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Review of Keats's First Volume of Poems (1817), Page 3
by Leigh Hunt (1817).

There is a super-abundance of detail, which, though not so wanting, of course, in power of perception, is as faulty and unseasonable sometimes as common-place. It depends upon circumstances, whether we are to consider ourselves near enough, as it were, to the subject we are describing to grow microscopical upon it. A person basking in a landscape for instance, and a person riding through it, are in two very different situations for the exercise of their eyesight; and even where the license is most allowable, care must be taken not to give to small things and great, to nice detail and to general feeling, the same proportion of effect. Errors of this kind in poetry answer to a want of perspective in painting, and of a due distribution of light and shade. To give an excessive instance in the former art, there was Denner, who copied faces to a nicety amounting to a horrible want of it, like Brobdignagian visages encountered by Gulliver; and who, according to the facetious Peter Pindar,

Make a bird's beak appear at twenty mile.

And the same kind of specimen is afforded in poetry by Darwin, a writer now almost forgotten and deservedly, but who did good in his time by making unconscious caricatures of all the poetical faults in vogue, and flattering himself that the sum total went to the account of his original genius. Darwin would describe a dragon-fly and a lion in the same terms of proportion. You did not know which he would have scrambled from the sooner. His pictures were like the two-penny sheets which the little boys buy, and in which you see J Jackdaw and K King, both of the same dimensions.

Mr. Keats's other faults, the one in his versification, arises from a similar cause,—that of contradicting over-zealously the fault on the opposite side. It is this which provokes him now and then into mere roughness and discords for their own sake, not for that of variety and contrasted harmony. We can manage, by substituting a greater feeling for a smaller, a line like the following:—

I shall roll on the grass with two-fold ease;—

but by no contrivance of any sort can we prevent this from jumping out of the heroic measure into mere rhythmicality,—

How many bards gild the lapses of time!

We come now however to the beauties; and the reader will easily perceive that they not only outnumber the faults a hundred fold, but that they are of a nature decidedly opposed to what is false and inharmonious. Their characteristics indeed are a fine ear, a fancy and imagination at will, and an intense feeling of external beauty in it's most natural and least expressible simplicity.


PAGE 3 OF 7.

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