In
his invaluable essay “The Prose Sublime,” Donald Justice observes that certain powerful
and moving passages (usually taking us by surprise, ambushing us with delight,
in my experience) often defy paraphrase and instant comprehension: “Their power
is hidden in mystery. There is, at most, an illusion of seeing momentarily into
the heart of things -- and the moment vanishes. It is this, perhaps, which
produces the aesthetic blush.” A nice echo of Nabokov’s “aesthetic bliss,”
defined in his afterword to Lolita
as “a sense of being somehow, somewhere, connected with other states of being
where art (curiosity, tenderness, kindness, ecstasy) is the norm.” Neither
writer is a strict aesthete. What they describe is more than pretty words or
words that conform to our predigested opinions. Justice’s “heart of things” and
Nabokov’s “other states of being” sound remarkably alike. This is what I read
in Keats’ letter to Benjamin Bailey written on March 13, 1818, as he explains
to his friend why he did not keep a promised visit:
“I
have used it these three last days to keep out the abominable Devonshire
Weather - by the by you may say what you will of Devonshire: the truth is, it
is a splashy, rainy, misty, snowy, foggy, haily, floody, muddy, slipshod
county. The hills are very beautiful, when you get a sight of ’em; the
primroses are out, --but then you are in; the cliffs are of a fine deep colour,
but then the clouds are continually vieing with them.”
This
passage and much of the rest of the letter left me tingling. I’ve read it
before, many times, but was surprised again that the real Keats could be funny
and playful, unlike the seraphic sprite of legend. No doubt my knowing he was
already sick with the consumption that would kill him in less than three years,
that his brother Tom would be dead from the same disease in another nine
months, and that a year later he would write his great odes – all of that heightens
my susceptibility to his words. Their poignancy triggers admiration and gratitude
in this reader. How could so young a man (he was twenty-two) muster the wit
(and courage) to write like this to a friend? The former medical student even
makes a joke about a powerful emetic. As readers, we’d like to think we too
could eschew self-pity and carry on rakishly while philosophizing and parodying
same. Shakespeare, as usual, is with him:
“As
Tradesmen say every thing is worth what it will fetch, so probably every mental
pursuit takes its reality and worth from the ardor of the pursuer -- being in itself a nothing -- Ethereal
things may at least be thus real, divided under three heads -- Things real --
things semireal -- and no things. Things real -- such as existences of Sun Moon
& Stars and passages of Shakspeare. Things semi-real such as Love, the
Clouds &c which require a greeting of the Spirit to make them wholly exist --
and Nothings which are made Great and dignified by an ardent pursuit -- which
by the by stamps the burgundy mark on the bottles of our Minds, insomuch as
they are able to `consecrate whate’er they look upon.’”
Keats
goes on to give Bailey a sonnet the way you and I might give him a coupon
clipped from the newspaper. Surely, he's writing of himself with this line: “He
has his Winter too of pale misfeature.” The way he slides seamlessly from
jokiness to sublimity is an off-handed miracle:
“Aye
this may be carried - but what am I talking of - it is an old maxim of mine and
of course must be well known that every point of thought is the centre of an
intellectual world - the two uppermost thoughts in a Man's mind are the two
poles of his World he revolves on them and every thing is southward or
northward to him through their means. We take but three steps from feathers to
iron.”
Donald
Justice writes of a passage in Sherwood Anderson’s novel Poor White, though he might be describing Keats’ letter: “Such a
passage seems hardly to bother with understanding at all; it is a passage of
unspoken connections, unnameable affinities, a tissue
of association without specified relations.”
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