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Not gold, not blood, their altar dowers, But votive tears and symbol flowers.

Dh, cease! must hate and death return?

Cease! must men kill and die?
Cease! drain not to its dregs the urn

Of bitter prophecy.
The world is weary of the past,
Oh, might it die or rest at last !

Final Chorus from Hellas.

TO-MORROW

WHERE art thou, beloved To-morrow? When young and old and strong and

weak, Rich and poor, througlı joy and sorrow,

Thiy sweet smiles we ever seek,-
In thy place-ah! well-a-day!
We find the thing we fled-To-day,

18.21. 1824.

ΤΟ.

One word is too often profaned

For me to profane it, One feeling too falsely disdained

For thee to disdain it. One hope is too like despair

For prudence to smother, And pity from thee more dear

Than that from another,

From life to life, must still pursue
Your happiness ;-for thus alone
Can Ariel ever find his own.
From Prospero's enchanted cell,
As the mighty verses tell,
To the throne of Naples, he
Lit you o'er the trackless sea,
Flitting on, your prow before,
Like a living meteor.
When you die, the silent Moon,
In her interlwar swoon,
Is not sadder in her cell
Than deserted Ariel.
When you live again on earth,
Like an unseen star of birth,
Ariel guides you o'er the sea
Of life from your nativity.
Many changes have been run,
Since Ferdinand and you begun
Your course of love, and Ariel still
Has tracked your steps, and served

your will;
Now, in humbler, happier lot,
This is all remembered not ;
And now, alas ! the poor sprite is
Imprisoned, for some fault of his,
In a body like a grave ;
From you he only dares to crave,
For his service and liis sorrow,
A smile to-day, a song to-morrow.
The artist who this idol wrought,
To echo all harmonious thought,
Felled a tree, while on the steep
The woods were in their winter sleep,
Rocked in that repose divine
On the wind-swept Apennine ;
And dreaming, some of Autumn past,
And some of Spring approaching fast,
And some of April buds and showers,
And some of songs in July bowers,
And all of love ; and so this tree,
Oh that such our death may be !--
Died in sleep, and felt no pain,
To live in happier form again :
From which, beneath Heaven's faireşt

star, The artist wrought this loved Guitar, And taught it justly to reply, To all who question skilfully, In language gentle as thine own; Whispering in enamored tone Sweet oracles of woods and dells, And summer winds in sylvan cells ; For it had learnt all harmonies Of the plains and of the skies, Of the forests and the mountains, And the many-voicéd fountains ; The clearest echoes of the lills,

I can give not what men call love,

But wilt thou accept not
The worship the heart lifts above

And the leavens reject not, The desire of the moth for the star,

Of the night for the morrow, The devotion to something afar From the sphere of our sorrow ?

1821. 1821.

;

WITH A GUITAR, TO JANE

ARIEL to Miranda.-Take
This slave of Music, for the sake
Of him who is the slave of thee,
And teach it all the harmony
In which thou canst, and only thou,
Make the delighted spirit glow',
Till joy denies itself again,
And, too intense, is turned to pain ;
For by permission and command
Of thine own Prince Ferdinand,
Poor Ariel sends this silent token
Of more than ever can be spoken;
Your guardian spirit, Ariel, who,

The softest notes of falling rills,
The melodies of birds and bees,
The murmuring of summer seas,
And pattering rain, and breathing dew
And airs of evening ; and it knew
That seldom-heard mysterious sound,
Which, driven on its diurnal round,
As it floats through boundless day,
Our world enkindles on its way-
All this it knows, but will not tell
To those who cannot question well
The spirit that inhabits it ;
't talks according to the wit
Df its companions ; and no more
s heard than has been felt before,
By those who tempt it to betray
These secrets of an elder day :
But sweetly as its answers will
Flatter hands of perfect skill,
It keeps its highest, holiest tone
For our beloved Jane alone.

1822. 1832-1833.

When hearts have once mingled
Love first leaves the well-built nest,

The weak one is singled
To endure what it once possessed.

O Love! who bewailest
The frailty of all things here,

Why choose you the frailest
For your cradle, your home, and your

bier ? Its passions will rock thee As the storms rock the ravens on high :

Bright reason will mock thee, Like the sun from a wintry sky.

From thy nest every rafter Will rot, and thine eagle home

Leave thee naked to laughter, When leaves fall and cold winds come.

1822. 1824. SONG FROM CHARLES THE FIRST A WIDOW bird sate mourning for her

love Upon a wintry bough; The frozen wind crept on above,

The freezing stream below. There was no leaf upon the forest bare

No flower upon the ground, And little motion in the air Except the mill-wheel's sound.

18.22. 1824.

LINES: “WHEN THE LAMP IS

SHATTERED"

WHEN the lamp is shattered The light in the dust lies dead

When the cloud is scattered The rainbow's glory is shed.

When the lute is broken, Sweet tones are remembered not;

When the lips bave spoken, • Loved accents are soon forgot.

A DIRGE

As music and splendor
Survive not the lamp and the lute,

The heart's echoes render
No song when the spirit is mute :--

No song but sail dirges,
Like the wind through a ruined cell,

Or the mournful surges
That ring the dead seaman's knell.

24

Rough wind, that moanest loud

Grief too sad for song ;
Wild wind, when sullen cloud

Knells all the night long ;
Sad storm, whose tears are vain,
Bare woods, whose branches strain,
Deep caves and dreary main,
Wail, for the world's wrong!

1822. 1824.

LIST OF REFERENCES

EDITIONS ** COMPLETE WORKS, 4 volumes, edited by H. Buxton Forman, 1883, new edition 1889. ---- COMPLETE WORKS, 5 volumes, edited by H. Buxton Forman, Glasgow and New York, 1900–1901. —- COMPLETE Works, 4 volumes, edited by N. H. Dole, London and Boston, 1904 (Laurel Edition). - COMPLETE POETICAL WORKS, together with the LETTERS, 1 volume, edited by H. E. Scudder, 1899 (Cambridge Edition). -- POETICAL WORKS, 1 volume, edited by F. T. Palgrave, 1884 (Golden Treasury Series).POETICAL WORKS, 1 volume, 1902 (Globe Edition). * POETICAL WORKS, 1 volume, edited by E. de Sélincourt, Dodd, Mead & Co., 1905. ---* POETICAL WORKS, 1 volume, edited by H. Buxton Forman, 1906 (Oxford Edition).

BIOGRAPHY * MILNES (R. M.) (Lord Houghton), Life, Letters and Literary Remains, 1st edition, 1818; 2nd, revised, edition, 1867. -- * Colvin (Sidney), Keats (English Men of Letters Series), 1887. - * ROSSETTI (W. M.), Keats (Great Writers Series), 1887. --- SHARP (J.), John Keats, his Life and Letters, 1892. GOTHEIN (M.), John Keats' Leben und Werke, 1897. – *HANCOCK (A. E.), John Keats; a literary Biography, 1908. – WOLFF (Lucien), John Keats, sa vie et son æuvre, 1910.

REMINISCENCES AND EARLY CRITICISM HUNT (Leigh), Lord Byron and some of his Contemporaries. — HUNT (Leigh), Autobiography. — Hunt (Leigh), Review of La Belle Dame sans

HUNT Merci, in The Indicator, May 10, 1890; Review of the Poems of 1820, in The Indicator of August 2 and 9, 1820. (Given in Forman's edition of Keats, Vol. II). - HUNT (Leigh), Imagination and Fancy, 1844. - ?GIFFORD (William), Review of Endymion, in the Quarterly Review, No. 37, 1818. -- JEFFREY (Lord Francis), Edinburgh Review, No. 67, Art. 10, August, 1820: Keats' Poetry, --- MITFORD (M. L.), Recollections of a

: . Literary Life. - CLARKE (Charles and Mary Cowden), Recollections of Writers. - DE QUINCEY, Works, Masson's edition, Vol. XI. — HAYDON (B. R.), Correspondence and Table-Talk. - See also Medwin's Life of Shelley, Shelley Memorials by Lady Shelley, Taylor's Life of B. R. Haydon, Medwin's Conversations of Lord Byron, George Paston's B. R. Haydon and his Friends, 1905, and A. B. Miller's Leigh Hunt's Relations with Byron, Shelley, and Keats, 1909.

LATER CRITICISM *ARNOLD (M.), Essays in Criticism, Second Series, 1888. -- BRADLEY (A. C.), Oxford Lectures on Poetry: The Letters of Keats, 1909. BRIDGES (Robert S.), Keats, a critical essay, 1895. -- BROOKE (S. A.). Studies in Poetry, 1907. - DOWDEN (Edward), Studies in Literature

Transcendental Movement and Literature, 1878. - GOSSE (E.), Critical Kit-kats, 1896. —- *LANG (A.), Letters on Literature, 1889. --- LANG (A.),

Poets' Country, 1907. *LOWELL, Prose Works, Vol. I: Keats (Essay of 1854). -- MABIE (H. W.), Essays in Literary Interpretation: John Keats, Poet and Man, 1892. - MASSON (Davil), Wordsworth, Shelley, Keats, and Other Essays, 1874. — MORE (Paul E.), Shelburne Essays, Fourth

), Series, 1906. - PAYNE (W. M.), The Greater English Poets of the Nineteenth Century, 1907. – REED (Myrtle), The Love Affairs of Literary Men, 1907. – RICKETTS (A.), Personal Forces in Modern Literature, 1906. ROBERTSON (J. M.), New Essays towards a Critical Method,, 1897. *SWINBURNE (A. C.), Miscellanies, 1886. — TEXTE (Joseph), Études de Littérature européenne: Keats et le néo-hellénisme dans la poésie anglaise, 1898. — TORREY (Bradford), Friends on the Shelf, 1906. -- WATSON, (William), Excursions in Criticism: Keats' Letters, 1893. - WOODBERRY

. (G. E.), Studies in Letters and Life, 1890. CAINE (T. Hall), Cobwebs of Criticism, 1883. --- Dawson (W. J.),

Makers of English Poetry (1890), 1906. – DE VERE (A.), Essays, chiefly on Poetry, 1887. Hudson (W. H.), Studies in Interpretation: Keats, Clough, Arnold, 1896. -- HUTTON (R. H.), Brief Literary Criticisms, 1906.

NENCIONI (E.), Letteratura inglese (on Colvin's Biography). — SYMONS (A.), The Romantic Movement in English Poetry, 1909.

TRIBUTES IN VERSE ** SHELLEY, Adonais. — * SHELLEY, Fragment on Keats' Epitaph. HUNT (Leigh), Foliage, or Poems Original and Translated: To John Keats; On Receiving a Crown of Ivy from the Same; On the Same; * To the Grasshopper and the Cricket. - PALGRAVE (F. T.), Lyrical Poems: Two Graves at Rome. — *ROSSETTI, Five English Poets: John Keats. — *Gilder (R. W.), Poems: An Inscription in Rome. — LONGFELLOW, Keats, a Sonnet. LOWELL Lowell, Poems: Sonnet to the Spirit of Keats. --- MOORE (G. L.), Keats, a Sonnet. - TABB (John B.), Keats, a Sonnet. -- PAYN (James), Stories

from Boccaccio, and other Poems: Sonnet to John Keats. -- SCOTT (W. B.), Poems: Sonnet on the Inscription, Keats' Tombstone; Ode to the Memory of John Keats. — *SPINGARN (J. E.), in Columbia Verse, 1892-97: Keats. GRISWOLD (G.), in Harvard Lyrics, 1899: To Keats. – CARMAN (Bliss), By the Aurelian Wall. -- *REESE (Lizette R.), A Branch of May. DE VERE (Aubrey), Sonnet to Keats. - *BROWNING (E. B.), in Aurora

* Leigh, Book I. — *BROWNING (R.), Popularity. -- JOHNSON (R. [.), , *

) The Name writ in Water; the Century, February, 1906. – THOMAS (Edith M.), The Guest at the Gate, 1909: Bion and Adonais; The House Beside the Spanish Steps. --- VAN DYKE (Henry), The White Bees, 1909: Two Sonnets; from the Atlantic, November, 1906. - STRINGER (Arthur), The Woman in the Rain and other Poems, 1907. - BRAITHWAITE (W. S.),

) Lyrics of Life and Love, 1907. — STAFFORD (W. P.), Dorian Davs, 1909. SCHEFFAUER (H.), Looms of Life, 1909: Keats at Winter Sundown. LANIER (Clifford), Apollo and Keats on Browning, 1909. -- BARKER (E.), Keats; in the Forum, March, 1909.

KEATS

IMITATION OF SPENSER1

It seem'd an emerald in the silver sheen

Of the bright waters; or as when on Now Morning from her orient chamber

high, came,

Through clouds of fleecy white, laughs And her first footsteps touch'd a verdant

the cerulean sky. hill; Crowning its lawny crest with amber And all around it dipp'd luxuriously flame,

Slopings of verdure through the glossy Silv'ring the untainted gushes of its rill ;

tide, Which, pure from mossy beds, did down Which, as it were in gentle amity, distill,

Rippled delighted up the flowery side ; And after parting beds of simple flowers, As if to glean the ruddy tears, it tried, By many streams a little lake did fill, Which fell profusely from the rose-tree Which round its marge reflected woven

stem ! bowers,

Haply it was the workings of its pride, And, in its middle space, a sky that never In strife to throw upon the shore a gem lowers,

Out vieing all the buds in Flora's diadem.

1813 or 1814. 1817.1 There the king-fisher saw his plumage bright

TO SOLITUDE Vieing with fish of brilliant dye below; Whose silken fins, and golden scalès O SOLITUDE! if I must with thee dwell, light

Let it not be among the jumbled heap. Cast upward, through the waves, a ruby Of murky buildings; climb with me the glow :

steep. There saw the swan his neck of arched Nature's observatory-whence the dell, snow,

Its flowery slopes, its river's crystal swell And oar'd himself along with majesty ; May seem a span ; let me thy vigils keep Sparkled his jetty eyes; his feet did Mongst boughs pavilion'd where the show

deer's swift leap Beneath the waves like Afric's ebony, Startles the wild bee from the fox-glove And on his back a fay reclined volup

bell. tuously.

But though I'll gladly trace these scenes

with thee, Ah! could I tell the wonders of an isle Yet the sweet converse of an innocent That in that fairest lake had placed

mind, been,

Whose words are images of thoughts I could e'en Dido of her grief beguile;

refind, Or rob from aged Lear his bitter teen : Is my soul's pleasure ; and it sure must be For sure so fair a place was never seen, - Almost the highest bliss of human-kind, Of all that ever charm'd romantic eye: When to thy haunts two kindred spirits

flee. | 1815. May 5, 1816.2 1 " It was the Faerie Queene that awakened his genius. In Spenser's fairy-land he was en- 1 The dates for Keats' poems are made up from chanted, breathed in a new world, and became Sidney Colvin's careful study of the order of another being; till, enamored of the stanza, he composition of the poems, in his Life of Keats, attempted to im ate it, and succeed d.

an from H. Buxton Forman's excellent notes in This, his earliest attempt, the Imitation of his edition of Keats' Works. Spenser', is in his first volume of poems.' In Leigh Hunt's Examiner. Probably the (Quoted by Colvin from the Houghton NSS.) first lines of Keats ever printed.

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