How Keats coped with fever.
In 1821, three months after he learned of Keats’s death, Percy Shelley wrote Adonaïs: An Elegy on the Death of John Keats, in which he described the poet as a delicate, fragile young flower of a man:
Oh gentle child, beautiful as thou wert,
Why didst thou leave the trodden paths of men
Too soon, and with weak hands though mighty heart
Dare the unpastured dragon in his den?
That dragon was a cruel critic who had mocked Keats’s literary ambitions—John Gibson Lockhart, who, writing under the pseudonym Z, had scolded Keats as if he were a child, insisting in a review of Endymion that “it is a better and a wiser thing to be a starved apothecary than a starved poet; so back to the shop, Mr John, back to the ‘plasters, pills, and ointment boxes.’ ” Lockhart had classed Keats among the Cockney School of politics, versification, and morality, known—at least by readers of Blackwood’s Magazine—for its “exquisitely bad taste” and “vulgar modes of thinking.” In Shelley’s formulation, it was this bad review that sent Keats to an early grave, and gazing back through history, one begins to accept this two-part narrative of Keats’s legacy. The fallen poet had lived a life of abstractions—he was not only an aesthete, but the aesthete—and he had been, as Byron quipped, “snuffed out by an article,” too beautiful and frail for this harsh world.
But Keats was immersed in the realities of life; his poetry and letters reveal an allegiance to radical politics as well as a concern with economic and scientific issues. Far from childlike and apolitical, he’s now thought of as having been “dangerous … a poet who embodied and gave voice to the anxieties and insecurities of his times … a poet whom the establishment would be obliged to silence,” as the scholar Nicholas Roe puts it. We often overlook, for instance, that Keats spent six years studying medicine, successfully earning a license to practice in London from the Society of Apothecaries—hence Lockhart’s insult about the “plasters, pills, and ointment boxes.” To think that he was “snuffed out by an article” trivializes the intense pain he experienced as his lungs were slowly consumed by tuberculosis, robbing him of his work, his love, and his life at the age of twenty-five.
The myth of the frail genius is attractive, even to contemporary readers, because of its quintessential Romanticism. But the truth is that Keats’s writings—especially when they seem fanciful or escapist—are grounded in real-world concerns. And nowhere is this more evident than in the letters and poems of his that deal with feverish suffering. Read More