essay on john keats by matthew arnold

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Matthew Arnold’s Estimate of Keats’ Sensuousness and Passion for Beauty

Introduction: .

Matthew Arnold, an advocate of the neo - classical school, found it rather difficult to really appreciate the Romantics. He could never appreciate Shelley. But his estimate of Keats seems to be free from such prejudices. His essay on Keats is comparative, sympathetic, though it has some of characteristic of Matthew Arnold. Arnold starts with Milton's oft - quoted saying that poetry should be simple, sensuous, impassioned. He sets out to judge the poetry of Keats with respect to these qualities. He starts with the sensuous quality of the poetry of Keats. Matthew Arnold correctly contends that Keats is enchantingly and abundantly sensuous. Arnold praises Keats for the fact that he knew that to see things in their beauty is to see things in their truth.

Keats’ Sensuousness: 

No doubt there is much in the life of Keats which seems to show that he was entirely under domination of senses, that he desired nothing more than sensuous pleasure. In one of his letters he writes, “O for a life of sensation rather than of thought,” and in another letter, he expresses the view that with a great poet the sense of Beauty overcomes every other consideration. His friend Haydon has narrated how once he covered his tongue and throat with red pepper in order to enjoy the coldness of claret in all its glory. Sensuousness is also revealed by such lines from his poetry as the following ones:

“Light feet, dark violet eyes, and parted hair  Soft dimpled hands, white neck, and creamy breast.” 

Recreation of Sensuous Beauty: 

The most living thing in Keats’ poetry has been the recreation of sensuous beauty, first as a source of delight for its own sake, than as a symbol of the life of the mind and the emotions. The truth is that Keats’ yearning passion for the beautiful was not the passion of the sensuous or sentimental man, nor of the sensuous or sentiment poet. It was an intellectual and spiritual passion. This is borne out both by his prose and poetry. He once wrote that he loved the mighty abstract idea of Beauty in all things. In other words, he could discover beauty in things which are generally regarded ugly and unpleasant. On another occasion, he remarked that he loved the principle of beauty in all things. This shows that his passion for the beautiful was not merely a sensuous passion. It was much more and much higher than that. It was also a spiritual and intellectual passion. It is this love of spiritual Beauty which has made his poetry immortal. Keats saw things in their Beauty and he also realised that Beauty is intimately connected with the truth. Once he wrote , “What the imagination seizes as Beauty must be truth,” and in his famous Ode to the Grecian Urn he reaches the same conclusion:

“Beauty is Truth, Truth Beauty - that is all  Ye know on earth, and all ye need to know.”

Keats also realised that joy also goes with Beauty, and therefore, he could write:

“A thing of Beauty is a joy forever.” 

Platonic Approach of Beauty: 

Matthew Arnold says that Keats’ approach to beauty was Platonic. He derived the Platonic concept of beauty through Spenser. Like Spenser he establishes an indissoluble relationship between Beauty, Truth and Joy. They make the eternal Trinity. In his last days Keats wrote, “If I should die, I have left no immortal work behind me nothing to make my friends proud of my memory, but I have loved the principle of beauty in all things, and if I had time I would have made myself remembered.” Arnold believes that Keats has indeed made himself remembered by virtue of this creed of Beauty.

Matthew Arnold pays a great tribute to Keats for establishing this great Trinity of Beauty, Truth and Joy. He says that it is no small thing to have so loved the principle of beauty as to perceive the necessary relation of beauty with truth, and of both with joy. 

Keats, a Supreme Master of Grand Style: 

No other poet, with the only exception of Shakespeare, rises to Keats’ poetic eloquence, melody and movement. Keats once said, “The tongue of Kean must seem to have robbed the Hybla bees and left them honeyless.” In the faculty of naturalistic interpretation, in natural magic, Keats ranks with Shakespeare. By natural magic Arnold means that felicity of expression which distinguishes Shakespeare, which Keats also has, and which none else has in the whole range of English poetry. Keats ranks with Shakespeare in his rounded perfection, loveliness and felicity of expression. Keats’ poems which have been included in Ward's Selection clearly show this. 

Want of the Power of Moral Interpretation and Construction: 

Arnold finds lacking in the other two qualities. Keats does not have the power of moral interpretation which Shakespeare had. His poetry does not provide that criticism of life which we get in Shakespeare: He died too young and immature for such high seriousness. Secondly, he is lacking in the power of construction which marks the evolution of such great works of art as King Lear and Agamemnon . From this point of view, both Endymion and the Hyperion are failures. But he is perfect in his shorter pieces where the matured power of moral interpretation and architectonics not required. 

An Evaluation of Keats’ Greatness: 

While evaluating Keats’ greatness as a poet, Arnold says that Keats is, by his promise, at any rate, if not fully by his performance, one of the very greatest of English poets. Keats once humbly said, “I shall be among the English poets after my death.” Arnold assures him that he is one of them; he is with Shakespeare. Keats’ poetry is Shakespearean, not imitative, indeed, of Shakespeare, but Shakespearean, because its expression has that rounded perfection and felicity of loveliness of which Shakespeare is the great master. Arnold continues to say that by virtue of his feeling for beauty and of his perception of the vital connection of beauty with truth. Keats accomplished so much in poetry, that in one of the two great modes by which poetry interprets, in the faculty of naturalistic interpretation, in what we call natural magic, he ranks with Shakespeare.

Finally, according to Arnold, it can be observed that Keats was a great poet. He stood unrivalled as a poet of love, beauty and sensuous splendour. He perceived the connection between beauty and truth. Had he lived longer, he would have been a much better and greater poet.

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Essays in criticism. The study of poetry. John Keats; Wordsworth. Edited by Susan S. Sheridan

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Victorian Keats pp 72–99 Cite as

Keats and Arnold’s Dandyism

• James Najarian 2  

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For the nineteenth century, Matthew Arnold’s versions of Keats have particular importance. Far more than Tennyson’s, Arnold’s positions on Keats — stated and restated in his criticism and demonstrated in his poetry — are public stances. They take part in the discussions of the century, but change over time. Unlike Tennyson, Arnold seems to work through much of his ambivalence about the poet in front of his reading public; he states and qualifies Keats’s connections to androgyny over the course of his career, eventually coming to terms with the reputation of the poet in his essay “John Keats” of 1880.

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Antony Harrison, Victorian Poets and Romantic Poems (Charlottesville: University Press of Virginia, 1990), pp. 28–30.

Google Scholar  

Jerome McGann notes how public Arnold made his gestures; Arnold also switched publishers. See Jerome McGann, Social Values and Poetic Acts: The Historical Judgment of Literary Work (Cambridge, Mass.: Harvard University Press, 1988), pp. 84–5.

All quotations from Arnold’s Prose cite R.H. Super, ed., The Complete Prose Works of Matthew Arnold, 11 vols. (Ann Arbor: University of Michigan Press, 1960–77).

As Sara Suleri notes, Arnold presents himself “as a weak touchstone for a problem that must be observed, avoided, and excised from the canon,” and transforms the poem into “a period piece.” Sara Suleri, “Entropy in Etna: Arnold and the Poetry of Reading,” in Matthew Arnold: Modern Critical Views , ed. Harold Bloom (New Haven: Chelsea House, 1987), pp. 143, 149.

A. Dwight Culler perceptively stations the Preface as a version of Aristotle read through Carlyle. Culler, Imaginative Reason (Westport, Conn.: The Greenwood Press, 1976), p. 201.

I realize that I am using stereotypical distinctions. As Teresa de Lauretis notes, the inherited terms of sexual difference construct gender in terms “dictated by the patriarchal context.” Teresa de Lauretis, Technologies of Gender (Bloomington: Indiana University Press, 1987), p. 17.

Arnold to Clough, February 1849, Letters of Matthew Arnold 4 vols. ed. Cecil Y. Lang (Charlottesville and London: University Press of Virginia, 1996–2000), I, 132.

Alan Bewell, Romanticism and the Colonial Disease (Baltimore and London: The Johns Hopkins University Press, 1999), p. 192. 9. Arnold to Clough, 1 May 1853, Letters, I , 264.

Leon Gottfried, Matthew Arnold and the Romantics (Lincoln: University of Nebraska Press, 1963), p. 16.

A. Dwight Culler, The Victorian Mirror of History (New Haven: Yale University Press, 1985), p. 125.

Nicholas Murray’s recent biography, for example, hardly mentions it. Nicholas Murray, A Life of Matthew Arnold (New York: St. Martin’s Press, 1996).

Jessica R. Feldman, Gender on the Divide: the Dandy in Modernist Literature (Ithaca and London: Cornell University Press, 1993), p. 2.

See Domna Stanton, The Aristocrat as Art (New York: Columbia University Press, 1981), which discusses the roots of the dandy in France and England.

Bulwer-Lytton’s best-selling novel Pelham was basically a portrait of his friend Brummell; the sartorial and linguistic details of the novel are based upon this man. So too was Trebeck in Thomas Lister’s Granby . See Ellen Moers, The Dandy: Brummell to Beerbohm (New York: Viking, 1960), p. 23.

Francoise Coblence, Le dandysme, obligation d ’ incertitude (Paris: Presses Universitaires de Paris, 1988), p. 12. My translation.

James Eli Adams has examined the role of the dandy in Victorian prose as a defense against the inherent “femininity” of linguistic work. Writers claimed their authorship as masculine self-discipline on the lines of set roles — the prophet, dandy, priest, soldier. Adams, p. 2.

Regenia Gagnier, Idylls of the Marketplace: Oscar Wilde and the Victorian Public (Stanford: Stanford University Press, 1986), pp. 67–73.

Lionel Trilling, Matthew Arnold (New York: Columbia University Press, 1947), p. 28.

Sima Godfrey, “The Dandy as Ironic Figure,” Sub-Stance 36 (1982) 23.

Thomas Arnold, Christian Life: Its Course, Its Hindrances, and Its Helps (London: B. Fellowes, 1842), p. 47.

Quoted in Kathleen Tillotson, Brontë Society Transactions , 15 (1967) 114.

Some of Arnold’s antics make good reading. According to G. H. Lewes’s diary, one day as he was capering naked on a riverbank, Arnold made such a display that a clergyman took issue with him, “Is it possible,” Matthew replied while waving a towel, “that you see anything indelicate in the human form divine?” See Park Honan, Matthew Arnold: A Life (New York: McGraw-Hill, 1981), p. 51.

Arnold to Clough, after 7 December 1847, Letters , p. 63.

Coblence, Le Dandysme , p. 11.

Arnold was hardly cooperative even in those last weeks: “When Matt is here, I am painfully coerced to my work by the assurance that should I relax in the least my yoke-fellow would at once come to a dead stop.” Arthur Hugh Clough, Correspondence of Arthur Hugh Clough ed. Frederick L. Mulhauser, vol. 1 (Oxford: Clarendon Press, 1957), p. 131.

Marie-Christine Natta, La Grandeur sans Convictions (Paris: Editions du Felin, 1992), p. 14.

As Culler notes, Sohrab and Rustum does satisfy the outward conditions of the Preface; it takes its subject from ancient sources and builds it on ancient models. Imaginative Reason , p. 205. Mark Siegchrist has noted the detail with which Arnold constructed the poem and how its formal coherence is attained by a careful balance of dualities. See Mark Siegchrist, “Accurate Construction in Arnold’s Sohrab and Rustum ,” Papers in Language and Literature 14 (1978) 51–60.

See David Riede, Matthew Arnold and the Betrayal of Language (Charlottesville: University of Virginia Press, 1988), pp. 102–9.

For Kenneth Burke, the poem reenacts an oedipal battle; Rustum represents Thomas and Sohrab Matthew. Kenneth Burke, A Rhetoric of Motives (Berkeley and Los Angeles: University of California Press, 1969), pp. 7–8. See also Trilling, Matthew Arnold , p. 135.

For quotations from Sohrab and Rustum , see Kenneth Allott, ed. The Poems of Matthew Arnold , 2nd edition, ed. Miriam Allott (London: Longman, 1979), pp. 319–55.

Susan Wolfson points out that the frail, feminine, delicate Keats is a feature not only of the poem, but of Shelley’s letters and introduction. See Susan Wolfson, “Keats Enters History: Autopsy, Adonais , and the Fame of Keats”; in Keats and History , ed. Nicholas Roe (Cambridge: Cambridge University Press, 1995), pp. 17–45.

Percy Bysshe Shelley, Shelley ’ s Poetry and Prose: Authoritative Texts, Criticism . Selected and edited by Donald H. Reiman and Sharon B. Powers (New York: Norton, 1977).

See, for example, Andrew Epstein, ‘“Flowers that Mock the Corse Beneath’: Shelley’s Adonais , Keats, and Poetic Influence,” Keats-Shelley Journal 48 (1999) 90–128.

James A.W. Heffernan, “ Adonais : Shelley’s Consumption of Keats,” Studies in Romanticism 23 (Fall 1994), pp. 301–2.

Riede, Matthew Arnold , pp. 3–4.

Isobel Armstrong calls Sohrab and Rustum Arnold’s “last major poem.” Armstrong, Victorian Poetry , p. 217. Some critics station other poems at the dramatic end point. Linda Ray Pratt stations “Rugby Chapel” and “Thyrsis” at the end of his strictly poetic career in her Matthew Arnold Revisited (New York: Twayne, 2000), p. 92.

Ian Hamilton, A Gift Imprisoned: A Poetic Life of Matthew Arnold (New York: Basic Books, 1999).

See Arnold, The Poems , 357–59; Ford, Keats and the Victorians , p. 83; Gottfried, Matthew Arnold , pp. 118–21.

Riede, Matthew Arnold , p. 134.

Culler notes that many of Arnold’s poems can be thought of as elegies. Culler, Imaginative Reason , pp. 266–7.

Peter Sacks, The English Elegy: Studies in the Genre from Spenser to Yeats (Baltimore and London: The Johns Hopkins University Press, 1985), p. 19.

Arnold to Clough, 28 October 1852, Letters I, 245.

William Ulmer, “The Human Seasons: Arnold, Keats and ‘The Scholar-Gypsy’,” Victorian Poetry 22:3 (Autumn 1984) 248.

Riede, Matthew Arnold , p. 142.

Sacks, The English Elegy , p. 37.

Culler’s traditional reading places the last figure of the Scholar as a “moral truth or model.” Imaginative Reason , p. 187.Antony Harrison remarks that the “gypsy problem” was much in the papers in the 1840s, and that Arnold transforms him from a national alien to a figurative and ideal alien. See his Victorian Poets and the Politics of Culture , pp. 16–20.

Ulmer, “The Human Seasons,” 255.

Riede remarks that Arnold’s brusque treatment of Clough is manifestly unfair. Matthew Arnold , p. 149.

Armstrong, Victorian Poetry , p. 209.

See Joseph Bristow, ‘“Love, let us be true to one another’: Matthew Arnold, Arthur Hugh Clough, and ‘Our Aqueous Ages’” Literature and History 3rd series 4:1 (1994) 27–49.

David Bromwich, “A Genealogy of Disinterestedness,” in A Choice of Inheritance: Self and Community from Edmund Burke to Robert Frost (Cambridge, Mass.: Harvard University Press, 1989) 106–32,

John Keats to George and Georgiana Keats, 19 March 1819, Letters, II , 79. Milnes does retain these words in the version of the letter in his Life .

Rhonda K. Garelick, Rising Star: Dandyism, Gender, and Performance in the Fin de Siecle (Princeton, NJ: Princeton University Press, 1998).

Wilfred Ihrig, Literarische Avantgarde und Dandysmus (Frankfurt-am-Main: AthenSum, 1988), p. 28. My translation.

See the examples in Patricia Marks, “A Charivari to Matthew Arnold, American Style,” Arnoldian 7 (Winter 1980) 29–44.

James Macdonnell, unsigned article, Daily Telegraph (8 September 1866) 4–5; in Dawson and Pfordresher, pp. 165–6.

For an intelligent discussion of Arnold’s style and its persona, see Clinton Machann, Matthew Arnold: A Literary Life (New York: St. Martin’s Press, 1998), pp. 49–50.

Walter Pater, “A Novel by Mr. Oscar Wilde,” in Uncollected Essays (Portland, Maine: Thomas B. Mosher, 1903), p. 25.

Jonah Siegel discusses the context of the essay in the context of T.H. Ward’s anthological project. Ward’s wife Mary, better known as the novelist Mrs. Humphry Ward, was Arnold’s niece. Jonah Siegel, “Among the English

Poets: Keats, Arnold, and the Placement of Fragments,” Victorian Poetry 37:2 (Summer 1999) 215–31.

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Najarian, J. (2002). Keats and Arnold’s Dandyism. In: Victorian Keats. Palgrave Macmillan, London. https://doi.org/10.1057/9780230596856_4

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Essays in criticism

The study of poetry. john keats; wordsworth, by matthew arnold.

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Victorian Era

From Georgian to Edwardian

A Comparison Between Matthew Arnold And John Keats

A poet’s role for the society, at least what he thinks, can change rapidly in one or two decades or, it can remain constant for the rest of his life.

When we look deeply into the history of English poetry, we see that there are huge differences in the observations of different poets of different times. The change of perceptions from the Romantic era to the Victorian era is pretty visible to everyone. The change was significant and it surely had some significance too.

We can’t say that all the poets of any school of poetry the absolute theory of poetry, which was predominant, in their era. Even Matthew Arnold (1822-88) and John Keats ( 1795-1821) are not widely regarded as the absolute typical of their respective era.

In the course of life, Matthew Arnold reacted against the ideas of so many writers. John Keats was one of them. Thus a comparison can be made between the ideas of Matthew Arnold and John Keats to represent the change that affected the course of poetry and changed it.

Table of Contents

Difference In The Ideas: Matthew Arnold vs John Keats

When discussing the ideas of the poets, it must start with their views about a poets’ role in society. Keats and Arnold construct interesting and amusing contrasts even in their forms. Their writings, where that conveys their feelings about a poet and poetry, are different from each other.

It can be said there is no similarity at all in their forms of writing. For Keats poetry was never systematically set out.

Keats style of writing

Writing poetry for Keats was a way of conveying the inner feelings, which are suppressed by the gruesome brutality of reality. The poems were the means of escape from reality. It’s the meticulous observation power that differentiates common people from the poets. Keats was so delicate and so was his feeling. His personal life gets reflected in his poems.

When we closely observe the poems of Keats, we will see that there is a tendency of breaking away from everything. Somewhere he wasn’t happy with his life that’s why he found the world of ‘Nightingale’ more charming and beautiful than ours.

His creation involves hard work and careful attention even to the smallest of things. He believed that poetry is the sweetest fruit of honest feelings and beautiful imaginations.

The Romantic poets such as William Wordsworth , P.B. Shelley, Lord Byron, Samuel Taylor Coleridge, and John Keats, are considered romantic because they found ordinary things extraordinary.

In the history of English literature, from the Anglo Saxon period (450-1066) to Neoclassical period(1600-1785), common and ordinary things have always been overlooked. But the romantics changed the whole equation.

Keats’s idealism never bothered to deal with the affairs of the external world, took no interest in political thoughts. It was always the world of senses which got the attention of Keats. Keats never gave any systematic guideline to understanding nature or poetry even his art or criticism of art.

He believed that creative people are the most scattered ones. The principal theory of the art of poetry is taken from his letter where he at least bothers to develop the ideas spontaneously. For him the most creative was the most personal, his letters prove that.

Arnold’s Style of Writing

‘Rugby Chapel’ was an elegy, written by Arnold for his father after fifteen years of his death. This is an example which shows that Arnold was not only a mature poet but also a mature man in his life. He preferred to look at the tough road which consists of cold and misery. Arnold was able to draw a connection between his past and who he was as a man.

The lack of shelter ‘Of the mighty Oak’, his father, taught him how to enjoy strength, wisdom, and courage. He believed that the passing of his father was the gateway towards knowledge and truth, the romantic myth. He became the major Victorian writer. Arnold was the finest literary and social critic of this era.

Unlike the romantics, he argued for the need of modern age which was regarded as the intellectual deliverance. He was the worshiper of truth and reasoning rather than beauty and imagination.

The shorter half of his life, which is the representative of his poetic career, if full of writings which are sad and melancholic. He wanted society to become modern, humanized, and more civilized.

He believed that the making of a better society depends not only on the critical view but also on the vision of reaching human perfection. His poems are considered modern because it reflects new ideas, critical views, reformations.

He worked as a prophet and spent the whole life trying to expand the intellectual boundaries.

The comparative study of John Keats and Matthew Arnold only shows the transition of time. The change in writing style and method beautifully captures the change of society also. Writings change automatically when the inspiration changes.

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Matthew Arnold

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Poetry, according to Milton's famous saying, should be 'simple, sensuous, impassioned.' No one can question the eminency, in Keats's poetry, of the quality of sensuousness. Keats as a poet is abundantly and enchantingly sensuous; the question with some people will be, whether he is anything else. Many things may be brought forward which seem to show him as under the fascination and sole dominion of sense, and desiring nothing better. There is the exclamation in one of his letters: 'O for a life of sensations rather than of thoughts!' There is the thesis, in another, 'that with a great Poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.' There is Haydon's story of him, how 'he once covered his tongue and throat as far as he could reach with Cayenne pepper, in order to appreciate the delicious coldness of claret in all its glory – his own expression.' One is not much surprised when Haydon further tells us, of the hero of such a story, that once for six weeks together he was hardly ever sober. 'He had no decision of character,' Haydon adds, 'no object upon which to direct his great powers.'

Character and self-control, the virtus verusque labor so necessary for every kind of greatness, and for the great artist, too, indispensable, appear to be wanting, certainly, to this Keats of Haydon's portraiture. They are wanting also to the Keats of the Letters to Fanny Brawne . These letters make as unpleasing an impression as Haydon's anecdotes. The editor of Haydon's journals could not well omit what Haydon said of his friend, but for the publication of the Letters to Fanny Brawne I can see no good reason whatever. Their publication appears to me, I confess, inexcusable; they ought never to have been published. But published they are, and we have to take notice of them. Letters written when Keats was near his end, under the throttling and unmanning grasp of mortal disease, we will not judge. But here [429] is a letter written some months before he was taken ill. It is printed just as Keats wrote it.

'You have absorb'd me. I have a sensation at the present moment as though I was dissolving – I should be exquisitely miserable without the hope of soon seeing you. I should be afraid to separate myself far from you. My sweet Fanny will your heart never change? My love, will it? I have no limit now to my love .... Your note came in just here. I cannot be happier away from you. 'Tis richer than an Argosy of Pearles. Do not threat me even in jest. I have been astonished that Men could die Martyrs for religion – I have shuddered at it. I shudder no more – I could be martyred for my Religion – Love is my religion – I could die for that. I could die for you. My Creed is Love and you are its only tenet. You have ravished me away by a Power I cannot resist; and yet I could resist till I saw you; and even since I have seen you I have endeavoured often "to reason against the reasons of my Love." I can do that no more – the pain would be too great. My love is selfish. I cannot breathe without you.'

'Light feet, dark violet eyes, and parted hair,  Soft dimpled hands, white neck, and creamy breast.'

This sensuous strain Keats had, and a man of his poetic powers could not, whatever his strain, but show his talent in it. But he has something more, and something better. We who believe Keats to have been by his promise, at any rate, if not fully by his performance, one of the very greatest of English poets, and who believe also that a merely sensuous man cannot either by promise or by performance be a very great poet, because poetry interprets life, and so large and noble a part of life is outside of such a man's ken, – we cannot but look for signs in him of something more than sensuousness, for signs of character and virtue. And indeed the elements of high character Keats undoubtedly has, and the effort to develope them; the effort is frustrated and cut short by misfortune, and disease, and time, but for the due understanding of Keats's worth the recognition of this effort, and of the elements on which it worked, is necessary.

Lord Houghton, who praises very discriminatingly the poetry of Keats, has on his character, also, a remark full of discrimination. He says: 'The faults of Keats's disposition were precisely the contrary of those attributed to him by common opinion.' And he gives a letter written after the death of Keats by his brother George, in which the writer, speaking of the fantastic Johnny Keats invented for common opinion by Lord Byron and by the reviewers, declares indignantly: 'John was the very soul of manliness and courage, and as much like the Holy Ghost as Johnny Keats .' It is important to note this testimony, and to look well for whatever illustrates and confirms it.

Great weight is laid by Lord Houghton on such a direct profession of faith as the following. 'That sort of probity and disinterestedness,' Keats writes to his brothers, 'which such men as Bailey possess, does hold and grasp the tip-top of any spiritual honours that can be paid to anything in this world.' Lord Houghton says that 'never have words more effectively expressed the conviction of the superiority of virtue above beauty than those.' But merely to make a profession of faith of the kind here made by Keats is not difficult; what we should rather look for, is some evidence of the instinct for character, for virtue, passing into the man's life, passing into his work.

[431] Signs of virtue, in the true and large sense of the word, the instinct for virtue passing into the life of Keats and strengthening it, I find in the admirable wisdom and temper of what he says to his friend Bailey on the occasion of a quarrel between Reynolds and Haydon: –

'Things have happened lately of great perplexity; you must have heard of them; Reynolds and Haydon retorting and recriminating, and parting for ever. The same thing has happened between Haydon and Hunt. It is unfortunate; men should bear with each other; there lives not the man who may not be cut up, aye, lashed to pieces, on his weakest side. The best of men have but a portion of good in them.... The sure way, Bailey, is first to know a man's faults, and then be passive. If, after that, he insensibly draws you towards him, then you have no power to break the link. Before I felt interested in either Reynolds or Haydon, I was well read in their faults; yet, knowing them, I have been cementing gradually with both. I have an affection for them both, for reasons almost opposite; and to both must I of necessity cling, supported always by the hope that when a little time, a few years, shall have tried me more fully in their esteem, I may be able to bring them together.'

Butler has well said that 'endeavouring to enforce upon our own minds a practical sense of virtue, or to beget in others that practical sense of it which a man really has himself, is a virtuous act .' And such an 'endeavouring' is that of Keats in those words written to Bailey. It is more than mere words; so justly thought and so discreetly urged as it is, it rises to the height of a virtuous act . It is proof of character.

The same thing may be said of some words written to his friend Charles Brown, whose kindness, willingly exerted whenever Keats chose to avail himself of it, seemed to free him from any pressing necessity of earning his own living. Keats felt that he must not allow this state of things to continue. He determined to set himself to 'fag on as others do' at periodical literature, rather than to endanger his independence and his self-respect; and he writes to Brown: –

'I had got into a habit of mind of looking towards you as a help in all difficulties. This very habit would be the parent of idleness and difficulties. You will see it is a duty I owe to myself to break the neck of it. I do nothing for my subsistence – make no exertion. At the end of another year you shall applaud me, not for verses, but for conduct.'

What character, again, what strength and clearness of judgment, in his criticism of his own productions, of the public, and of 'the literary circles'! His words after the severe reviews of Endymion have often been quoted; they cannot be quoted too often: –

'Praise or blame has but a momentary effect on the man whose love of beauty in the abstract makes him a severe critic on his own works. My own criticism has given me pain without comparison beyond what Blackwood or the Quarterly could possibly inflict; and also, when I feel I am right, no external praise can give me such a glow as my own solitary reperception and ratification of what is fine. J. S. is perfectly right in regard to the "slip-shod Endymion." That it is so is no fault of mine. No! though it may sound a little paradoxical, it is as good as I had power to make it by myself.'

And again, as if he had foreseen certain of his admires gushing over him, and was resolved to disengage his responsibility: –

'I have done nothing, except for the amusement of a few people who refine upon their feelings till anything in the un-understandable way will go down with them. I have no cause to complain, because I am certain anything really fine will in these days be felt. I have no doubt that if I had written Othello I should have been cheered. I shall go on with patience.'

Young poets almost inevitably over-rate what they call 'the might of poesy,' and its power over the world which now is. Keats is not a dupe on this matter any more than he is a dupe about the merit of his own performances: –

'I have no trust whatever in poetry. I don't wonder at it; the marvel is to me how people read so much of it.'

His attitude towards the public is that of a strong man, not of a weakling avid of praise, and made to 'be snuff'd out by an article': –

'I shall ever consider the public as debtors to me for verses, not myself to them for admiration, which I can do without.'

And again, in a passage where one may perhaps find fault with the capital letters, but surely with nothing else: –

'I have not the slightest feel of humility towards the public or to anything in existence but the Eternal Being, the Principle of Beauty, and the Memory of great Men.... I would be subdued before my friends, and [433] thank them for subduing me; but among multitudes of men I have no feel of stooping; I hate the idea of humility to them. I never wrote one single line of poetry with the least shadow of thought about their opinion. Forgive me for vexing you, but it eases me to tell you: I could not live without the love of my friends; I would jump down Etna for any great public good – but I hate a mawkish popularity. I cannot be subdued before them. My glory would be to daunt and dazzle the thousand jabberers about pictures and books.'

Against these artistic and literary 'jabberers,' amongst whom Byron fancied Keats, probably, to be always living, flattering them and flattered by them, he has yet another outburst: –

'Just so much as I am humbled by the genius above my grasp, am I exalted and look with hate and contempt upon the literary world. Who could wish to be among the common-place crowd of the little famous, who are each individually lost in a throng made up of themselves?'

And he loves Fanny Brawne the more, he tells her, because he believes that she has liked him for his own sake and for nothing else. 'I have met with women who I really think would like to be married to a Poem and to be given away by a Novel.'

There is a tone of too much bitterness and defiance in all this, a tone which he with great propriety subdued and corrected when he wrote his beautiful preface to Endymion . But the thing to be seized is, that Keats had flint and iron in him, that he had character; that he was, as his brother George says, 'as much like the Holy Ghost as Johnny Keats ,' – as that imagined sensuous weakling, the delight of the literary circles of Hampstead.

It is a pity that Byron, who so misconceived Keats, should never have known how shrewdly Keats, on the other hand, had characterised him , as 'a fine thing' in the sphere of 'the worldly, theatrical, and pantomimical.' But indeed nothing is more remarkable in Keats than his clear-sightedness, his lucidity; and lucidity is in itself akin to character and to high and severe work. In spite, therefore, of his overpowering feeling for beauty, in spite of his sensuousness, in spite of his facility, in spite of his gift of expression, Keats could say resolutely: –

'I know nothing, I have read nothing; and I mean to follow Solomon's directions: �Get learning, get understanding.� There is but one way for me. The road lies through application study, and thought. I will pursue it.'

And of Milton, instead of resting in Milton's incomparable [434] phrases, Keats could say, although indeed all the while 'looking upon fine phrases,' as he himself tells us, 'like a lover': –

'Milton had an exquisite passion for what is properly, in the sense of ease and pleasure, poetical luxury; and with that, it appears to me, he would fain have been content, if he could, so doing, preserve his self-respect and feeling of duty performed; but there was working in him, as it were, that same sort of thing which operates in the great world to the end of a prophecy's being accomplished. Therefore he devoted himself rather to the ardours than the pleasures of song, solacing himself at intervals with cups of old wine.'

          'But my flag is not unfurl'd On the Admiral-staff, and to philosophise I dare not yet.'

Even in his pursuit of 'the pleasures of song,' however, there is that stamp of high work which is akin to character, which is character passing into intellectual production. ' The best sort of poetry – that,' he truly says, 'is all I care for, all I live for.' It is curious to observe how this severe addiction of his to the best sort of poetry affects him with a certain coldness, as if the addiction had been to mathematics, towards those prime objects of a sensuous and passionate poet's regard, love and women. He speaks of 'the opinion I have formed of the generality of women, who appear to me as children to whom I would rather give a sugar-plum than my time.' He confesses 'a tendency to class women in my books with roses and sweetmeats – they never see themselves dominant'; and he can understand how the unpopularity of his poems may be in part due to 'the offence which the ladies,' not unnaturally, 'take at him' from this cause. Even to Fanny Brawne he can write 'a flint-worded letter,' when his 'mind is heaped to the full' with poetry: –

'I know the generality of women would hate me for this; that I should have so unsoftened, so hard a mind as to forget them; forget the brightest realities for the dull imaginations of my own brain.... My heart seems now made of iron – I could not write a proper answer to an invitation to Idalia.'

The truth is that 'the yearning passion for the Beautiful,' which [435] was with Keats, as he himself truly says, the master-passion, is not a passion of the sensuous or sentimental man, is not a passion of the sensuous or sentimental poet. It is an intellectual and spiritual passion. It is 'connected and made one,' as Keats declares that in his case it was, 'with the ambition of the intellect.' It is, as he again says, 'the mighty abstract idea of Beauty in all things.' And in his last days Keats wrote: 'If I should die, I have left no immortal work behind me – nothing to make my friends proud of my memory; but I have loved the principle of beauty in all things , and if I had had time I would have made myself remembered.' He has made himself remembered, and remembered as no merely sensuous poet could be; and he has done it by having 'loved the principle of beauty in all things.'

For to see things in their beauty is to see things in their truth, and Keats knew it. 'What the Imagination seizes as Beauty must be Truth,' he says in prose; and in immortal verse he has said the same thing: –

'Beauty is truth, truth beauty, – that is all Ye know on earth, and all ye need to know.'

'A thing of beauty is a joy for ever.'

It is no small thing to have so loved the principle of beauty as to perceive the necessary relation of beauty with truth, and of both with joy. Keats was a great spirit, and counts for far more than many even of his admirers suppose, because this just and high perception made itself clear to him. Therefore a dignity and a glory shed gleams over his life, and happiness, too, was not a stranger to it. 'Nothing startles me beyond the moment,' he says; 'the setting sun will always set me to rights, or if a sparrow come before my window I take part in its existence and pick about the gravel.' But he had terrible bafflers, – consuming disease and early death. 'I think,' he writes to Reynolds, 'if I had a free and healthy and lasting organisation of heart, and lungs as strong as an ox's, so as to be able to bear unhurt the shock of extreme thought and sensation without weariness, I could pass my life very nearly alone, though it should last eighty years. But I feel my body too weak [436] to support me to the height; I am obliged continually to check myself, and be nothing.' He had against him even more than this; he had against him the blind power which we call Fortune. 'O that something fortunate,' he cries in the closing months of his life, 'had ever happened to me or my brothers! – then I might hope, – but despair is forced upon me as a habit.' So baffled and so sorely tried, – while laden, at the same time, with a mighty formative thought requiring health, and many days, and favouring circumstances, for its adequate manifestation, – what wonder if the achievement of Keats be partial and incomplete?

Nevertheless, let and hindered as he was, and with a short term and imperfect experience, – 'young,' as he says of himself, 'and writing at random, straining after particles of light in the midst of a great darkness, without knowing the bearing of any one assertion, of any one opinion,' – notwithstanding all this, by virtue of his feeling for beauty and of his perception of the vital connexion of beauty with truth, Keats accomplished so much in poetry, that in one of the two great modes by which poetry interprets, in the faculty of naturalistic interpretation, in what we call natural magic, he ranks with Shakespeare. 'The tongue of Kean,' he says in an admirable criticism of that great actor and of his enchanting elocution, 'the tongue of Kean must seem to have robbed the Hybla bees and left them honeyless. There is an indescribable gusto in his voice; – in Richard, "Be stirring with the lark to-morrow, gentle Norfolk!" comes from him as through the morning atmosphere towards which he yearns.' This magic, this 'indescribable gusto in the voice,' Keats himself, too, exhibits in his poetic expression. No one else in English poetry, save Shakespeare, has in expression quite the fascinating felicity of Keats, his perfection of loveliness. 'I think,' he said humbly, 'I shall be among the English poets after my death.' He is; he is with Shakespeare.

For the second great half of poetic interpretation, for that faculty of moral interpretation which is in Shakespeare, and is informed by him with the same power of beauty as his naturalistic interpretation, Keats was not ripe. For the architectonics of poetry, the faculty which presides at the evolution of works like the Agamemnon or Lear , he was not ripe. His Endymion , as he himself well saw, is a failure, and his Hyperion , fine things as it contains, is not a success. But in shorter things, where the matured power of moral interpretation, and the high architectonics which go with [437] complete poetic development, are not required, he is perfect. The poems which follow prove it, – prove it far better by themselves than anything which can be said about them will prove it. Therefore I have chiefly spoken here of the man, and of the elements in him which explain the production of such work. Shakespearian work it is; not imitative, indeed, of Shakespeare, but Shakespearian, because its expression has that rounded perfection and felicity of loveliness of which Shakespeare is the great master. To show such work is to praise it. Let us now end by delighting ourselves with a fragment of it, too broken to find a place among the pieces which follow, but far too beautiful to be lost. It is a fragment of an ode for May-day. O might I, he cries to May, O might I

. . . . . . . . . . . . . . . 'thy smiles Seek as they once were sought, in Grecian isles, By bards who died content on pleasant sward, Leaving great verse unto a little clan! O, give me their old vigour, and unheard Save of the quiet primrose, and the span                   Of heaven, and few ears, Rounded by thee, my song should die away,                   Content as theirs, Rich in the simple worship of a day!'

Erstdruck und Druckvorlage The English Poets. Selections with Critical Introductions by Various Writers, and a General Introduction by Matthew Arnold. Edited by Thomas Humphry Ward. Vol. 4: Wordsworth to Dobell. London: Macmillan 1880, S. 428-437. URL: https://archive.org/details/englishpocrit04warduoft PURL: https://hdl.handle.net/2027/uva.x001497992 Die Textwiedergabe erfolgt nach dem ersten Druck ( Editionsrichtlinien ).

Kommentierte Ausgabe

• Matthew Arnold: English Literature and Irish Politics. Hrsg. von R. H. Super. Ann Arbor 1973 (= The Complete Prose Works of Matthew Arnold, 9). Text: S. 205-216; Kommentar: S. 392-396.

Werkverzeichnis Verzeichnis Smart, Thomas B.: The Bibliography of Matthew Arnold. London: Davy & Sons 1892. URL: https://archive.org/details/bibliographymat00smargoog PURL: https://hdl.handle.net/2027/hvd.32044086843448 Arnold, Matthew: Preface . In: Ders., Poems. A New Edition. London: Longman, Brown, Green and Longmans 1853, S. V-XXXI. . URL: https://archive.org/details/poems03arnogoog Arnold, Matthew: On Translating Homer. Three Lectures Given at Oxford. London: Longman, Green, Longman, and Roberts 1861. URL: https://archive.org/details/ontranslatingho00unkngoog PURL: https://hdl.handle.net/2027/osu.32435078160819 Arnold, Matthew: Heinrich Heine. In: The Cornhill Magazine. Bd. 8, 1863, November, S. 233-249. URL: http://catalog.hathitrust.org/Record/000522322 URL: https://archive.org/details/cornhillmagazine08londuoft Arnold, Matthew: The Functions of Criticism at the Present Time. In: The National Review. Bd. 19, 1864, November, S. 230-251. URL: http://catalog.hathitrust.org/Record/000055240 Aufgenommen in Matthew Arnold: Essays in Criticism. London u. Cambridge: Macmillan and Co. 1865, S. 1-41. Arnold, Matthew: Essays in Criticism. London u. Cambridge: Macmillan 1865. URL: https://archive.org/details/essaysincritici18arnogoog URL: http://digitalisate.bsb-muenchen.de/bsb10730601 URL: https://books.google.de/books?id=TbINAAAAQAAJ Arnold, Matthew: Culture and Anarchy. An Essay in Political and Social Criticism. London: Smith, Elder & Co 1869. URL: https://archive.org/details/cultureandanarc00arnogoog PURL: https://hdl.handle.net/2027/uiuc.3234314 Arnold, Matthew: Sainte-Beuve. In: The Academy. A Monthly Record of Literature, Learning, Science, and Art. Bd. 1, 1869/70, 13. November 1869, S. 31-32. URL: https://catalog.hathitrust.org/Record/006791517 URL: https://catalog.hathitrust.org/Record/000529050 URL: http://onlinebooks.library.upenn.edu/webbin/serial?id=theacademy URL: http://opacplus.bsb-muenchen.de/title/716416-6 Arnold, Matthew: Introduction to Volume I . In: The Hundred Greatest Men. Portraits of the One Hundred Greatest Men of History. Reproduced from Fine and Rare Steel Engravings. Volume I: Poetry. Poets, Dramatists, and Novelists. London: Sampson Low, Marston, Searle, and Rivington 1879, S. I-III. PURL: https://hdl.handle.net/2027/uc1.e0000385930 Arnold, Matthew (Hrsg.): Poems of Wordsworth . London: Macmillan and Co. 1879. S. V-XXVI: Preface. URL: https://hdl.handle.net/2027/hvd.hwpk8u Arnold, Matthew: Introduction . In: The English Poets. Selections with Critical Introductions by Various Writers, and a General Introduction by Matthew Arnold. Edited by Thomas Humphry Ward. Vol. 1: Chaucer to Donne. London: Macmillan and Co. 1880, S. XVII-XLVII. URL: https://archive.org/details/englishpoetssel01unkngoog PURL: https://hdl.handle.net/2027/uva.x000682342 Aufgenommen in Matthew Arnold: Essays in Criticism. Second Series. London: Macmillan and New York 1888; hier S. 1-55 (u.d.T. "The Study of Poetry"). URL: https://archive.org/details/essaysincritici18arnogoog URL: http://digitalisate.bsb-muenchen.de/bsb10730601 URL: https://books.google.de/books?id=TbINAAAAQAAJ Arnold, Matthew: Thomas Gray. In: The English Poets. Selections with Critical Introductions by Various Writers, and a General Introduction by Matthew Arnold. Edited by Thomas Humphry Ward. Vol. 3: Addison to Blake. London: Macmillan and Co.1880, S. 302-316. URL: https://archive.org/details/englishpoetssel02wardgoog PURL: https://hdl.handle.net/2027/uva.x001497536 Arnold, Matthew: John Keats . In: The English Poets. Selections with Critical Introductions by Various Writers, and a General Introduction by Matthew Arnold. Edited by Thomas Humphry Ward. Vol. 4: Wordsworth to Dobell. London: Macmillan and Co.1880, S. 428-437. URL: https://archive.org/details/englishpocrit04warduoft PURL: https://hdl.handle.net/2027/uva.x001497992 Arnold, Matthew: Byron. In: Macmillan's Magazine. Bd. 43, 1881, März, S. 367-377. URL: https://archive.org/details/macmillansmagazi43macmuoft URL: https://catalog.hathitrust.org/Record/000061600 Wiederholt Poetry of Byron. Chosen and Arranged by Matthew Arnold. London: Macmillan and Co. 1881, S. VII-XXXI (Preface). PURL: https://hdl.handle.net/2027/uc2.ark:/13960/t3st7rh4f URL: https://archive.org/details/poetryofbyroncho00byrorich Arnold, Matthew: Amiel. In: Macmillan's Magazine. Bd. 56, 1887, September, S. 321-329. URL: https://archive.org/details/macmillansmagaz57grovgoog URL: https://catalog.hathitrust.org/Record/000061600 Arnold, Matthew: Essays in Criticism. Second Series. London: Macmillan and New York 1888. URL: https://archive.org/details/essaysincritici18arnogoog URL: http://digitalisate.bsb-muenchen.de/bsb10730601 URL: https://books.google.de/books?id=TbINAAAAQAAJ Arnold, Matthew: Shelley. In: The Nineteenth Century. Bd. 23, 1888, Januar, S. 23-39. URL: https://catalog.hathitrust.org/Record/006061863 URL: http://opacplus.bsb-muenchen.de/title/6704-0 URL: https://onlinebooks.library.upenn.edu/webbin/serial?id=19thcentury Russell, George W. E. (Hrsg.): Letters of Matthew Arnold 1848-1888. Bd. 1. London: Macmillan and Co. and New York 1895. URL: https://archive.org/details/dli.granth.111547 PURL: https://hdl.handle.net/2027/hvd.32044086843075 Russell, George W. E. (Hrsg.): Letters of Matthew Arnold 1848-1888. Bd. 2. London: Macmillan and Co. and New York 1895. URL: https://archive.org/details/in.ernet.dli.2015.211262 PURL: https://hdl.handle.net/2027/hvd.32044090315243 Arnold, Matthew: The Complete Prose Works of Matthew Arnold. Hrsg. von R. H. Super. 11 Bde. Ann Arbor: University of Michigan Press 1960/77. Lang, Cecil Y. (Hrsg.): The Letters of Matthew Arnold. Bd. 1 ff. Charlottesville u.a.: University Press of Virginia 1996 ff.

Literatur Boenisch, Hanne: Heine, Arnold, Flaubert and the cross-channel link. Implicit connections textual and technological. In: Heine-Jahrbuch 40 (2001), S. 94-106 Brandmeyer, Rudolf: Poetiken der Lyrik: Von der Normpoetik zur Autorenpoetik. In: Handbuch Lyrik. Theorie, Analyse, Geschichte. Hrsg. von Dieter Lamping. 2. Aufl. Stuttgart 2016, S. 2-15. Dawson, Carl / Pfordresher, John (Hrsg.): Matthew Arnold: The Critical Heritage. Volume 1: Prose Writings. London 1979. Dawson, Clara: Victorian Poetry and the Culture of Evaluation. Oxford 2020. Everest, Kelvin: Keats�s Formal Legacy and the Victorians. In: Keats's Reading / Reading Keats. Essays in Memory of Jack Stillinger. Hrsg. von Beth Lau u.a. Cham 2022, S. 239-255 Harrison, Anthony H.: Victorian Poets and Romantic Poems. Intertextuality and Ideology. Charlottesville 1992. Machann, Clinton: Arnold as a Critic: A Twenty-First Century Perspective. In: Twenty-First Century Perspectives on Victorian Literature. Hrsg. von Laurence W. Mazzeno. Lanham u.a. 2014, S. 151-168. Matthews, Geoffrey M. (Hrsg.): Keats. The Critical Heritage. London 1971 (= The Critical Heritage Series). O'Neill, Michael: The Romantic Bequest: Arnold and Others. In: The Oxford Handbook of Victorian Poetry. Hrsg von Bevis Matthew. Oxford u.a. 2013, S. 217-234. Sussman, Matthew: Stylistic Virtue in Nineteenth-Century Criticism. In: Victorian Studies 56.2 (2014), S. 225-249. Wootton, Sarah: Consuming Keats. Nineteenth-Century Representations in Art and Literature. Basingstoke u.a. 2006.

Edition Lyriktheorie » R. Brandmeyer

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"The impact of cultural..."

Estelle Gallagher