89 748-757. "This analysis of Sleep and Dream is worthy of Shakespeare, in Shakespeare's best manner." -- Palgrave.

97 13. Close. Keats explained to a friend that the word is here

used in the sense of embrace.

98 31. Hero of Much Ado about Nothing, and Imogen of Cymbeline. For Pastorella, see Faerie Queene, b. vi, c. ii.

98 34-38. In allusion to the ill success of the volume of poems, 1817. 98 60. Pight for pitched occurs both in Shakespeare and in Spenser. 102 197. After the flood in which Zeus destroyed mankind, Deucalion stood with his wife Pyrrha on Mt. Parnassus, watching the waters recede.

102 198. Orion, having been blinded by Enopion, was told by Vulcan to seek the sun-god, and, proceeding to the east, had his sight restored by a beam.

103 230.

Othello, i. 3.

Antre, a cavern. "Antres vast and deserts idle.".

110 443. Ariadne, having been deserted by Theseus at Naxos, was found by the god Bacchus and became his love. "It was a peculiarly happy piece of poetic realism to translate Ariadne's relations with Bacchus into her becoming a vintager; and I presume this was Keats's own thought, as well as the idea immediately following, that the God of Orchards conciliated Love with a gift of pears when paying his addresses to Pomona."-FORMAN.

Keats gathered his mythology from dictionaries instead of from Grecian poetry, and it therefore did not jar upon his sense of propriety to introduce here the names of Vertumnus and Pomona, which belong to Roman rather than to Grecian myth.

112 506. This picture of the sleepy Cupids is charming, but it is an instance of the inability of the young poet to keep the key, as it is in the tone of the French Renaissance.

121 832. And then the forest. Shelley, in a letter sent to the editor of the Quarterly Review, pointed out three passages in Endymion. The one beginning with this line; one in book iii, line 112, The rosy veils mantling the East"; and in book iii, line 193, one beginning, "Upon a weeded rock this old man sat." Critics have not generally, however, found these superior to numerous other passages. 123 876. At the command of Zeus, Hermes with his pipe lulled to sleep Argus, who was guarding Io, and afterward killed him.

125 936. Arethusa was a nymph of Diana who was changed by that goddess into a fountain to avoid the importunities of the river-god Alpheus. He tried to mingle his stream with that of the fount, and

Diana opened an abyss down which the fountain-nymph plunged to reappear in Sicily, still pursued by the god.

128 1. The pseudo-political effusion with which the third book opens is rather a reflection of the opinions of the Leigh Hunt circle than the spontaneous expression of Keats, who at heart was too fully absorbed in literature to feel deeply upon such subjects as these. The whole passage is out of place and prosaic, and the young poet hardly got into key again in the entire book. The reader is continually confused between the feeling that he is supposed to be in the sea and the notion that he must be out of it. Keats does not seem to have succeeded in realizing to himself exactly that Endymion was supposed to be walking on the bottom of the ocean and consequently in the water, and the device of clearing the waves away in the hall of Neptune only increases the confusion. Considerations of this sort may be in themselves trivial, but the fact that the impression on the mind of the reader is chaotic makes their effect important.

130 71.

131 99.

Tellus. The earth.

When the love of Proserpine brought Pluto to earth. Freshening beads. Air bubbles beaten down from above. taste in a figurative sense in one clause and a literal one in the next is unfortunate.

131 110. The use of

132 129 Not since the Saturnian age.

135 244.

Enceladus and Briareus were both imprisoned beneath Ætna, and the allusion might be to either.

136 265. I do not know what this means. The figure of cutting Endymion up for bait is not a happy one, and perhaps was redeemed in the mind of Keats by the suggestion of some Oriental tale which for him the line contained.

139 364. Ethon. One of the horses of the sun, named in Ovid's Metamorphoses.

140 406. Either the Pillars of Hercules (the Strait of Gibraltar), or Mt. Eta, where the hero ended his story' on his funeral pyre.

148 685. This is one of the conceits the use of which Keats almost entirely outgrew. The line is compared to Atlas bearing the world in that each verse bears off so great a load of misery.

154 865. Venus. The epithet ooze-born' applied to the goddess below, 1. 893, is not a fortunate substitute for the foam-born' of classic song.

155 899. Glaucus, for whom Venus asks compassion, was the son of Nais, one of the Oceanides and a former love of Neptune.

156 923. The whole fable of Glaucus and the dead lovers is puerile

and dull, and the one thing in it which is perhaps most effective, the gossipy speech of Venus, is more akin to St. Bartholomew's Fair than to the first two books of the present poem.

158 1000. Nereus wedded his sister Doris, by whom he had fifty daughters, the Nereides. Nereus had the gift of prophecy and was distinguished for wisdom; he is here called Ægean, as living chiefly in that sea.

160 10. This passage is somewhat obscure and rather labored. The eastern voice' is that of the muse of Hebrew literature; then the muses of Grecian song call to the muse of England, sitting secluded 'in northern grot'; 'plain spoke fair Ausonia' may be supposed to refer to Roman literature; and a higher summons' to the Italian influence of Elizabethan time.

"All were it Zeuxis or Praxiteles,

His dædale hand would faile and greatly faynt,

And her perfections with his error taynt."-Faerie Queene, Pro. to iii.

From cunning, artful, he seems to have deduced the meaning inconstant, or deceptive.

176 539. Of health by due. In the first draft Keats wrote: "The rightful tinge of health." It is evident then that by due is to be taken in the sense of by right.

178 606.

181 710.

Perseus, who rescued Andromeda from the sea-monster.
A most beautiful and no less characteristic line.

183 774. Thy lute-voic'd brother. An allusion to Hyperion, whose story the poet already had in mind.

189 950.

liness.

Seemlihed. Another word from Spenser, meaning seem

189 951. Ha! I said. Supply I was. 189 955.

See 1.937.

Prometheus was a thief in that he stole fire from heaven. He made man of clay in the image of the gods, and indued him with life. 190 1003. The reader is perhaps not without some share in the 'wonderment' with which Peona goes home. The fourth book of Endymion is in story even more futile than the third. The inconstancy of Endymion, the purposelessness of his flight through the air and the masquerading of his mistress in the shape of an Indian maiden, bewilder the reader and try his patience. The invention of the poet has not been equal to the task he set it, and the confusion of the

last two books is likely to make us forget that the plan of the first two is much better. The flight on magic horses, which is most unclassic, was probably for the sake of having the journey through earth and sea supplemented by a voyage through air. The fourth book, however, has not only an abundance of those beauties which mark the poem throughout, but it gives evidence of the rapidity of Keats's mental growth. Hpyerion marks a great advance upon Endymion, but the careful reader will not fail to note that the steps toward that growth are plainly to be seen in such passages as ll. 512-545; 670–721.

191. Hyperion. I consider the fragment of Hyperion," Shelley wrote in the preface to Adonais, "as second to nothing that was ever produced by a writer of the same years." Elsewhere he says: "The great proportion of this piece is surely in the very highest style of poetry; . if the Hyperion be not grand poetry, none has been produced by our contemporaries." "The poem, if completed," notes Woodhouse, the friend of Keats, "would have treated of the dethronement of Hyperion, the former God of the Sun, by Apollo, — and incidentally of those of Oceanus by Neptune, of Saturn by Jupiter, etc., and of the war of the Giants for Saturn's reëstablishment — with other events, of which we have but very dark hints in the mythological poets of Greece and Rome. In fact the incidents would have been pure creations of the Poet's brain." Keats abandoned the poem because, as he said, it contained "too many Miltonic inversions," and doubtless because, with his increased perception of his own powers and the conditions under which the poet of his day worked, he appreciated the impossibility of reviving the necessary interest in the subject. Byron declared that the "fragment of Hyperion seemed actually inspired by the Titans and as sublime as Eschylus"; and Swinburne has written discerningly: "The triumph of Hyperion is as nearly complete as the failure of Endymion. Yet Keats never gave such proof of a manly devotion and rational sense of duty to his art as in his resolution to leave this great poem unfinished; on the solid and reasonable ground that a Miltonic study has something in its very scheme and nature too artificial, too studious of a foreign influence, to be carried on and carried out at such length as was implied by his original design." To the fragment in the volume of 1820 was prefixed this note :

...

"Advertisement. If any apology be thought necessary for the appearance of the unfinished poem of Hyperion, the publishers beg to state that they alone are responsible, as it was printed at their particular request, and contrary to the wish of the author. The poem was intended to have been of equal length with Endymion, but the reception given to that work discouraged the author from proceeding. Fleet-Street, June 26, 1820."

191 14. "It is impossible to over-estimate the value of such a landscape, so touched in with a few strokes of titanic meaning and completeness; and the whole sentiment of gigantic despair reflected around the fallen god of the Titan dynasty, and permeating the landscape, is resumed in the most perfect manner in the incident of the motionless fallen leaf, a line almost as intense and full of the essence of poetry as any line in our language."-FORMAN.

192 51. "Though we may well enough describe beings greater than ourselves by comparison, unfortunately we may not make them speak by comparison. ... This grand confession of want of grandeur is all that he can do for them. Milton could do no more."-LEIGH HUNT. 194 113. I have left, etc. There is perhaps no idea in poetry since Shakespeare more Shakespearian than this.

195 134. A magnificent line, in which the repeated trochee is used with an effectiveness worthy a most finished master in the art of versemaking.

195 147.

The rebel three. Zeus, Pluto and Neptune, the three sons of Saturn who had rebelled against him.

200 320. Saturn (Cronos) was the son of Coelus, the sky, and Tellus, the earth.

202 5. Insulting light. An imaginatively significant epithet.

202 17. Stubborned with iron. Made hard with a mingling of iron.

203 35. The use of Druid stones is most happy, and the picture of some Stonehenge in the dismal dusk of a rain-dark November twilight is especially fine and suggestive.

203 61. This is perhaps the most inexcusable error in the entire range of Keats's work. It is worthy only of a schoolgirl, and that it escaped revision is as surprising as that it should ever have been written. Hope with an anchor (Hebrews, vi, 19) among the early gods is as perfect an example of the incongruous as exists in literature.

204 76. Sobbed Clymene, etc. A beautiful line, which without violating the proprieties of the supernatural scene gives a penetrating human pathos to it.

207 173. O ye, whom wrath, etc. This whole speech of Oceanus is of a dignity so fine and a reach so wide as almost to make the reader feel that after all Keats was in error in abandoning the design of completing Hyperion.

208 203. To bear, etc. This is one of the splendid generalizations which show the amazing growth of the mind of the youthful poet.

208 229. That first in beauty, etc. Here is found the development