of the day of his fatal attack. But in the brief time allowed to him he did what he could to keep his word.

What character, again, what strength and clearness of judgment, in his criticism of his own productions, of the public, and of 'the literary circles'! His words after the severe reviews of Endymion have often been quoted; they cannot, be quoted too often :—

'Praise or blame has but a momentary effect on the man whose love of beauty in the abstract makes him a severe critic on his own works. My own criticism has given me pain without comparison beyond what Blackwood or the Quarterly could possibly inflict; and also, when I feel I am right, no external praise can give me such a glow as my own solitary reperception and ratification of what is fine. J. S. is perfectly right in regard to the "slip-shod Endymion." That it is so is no fault of mine. No! though it may sound a little paradoxical, it is as good as I had power to make it by myself.'

And again, as if he had foreseen certain of his admirers gushing over him, and was resolved to disengage his responsibility :—

'I have done nothing, except for the amusement of a few people who refine upon their feelings till anything in the un-understandable way will go down with them. I have no cause to complain, because I am certain anything really fine will in these days be felt. I have no doubt that if I had written Othello I should have been cheered. I shall go on with patience.'

Young poets almost inevitably over-rate what they call 'the might of poesy,' and its power over the world which now is. Keats is not a dupe on this matter any more than he is a dupe about the merit of his own performances :

'I have no trust whatever in poetry. I don't wonder at it; the marvel is to me how people read so much of it.'

His attitude towards the public is that of a strong man, not of a weakling avid of praise, and made to 'be snuff'd out by an article' :

⚫ I shall ever consider the public as debtors to me for verses, not myself to them for admiration, which I can do without.'

And again, in a passage where one may perhaps find fault with the capital letters, but surely with nothing else :

I have not the slig test feel of humility towards the public or to anything in existence but the Eternal Being, the Principle of Beauty, and the Memory of great Men. I would be subdued before my friends, and

thank them for subduing me; but among multitudes of men I have no feel of stooping; I hate the idea of humility to them. I never wrote one single line of poetry with the least shadow of thought about their opinion. Forgive me for vexing you, but it eases me to tell you: I could not live without the love of my friends; I would jump down Etna for any great public good- but I hate a mawkish popularity. I cannot be subdued before them. My glory would be to daunt and dazzle the thousand jabberers about pictures and books.'

Against these artistic and literary 'jabberers,' amongst whom Byron fancied Keats, probably, to be always living, flattering them and flattered by them, he has yet another outburst :—

'Just so much as I am humbled by the genius, above my grasp, am I exalted and look with hate and contempt upon the literary world. Who could wish to be among the common-place crowd of the little famous, who are each individually lost in a throng made up of themselves?'

And he loves Fanny Brawne the more, he tells her, because he believes that she has liked him for his own sake and for nothing else. 'I have met with women who I really think would like to be married to a Poem and to be given away by a Novel.'

There is a tone of too much bitterness and defiance in all this, a tone which he with great propriety subdued and corrected when he wrote his beautiful preface to Endymion. But the thing to be seized is, that Keats had flint and iron in him, that he had character; that he was, as his brother George says, 'as much like the Holy Ghost as Johnny Keats,'—as that imagined sensuous weakling, the delight of the literary circles of Hampstead.

It is a pity that Byron, who so misconceived Keats, should never have known how shrewdly Keats, on the other hand, had characterised him, as 'a fine thing' in the sphere of 'the worldly, theatrical, and pantomimical.' But indeed nothing is more remarkable in Keats than his clear-sightedness, his lucidity; and lucidity is in itself akin to character and to high and severe work. In spite, therefore, of his overpowering feeling for beauty, in spite of his sensuousness, in spite of his facility, in spite of his gift of expression, Keats could say resolutely:

'I know nothing, I have read nothing; and I mean to follow Solomon's directions: "Get learning, get understanding." There is but one way for me. The road lies through application, study, and thought. I will pursue it.'

And of Milton, instead of resting in Milton's incomparable F f

VOL. IV.

phrases, Keats could say, although indeed all the while 'looking upon fine phrases,' as he himself tells us, 'like a lover' :—

Milton had an exquisite passion for what is properly, in the sense of ease and pleasure, poetical luxury; and with that, it appears to me, he would fain have been content, if he could, so doing, preserve his self-respect and feeling of duty performed; but there was working in him, as it were, that same sort of thing which operates in the great world to the end of a prophecy's being accomplished Therefore he devoted himself rather to the ardours than the pleasures of song, solacing himself at intervals with cups of old wine.'

In his own poetry, too, Keats felt that place must be found for 'the ardours rather than the pleasures of song,' although he was aware that he was not yet ripe for it :—

But my flag is not unfurl'd

On the Admiral-staff, and to philosophise

I dare not yet.'

Even in his pursuit of 'the pleasures of song,' however, there is that stamp of high work which is akin to character, which is character passing into intellectual production. 'The best sort of poetry that,' he truly says, 'is all I care for, all I live for.' It is curious to observe how this severe addiction of his to the best sort of poetry affects him with a certain coldness, as if the addiction had been to mathematics, towards those prime objects of a sensuous and passionate poet's regard, love and women. He speaks of the opinion I have formed of the generality of women, who appear to me as children to whom I would rather give a sugarplum than my time.' He confesses 'a tendency to class women in my books with roses and sweetmeats-they never see themselves dominant'; and he can understand how the unpopularity of his poems may be in part due to 'the offence which the ladies,' not unnaturally, ‘take at him' from this cause. Even to Fanny Brawne he can write a flint-worded letter,' when his 'mind is heaped to the full' with poetry :

:

'I know the generality of women would hate me for this; that I should have so unsoftened, so hard a mind as to forget them; forget the brightest realities for the dull imaginations of my own brain. . . . My heart seems now made of iron—I could not write a proper answer to an invitation to Idalia.'

The truth is that 'the yearning passion for the Beautiful,' which

was with Keats, as he himself truly says, the master-passion, is not a passion of the sensuous or sentimental man, is not a passion of the sensuous or sentimental poet. It is an intellectual and spiritual passion. It is 'connected and made one,' as Keats declares that in his case it was, 'with the ambition of the intellect.' It is, as he again says, 'the mighty abstract idea of Beauty in all things.' And in his last days Keats wrote: If I should die, I have left no immortal work behind me-nothing to make my friends proud of my memory; but I have loved the principle of beauty in all things, and if I had had time I would have made myself remembered.' He has made himself remembered, and remembered as no merely sensuous poet could be; and he has done it by having 'loved the principle of beauty in all things.'

For to see things in their beauty is to see things in their truth, and Keats knew it. "What the Imagination seizes as Beauty must be Truth,' he says in prose; and in immortal verse he has said the same thing :

No, it is not

'Beauty is truth, truth beauty,- that is all
Ye know on earth, and all ye need to know.'

all; but it is true, deeply true, and we have deep need to know it. And with beauty goes not only truth, joy goes with her also; and this too Keats saw and said, as in the famous first line of his Endymion it stands written :

:

'A thing of beauty is a joy for ever.'

It is no small thing to have so loved the principle of beauty as to perceive the necessary relation of beauty with truth, and of both with joy. Keats was a great spirit, and counts for far more than many even of his admirers suppose, because this just and high perception made itself clear to him. Therefore a dignity and a glory shed gleams over his life, and happiness, too, was not a stranger to it. 'Nothing startles me beyond the moment,' he says; 'the setting sun will always set me to rights, or if a sparrow come before my window I take part in its existence and pick about the gravel.' But he had terrible bafflers,-consuming disease and early death. ‘I think,' he writes to Reynolds, 'if I had a free and healthy and lasting organisation of heart, and lungs as strong as an ox's, so as to be able to bear unhurt the shock of extreme thought and sensation without weariness, I could pass my life very nearly alone, though it should last eighty years. But I feel my body too weak

to support me to the height; I am obliged continually to check myself, and be nothing.' He had against him even more than this; he had against him the blind power which we call Fortune. 'O that something fortunate,' he cries in the closing months of his life, 'had ever happened to me or my brothers!-then I might hope,--but despair is forced upon me as a habit.' So baffled and so sorely tried,—while laden, at the same time, with a mighty formative thought requiring health, and many days, and favouring circumstances, for its adequate manifestation,—what wonder if the achievement of Keats be partial and incomplete?

Nevertheless, let and hindered as he was, and with a short term and imperfect experience,- young,' as he says of himself, 'and writing at random, straining after particles of light in the midst of a great darkness, without knowing the bearing of any one assertion, of any one opinion,'-notwithstanding all this, by virtue of his feeling for beauty and of his perception of the vital connexion of beauty with truth, Keats accomplished so much in poetry, that in one of the two great modes by which poetry interprets, in the faculty of naturalistic interpretation, in what we call natural magic, he ranks with Shakespeare. 'The tongue of Kean,' he says in an admirable criticism of that great actor and of his enchanting elocution, 'the tongue of Kean must seem to have robbed the Hybla bees and left them honeyless. There is an indescribable gusto in his voice;-in Richard, “Be stirring with the lark tomorrow, gentle Norfolk !" comes from him as through the morning atmosphere towards which he yearns.' This magic, this ‘indescribable gusto in the voice,' Keats himself, too, exhibits in his poetic expression. No one else in English poetry, save Shakespeare, has in expression quite the fascinating felicity of Keats, his perfection of loveliness. 'I think,' he said humbly, 'I shall be among the English poets after my death.' He is; he is with Shakespeare.

For the second great half of poetic interpretation, for that faculty of moral interpretation which is in Shakespeare, and is informed by him with the same power of beauty as his naturalistic interpretation, Keats was not ripe. For the architectonics of poetry, the faculty which presides at the evolution of works like the Agamemnon or Lear, he was not ripe. His Endymion, as he himself well saw, is a failure, and his Hyperion, fine things as it contains, is not a success. But in shorter things, where the matured power of moral interpretation, and the high architectonics which go with