Читать книгу The Atlantic Monthly, Volume 11, No. 66, April, 1863 - Various - Страница 1

[Joseph Severn, the author of the following paper, scarcely needs introduction to the readers of the "Atlantic Monthly"; but no one will object to reperusing, in connection with his valuable contribution, this extract from the Preface to "Adonais," which Shelley wrote in 1821:—

"He [Keats] was accompanied to Rome and attended in his last illness by Mr. Severn, a young artist of the highest promise, who, I have been informed, 'almost risked his own life, and sacrificed every prospect, to unwearied attendance upon his dying friend.' Had I known these circumstances before the completion of my poem, I should have been tempted to add my full tribute of applause to the more solid recompense which the virtuous man finds in the recollection of his own motives. Mr. Severn can dispense with a reward from 'such stuff as dreams are made of.' His conduct is a noble augury of the success of his future career. May the unextinguished spirit of his illustrious friend animate the creations of his pencil, and plead against oblivion for his name!"

Mr. Severn is residing in Rome at the present time, from which city he transmits this paper.]

I well remember being struck with the clear and independent manner which Washington Allston, in the year 1818, expressed his opinion of John Keats's verse, when the young poet's writings first appeared, amid the ridicule of most English readers, Mr. Allston was at that time the only discriminating judge among the strangers to Keats who were residing abroad, and he took occasion to emphasize in my hearing his opinion of the early effusions of the young poet in words like these:—"They are crude materials of real poetry, and Keats is sure to become a great poet."

It is a singular pleasure to the few in personal friends of Keats in England (who may still have to defend him against the old and worn-out slanders) that in America he has always had a solid fame, independent of the old English prejudices.

Here in Rome, as I write, I look back through forty years of worldly changes to behold Keats's dear image again in memory. It seems as if he should be living with me now, inasmuch as I never could understand his strange and contradictory death, his falling away so suddenly from health and strength. He had that fine compactness of person which we regard as the promise of longevity, and no mind was ever more exultant in youthful feeling. I cannot summon a sufficient reason why in one short year he should have been thus cut off, "with all his imperfections on his head." Was it that he lived too soon,—that the world he sought was not ready for him?

For more than the year I am now dwelling on, he had fostered a tender and enduring love for a young girl nearly of his own age, and this love was reciprocal, not only in itself, but in all the worldly advantages arising from it of fortune on her part and fame on his. It was encouraged by the sole parent of the lady; and the fond mother was happy in seeing her daughter so betrothed, and pleased that her inheritance would fall to so worthy an object as Keats. This was all well settled in the minds and hearts of the mutual friends of both parties, when poor Keats, soon after the death of his younger brother, unaccountably showed signs of consumption; at least, he himself thought so, though the doctors were widely undecided about it. By degrees it began to be deemed needful that the young poet should go to Italy, even to preserve his life. This was at last accomplished, but too late; and now that I am reviewing all the progress of his illness from his first symptoms, I cannot but think his life might have been preserved by an Italian sojourn, if it had been adopted in time, and if circumstances had been improved as they presented themselves. And, further, if he had had the good fortune to go to America, which he partly contemplated before the death of his younger brother, not only would his life and health have been preserved, but his early fame would have been insured. He would have lived independent of the London world, which was striving to drag him down in his poetic career, and adding to the sufferings which I consider the immediate cause of his early death.

In Italy he always shrank from speaking in direct terms of the actual things which were killing him. Certainly the "Blackwood" attack was one of the least of his miseries, for he never even mentioned it to me. The greater trouble which was ingulfing him he signified in a hundred ways. Was it to be wondered at, that at the time when the happiest life was presented to his view, when it was arranged that he was to marry a young person of beauty and fortune, when the little knot of friends who valued him saw such a future for the beloved poet, and he himself, with generous, unselfish feelings, looked forward to it more delighted on their account,—was it to be wondered at, that, on the appearance of consumption, his ardent mind should have sunk into despair? He seemed struck down from the highest happiness to the lowest misery. He felt crushed at the prospect of being cut off at the early age of twenty-four, when the cup was at his lips, and he was beginning to drink that draught of delight which was to last his mortal life through, which would have insured to him the happiness of home, (happiness he had never felt, for he was an orphan,) and which was to be a barrier for him against a cold and (to him) a malignant world.

He kept continually in his hand a polished, oval, white carnelian, the gift of his widowing love, and at times it seemed his only consolation, the only thing left him in this world clearly tangible. Many letters which he was unable to read came for him. Some he allowed me to read to him; others were too worldly,—for, as he said, he had "already journeyed far beyond them." There were two letters, I remember, for which he had no words, but he made me understand that I was to place them on his heart within his winding-sheet.

Those bright falcon eyes, which I had known only in joyous intercourse, while revelling in books and Nature, or while he was reciting his own poetry, now beamed an unearthly brightness and a penetrating steadfastness that could not be looked at. It was not the fear of death,—on the contrary, he earnestly wished to die,—but it was the fear of lingering on and on, that now distressed him; and this was wholly on my account. Amidst the world of emotions that were crowding and increasing as his end approached, I could always see that his generous concern for me in my isolated position at Rome was one of his greatest cares. In a little basket of medicines I had bought at Gravesend at his request there was a bottle of laudanum, and this I afterwards found was destined by him "to close his mortal career," when no hope was left, and to prevent a long, lingering death, for my poor sake. When the dismal time came, and Sir James Clark was unable to encounter Keats's penetrating look and eager demand, he insisted on having the bottle, which I had already put away. Then came the most touching scenes. He now explained to me the exact procedure of his gradual dissolution, enumerated my deprivations and toils, and dwelt upon the danger to my life, and certainly to my fortunes, from my continued attendance upon him. One whole day was spent in earnest representations of this sort, to which, at the same time that they wrung my heart to hear and his to utter, I was obliged to oppose a firm resistance. On the second day, his tender appeal turned to despair, in all the power of his ardent imagination and bursting heart.

From day to day, after this time, he would always demand of Sir James Clark, "How long is this posthumous life of mine to last?" On finding me inflexible in my purpose of remaining with him, he became calm, and tranquilly said that he was sure why I held up so patiently was owing to my Christian faith, and that he was disgusted with himself for ever appearing before me in such savage guise; that he now felt convinced how much every human being required the support of religion, that he might die decently. "Here am I," said he, "with desperation in death that would disgrace the commonest fellow. Now, my dear Severn, I am sure, if you could get some of the works of Jeremy Taylor to read to me, I might become really a Christian, and leave this world in peace." Most fortunately, I was able to procure the "Holy Living and Dying." I read some passages to him, and prayed with him, and I could tell by the grasp of his dear hand that his mind was reviving. He was a great lover of Jeremy Taylor, and it did not seem to require much effort in him to embrace the Holy Spirit in these comforting works.

Thus he gained strength of mind from day to day just in proportion as his poor body grew weaker and weaker. At last I had the consolation of finding him calm, trusting, and more prepared for his end than I was. He tranquilly rehearsed to me what would be the process of his dying, what I was to do, and how I was to bear it. He was even minute in his details, evidently rejoicing that his death was at hand. In all he then uttered he breathed a simple, Christian spirit; indeed, I always think that he died a Christian, that "Mercy" was trembling on his dying lips, and that his tortured soul was received by those Blessed Hands which could alone welcome it.1

After the death of Keats, my countrymen in Rome seemed to vie with one another in evincing the greatest kindness towards me. I found myself in the midst of persons who admired and encouraged my beautiful pursuit of painting, in which I was then indeed but a very poor student, but with my eyes opening and my soul awakening to a new region of Art, and beginning to feel the wings growing for artistic flights I had always been dreaming about.

In all this, however, there was a solitary drawback: there were few Englishmen at Rome who knew Keats's works, and I could scarcely persuade any one to make the effort to read them, such was the prejudice against him as a poet; but when his gravestone was placed, with his own expressive line, "Here lies one whose name was writ in water," then a host started up, not of admirers, but of scoffers, and a silly jest was often repeated in my hearing, "Here lies one whose name was writ in water, and his works in milk and water"; and this I was condemned to hear for years repeated, as though it had been a pasquinade; but I should explain that it was from those who were not aware that I was the friend of Keats.

At the first Easter after his death I had a singular encounter with the late venerable poet, Samuel Rogers, at the table of Sir George Beaumont, the distinguished amateur artist. Perhaps in compliment to my friendship for Keats, the subject of his death was mentioned by Sir George, and he asked Mr. Rogers if he had been acquainted with the young poet in England. Mr. Rogers replied, that he had had more acquaintance than he liked, for the poems were tedious enough, and the author had come upon him several times for money. This was an intolerable falsehood, and I could not restrain myself until I had corrected him, which I did with my utmost forbearance,—explaining that Sir. Rogers must have mistaken some other person for Keats,—that I was positive my friend had never done such a thing in any shape, or even had occasion to do it,—that he possessed a small independence in money, and a large one in mind.

The old poet received the correction, with much kindness, and thanked me for so effectually setting him right. Indeed, this encounter was the groundwork of a long and to me advantageous friendship between us. I soon discovered that it was the principle of his sarcastic wit not only to sacrifice all truth to it, but even all his friends, and that he did not care to know any who would not allow themselves to be abused for the purpose of lighting up his breakfast with sparkling wit, though not quite, indeed, at the expense of the persons then present. I well remember, on one occasion afterwards, Mr. Rogers was entertaining us with a volley of sarcasms upon a disagreeable lawyer, who made pretensions to knowledge and standing not to be borne; on this occasion the old poet went on, not only to the end of the breakfast, but to the announcement of the very man himself on an accidental visit, and then, with a bland smile and a cordial shake of the hand, he said to him, "My dear fellow, we have all been talking about you up to this very minute,"—and looking at his company still at table, and with a significant wink, he, with extraordinary adroitness and experienced tact, repeated many of the good things, reversing the meaning of them, and giving us the enjoyment of the double-entendre. The visitor was charmed, nor even dreamed of the ugliness of his position. This incident gave me a painful and repugnant impression of Mr. Rogers, yet no doubt it was after the manner of his time, and such as had been the fashion in Walpole's and Johnson's days.

I should be unjust to the venerable poet not to add, that notwithstanding what is here related of him, be oftentimes showed himself the generous and noble-hearted man. I think that in all my long acquaintance with him he evinced a kind of indirect regret that he had commenced with me in such an ugly attack on dear Keats, whose fame, when I went to England in 1838, was not only well established, but was increasing from day to day, and Mr. Rogers was often at the pains to tell me so, and to relate the many histories of poets who had been less fortunate than Keats.

It was in the year of the Reform Bill, 1830, that I first heard of the Paris edition (Galignani's) of Keats's works, and I confess that I was quite taken by surprise, nor could I really believe the report until I saw the book with the engraved portrait from my own drawing; for, after all the vicissitudes of Keats's fame which I had witnessed, I could not easily understand his becoming the poet of "the million." I had now the continued gratification in Rome of receiving frequent visits from the admirers of Keats and Shelley, who sought every way of showing kindness to me. One great cause of this change, no doubt, was the rise of all kinds of mysticism in religious opinions, which often associated themselves with Shelley's poetry, and I then for the first time heard him named as the only really religious poet of the age. To the growing fame of Keats I can attribute some of the pleasantest and most valuable associations of my after-life, as it included almost the whole society of gifted young men at that time called "Young England." Here I may allude to the extraordinary change I now observed in the manners and morals of Englishmen generally: the foppish love of dress was in a great measure abandoned, and all intellectual pursuits were caught up with avidity, and even made fashionable.

The most remarkable example of the strange capriciousness of Keats's fame which fell under my personal observation occurred in my later Roman years, during the painful visit of Sir Walter Scott to Rome in the winding-up days of his eventful life, when he was broken down not only by incurable illness and premature old age, but also by the accumulated misfortunes of fatal speculations and the heavy responsibility of making up all with the pen then trembling in his failing hand.

I had been indirectly made known to him by his favorite ward and protégée, the late Lady Northampton, who, accustomed to write to him monthly, often made mention of me; for I was on terms of friendship with all her family, an intimacy which in great part arose from the delight she always had in Keats's poetry, being herself a poetess, and a most enlightened and liberal critic.

When Sir Walter arrived, he received me like an old and attached friend; indeed, he involuntarily tried to make me fill up the terrible void then recently created by the death of Lady Northampton at the age of thirty-seven years. I went at his request to breakfast with him every morning, when he invariably commenced talking of his lost friend, of her beauty, her singularly varied accomplishments, of his growing delight in watching her from a child in the Island of Mull, and of his making her so often the model of his most successful female characters, the Lady of the Lake and Flora MacIvor particularly. Then he would stop short to lament her unlooked-for death with tears and groans of bitterness such as I had never before witnessed in any one,—his head sinking down on his heaving breast. When he revived, (and this agonizing scene took place every morning,) he implored me to pity him, and not heed his weakness,—that in his great misfortunes, in all their complications, he had looked forward to Rome and his dear Lady Northampton as his last and certain hope of repose; she was to be his comfort in the winding-up of life's pilgrimage: now, on his arrival, his life and fortune almost exhausted, she was gone! gone! After these pathetic outpourings, he would gradually recover his old cheerfulness, his expressive gray eye would sparkle even in tears, and soon that wonderful power he had for description would show itself, when he would often stand up to enact the incident of which he spoke, so ardent was he, and so earnest in the recital.

Each morning, at his request, I took for his examination some little picture or sketch that might interest him, and amongst the rest a picture of Keats, (now in the National Portrait Gallery of London,) but this I was surprised to find was the only production of mine that seemed not to interest him; he remained silent about it, but on all the others he was ready with interesting comments and speculations. Observing this, and wondering within myself at his apathy with regard to the young lost poet, as I had reason to be proud of Keats's growing fame, I ventured to talk about him, and of the extraordinary caprices of that fame, which at last had found its resting-place in the hearts of all real lovers of poetry.

I soon perceived that I was touching on an embarrassing theme, and I became quite bewildered on seeing Miss Scott turn away her face, already crimsoned with emotion. Sir Walter then falteringly remarked, "Yes, yes, the world finds out these things for itself at last," and taking my hand, closed the interview,—our last, for the following night he was taken seriously ill, and I never saw him again, as his physician immediately hurried him away from Rome.

The incomprehensibleness of this scene induced me to mention it on the same day to Mr. Woodhouse, the active and discriminating friend of Keats, who had collected every written record of the poet, and to whom we owe the preservation of many of the finest of his productions. He was astonished at my recital, and at my being ignorant of the fact that Sir Walter Scott was a prominent contributor to the Review which through its false and malicious criticisms had always been considered to have caused the death of Keats.

My surprise was as great as his at my having lived all those seventeen years in Rome and been so removed from the great world, that this, a fact so interesting to me to know, had never reached me. I had been unconsciously the painful means of disturbing poor old Sir Walter with a subject so sore and unwelcome that I could only conclude it must have been the immediate cause of his sudden illness. Nothing could be farther from my nature than to have been guilty of such seemingly wanton inhumanity; but I had no opportunity afterwards of explaining the truth, or of justifying my conduct in any way.

This was the last striking incident connected with Keats's fame which fell within my own experience, and perhaps may have been the last, or one of the last, symptoms of that party-spirit which in the artificial times of George IV. was so common even among poets in their treatment of one another,—they assuming to be mere politicians, and striving to be oblivious of their heart-ennobling pursuit.

It only remains for me to speak of my return to Rome in 1861, after an absence of twenty years, and of the favorable change and the enlargement during that time of Keats's fame,—not as manifested by new editions of his works, or by the contests of publishers about him, or by the way in which most new works are illustrated with quotations from him, or by the fact that some favorite lines of his have passed into proverbs, but by the touching evidence of his silent grave. That grave, which I can remember as once the object of ridicule, has now become the poetic shrine of the world's pilgrims who care and strive to live in the happy and imaginative region of poetry. The head-stone, having twice sunk, owing to its faulty foundation, has been twice renewed by loving strangers, and each time, as I am informed, these strangers were Americans. Here they do not strew flowers, as was the wont of olden times, but they pluck everything that is green and living on the grave of the poet. The Custode tells me, that, notwithstanding all his pains in sowing and planting, he cannot "meet the great consumption." Latterly an English lady, alarmed at the rapid disappearance of the verdure on and around the grave, actually left an annual sum to renew it. When the Custode complained to me of the continued thefts, and asked what he was to do, I replied, "Sow and plant twice as much; extend the poet's domain; for, as it was so scanty during his short life, surely it ought to be afforded to him twofold in his grave."

Here on my return to Rome, all kinds of happy associations with the poet surround me, but none so touching as my recent meeting with his sister. I had known her in her childhood, during my first acquaintance with Keats, but had never seen her since. I knew of her marriage to a distinguished Spanish patriot, Señor Llanos, and of her permanent residence in Spain; but it was reserved for me to have the felicity of thus accidentally meeting her, like a new-found sister, in Rome. This city has an additional sacredness for both of us as the closing scene of her illustrious brother's life, and I am held by her and her charming family in loving regard as the last faithful friend of the poet. That I may indulge the pleasures of memory and unite them with the sympathy of present incidents, I am now engaged on a picture of the poet's grave, and am treating it with all the picturesque advantages which the antique locality gives me, as well as the elevated associations which this poetic shrine inspires. The classic story of Endymion being the subject of Keats's principal poem, I have introduced a young Roman shepherd sleeping against the head-stone with his flock about him, whilst the moon from behind the pyramid illuminates his figure and serves to realize the poet's favorite theme in the presence of his grave. This interesting incident is not fanciful, but is what I actually saw on an autumn evening at Monte Tertanio the year following the poet's death.

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