On leaving school he was apprenticed for five years to a surgeon at Edmonton. His master was a Mr. Hammond, "of some eminence" in his profession, as Lord Houghton takes care to assure us. The place was of more importance than the master, for its neighborhood to Enfield enabled him to keep up his intimacy with the family of his former teacher, Mr. Clarke, and to borrow books of them. In 1812, when he was in his seventeenth year, Mr. Charles Cowden Clarke lent him the "Faerie Queene." Nothing that is told of Orpheus or Amphion is more wonderful than this miracle of Spenser's, transforming a surgeon's apprentice into a great poet. Keats learned at once the secret of his birth, and henceforward his indentures ran to Apollo instead of Mr. Hammond. Thus could the Muse defend her son. It is the old story,--the lost heir discovered by his aptitude for what is gentle and knightly. Haydon tells us "that he used sometimes to say to his brother he feared he should never be a poet, and if he was not he would destroy himself." This was perhaps a half-conscious reminiscence of Chatterton, with whose genius and fate he had an intense sympathy, it may be from an inward foreboding of the shortness of his own career.[387]
Before long we find him studying Chaucer, then Shakespeare, and afterward Milton. But Chapman's translations had a more abiding influence on his style both for good and evil. That he read wisely, his comments on the "Paradise Lost" are enough to prove. He now also commenced poet himself, but does not appear to have neglected the study of his profession. He was a youth of energy and purpose, and though he no doubt penned many a stanza when he should have been anatomizing, and walked the hospitals accompanied by the early gods, nevertheless passed a very creditable examination in 1817. In the spring of this year, also, he prepared to take his first degree as poet, and accordingly published a small volume containing a selection of his earlier essays in verse. It attracted little attention, and the rest of this year seems to have been occupied with a journey on foot in Scotland, and the composition of "Endymion," which was published in 1818. Milton's "Tetrachordon" was not better abused; but Milton's assailants were unorganized, and were obliged each to print and pay for his own dingy little quarto, trusting to the natural laws of demand and supply to furnish him with readers. Keats was arraigned by the constituted authorities of literary justice. They might be, nay, they were Jeffrieses and Scroggses, but the sentence was published, and the penalty inflicted before all England. The difference between his fortune and Milton's was that between being pelted by a mob of personal enemies and being set in the pillory. In the first case, the annoyance brushes off mostly with the mud; in the last, there is no solace but the consciousness of suffering in a great cause. This solace, to a certain extent, Keats had; for his ambition was noble, and he hoped not to make a great reputation, but to be a great poet. Haydon says that Wordsworth and Keats were the only men he had ever seen who looked conscious of a lofty purpose.