GENIUS AND OTHER ESSAYS
series of these spasmodic epistles? A theory that such a youth as Keats was "ill brought up" cannot be thus deduced; the reverse, all things considered, seems to have been the case. Furthermore, it may be that the evolution of a poet advances quite as surely through experience of the average man's folly and emotion as through a class training in reticence, dignity, and self-restraint. In the first glow of ambition Keats inscribed "Endymion" to the memory of Chatterton, and gladly would have equalled that sleepless soul in fate, so were he equal to him in renown. Afterward, in his first experience of passion, he yielded to morbid sentiment, self-abandonment, the frenzy of a passing hour. It is not out of nature that genius, in these early crises, should be pitifully sensitive or take stage-strides. The training that would forestall this might, like Aylmer's process, too well remove a birth-mark. We can spare, now and then, a gray head on green shoulders, if thereby we gain a poet. Keats was a sturdy, gallant boy at school,—as a man, free from vices patrician or plebeian, and a gentleman in motive and bearing. No unusual precocity of character goes with the artistic temperament. It is observed of born musicians, who in childhood have mastered instrument and counterpoint, and of other phenomenal geniuses, that they are not old beyond their years, nor less simple and frolicsome than their playmates. But the heyday in the blood has always been as critical to poets as the "sinister conjunction" was to the youth of the Arabian tale. Shakespeare, Milton, Burns, Shelley, Byron, were not specifically apostles of common sense
[88]
