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Lamia by John Keats

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Lamia is a long narrative poem that tells the story of a serpent-woman transformed into a beautiful human who falls in love with a young man named Lycius in ancient Corinth.

Composed
1820 · Romantic
Core theme
Beauty
The PoemFull text

Lamia

John Keats, 1820

Upon a time, before the faery broods Drove Nymph and Satyr from the prosperous woods, Before King Oberon's bright diadem, Sceptre, and mantle, clasp'd with dewy gem, Frighted away the Dryads and the Fauns From rushes green, and brakes, and cowslipp'd lawns, The ever-smitten Hermes empty left His golden throne, bent warm on amorous theft: From high Olympus had he stolen light, On this side of Jove's clouds, to escape the sight Of his great summoner, and made retreat Into a forest on the shores of Crete. For somewhere in that sacred island dwelt A nymph, to whom all hoofed Satyrs knelt; At whose white feet the languid Tritons pour'd Pearls, while on land they wither'd and adored Fast by the springs where she to bathe was wont, And in those meads where sometimes she might haunt, Were strewn rich gifts, unknown to any Muse, Though Fancy's casket were unlock'd to choose. Ah, what a world of love was at her feet! So Hermes thought, and a celestial heat Burn'd from his winged heels to either ear, That from a whiteness, as the lily clear, Blush'd into roses 'mid his golden hair, Fallen in jealous curls about his shoulders bare. From vale to vale, from wood, to wood he flew, Breathing upon the flowers his passion new, And wound with many a river to its head, To find where this sweet nymph prepared her secret bed: In vain; the sweet nymph might nowhere be found, And so he rested, on the lonely ground, Pensive, and full of painful jealousies Of the Wood-Gods, and even the very trees. There as he stood, he heard a mournful voice, Such as once heard, in gentle heart, destroys All pain but pity: thus the lone voice spake: "When from this wreathed tomb shall I awake! When move in a sweet body fit for life, And love, and pleasure, and the ruddy strife Of hearts and lips! Ah, miserable me!" The God, dove-footed, glided silently Round bush and tree, soft-brushing, in his speed, The taller grasses and full-flowering weed, Until he found a palpitating snake, Bright, and cirque-couchant in a dusky brake. She was a gordian shape of dazzling hue, Vermilion-spotted, golden, green, and blue; Striped like a zebra, freckled like a pard, Eyed like a peacock, and all crimson barr'd; And full of silver moons, that, as she breathed, Dissolved, or brighter shone, or interwreathed Their lustres with the gloomier tapestries— So rainbow-sided, touch'd with miseries, She seem'd at once, some penanced lady elf, Some demon's mistress, or the demon's self. Upon her crest she wore a wannish fire Sprinkled with stars, like Ariadne's tiar: Her head was serpent, but ah, bitter-sweet! She had a woman's mouth with all its pearls complete: And for her eyes—what could such eyes do there But weep, and weep, that they were born so fair? As Proserpine still weeps for her Sicilian air. Her throat was serpent, but the words she spake Came, as through bubbling honey, for Love's sake, And thus; while Hermes on his pinions lay, Like a stoop'd falcon ere he takes his prey: "Fair Hermes! crown'd with feathers, fluttering light, I had a splendid dream of thee last night; I saw thee sitting, on a throne of gold, Among the Gods, upon Olympus old, The only sad one; for thou didst not hear The soft, lute-finger'd Muses chanting clear, Nor even Apollo when he sang alone, Deaf to his throbbing throat's long, long melodious moan. I dreamt I saw thee, robed in purple flakes, Break amorous through the clouds, as morning breaks, And, swiftly as a bright Phœbean dart, Strike for the Cretan isle; and here thou art! Too gentle Hermes, hast thou found the maid?" Whereat the star of Lethe not delay'd His rosy eloquence, and thus inquired: "Thou smooth-lipp'd serpent, surely high-inspired! Thou beauteous wreath, with melancholy eyes, Possess whatever bliss thou canst devise, Telling me only where my nymph is fled,— Where she doth breathe!" "Bright planet, thou hast said," Return'd the snake, "but seal with oaths, fair God!" "I swear," said Hermes, "by my serpent rod, And by thine eyes, and by thy starry crown!" Light flew his earnest words, among the blossoms blown. Then thus again the brilliance feminine: "Too frail of heart! for this lost nymph of thine, Free as the air, invisibly, she strays About these thornless wilds; her pleasant days She tastes unseen; unseen her nimble feet Leave traces in the grass and flowers sweet: From weary tendrils, and bow'd branches green, She plucks the fruit unseen, she bathes unseen: And by my power is her beauty veil'd To keep it unaffronted, unassail'd By the love-glances of unlovely eyes, Of Satyrs, Fauns, and blear'd Silenus' sighs. Pale grew her immortality, for woe Of all these lovers, and she grieved so I took compassion on her, bade her steep Her hair in weïrd syrops, that would keep Her loveliness invisible, yet free To wander as she loves, in liberty. Thou shalt behold her, Hermes, thou alone, If thou wilt, as thou swearest, grant my boon!" Then, once again, the charmed God began An oath, and through the serpent's ears it ran Warm, tremulous, devout, psalterian Ravish'd she lifted her Circean head, Blush'd a live damask, and swift-lisping said, "I was a woman, let me have once more A woman's shape, and charming as before I love a youth of Corinth—O the bliss! Give me my woman's form, and place me where he is. Stoop, Hermes, let me breathe upon thy brow, And thou shalt see thy sweet nymph even now." The God on half-shut feathers sank serene, She breathed upon his eyes, and swift was seen Of both the guarded nymph near-smiling on the green. It was no dream; or say a dream it was, Real are the dreams of Gods, and smoothly pass Their pleasures in a long immortal dream. One warm, flush'd moment, hovering, it might seem Dash'd by the wood-nymph's beauty, so he burn'd; Then, lighting on the printless verdure, turn'd To the swoon'd serpent, and with languid arm, Delicate, put to proof the lithe Caducean charm. So done, upon the nymph his eyes he bent Full of adoring tears and blandishment, And towards her stept: she, like a moon in wane, Faded before him, cower'd, nor could restrain Her fearful sobs, self-folding like a flower That faints into itself at evening hour: But the God fostering her chilled hand, She felt the warmth, her eyelids open'd bland, And, like new flowers at morning song of bees Bloom'd, and gave up her honey to the lees. Into the green-recessed woods they flew; Nor grew they pale, as mortal lovers do. Left to herself, the serpent now began To change; her elfin blood in madness ran, Her mouth foam'd, and the grass, therewith besprent, Wither'd at dew so sweet and virulent; Her eyes in torture fix'd, and anguish drear, Hot, glazed, and wide, with lid-lashes all sear, Flash'd phosphor and sharp sparks, without one cooling tear. The colors all inflamed throughout her train, She writhed about, convulsed with scarlet pain: A deep volcanian yellow took the place Of all her milder-mooned body's grace; And, as the lava ravishes the mead, Spoilt all her silver mail, and golden brede: Made gloom of all her frecklings, streaks and bars, Eclipsed her crescents, and lick'd up her stars: So that, in moments few, she was undrest Of all her sapphires, greens, and amethyst, And rubious-argent: of all these bereft Nothing but pain and ugliness were left. Still shone her crown; that vanish'd, also she Melted and disappear'd as suddenly: And in the air, her new voice luting soft, Cried, "Lycius! gentle Lycius!"—borne aloft With the bright mists about the mountains hoar These words dissolved: Crete's forests heard no more. Whither fled Lamia, now a lady bright, A full-born beauty new and exquisite? She fled into that valley they pass o'er Who go to Corinth from Cenchreas' shore; And rested at the foot of those wild hills, The rugged founts of the Peræan rills, And of that other ridge whose barren back Stretches, with all its mist and cloudy rack, South-westward to Cleone. There she stood About a young bird's flutter from a wood, Fair, on a sloping green of mossy tread, By a clear pool, wherein she passioned To see herself escaped from so sore ills, While her robes flaunted with the daffodils. Ah, happy Lycius!—for she was a maid More beautiful than ever twisted braid, Or sigh'd, or blush'd, or on spring-flower'd lea Spread a green kirtle to the minstrelsy: A virgin purest lipp'd, yet in the lore Of love deep learned to the red heart's core: Not one hour old, yet of sciential brain To unperplex bliss from its neighbor pain; Define their pettish limits, and estrange Their points of contact, and swift counterchange, Intrigue with the specious chaos, and dispart Its most ambiguous atoms with sure art; As though in Cupid's college she had spent Sweet days a lovely graduate, still unshent, And kept his rosy terms in idle languishment. Why this fair creature chose so fairily By the wayside to linger, we shall see; But first 'tis fit to tell how she could muse And dream, when in the serpent prison-house, Of all she list, strange or magnificent: How, ever, where she will'd, her spirit went; Whether to faint Elysium, or where Down through tress-lifting waves the Nereids fair Wind into Thetis' bower by many a pearly stair; Or where God Bacchus drains his cups divine, Stretch'd out, at ease, beneath a glutinous pine; Or where in Pluto's gardens palatine Mulciber's columns gleam in far piazzian line. And sometimes into cities she would send Her dream, with feast and rioting to blend; And once, while among mortals dreaming thus, She saw the young Corinthian Lycius Charioting foremost in the envious race, Like a young Jove with calm uneager face, And fell into a swooning love of him. Now on the moth-time of that evening dim He would return that way, as well she knew, To Corinth from the shore; for freshly blew The eastern soft wind, and his galley now Grated the quay-stones with her brazen prow In port Cenchreas, from Egina isle Fresh anchor'd; whither he had been awhile To sacrifice to Jove, whose temple there Waits with high marble doors for blood and incense rare. Jove heard his vows, and better'd his desire; For by some freakful chance he made retire From his companions, and set forth to walk, Perhaps grown wearied of their Corinth talk: Over the solitary hills he fared, Thoughtless, at first, but ere eve's star appear'd His phantasy was lost, where reason fades, In the calm'd twilight of Platonic shades. Lamia beheld him coming, near, more near— Close to her passing, in indifference drear, His silent sandals swept the mossy green; So neighbor'd to him, and yet so unseen She stood: he pass'd, shut up in mysteries, His mind wrapp'd like his mantle, while her eyes Follow'd his steps, and her neck regal white Turn'd—syllabling thus, "Ah, Lycius bright! And will you leave me on the hills alone? Lycius look back! and be some pity shown." He did; not with cold wonder fearingly, But Orpheus-like at an Eurydice; For so delicious were the words she sung, It seem'd he had loved them a whole summer long: And soon his eyes had drunk her beauty up, Leaving no drop in the bewildering cup, And still the cup was full,—while he, afraid Lest she should vanish ere his lip had paid Due adoration, thus began to adore; Her soft look growing coy, she saw his chain so sure: "Leave thee alone! Look back! Ah, Goddess, see Whether my eyes can ever turn from thee! For pity do not this sad heart belie— Even as thou vanishest so I shall die. Stay! though a Naiad of the rivers, stay! To thy far wishes will thy streams obey: Stay! though the greenest woods be thy domain, Alone they can drink up the morning rain; Though a descended Pleiad, will not one Of thine harmonious sisters keep in tune Thy spheres, and as thy silver proxy shine? So sweetly to these ravish'd ears of mine Came thy sweet greeting, that if thou shouldst fade, Thy memory will waste me to a shade:— For pity do not melt!"—"If I should stay," Said Lamia, "here, upon this floor of clay, And pain my steps upon these flowers too rough, What canst thou say or do of charm enough To dull the nice remembrance of my home? Thou canst not ask me with thee here to roam Over these hills and vales, where no joy is,— Empty of immortality and bliss! Thou art a scholar, Lycius, and must know That finer spirits cannot breathe below In human climes, and live: Alas! poor youth, What taste of purer air hast thou to soothe My essence? What serener palaces, Where I may all my many senses please, And by mysterious sleights a hundred thirsts appease; It cannot be—Adieu!" So said, she rose Tiptoe with white arms spread. He, sick to lose The amorous promise of her lone complain, Swoon'd murmuring of love, and pale with pain. The cruel lady, without any show Of sorrow for her tender favorite's woe, But rather, if her eyes could brighter be, With brighter eyes and slow amenity, Put her new lips to his, and gave afresh The life she had so tangled in her mesh: And as he from one trance was wakening Into another, she began to sing, Happy in beauty, life, and love, and everything, A song of love, too sweet for earthly lyres, While, like held breath, the stars drew in their panting fires. And then she whisper'd in such trembling tone, As those who, safe together met alone For the first time through many anguish'd days, Use other speech than looks; bidding him raise His drooping head, and clear his soul of doubt, For that she was a woman, and without Any more subtle fluid in her veins Than throbbing blood, and that the self-same pains Inhabited her frail-strung heart as his. And next she wonder'd how his eyes could miss Her face so long in Corinth, where, she said, She dwelt but half retired, and there had led Days happy as the gold coin could invent Without the aid of love; yet in content Till she saw him, as once she pass'd him by, Where 'gainst a column he leant thoughtfully At Venus' temple porch, 'mid baskets heap'd Of amorous herbs and flowers, newly reap'd Late on that eve, as 'twas the night before The Adonian feast; whereof she saw no more, But wept alone those days, for why should she adore? Lycius from death awoke into amaze, To see her still, and singing so sweet lays; Then from amaze into delight he fell To hear her whisper woman's lore so well; And every word she spake enticed him on To unperplex'd delight and pleasure known. Let the mad poets say whate'er they please Of the sweets of Fairies, Peris, Goddesses, There is not such a treat among them all, Haunters of cavern, lake, and waterfall, As a real woman, lineal indeed From Pyrrha's pebbles or old Adam's seed. Thus gentle Lamia judged, and judged aright, That Lycius could not love in half a fright, So threw the goddess off, and won his heart More pleasantly by playing woman's part, With no more awe than what her beauty gave, That, while it smote, still guaranteed to save. Lycius to all made eloquent reply, Marrying to every word a twin-born sigh; And last, pointing to Corinth, ask'd her sweet, If 'twas too far that night for her soft feet. The way was short, for Lamia's eagerness Made, by a spell, the triple league decrease To a few paces; not at all surmised By blinded Lycius, so in her comprised They pass'd the city gates, he knew not how, So noiseless, and he never thought to know. As men talk in a dream, so Corinth all, Throughout her palaces imperial, And all her populous streets and temples lewd, Mutter'd, like tempest in the distance brew'd, To the wide-spreaded night above her towers. Men, women, rich and poor, in the cool hours, Shuffled their sandals o'er the pavement white, Companion'd or alone; while many a light Flared, here and there, from wealthy festivals, And threw their moving shadows on the walls, Or found them cluster'd in the corniced shade Of some arch'd temple door, or dusky colonnade. Muffling his face, of greeting friends in fear, Her fingers he press'd hard, as one came near With curl'd gray beard, sharp eyes, and smooth bald crown, Slow-stepp'd, and robed in philosophic gown: Lycius shrank closer, as they met and past, Into his mantle, adding wings to haste, While hurried Lamia trembled: "Ah," said he, "Why do you shudder, love, so ruefully? Why does your tender palm dissolve in dew?"— "I'm wearied," said fair Lamia: "tell me who Is that old man? I cannot bring to mind His features:—Lycius! wherefore did you blind Yourself from his quick eyes?" Lycius replied, "'Tis Apollonius sage, my trusty guide And good instructor; but to-night he seems The ghost of folly haunting my sweet dreams." While yet he spake they had arrived before A pillar'd porch, with lofty portal door, Where hung a silver lamp whose phosphor glow Reflected in the slabbed steps below, Mild as a star in water; for so new And so unsullied was the marble hue, So through the crystal polish, liquid fine, Ran the dark veins, that none but feet divine Could e'er have touch'd there. Sounds Æolian Breathed from the hinges, as the ample span Of the wide doors disclosed a place unknown Some time to any, but those two alone, And a few Persian mutes, who that same year Were seen about the markets: none knew where They could inhabit; the most curious Were foil'd, who watch'd to trace them to their house: And but the flitter-winged verse must tell, For truth's sake what woe afterwards befell, 'Twould humor many a heart to leave them thus, Shut from the busy world of more incredulous. Love in a hut, with water and a crust, Is—Love, forgive us!—cinders, ashes, dust; Love in a palace is perhaps at last More grievous torment than a hermit's fast:— That is a doubtful tale from faery land, Hard for the non-elect to understand. Had Lycius lived to hand his story down, He might have given the moral a fresh frown, Or clench'd it quite: but too short was their bliss To breed distrust and hate, that make the soft voice hiss. Besides, there, nightly, with terrific glare, Love, jealous grown of so complete a pair, Hover'd and buzz'd his wings, with fearful roar, Above the lintel of their chamber door, And down the passage cast a glow upon the floor. For all this came a ruin: side by side They were enthroned, in the even tide, Upon a couch, near to a curtaining Whose airy texture, from a golden string, Floated into the room, and let appear Unveil'd the summer heaven, blue and clear, Betwixt two marble shafts:—there they reposed, Where use had made it sweet, with eyelids closed, Saving a tithe which love still open kept, That they might see each other while they almost slept; When from the slope side of a suburb hill, Deafening the swallow's twitter, came a thrill Of trumpets—Lycius started—the sounds fled, But left a thought, a buzzing in his head. For the first time, since first he harbor'd in That purple-lined palace of sweet sin, His spirit pass'd beyond its golden bourn Into the noisy world almost forsworn. The lady, ever watchful, penetrant, Saw this with pain, so arguing a want Of something more, more than her empery Of joys; and she began to moan and sigh Because he mused beyond her, knowing well That but a moment's thought is passion's passing bell. "Why do you sigh, fair creature?" whisper'd he: "Why, do you think?" return'd she tenderly: "You have deserted me; where am I now? Not in your heart while care weighs on your brow: No, no, you have dismiss'd me; and I go From your breast houseless: ay, it must be so." He answer'd, bending to her open eyes, Where he was mirror'd small in paradise,— "My silver planet, both of eve and morn! Why will you plead yourself so sad forlorn, While I am striving how to fill my heart With deeper crimson, and a double smart? How to entangle, trammel up and snare Your soul in mine, and labyrinth you there, Like the hid scent in an unbudded rose? Ay, a sweet kiss—you see your mighty woes. My thoughts! shall I unveil them? Listen then! What mortal hath a prize, that other men May be confounded and abash'd withal, But lets it sometimes pace abroad majestical, And triumph, as in thee I should rejoice Amid the hoarse alarm of Corinth's voice Let my foes choke, and my friends shout afar, While through the thronged streets your bridal car Wheels round its dazzling spokes."—The lady's cheek Trembled; she nothing said, but, pale and meek, Arose and knelt before him, wept a rain Of sorrows at his words; at last with pain Beseeching him, the while his hand she wrung, To change his purpose. He thereat was stung Perverse, with stronger fancy to reclaim Her wild and timid nature to his aim; Besides, for all his love, in self despite, Against his better self, he took delight Luxurious in her sorrows, soft and new. His passion, cruel grown, took on a hue Fierce and sanguineous as 'twas possible In one whose brow had no dark veins to swell. Fine was the mitigated fury, like Apollo's presence when in act to strike The serpent—Ha, the serpent! certes, she Was none. She burnt, she loved the tyranny, And, all subdued, consented to the hour When to the bridal he should lead his paramour. Whispering in midnight silence, said the youth, "Sure some sweet name thou hast, though, by my truth, I have not ask'd it, ever thinking thee Not mortal, but of heavenly progeny, As still I do. Hast any mortal name, Fit appellation for this dazzling frame? Or friends or kinsfolk on the citied earth, To share our marriage feast and nuptial mirth?" "I have no friends," said Lamia, "no, not one; My presence in wide Corinth hardly known: My parents' bones are in their dusty urns Sepulchred, where no kindled incense burns, Seeing all their luckless race are dead, save me, And I neglect the holy rite for thee. Even as you list invite your many guests; But if, as now it seems, your vision rests With any pleasure on me, do not bid Old Apollonius—from him keep me hid." Lycius perplex'd at words so blind and blank, Made close inquiry; from whose touch she shrank, Feigning a sleep; and he to the dull shade Of deep sleep in a moment was betray'd. It was the custom then to bring away The bride from home at blushing shut of day, Veil'd, in a chariot, heralded along By strewn flowers, torches, and a marriage song, With other pageants: but this fair unknown Had not a friend. So being left alone (Lycius was gone to summon all his kin), And knowing surely she could never win His foolish heart from its mad pompousness, She set herself, high-thoughted, how to dress The misery in fit magnificence. She did so, but 'tis doubtful how and whence Came, and who were her subtle servitors. About the halls, and to and from the doors, There was a noise of wings, till in short space The glowing banquet-room shone with wide-arched grace. A haunting music, sole perhaps and lone Supportress of the faery-roof, made moan Throughout, as fearful the whole charm might fade. Fresh carved cedar, mimicking a glade Of palm and plantain, met from either side, High in the midst, in honor of the bride: Two palms and then two plantains, and so on, From either side their stems branch'd one to one All down the aisled place; and beneath all There ran a stream of lamps straight on from wall to wall. So canopied, lay an untasted feast Teeming with odors. Lamia, regal drest, Silently paced about, and as she went, Mission'd her viewless servants to enrich The fretted splendor of each nook and niche. Between the tree-stems marbled plain at first, Came jasper panels; then, anon, there burst Forth creeping imagery of slighter trees, And with the larger wove in small intricacies. Approving all, she faded at self-will, And shut the chamber up, close, hush'd and still, Complete and ready for the revels rude, When dreadful guests would come to spoil her solitude. The day appear'd, and all the gossip rout. O senseless Lycius. Madman! wherefore flout The silent-blessing fate, warm cloister'd hours. And show to common eyes these secret bowers? The herd approach'd, each guest, with busy brain, Arriving at the portal, gazed amain, And enter'd marvelling: for they knew the street, Remember'd it from childhood all complete Without a gap, yet ne'er before had seen That royal porch, that high-built fair demesne; So in they hurried all, mazed, curious and keen: Save one, who look'd thereon with eye severe, And with calm-planted steps walk'd in austere; 'Twas Apollonius: something too he laugh'd, As though some knotty problem, that had daft His patient thought, had now begun to thaw, And solve and melt:—'twas just as he foresaw. He met within the murmurous vestibule His young disciple. "'Tis no common rule, In pale contented sort of discontent, Lycius," said he, "for uninvited guest To force himself upon you, and infest With an unbidden presence the bright throng Of younger friends; yet must I do this wrong, And you forgive me." Lycius blush'd and led The old man through the inner doors broadspread; With reconciling words and courteous mien Turning into sweet milk the sophist's spleen. Of wealthy lustre was the banquet-room, Fill'd with pervading brilliance and perfume. Before each lucid panel fuming stood A censer fed with myrrh and spiced wood, Each by a sacred tripod held aloft, Whose slender feet wide-swerved upon the soft Wool-woofed carpets: fifty wreaths of smoke From fifty censers their light voyage took To the high roof, still mimick'd as they rose Along the mirror'd walls by twin-clouds odorous. Twelve sphered tables by silk seats insphered, High as the level of a man's breast rear'd On libbard's paws, upheld the heavy gold Of cups and goblets, and the store thrice told Of Ceres' horn, and, in huge vessels, wine Came from the gloomy tun with merry shine. Thus loaded with a feast the tables stood, Each shrining in the midst the image of a God. When in an antechamber every guest Had felt the cold full sponge to pleasure press'd, By ministering slaves, upon his hands and feet, And fragrant oils with ceremony meet Pour'd on his hair, they all moved to the feast In white robes, and themselves in order placed Around the silken couches, wondering Whence all this mighty cost and blaze of wealth could spring. Soft went the music the soft air along, While fluent Greek a vowell'd under-song Kept up among the guests, discoursing low At first, for scarcely was the wine at flow; But when the happy vintage touch'd their brains, Louder they talk, and louder come the strains Of powerful instruments:—the gorgeous dyes, The space, the splendor of the draperies, The roof of awful richness, nectarous cheer, Beautiful slaves, and Lamia's self, appear, Now, when the wine has done its rosy deed, And every soul from human trammels freed, No more so strange; for merry wine, sweet wine, Will make Elysian shades not too fair, too divine. Soon was God Bacchus at meridian height; Flush'd were their cheeks, and bright eyes double bright: Garlands of every green, and every scent From vales deflower'd, or forest-trees branch-rent, In baskets of bright osier'd gold were brought High as the handles heap'd, to suit the thought Of every guest; that each, as he did please, Might fancy-fit his brows, silk-pillow'd at his ease. What wreath for Lamia? What for Lycius? What for the sage, old Apollonius? Upon her aching forehead be there hung The leaves of willow and of adder's tongue; And for the youth, quick, let us strip for him The thyrsus, that his watching eyes may swim Into forgetfulness; and, for the sage, Let spear-grass and the spiteful thistle wage War on his temples. Do not all charms fly At the mere touch of cold philosophy? There was an awful rainbow once in heaven: We know her woof, her texture; she is given In the dull catalogue of common things. Philosophy will clip an Angel's wings, Conquer all mysteries by rule and line, Empty the haunted air, and gnomed mine— Unweave a rainbow, as it erewhile made The tender-person'd Lamia melt into a shade. By her glad Lycius sitting, in chief place, Scarce saw in all the room another face, Till, checking his love trance, a cup he took Full brimm'd, and opposite sent forth a look 'Cross the broad table, to beseech a glance From his old teacher's wrinkled countenance, And pledge him. The bald-head philosopher Had fix'd his eye, without a twinkle or a stir, Full on the alarmed beauty of the bride, Brow-beating her fair form, and troubling her sweet pride. Lycius then press'd her hand, with devout touch, As pale it lay upon the rosy couch: 'Twas icy, and the cold ran through his veins; Then sudden it grew hot, and all the pains Of an unnatural heat shot to his heart. "Lamia, what means this? Wherefore dost thou start? Know'st thou that man!" Poor Lamia answer'd not. He gazed into her eyes, and not a jot Own'd they the lovelorn piteous appeal: More, more he gazed: his human senses reel: Some hungry spell that loveliness absorbs; There was no recognition in those orbs. "Lamia!" he cried—and no soft-toned reply. The many heard, and the loud revelry Grew hush: the stately music no more breathes; The myrtle sicken'd in a thousand wreathes. By faint degrees, voice, lute, and pleasure ceased; A deadly silence step by step increased, Until it seem'd a horrid presence there, And not a man but felt the terror in his hair. "Lamia!" he shriek'd; and nothing but the shriek With its sad echo did the silence break. "Begone, foul dream!" he cried, gazing again In the bride's face, where now no azure vein Wander'd on fair-spaced temples; no soft bloom Misted the cheek; no passion to illume The deep-recessed vision:—all was blight; Lamia, no longer fair, there sat a deadly white. "Shut, shut those juggling eyes, thou ruthless man! Turn them aside, wretch! or the righteous ban Of all the Gods, whose dreadful images Here represent their shadowy presences, May pierce them on the sudden with the thorn Of painful blindness; leaving thee forlorn, In trembling dotage to the feeblest fright Of conscience, for their long-offended might, For all thine impious proud-heart sophistries, Unlawful magic, and enticing lies. Corinthians! look upon that gray-beard wretch! Mark how, possess'd, his lashless eyelids stretch Around his demon eyes! Corinthians, see! My sweet bride withers at their potency." "Fool!" said the sophist, in an under-tone Gruff with contempt; which a death-nighing moan From Lycius answer'd, as heart-struck and lost, He sank supine beside the aching ghost. "Fool! Fool!" repeated he, while his eyes still Relented not, nor moved; "from every ill Of life have I preserved thee to this day, And shall I see thee made a serpent's prey?" Then Lamia breathed death-breath; the sophist's eye, Like a sharp spear, went through her utterly, Keen, cruel, perceant, stinging: she, as well As her weak hand could any meaning tell, Motioned him to be silent; vainly so, He look'd and look'd again a level—No! "A serpent!" echoed he; no sooner said, Than with a frightful scream she vanished: And Lycius' arms were empty of delight, As were his limbs of life, from that same night. On the high couch he lay!—his friends came round— Supported him—no pulse or breath they found, And, in its marriage robe, the heavy body wound.

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§01Quick summary

What this poem is about

Lamia is a long narrative poem that tells the story of a serpent-woman transformed into a beautiful human who falls in love with a young man named Lycius in ancient Corinth. Their secret romance unravels when Lycius demands a public wedding and invites his former philosophy teacher, Apollonius. With his cold, rational gaze, Apollonius sees through Lamia's illusion and ultimately destroys her — along with Lycius. The poem explores how love, beauty, and magic cannot endure when exposed to the harsh light of reason and public scrutiny.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Upon a time, before the faery broods / Drove Nymph and Satyr from the prosperous woods,

    Editor's note

    Keats begins in a mythological era when gods, nymphs, and magical beings wandered without restraint. He paints a picture of Crete, where Hermes has left Olympus to pursue a nymph he can't resist. The detailed, vibrant description of the island's treasures and the nymph's suitors creates a world brimming with longing — everyone yearns for something just out of reach.

  2. Ah, what a world of love was at her feet! / So Hermes thought, and a celestial heat

    Editor's note

    Hermes frantically looks for the elusive nymph but instead encounters a trembling snake in a shadowy thicket. The snake is depicted in vivid, almost surreal detail — vermilion, gold, green, blue, striped and spotted as if she embodies several creatures at once. She is both stunning and terrifying, and she’s crying. Keats emphasizes that she is a woman confined within a serpent's form.

  3. And full of silver moons, that, as she breathed, / Dissolved, or brighter shone, or interwreathed

    Editor's note

    Lamia talks to Hermes, flattering him with a description of a dream she had about him. Then she gets straight to the point: she knows where his nymph is hidden. Using her magic, she has made the nymph invisible, shielding her from unwanted suitors. This exchange is central to Part I — Lamia is trading information for a human body. Keats portrays her as both clever and truly in pain; her negotiation stems from longing rather than malice.

  4. Too gentle Hermes, hast thou found the maid? / Whereat the star of Lethe not delay'd

    Editor's note

    Hermes swears by his caduceus to fulfill Lamia's wish. She discloses the nymph's identity, and he reunites with her before using the caduceus's power on Lamia herself. The change from serpent to woman is brutal and excruciating—her colors fade, her body writhes, and her beauty is torn away, leaving only suffering before it reshapes into something different. The scene is raw and intentionally unsettling: the price of becoming human is everything she once was.

  5. Whither fled Lamia, now a lady bright, / A full-born beauty new and exquisite?

    Editor's note

    Lamia, now in human form, stands on the road from Cenchreas to Corinth, anticipating Lycius's arrival. Keats takes a moment to clarify that even when she was a serpent, she could project her spirit anywhere and had already fallen for Lycius by observing him from a distance. This isn't just a whim—she has a strategy in mind. The narrator's comment that a real woman surpasses any fairy or goddess is ironic, considering Lamia is neither.

  6. Lamia beheld him coming, near, more near— / Close to her passing, in indifference drear,

    Editor's note

    Lycius walks by Lamia, deep in thought, when she calls out to him. He turns — reminiscent of Orpheus glancing back at Eurydice, hinting at impending doom. Instantly, he's captivated by her beauty and fears she might disappear. She teases him, saying she can't remain in the mortal world, and he nearly faints from longing. She kisses him back to life and spins a tale: she tells him they've crossed paths in Corinth, that she's lived there quietly, and that she's just an ordinary woman.

  7. Love in a hut, with water and a crust, / Is—Love, forgive us!—cinders, ashes, dust;

    Editor's note

    The narrator interjects with a cynical, weary comment about love and luxury before continuing the story. Lycius and Lamia reside in a hidden palace in Corinth, isolated from the outside world. Their joy is genuine but delicate — the narrator observes that envious Love lurks just outside their door like a looming danger. Their paradise is already destined for destruction.

  8. For all this came a ruin: side by side / They were enthroned, in the even tide,

    Editor's note

    A distant trumpet draws Lycius's attention away from their secluded world for the first time. He yearns for a public wedding — eager to show off Lamia and let his friends witness his treasure. Lamia is filled with dread and pleads with him not to invite Apollonius. Stung by her objections, Lycius becomes harshly insistent. Keats is clear here: Lycius's urge to showcase Lamia stems from his own ego as much as from love, and his insensitivity in dismissing her fear is what triggers the impending disaster.

  9. It was the custom then to bring away / The bride from home at blushing shut of day,

    Editor's note

    Lamia, by herself, readies the banquet hall with otherworldly assistance. The feast is described in some of the most lavish detail in the poem—cedar carvings, jasper panels, fifty censers, silk couches, and golden cups. Yet, a haunting note of music weaves through it all, hinting that even the magic feels a sense of trepidation. The guests come, astonished by a palace they had overlooked on a street familiar to them since they were kids.

  10. What wreath for Lamia? What for Lycius? / What for the sage, old Apollonius?

    Editor's note

    The banquet is lively when the narrator assigns symbolic wreaths: willow and adder's tongue for Lamia (representing grief and poison), thyrsus for Lycius (symbolizing Bacchic oblivion), and spear-grass and thistle for Apollonius. Following this, we encounter the poem's most famous passage: a critique of cold philosophy, which 'unweaves a rainbow' by simplifying it to mere optics. Keats portrays Apollonius's rational gaze as a violent act against beauty and mystery.

  11. Lycius then press'd her hand, with devout touch, / As pale it lay upon the rosy couch:

    Editor's note

    Apollonius locks his gaze on Lamia, unable to look away. Her hand turns ice-cold, then burning hot as Lycius holds it. She starts to fade — color draining, features becoming indistinct. Lycius shouts her name. The music stops. The guests freeze. In the quiet, Lycius curses Apollonius, accusing him of using unlawful magic with his stare. Apollonius just mutters 'Fool' twice, claims he has saved Lycius from a serpent's prey, and Lamia disappears with a scream. That same night, Lycius dies, still wearing his wedding robe.

§04Tone & mood

How this poem feels

The tone shifts frequently and intentionally. The opening evokes the warm, leisurely enjoyment of a fairy tale shared by someone who cherishes the old myths. When Lamia speaks, the language takes on a sensuous and slightly dangerous edge. The love scenes between Lamia and Lycius feel tender yet tinged with unease — the narrator subtly foreshadows tragedy. By the banquet scene, the tone turns ominous and then bitter, particularly during the critique of philosophy. The ending is stark and chilling: Lycius dies, his body wrapped in his wedding robe, and that's all there is. No elegy, no solace. Keats chooses not to romanticize the aftermath.

§05Symbols & metaphors

Symbols & metaphors

The serpent / snake form
Lamia's serpent body symbolizes the perilous, ever-changing essence of desire and beauty. This connection to ancient tales of the femme fatale and the deceiver is clear, yet Keats adds depth: she is also trapped in that form, filled with sorrow and yearning. The snake isn’t just malevolent — it embodies a beauty that has yet to discover its true form.
The rainbow
In the banquet scene, Keats employs the rainbow to represent wonder and mystery that philosophy tends to diminish by providing explanations. Once you realize a rainbow is merely refracted light, a certain magic disappears. The rainbow symbolizes all the enchantment that rational analysis removes from our experience — including Lamia herself.
Apollonius's gaze
The philosopher's unwavering gaze serves as the poem's tool of destruction. It embodies cold reason, a refusal to allow illusions to persist, and a commitment to perceiving reality as it is. Keats likens it to a spear. The poem leaves us questioning whether Apollonius is a hero rescuing Lycius or a force that destroys love and beauty.
The secret palace
The hidden palace in Corinth, where Lamia and Lycius reside, embodies a world of love that is private, self-sufficient, and magical. It thrives only as long as it remains a secret. The instant Lycius insists on revealing it to the outside world, its destruction becomes unavoidable.
The wedding feast
The banquet is intended as a celebration but acts more like a trap. Lamia sets it up, fully aware that it will probably turn out poorly. The lavishness of the feast — with its gold, incense, and music — reveals a desperate attempt to overcompensate, as beauty tries to shield itself from the kind of scrutiny it can't withstand.
The caduceus (serpent rod)
Hermes swears his oath on his serpent rod, which he then uses to transform Lamia. The caduceus symbolizes divine mediation and transformation, making it the perfect tool to shift Lamia from one world to another. It also connects Hermes and Lamia through their shared serpent identity.

§06Form & structure

Form & structure

Meter
iambic pentameter
Rhyme
AABBCCDDEEAABBCCDDEEFFGGHHIIJJKKLLMMNNOOPPQQRRSSTTAABBCCDDEEAABBCCDDEEFFGGHHIIJJKKAABBCCDDEEAABBCCDDEEAABBCCDDEE

§07Historical context

Historical context

Keats wrote *Lamia* in 1819, the same remarkable year that brought us his great odes, and published it in 1820 — just before tuberculosis claimed his life at the age of 25. The poem is based on a tale from Robert Burton's *The Anatomy of Melancholy* (1621), which in turn draws from the ancient writer Philostratus: a philosopher named Apollonius reveals a beautiful woman as a lamia (a Greek demon that preys on men) during a wedding feast. At this time, Keats was deeply exploring the clash between imagination and reason, beauty and truth — themes he also grappled with in his odes. He had been influenced by Leigh Hunt and the sensuous narrative style of earlier Romantic verse tales. The poem also captures his complex emotions regarding his relationship with Fanny Brawne, his medical training (which gave him a clinical perspective he sometimes resented), and his anxiety that analytical thinking could undermine the very experiences that make life meaningful.

§08FAQ

Questions readers ask

Keats makes it difficult to answer that question, and that's intentional. While she does deceive Lycius about her true nature, she genuinely loves him and suffers deeply. She pleads with him not to go through with the wedding, fully aware that it will lead to their destruction. The poem clearly sympathizes with her against Apollonius, even as it recognizes that she is neither entirely human nor completely honest.

Key quotes

Key quotes

She was a gordian shape of dazzling hue, Vermilion-spotted, golden, green, and blue; Striped like a zebra, freckled like a pard, Eyed like a peacock, and all crimson barr'd;
This blazon of Lamia's serpent form is the poem's most vivid set-piece of description. Keats piles up exotic similes (zebra, leopard, peacock) to create a creature of overwhelming, almost chaotic beauty, establishing from the outset that Lamia exceeds easy categorisation — she is simultaneously gorgeous and monstrous, a tension the whole poem turns on.
Do not all charms fly At the mere touch of cold philosophy? There was an awful rainbow once in heaven: We know her woof, her texture; she is given In the dull catalogue of common things. Philosophy will clip an Angel's wings, Conquer all mysteries by rule and line, Empty the haunted air, and gnomed mine— Unweave a rainbow, as it erewhile made The tender-person'd Lamia melt into a shade.
This is the philosophical heart of the poem and its most quoted passage. Keats uses the image of a rainbow — something sublime that science reduces to optics — as a direct analogy for what Apollonius does to Lamia and, by extension, to Lycius's happiness. The verb 'unweave' is crucial: it frames rational analysis as an act of destruction rather than discovery, articulating Keats's anxiety about the conflict between imagination and Enlightenment reason.
A virgin purest lipp'd, yet in the lore Of love deep learned to the red heart's core: Not one hour old, yet of sciential brain To unperplex bliss from its neighbor pain;
This paradox — virginal yet expert, newborn yet learned — captures Lamia's fundamentally uncanny nature. The oxymoron 'unperplex bliss from its neighbor pain' also foreshadows the poem's tragic argument: that bliss and pain cannot truly be separated, and that the attempt to do so is itself dangerous. The phrase 'sciential brain' pointedly echoes the poem's later attack on cold philosophy.
"A serpent!" echoed he; no sooner said, Than with a frightful scream she vanished: And Lycius' arms were empty of delight, As were his limbs of life, from that same night.
This is the poem's catastrophic climax, delivered with brutal economy after hundreds of lines of lush description. Apollonius's single word — 'A serpent!' — is enough to annihilate both Lamia and Lycius, yoking their fates together and implying that the destruction of illusion is also the destruction of the lover who depended on it. The parallel phrasing ('empty of delight… empty of life') makes the equation between love and life — and their simultaneous loss — unmistakable.
Love in a hut, with water and a crust, Is—Love, forgive us!—cinders, ashes, dust; Love in a palace is perhaps at last More grievous torment than a hermit's fast:— That is a doubtful tale from faery land, Hard for the non-elect to understand.
This wry, ironic intrusion of the narrator's voice marks a formal turning point between the two parts of the poem. The sardonic aside — 'Love, forgive us!' — distances Keats from easy romantic idealism, and the final couplet's sly elitism ('the non-elect') signals that the poem will not offer a simple moral. It also darkly foreshadows that the palace of pleasure Lycius and Lamia inhabit will itself become a site of torment.

Citation

Cite this poem

MLA

Keats, John. "Lamia." 1820. Storgy, https://storgy.com/poems/lamia-john-keats/.

APA

Keats, J. (1820). Lamia. Storgy. https://storgy.com/poems/lamia-john-keats/

Text source: en.wikisource.org

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