Sin #27: Poetic Love

Fanny spends her days sewing wonderful garments, reading poetry by her window sill and taking care of her mother and siblings. One day she meets a young and awkward young man named John Keats who lives with his best friend Charles Brown; both of them are poets. Although Fanny hates Brown’s poems, she loves Keats’ and is intrigued by this shy and quiet man.

“Bright Star” is one of the most powerful romances I’ve seen in a movie. It resonates beyond any traditional genre formula by gently developing two extraordinary personalities. Abbie Cornish and Ben Whishaw give amazingly nuanced performances. Fanny is a strong woman, never afraid of giving her honest opinion (she reminded me a little of Jane Austen’s character Elizabeth Bennet, from “Pride and Prejudice”). Keats is more of a troubled soul, capable of writing beautiful and haunting poems but incapable of revealing his true feelings to Fanny (he confesses to be confused by women); in his mind Keats always considered himself a failure (he barely sold a single book and was poor for most of his life).

If there ever was a film begging to be seen on the big screen, this is it. Director Jane Campion composes each scene like a Victorian painter and lets us drown in the exquisite images. Her best asset is her sense of cinematic rhythm; she never pumps up the volume. By creating a sensuous sense of pace, she develops a poetic tone that matches the beauty of Keats’s words.

“Bright Star” is a marvelous movie that left me heart-broken at its tragic conclusion. It’s so powerful that I immediately went looking for Keats’s poems. Instead of ending this article in a traditional manner I thought of quoting one of his best.

Ode to a Nightingale

I.

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.

II.

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 Provencal 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:

III.

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.

IV.

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.

V.

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.

VI.

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.

VII.

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.

VIII.

Forlorn! the very word is like a bell
To toil 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?