There he had devoured every book that came in his way, especially rejoicing in stories of the gods and goddesses of ancient Greece. At Edmonton he was able to continue his studies by borrowing books from his friend Charles Cowden Clarke, the son of his schoolmaster, and he often went over to Enfield to change his books and to discuss those which he had been reading. On one of these occasions Cowden Clarke introduced him to Spenser, to whom so many poets have owed their first inspiration that he has been called 'the poets' poet'; and it was then, apparently, that Keats was first prompted to write.

When he was nineteen, a year before his apprenticeship came to an end, he quarrelled with his master, left him, and continued his training in London as a student at St. Thomas's Hospital and Guy's. [viii]Gradually, however, during the months that followed, though he was an industrious and able medical student, Keats came to realize that poetry was his true vocation; and as soon as he was of age, in spite of the opposition of his guardian, he decided to abandon the medical profession and devote his life to literature.

If Mr. Abbey was unsympathetic Keats was not without encouragement from others. His brothers always believed in him whole-heartedly, and his exceptionally lovable nature had won him many friends. Amongst these friends two men older than himself, each famous in his own sphere, had special influence upon him.

One of them, Leigh Hunt, was something of a poet himself and a pleasant prose-writer. His encouragement did much to stimulate Keats's genius, but his direct influence on his poetry was wholly bad. Leigh Hunt's was not a deep nature; his poetry is often trivial and sentimental, and his easy conversational style is intolerable when applied to a great theme. To this man's influence, as well as to the surroundings of his youth, are doubtless due the occasional flaws of taste in Keats's early work.

The other, Haydon, was an artist of mediocre [ix]creative talent but great aims and amazing belief in himself. He had a fine critical faculty which was shown in his appreciation of the Elgin marbles, in opposition to the most respected authorities of his day. Mainly through his insistence they were secured for the nation which thus owes him a boundless debt of gratitude. He helped to guide and direct Keats's taste by his enthusiastic exposition of these masterpieces of Greek sculpture.

In 1817 Keats published his first volume of poems, including 'Sleep and Poetry' and the well-known lines 'I stood tiptoe upon a little hill'. With much that is of the highest poetic value, many memorable lines and touches of his unique insight into nature, the volume yet showed considerable immaturity. It contained indeed, if we except one perfect sonnet, rather a series of experiments than any complete and finished work. There were abundant faults for those who liked to look for them, though there were abundant beauties too; and the critics and the public chose rather to concentrate their attention on the former. The volume was therefore anything but a success; but Keats was not discouraged, for he saw many of his own faults more clearly than did his critics, and felt his power to outgrow them.

[x]Immediately after this Keats went to the Isle of Wight and thence to Margate that he might study and write undisturbed. On May 10th he wrote to Haydon—'I never quite despair, and I read Shakespeare—indeed I shall, I think, never read any other book much'. We have seen Keats influenced by Spenser and by Leigh Hunt: now, though his love for Spenser continued, Shakespeare's had become the dominant influence. Gradually he came too under the influence of Wordsworth's philosophy of poetry and life, and later his reading of Milton affected his style to some extent, but Shakespeare's influence was the widest, deepest and most lasting, though it is the hardest to define. His study of other poets left traces upon his work in turns of phrase or turns of thought: Shakespeare permeated his whole being, and his influence is to be detected not in a resemblance of style, for Shakespeare can have no imitators, but in a broadening view of life, and increased humanity.

No poet could have owed his education more completely to the English poets than did John Keats. His knowledge of Latin was slight—he knew no Greek, and even the classical stories which he loved and constantly used, came to him almost entirely [xi]through the medium of Elizabethan translations and allusions. In this connexion it is interesting to read his first fine sonnet, in which he celebrates his introduction to the greatest of Greek poets in the translation of the rugged and forcible Elizabethan, George Chapman:—

On first looking into Chapman's Homer.

Much have I travelled 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 stared at the Pacific—and all his men
 Look'd at each other with a wild surmise—
 Silent, upon a peak in Darien.

Of the work upon which he was now engaged, the narrative-poem of Endymion, we may give his own [xii]account to his little sister Fanny in a letter dated September 10th, 1817:—

'Perhaps you might like to know what I am writing about. I will tell you. Many years ago there was a young handsome Shepherd who fed his flocks on a Mountain's Side called Latmus—he was a very contemplative sort of a Person and lived solitary among the trees and Plains little thinking that such a beautiful Creature as the Moon was growing mad in Love with him.—However so it was; and when he was asleep she used to come down from heaven and admire him excessively for a long time; and at last could not refrain from carrying him away in her arms to the top of that high Mountain Latmus while he was a dreaming—but I dare say you have read this and all the other beautiful tales which have come down from the ancient times of that beautiful Greece.'

On his return to London he and his brother Tom, always delicate and now quite an invalid, took lodgings at Hampstead. Here Keats remained for some time, harassed by the illness of his brother and of several of his friends; and in June he was still further depressed by the departure of his brother George to try his luck in America.

[xiii]In April, 1818, Endymion was finished. Keats was by no means satisfied with it but preferred to publish it as it was, feeling it to be 'as good as I had power to make it by myself'.—'I will write independently' he says to his publisher—'I have written independently without judgment. I may write independently and with judgment hereafter. In Endymion I leaped headlong into the sea, and thereby have become better acquainted with the soundings, the quicksands, and the rocks, than if I had stayed upon the green shore, and piped a silly pipe, and took tea and comfortable advice.' He published it with a preface modestly explaining to the public his own sense of its imperfection. Nevertheless a storm of abuse broke upon him from the critics who fastened upon all the faults of the poem—the diffuseness of the story, its occasional sentimentality and the sometimes fantastic coinage of words,[xiii:1] and ignored the extraordinary beauties of which it is full.

Directly after the publication of Endymion, and before the appearance of these reviews, Keats started with a friend, Charles Brown, for a walking tour in [xiv]Scotland. They first visited the English lakes and thence walked to Dumfries, where they saw the house of Burns and his grave.