leading to dark passages. We see not the balance of good and evil; we are in a mist, we are in that state, we feel the 'Burden of the Mystery.""

A few weeks earlier, addressing to the same friend the last of his rhymed Epistles, Keats had thus expressed the mood which came upon him as he sat taking the beauty of the evening on a rock at the sea's edge :

"twas a quiet eve,

The rocks were silent, the wide sea did weave
An untumultuous fringe of silver foam
Along the flat brown sand; I was at home

And should have been most happy,-but I saw
Too far into the sea, where every maw
The greater of the less feeds evermore:—
But I saw too distinct into the core
Of an eternal fierce destruction,

And so from happiness I far was gone.

Still am I sick of it, and tho' to-day,

I've gathered young spring leaves, and flowers gay
Of periwinkle and wild strawberry,

Still do I that most fierce destruction see,

The Shark at savage prey,-the Hawk at pounce,―
The gentle Robin, like a Pard or Ounce,

Ravening a worm,-Away, ye horrid moods!
Moods of one's mind!"_

In a like vein, recalling to Bailey a chance saying of his "Why should woman suffer?"—" Aye, why should she?" writes Keats: "By heavens, I'd coin my very soul, and drop my blood for drachmas.' These things are, and he who feels how incompetent the most skyey knight-errantry is to heal this bruised fairness, is like a sensitive leaf on the hot hand of thought." And again, "were it in my choice, I would reject a Petrarchal coronation-on account of my dying day, and because women have cancers. I should not by rights

speak in this tone to you, for it is an incendiary spirit that would do so."

Not the general tribulations of the race only, but particular private anxieties, were pressing in these days on Keats's thoughts. The shadow of illness, though it had hitherto scarcely touched himself, hung menacingly not only over his brother but his best friends. He speaks of it in a tone of courage and gaiety which his real apprehensions, we can feel, belie. "Banish money"—he had written in Falstaff's vein, at starting for the Isle of Wight a year ago—“Banish sofas— Banish wine-Banish music; but right Jack Health, honest Jack Health, true Jack Health-Banish Health and banish all the world." Writing now from Teignmouth to Reynolds, who was down during these weeks with rheumatic fever, he complains laughingly, but with an undercurrent of sad foreboding, how he can go nowhere but Sickness is of the company, and says his friends will have to cut that fellow, or he must cut them.

Nearer and more pressing than such apprehensions was the pain of a family break-up now imminent. George Keats had made up his mind to emigrate to America, and embark his capital, or as much of it as he could get possession of, in business there. Besides the wish to push his own fortunes, a main motive of this resolve on George's part was the desire to be in a position as quickly as possible to help, or if need be support, his poet-brother. He persuaded the girl to whom he had long been attached, Miss Wylie, to share his fortunes, and it was settled that they were to be married and sail early in the summer. Keats came up from Teignmouth in May to see the last of his brother, and he and

Tom settled again in their old lodgings in Well Walk. He had a warm affection and regard for his new sister-inlaw, and was in so far delighted for George's sake. But at the same time he felt life and its prospects overcast. He writes to Bailey, after his outburst about the sufferings of women, that he is never alone now without rejoicing that there is such a thing as death-without placing his ultimate in the glory of dying for a great human purpose. And after recounting his causes of depression, he recovers himself, and concludes:-"Life must be undergone; and I certainly derive some consolation from the thought of writing one or two more poems before it

ceases.

With reference to his poem then just appearing, and the year's work which it represented, Keats was under no illusions whatever. From an early period in its composition he had fully realised its imperfections, and had written: "My ideas of it are very low, and I would write the subject thoroughly again, but I am tired of it, and think the time would be better spent in writing a new romance, which I have in my eye for next summer. Rome was not built in a day, and all the good I expect from my employment this summer is the fruit of experience which I hope to gather in my next poem." The habit of close self-observation and selfcriticism is in most natures that possess it allied with vanity and egoism; but it was not so in Keats, who without a shadow of affectation judges himself, both in his strength and weakness, as the most clear-sighted and disinterested friend might judge. He shows himself perfectly aware that in writing Endymion he has rather been working off a youthful ferment of the mind than producing a sound or satisfying work of poetry; and

when the time comes to write a preface to the poem, after a first attempt lacking reticence and simplicity, and abandoned at the advice of Reynolds, he in the second quietly and beautifully says of his own work all that can justly be said in its dispraise. He warns the reader to expect "great inexperience, immaturity, and every error denoting a feverish attempt, rather than a deed accomplished," and adds most unboastfully :-"it is just that this youngster should die away: a sad thought for me, if I had not some hope that while it is dwindling I may be plotting, and fitting myself for verses fit to live."

The apprehensions expressed in these words have not been fulfilled; and Endymion, so far from having died away, lives to illustrate the maxim conveyed in its own now proverbial opening line. Immature as the poem truly is in touch and method, superabundant and confused as are the sweets which it offers to the mind, still it is a thing of far too much beauty, or at least of too many beauties, to perish. Every reader must take pleasure in some of its single passages and episodes, while to the student of the poetic art the work is interesting almost as much in its weakness as its strength.

CHAPTER V.

Endymion.

IN the old Grecian world, the myth of Endymion and Selene was one deeply rooted in various shapes in the popular traditions both of Elis in the Peloponnese, and of the Ionian cities about the Latmian gulf in Caria. The central feature of the tale, as originally sung by Sappho, was the nightly descent of the goddess to kiss her lover where he lay spell-bound, by the grace of Zeus, in everlasting sleep and everlasting youth on Mount Latmos. The poem of Sappho is lost, and the story is not told at length in any of our extant classical writings, but only by way of allusion in some of the poets, as Theocritus, Apollonius Rhodius, and Ovid, and of the late prose-writers, as Lucian, Apollodorus, and Pausanias. Of such ancient sources Keats of course knew only what he found in his classical dictionaries. But references to the tale, as every one knows, form part of the stock repertory of classical allusion in modern literature: and several modern writers before Keats had attempted to handle the subject at length. In his own special range of Elizabethan reading, he was probably acquainted with Lyly's court comedy of Endimion, in prose, which had been edited, as it happened, by his friend Dilke a few years before but in it he would have found nothing to his purpose. On the other hand I think he certainly took hints from the Man in the Moon of Michael Drayton. In this piece Drayton takes hold of two post-classical

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