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Keats and Spenser KEATS AND SPENSER A DSSERTAT ON PRESENTED TO THE P HILO S O P HICA L FA CULT ! O F T HE UNIVERS IT ! O F HEIDELBERG FOR T HE ACQUISITION OF T HE DEGREE D O CT O R O F P HILO S O P H! HE ID E LBE R G N E D B! E GE I E N D O R FE R PRI T . S 1897 . Co n t e n t s I . In troduction 1 T he esent tate tic u n he . Pr S of Cri ism po t Relation between Keats and Spenser 2 T he O b ec i e . j t of Th s Pap r hi l E id n c n d s II . Biogra p ca v e e a P e r on al T e stim on y L n ua e III . a g g , ’ Mr rn s e s s s 1 . t n e n . W. T A old Lis of Sp ria Word in Keat ’ 2 urthe aces the enseri n E e en in . F r Tr of Sp a l m t Ke ats D iction 3 s an ase B we r enser . Word d Phr s P r o bab l y orro d f om Sp “ 4 T he e s in a n ens . n m t ti p er Li ! I i o of S 5 umm r . S a y IV M e tr . e V S ub e ct-M at nd d f m n . j te r a M e tho o T re at e nt. S e suousn e ss a n d Chiv alry Index of Words Compared Literature n r duc i n . I. I t o t o I T he P resent S tate of Criticism upon the on b w n K a and S n r Relati et ee e ts pe se . Certain critics have maintained that the genius of John Keats was to a gre at extent moulded by his study of the poetical works of Edmund Spenser . Lord Houghton ’ ’ says , ,, Not only are the Lines in imitation of Spenser, ff with the exception of some indi erent sonnets, the ear of liest known verses his composition, but the stream of his inspiration remained long coloured by the rich N or soil over which it then flowed . will the just critic of the maturer poems of Keats fail to trace much that at first appears forced and fantastical both in idea and in expression, and suspect that some of the very de fe cts to extra , which are commonly attributed an va u gant originality, may be disting ished as proceeding too m for b ut from a indiscri inate reverence a great, “ l unequal, model . ) Beautiful are the words of Mr . M atthew Arnold in which he refers to Keats as the one modern inhe r ’ ite r of Spenser s beautiful gift ; the poet who evidently caught from Spenser his sweet and easy- slipping move u ment, and who has exq isitely employed it ; a Spenserian ’ 1 e t et c ne ed XI ) K a s o a or s , d . p . V. P i l W k Al i , ro genius, nay, a genius by natural endowment richer p bably than even Spenser ; that light which shines so w f t unexpected and ithout ellow in our cen ury, an Eli sab e than t d born too late, the early los and a mirably gifted Keats “ ) Again , Mr . W . T . Arnold declares , ,, The strongest literary influence exercised by any one writer upon the mind of Keats was that exercised by Spenser . Leigh ’ Hunt s influence is strongly marked only in his earliest, that of Milton only in his latest work ; but n ot only is Spenser everywhere both in the volume of juvenile ’ o E n d m l on p ems and in y , but one of Keats latest and ’ m . most beautiful poe s, St Agnes Eve, is perhaps the of of finest example the use the Spenserian stanza, out w of of Spenser, in the hole range English verse . Spenser was his first love in poetry and even Milton and Shaks ’ pere did not cause him to be forgotten in Keats ma “ 2 turer years . ) M r. v The eminent critic, Sidney Col in (followed by 3 - . a v u Mr Forman ) , grees with the abo e q oted as to the general influence of Spenser upon the poetical work of t k ff Kea s, but ta es a slightly di erent View as regards the juvenile poem called the Imitation of Spenser . He : t says ,, Although , indeed, the poe s whom Keats loved the best both first and last were those of the E lisab e than age , it is clear that his own earliest verses were modelled timidly on the work of writers nearer his ow n time . His professedly Spenserian lines resemble not so much Spenser as later writers who had written ’ e b Mr e e c s 1 ! uot d . rno d , K ats o t a or ondon , ) y W T A l P i l W k , L 1888 XXV p . , ’ d ld 1888 2 e t et c e . K a s o a r s . rno , ondon , , ) P i l Wo k , W T A L — IV pp . XXIII XX . 3 T he e c e ed ) o t a or s o ohn K ats . orman , ondon , P i l W k f J , F L 896 V 1 , p. X III . in of his measure, and these not the latest, Byron, but e on rather such milder minstrels as Sh nstone , Thoms , and Beattie , or most of all perhaps the sentimental Irish poetess Mrs . Tighe ; whose P s y c h e had become of very popular since her death, and by its richness versification imagery, and flowing and musical , takes a n place, now too little recog ised, among the pieces pre luding the romantic movement of the The view of the last nam ed critic as to the general ’ character of Keats first poem appears in a somewhat ’ ’ modified form in J . Hoops article entitled Keats Jagend “ und Jugendgedichte In seinen fibrige n Juge nddich tungen tritt allerdings der E influss der Litteratur des 1 zu 8. Jahrhunderts vielfach unverkennbar Tage ; aber “ aus den vier Stan z en der Imitation of Spenser das zu w d snb e ctiv selbe entnehmen ollen, scheint och etwas j geurtheilt ; sie k onne n ebenso gut von Spenser direct i “ 2 W e von seinen Nachfolgern b e einflusst sein . ) A sharp contrast to all the preceding criticism is n n . w ho . s fur ished by the opi ion of Mr W M Ro setti, ’ finds even in Keats whole first volume of poems (publi ’ shed in 1 81 7) little in which Spenser s influence is par t n in amoun , and is inclined to de y to Spenser any ’ fluen ce upon Keats latest and best productions . Here : are his words As we have seen, Keats began versify ing chiefly under a S penserean influence ; and it has been suggested that this influence remained puissant for harm as well as for good up to the close of his n u poetic career . I do ot see much force in the s gges e in hi tion ; unl ss t s limited sense that Spenser, like E lisabethan other and Jacobean poets his successors, allowed himself very considerable latitude in saying h a d or e w atever c me into his hea , relevant irr levant, 1 e s b d 188 21 ) K at ne o v n ond n , 9 p . y Si y C l i , L o , 2 E t d 239 ) ngl . S u . XXI . a far- f h d i le ppropriate or jarring, obvious or etc e , s mp i of or grandiose, accord ng to the mood the moment of and the swing composition , and thus the whole strain presents an aspect more of rich and arbitrary picturesqueness than of ordered suavity . And Keats no doubt often did the same : but not in the choicest of nor so productions his later time , perhaps much under incitement from Spenser as in pursuance of that revolt from a factitious and constrained model of work d in which Wordsworth in one irection , Coleridge in d another, and Leigh Hunt in a thir , had already come forward with practice and precept . Making allowance for few a early attempts directly referable to Spenser, ’ fi t I find, even in Keats s rs volume, little in which that influence is paramount . He seems to have written b e ui m cause his perceptions were q ck, his sy pathies vivid in i u to certain directions, and his energ es wound p n of poetic endeavour . The ma nerisms thought, method, a nd m of of diction, are much ore those Hunt than Spenser ; and it is extrem ely probable that the sore ness against Hunt which Keats evidenced at a later period was due to his perceiving that that kindly friend and genial literary ally had misled him into some poe tic n ot to n trivialities and absurdities, less than a ything in himself which could be taken hold of for complain t “ ) f h Pa 2 h O c o r . T e bje t T is pe A glance through the preceding pages will make it evident that there is a considerable difference of Opinion among critics as to the actual relations existing between Keats and Spenser ; the question being a rather one it to e important , may be worth while ent r into a — 1 M s 1 887 164 165 .
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