Perhaps as a result of the lingering Symbolist inheritance, the aesthetic notion of most potency at present is the idea that the work of art is in some sense about itself. Even in the fine arts, apparently most in love with the visible world, the great painter will be said to paint himself in every portrait. The exquisite old lady reading in a pool of light holds the stillness of Rembrandt himself as he paints, and Velasquez looks back at us through the eyes of a court dwarf. This self-involvement may all the more readily be found in literature since most poets tend to be experts on themselves. Outgoing and unegoistic as he was, Keats shows himself in his letters to be endlessly articulate on himself and his writing, and the poems, too, can be read as something like works of criticism. Many critics see 'On First Looking into Chapman's Homer' as the earliest evidence of Keats's genius, and the sonnet treats with Renaissance magnificence that peculiarly modern subject, the poet as reader of poetry. Or again, the remarkable fragment which, only two and a half years after the sonnet, marked the beginning of Keats's last and 'living year', 'The Eve of St Mark', could easily be re-titled 'Portrait of the Artist as a Young Woman Reading': so suggestively inward and original is its image of a young person wholly absorbed in a poem, one chilly spring evening in a small country town, where she sits by the window in an old house trying to catch the dying light

LRB 21 June 1984 | PDF Download