JOHN KEATS

(Londres, 1795 – Roma, 1821)

Textos originales

Ode on a Grecian Urn

Thou still unravish’d bride of quietness,

Thou foster-child of silence and slow time,

Sylvan historian, who canst thus express

A flowery tale more sweetly than our rhyme:

What leaf-fring’d legend haunts about thy shape

Of deities or mortals, or of both,

In Tempe or the dales of Arcady?

What men or gods are these? What maidens loth?

What mad pursuit? What struggle to escape?

What pipes and timbrels? What wild ecstasy?

 

Heard melodies are sweet, but those unheard

Are sweeter; therefore, ye soft pipes, play on;

Not to the sensual ear, but, more endear’d,

Pipe to the spirit ditties of no tone:

Fair youth, beneath the trees, thou canst not leave

Thy song, nor ever can those trees be bare;

Bold Lover, never, never canst thou kiss,

Though winning near the goal yet, do not grieve;

She cannot fade, though thou hast not thy bliss,

For ever wilt thou love, and she be fair!

 

Ah, happy, happy boughs! that cannot shed

Your leaves, nor ever bid the Spring adieu;

And, happy melodist, unwearied,

For ever piping songs for ever new;

More happy love! more happy, happy love!

For ever warm and still to be enjoy’d,

For ever panting, and for ever young;

All breathing human passion far above,

That leaves a heart high-sorrowful and cloy’d,

A burning forehead, and a parching tongue.

 

Who are these coming to the sacrifice?

To what green altar, O mysterious priest,

Lead’st thou that heifer lowing at the skies,

And all her silken flanks with garlands drest?

What little town by river or sea shore,

Or mountain-built with peaceful citadel,

Is emptied of this folk, this pious morn?

And, little town, thy streets for evermore

Will silent be; and not a soul to tell

Why thou art desolate, can e’er return.

 

O Attic shape! Fair attitude! with brede

Of marble men and maidens overwrought,

With forest branches and the trodden weed;

Thou, silent form, dost tease us out of thought

As doth eternity: Cold Pastoral!

When old age shall this generation waste,

Thou shalt remain, in midst of other woe

Than ours, a friend to man, to whom thou say’st,

«Beauty is truth, truth beauty,—that is all

Ye know on earth, and all ye need to know.»

 

 

Ode to a Nightingale

 

My heart aches, and a drowsy numbness pains

My sense, as though of hemlock I had drunk,

Or emptied some dull opiate to the drains

One minute past, and Lethe-wards had sunk:

‘Tis not through envy of thy happy lot,

But being too happy in thine happiness,—

That thou, light-winged Dryad of the trees

In some melodious plot

Of beechen green, and shadows numberless,

Singest of summer in full-throated ease.

 

O, for a draught of vintage! that hath been

Cool’d a long age in the deep-delved earth,

Tasting of Flora and the country green,

Dance, and Provençal song, and sunburnt mirth!

O for a beaker full of the warm South,

Full of the true, the blushful Hippocrene,

With beaded bubbles winking at the brim,

And purple-stained mouth;

That I might drink, and leave the world unseen,

And with thee fade away into the forest dim:

 

Fade far away, dissolve, and quite forget

What thou among the leaves hast never known,

The weariness, the fever, and the fret

Here, where men sit and hear each other groan;

Where palsy shakes a few, sad, last gray hairs,

Where youth grows pale, and spectre-thin, and dies;

Where but to think is to be full of sorrow

And leaden-eyed despairs,

Where Beauty cannot keep her lustrous eyes,

Or new Love pine at them beyond to-morrow.

 

Away! away! for I will fly to thee,

Not charioted by Bacchus and his pards,

But on the viewless wings of Poesy,

Though the dull brain perplexes and retards:

Already with thee! tender is the night,

And haply the Queen-Moon is on her throne,

Cluster’d around by all her starry Fays;

But here there is no light,

Save what from heaven is with the breezes blown

Through verdurous glooms and winding mossy ways.

 

I cannot see what flowers are at my feet,

Nor what soft incense hangs upon the boughs,

But, in embalmed darkness, guess each sweet

Wherewith the seasonable month endows

The grass, the thicket, and the fruit-tree wild;

White hawthorn, and the pastoral eglantine;

Fast fading violets cover’d up in leaves;

And mid-May’s eldest child,

The coming musk-rose, full of dewy wine,

The murmurous haunt of flies on summer eves.

 

Darkling I listen; and, for many a time

I have been half in love with easeful Death,

Call’d him soft names in many a mused rhyme,

To take into the air my quiet breath;

Now more than ever seems it rich to die,

To cease upon the midnight with no pain,

While thou art pouring forth thy soul abroad

In such an ecstasy!

Still wouldst thou sing, and I have ears in vain—

To thy high requiem become a sod.

 

Thou wast not born for death, immortal Bird!

No hungry generations tread thee down;

The voice I hear this passing night was heard

In ancient days by emperor and clown:

Perhaps the self-same song that found a path

Through the sad heart of Ruth, when, sick for home,

She stood in tears amid the alien corn;

The same that oft-times hath

Charm’d magic casements, opening on the foam

Of perilous seas, in faery lands forlorn.

 

Forlorn! the very word is like a bell

To toll me back from thee to my sole self!

Adieu! the fancy cannot cheat so well

As she is fam’d to do, deceiving elf.

Adieu! adieu! thy plaintive anthem fades

Past the near meadows, over the still stream,

Up the hill-side; and now ‘tis buried deep

In the next valley-glades:

Was it a vision, or a waking dream?

Fled is that music:—Do I wake or sleep?

Sugerencias

Jane Campion dirigió la película Bright Star (2009) en la que se relatan los últimos años de la vida de Keats y su relación con Fanny Brawne a quien el poeta inglés dedicó un emocionante poema en el que sueña con escuchar la tranquila respiración de su amada y vivir eternamente así o desfallecer en la muerte:

Still, still to hear her tender-taken breath

And so live ever—or else swoon to death.

Ben Whishaw interpretando a John Keats

 

Y aquí la casa (Piazza di Spagna, 26) donde agonizó John Keats en Roma:

Eloy Sánchez Rosillo dedica un poema a la figura de Keats en su Las cosas como fueron (Poesía completa, 1974-2017), Tusquets, 2018.