 (containing his most famous odes), were produced in a remarkably fertile period. Despite critical hostility from some quarters, his poetic development was rapid and profound, moving from imitative beginnings to a unique and powerful voice.

Works, style, and literary characteristics

Keats's major works include the epic poem 'Hyperion,' the narrative poem 'Endymion,' and his series of celebrated odes: 'Ode to a Nightingale,' 'Ode on a Grecian Urn,' 'To Autumn,' 'Ode on Melancholy,' and 'Ode to Psyche.' His poetry is characterized by its intense sensory appeal, its exploration of beauty and its relationship to truth, and its meditations on mortality, joy, and sorrow. He employed rich, evocative language, elaborate metaphors, and a mastery of form, particularly the sonnet and the ode. His tone often ranges from ecstatic celebration of beauty to profound melancholy and existential questioning. Keats's innovation lay in his deep sensuousness and his philosophical engagement with the paradoxes of human experience.

Cultural and historical context

Keats was part of the second wave of English Romanticism, a movement that emphasized individualism, emotion, and the power of imagination. He was influenced by contemporary Romantics like Wordsworth and Coleridge, but also by classical literature. His work emerged during a period of significant social and political change in Britain, though his focus remained largely on aesthetic and philosophical concerns rather than direct political engagement. He faced harsh criticism from conservative periodicals like 'Blackwood's Magazine,' which attacked his perceived lack of breeding and his association with radical writers like Leigh Hunt.

Personal life

Keats's personal life was shadowed by illness and financial hardship. His engagement to Fanny Brawne was a significant emotional experience, providing inspiration for some of his most poignant love poetry, but also a source of anxiety due to his precarious health and financial situation. He nursed his brother Tom through tuberculosis and eventually succumbed to the disease himself, dying in Rome.

Recognition and reception

While Keats achieved some recognition during his lifetime, his work was not widely celebrated and even faced severe criticism. However, posthumously, his reputation grew exponentially. By the mid-19th century, he was recognized as one of the greatest English poets, admired for his imaginative power and aesthetic perfection. His influence on subsequent poets and literary movements has been immense.

Influences and legacy

Keats was influenced by classical poets like Homer and Virgil, as well as by English poets such as Spenser, Shakespeare, and Wordsworth. He, in turn, had a profound influence on later poets, including Alfred Lord Tennyson, Matthew Arnold, and the Aesthetic Movement. His legacy is cemented in his exquisite odes and sonnets, which continue to be studied, admired, and cherished for their exploration of beauty, truth, and the human condition. His concept of 'negative capability'—the ability to be in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason—is a significant contribution to literary theory.

Interpretation and critical analysis

Keats's poetry is subject to continuous critical interpretation, focusing on themes of beauty versus truth, the relationship between art and life, the experience of mortality, and the power of the imagination. His 'Ode on a Grecian Urn,' with its famous closing lines, has been particularly debated. His work is often analyzed for its rich sensory details, its exploration of complex emotional states, and its profound philosophical inquiries into the nature of existence.

Curiosities and lesser-known aspects

Keats's early ambition was to become a great poet, and he pursued this goal with remarkable dedication despite immense personal obstacles. He was known for his intense, almost feverish, creative periods. His letters reveal a deep intellectual curiosity and a profound sensitivity to beauty. A lesser-known aspect is his intense rivalry and admiration for Wordsworth, whom he saw as a great poet, yet sometimes criticized.

Death and memory

John Keats died of tuberculosis in Rome at the age of 25. His premature death contributed to his romantic legend and his status as a poet whose genius was cut short. He was buried in the Protestant Cemetery in Rome. His memory is honored through numerous literary studies, critical editions of his work, and the enduring appreciation of his poetry by readers worldwide.