Chapter IX (2)

"Darkling I listen: and for many a time
I have been half in love with easeful Death,--
Called him soft names in many a mused rhyme
To take into the air my quiet breath.
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy.

"The same that oft-times hath
Charmed magic casements opening on the foam
Of perilous seas in faery lands forlorn.
Forlorn! the very word is like a bell
To toll me back from thee to my sole self.

"Was it a vision or a waking dream?
Fled is that music--do I wake or sleep?"

To one or two of these phrases a few words of comment may be given. That axiom which concludes the "Ode on a Grecian Urn"--

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

is perhaps the most important contribution to thought which the poetry of Keats contains: it pairs with and transcends

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

I am not prepared to say whether Keats was the first writer to formulate any axiom to this effect,--I should rather presume not; but at any rate it comes with peculiar appropriateness in the writings of a poet who might have varied the dictum of Iago, and said of himself

"For I am nothing if not beautiful."

In the Ode, the axiom is put forward as the message of the sculptured Grecian Urn "to man," and is thus propounded as being of universal application. It amounts to saying--"Any beauty which is not truthful (if any such there be), and any truth which is not beautiful (if any such there be), are of no practical importance to mankind in their mundane condition: but in fact there are none such, for, to the human mind, beauty and truth are one and the same thing." To debate this question on abstract grounds is not in my province: all that I have to do is to point out that Keats's perception and thought crystallized into this axiom as the sum and substance of wisdom for man, and that he has bequeathed it to us to ponder in itself, and to lay to heart as the secret of his writings. Those other lines, from the "Ode on Melancholy," where he says of Melancholy--

"She dwells with Beauty--Beauty that must die;
And Joy, whose hand is ever at his lips
Bidding adieu"--

appear to me unsurpassable in the whole range of his poetry--as intense in imagery as supreme in diction and in music. They pair with the other celebrated verses from the "Ode to a Nightingale"--

"Now more then ever seems it rich to die,
To cease upon the midnight with no pain;"

and--

"Charmed magic casements opening on the foam
Of perilous seas in faery lands forlorn."

The phrase "_rich_ to die" is of the very essence of Keats's emotion; and the passage about "magic casements" shows a reach of expression which might almost be called the Pillars of Hercules of human language. Far greater things have been said by the greatest minds: but nothing more perfect in form has been said--nothing wider in scale and closer in utterance--by any mind of whatsoever pitch of greatness.

And here we come to one of the most intrinsic properties of Keats's poetry. He is a master of _imagination in verbal form_: he gifts us with things so finely and magically said as to convey an imaginative impression. The imagination may sometimes be in the substance of the thought, as well as in its wording--as it is in the passage just quoted: sometimes it resides essentially in the wording, out of which thought expands in the reader, who is made

"To feel for ever its soft fall and swell,
Awake for ever in a sweet unrest."

From wealth of perception, at first confused or docked in the expression, he rose into a height of verbal embodiment which has seldom been equalled and seldomer exceeded. His conception of poetry as an ideal, his sense of poetry as an art, spurred him on to artistic achievement; and in the later stages of his work the character of the Artist is that which marks him most strongly. As one of his own letters says, he "looks upon fine phrases like a lover."

According to Mr. Swinburne, "the faultless force and profound subtlety of this deep and cunning instinct for the absolute expression of absolute natural beauty is doubtless the one main distinctive gift or power which denotes him as a poet among all his equals." We may safely accept this verdict of poet upon poet as a true one: yet I should be inclined to demur to such strong adjectives as "faultless" and "absolute." Beautiful as several of them are, I might hesitate to say that even one poem by Keats exhibits this his special characteristic in a faultless degree, or expresses absolutely throughout a natural beauty of absolute quality. To the last, he appears to me to have been somewhat wanting in those faculties of selection and of discipline which we sum up, by a rough-and-ready process, in the word "taste." He had done a great deal in this direction, and would probably, with a few years more of life, have done all that was needed; but we have to take him as he stands, with those few years denied. Unless perhaps in "La Belle Dame sans Merci," Keats has not, I think, come nearer to perfection than in the "Ode to a Nightingale." It is with some trepidation that I recur to this Ode, for the invidious purpose of testing its claim to be adjudged "faultless," for in so doing I shall certainly lose the sympathy of some readers, and strain the patience of many. The question, however, seems to be a very fair one to raise, and the specimen a strong one to try it by, and so I persevere. The first point of weakness--excess which becomes weak in result--is a surfeit of mythological allusions: Lethe, Dryad (the nightingale is turned into a "light-winged Dryad of the trees"--which is as much as to say, a light-winged _Oak_-nymph of the _trees_), Flora, Hippocrene, Bacchus, the Queen-moon (the Queen-moon appears at first sight to be the classical Phoebe, who is here "clustered around by all her starry Fays," spirits proper to a Northern mythology; but possibly Keats thought more of a Faery-queen than of Phoebe). Then comes the passage (already cited in these pages) about the poet's wish for a draught of wine, to help him towards spiritual commune with the nightingale. Some exquisite phrases in this passage have endeared it to all readers of Keats; yet I cannot but regard it as very foreign to the main subject-matter. Surely nobody wants wine as a preparation for enjoying a nightingale's music, whether in a literal or in a fanciful relation. Taken in detail, to call wine "the true, the blushful Hippocrene"--the veritable fount of poetic inspiration--seems both stilted and repulsive, and the phrase "with beaded bubbles winking at the brim" is (though picturesque) trivial, in the same way as much of Keats's earlier work. Far worse is the succeeding image, "Not charioted by Bacchus and his pards"--_i.e._, not under the inspiration of wine: the poet will fly to the nightingale, but not in a leopard-drawn chariot. Further on, as if we had not already had enough of wine and its associations, the coming musk-rose is described as "full of dewy wine"--an expression of very dubious appositeness: and the like may be said of "become a sod," in the sense of "become a corpse--earth to earth." The renowned address--

"Thou wast not born for death, immortal bird!
No hungry generations tread thee down,"

seems almost outside the region of criticism. Still, it is a palpable fact that this address, according to its place in the context, is a logical solecism. While "Youth grows pale and spectre-thin and dies," while the poet would "become a sod" to the requiem sung by the nightingale, the nightingale itself is pronounced immortal. But this antithesis cannot stand the test of a moment's reflection. Man, as a race, is as deathless, as superior to the tramp of hungry generations, as is the nightingale as a race: while the nightingale as an individual bird has a life not less fleeting, still more fleeting, than a man as an individual. We have now arrived at the last stanza of the ode. Here the term "deceiving elf," applied to "the fancy," sounds rather petty, and in the nature of a make-rhyme: but this may possibly be a prejudice.

Having thus--in the interest of my reader as a critical appraiser of poetry--burned my fingers a little at the clear and perennial flame of the "Ode to a Nightingale," I shall quit that superb composition, and the whole quintett of odes, and shall proceed to other phases of my subject. The "Ode to Indolence," and the fragment of an "Ode to Maia," need not detain us; the former, however, is important as indicating a mood of mind--too vaguely open to the influences of the moment for either love, ambition, or poesy--to which we may well suppose that Keats was sufficiently prone. The few poems which remain to be mentioned were all printed posthumously.

There are four addresses to Fanny Brawne, dating perhaps from early till late in 1819; two of them are irregular lyrics, and two sonnets. The best of the four is the sonnet, "The day is gone, and all its sweets are gone," which counts indeed among the better sonnets of Keats. Taken collectively, all four supply valuable evidence as to the poet's love affair, confirmatory of what appears in his letters; they exhibit him quelled by the thought of his mistress and her charms, and jealous of her mixing in or enjoying the company of others.

Keats wrote some half-hundred of sonnets altogether, some of them among his very earliest and most trifling performances, others up to his latest period, including the last of all his compositions. Notwithstanding his marked growth in love of form, and his ultimate surprising power of expression--both being qualities peculiarly germane to this form of verse--his sonnets appear to me to be seldom masterly. A certain freakishness of disposition, and liability to be led astray by some point of detail into side-issues, mar the symmetry and concentration of his work. Perhaps the sonnet on "Chapman's Homer," early though it was, remains the best which he produced; it is at any rate pre-eminent in singleness of thought, illustrated by a definite and grand image. It has a true opening and a true climax, and a clear link of inventive association between the thing mentally signified in chief, and the modes of its concrete presentment. In points of this kind Keats is seldom equally happy in his other sonnets; sometimes not happy at all, but distinctly at fault. There is a second Homeric sonnet, "Standing aloof in giant ignorance" (1818), which contains one line which has been very highly praised,

"There is a budding morrow in midnight:"

but, regarded as a whole, it is a weakling in comparison with the Chapman sonnet. The sonnets, "To Sleep" ("O soft embalmer of the still midnight"), "Why did I laugh to-night?" and "On a Dream" ("As Hermes once took to his feathers light")--all of them dated in 1819--are remarkable; the third would indeed almost be excellent were it not for the inadmissible laxity of an alexandrine last line. This is the sonnet of which we have already spoken, the dream of Paolo and Francesca. The "Why did I laugh to-night?" is a strange personal utterance, in which the poet (not yet attacked by his mortal illness) exalts death above verse, fame, and beauty, in the same mood of mind as in the lovely passage of the "Ode to a Nightingale"; but the sonnet, considered as an example of its own form of art, is too exclamatory and uncombined.

There are several minor poems by Keats of which--though some of them are extremely dear to his devotees--I have made no mention. Such are "Teignmouth," "Where be you going, you Devon maid?" "Meg Merrilies," "Walking in Scotland," "Staffa," "Lines on the Mermaid Tavern," "Robin Hood," "To Fancy," "To the Poets," "In a drear-nighted December," "Hush, hush, tread softly," four "Faery Songs." Most of these pieces seem to me over-rated. As a rule they have lyrical impulse, along with the brightness or the tenderness which the subject bespeaks; but they are slight in significance and in structure, pleasurable but not memorable work. One enjoys them once and again, and then their office is over; they have not in them that stuff which can be laid to heart, nor that spherical unity and replenishment which can make of a mere snatch of verse an inscription for the adamantine portal of time.

The feeling with which Keats regarded women in real life has been already spoken of. As to the tone of his poems respecting them we have his own evidence. A letter of his to Armitage Brown, dated towards the first days of September 1820, says, in reference to the "Lamia" volume: "One of the causes, I understand from different quarters, of the unpopularity of this new book, is the offence the ladies take at me. On thinking that matter over, I am certain that I have said nothing in a spirit to displease any woman I would care to please; but still there is a tendency to class women in my books with roses and sweetmeats; they never see themselves dominant." The long poems in the volume in question were "Isabella," "The Eve of St. Agnes," "Hyperion," and "Lamia." In "Hyperion" women are of course not dominant; but, as regards the other three poems, they are surely dominant enough in one sense. In "Isabella" the heroine is the sole figure of prime importance--so also in "Lamia"; and in the "Eve of St. Agnes" she counts for much more than Porphyro, though the number of stanzas about her may be fewer. Nevertheless it might be that the women in the three poems, though "dominant," are "classed with roses and sweetmeats." I do not see, however, that this can fairly be said of Madeline in the "Eve of St. Agnes"; she is made a very charming and loveable figure, although she does nothing very particular except to undress without looking behind her, and to elope. Again, Isabella, amenable as she may be to the censure of the severely virtuous, plays a part which takes her very considerably out of affinity to roses and sweetmeats. To Lamia the objection applies clearly enough; but then she is not exactly a woman, and Keats resents so fiercely the far from indefensible line of conduct which Apollonius adopts in relation to her that it seems hard if the ladies owed the poet a grudge. On the whole I incline to think that they must have been misreported; but the statement in Keats's letter remains not the less significant as a symptom of his real underlying feeling about women.

It has often been pointed out that Keats's lovers have a habit of "swooning," and the fact has sometimes been remarked upon as evidencing a certain want of virility in himself. I cannot affect to be, so far, of a different opinion. The incident and the phrase do manifestly tend to the namby-pamby. This may have been more a matter of affected or self-willed diction on his part--and diction of that kind appears constantly in his earlier poems, and not seldom in his later ones--than of actual character chargeable against himself; yet I would not entirely disregard it in the latter relation either. Keats was a very young man, with a limited experience of life. He had to picture to himself how his lovers would be likely to behave under given conditions; and, if he thought they would be likely to swoon, the probability is that he also, under parallel conditions, would have been likely to swoon--or at least supposed he would be likely. Because he thrashed a butcher-boy, or was indignant at backbiting and meanness, we are not to credit him with an unmingled fund of that toughness which distinguishes the English middle class. The English middle-class man is not habitually addicted to writing an "Endymion," an "Eve of St. Agnes," or an "Ode on Melancholy."

Sensuousness has been frequently defined as the paramount bias of Keats's poetic genius. This is, in large measure, unassailably true. He was a man of perception rather than of contemplation or speculation. Perception has to do with perceptible things; perceptible things must be objects of sense, and the mind which dwells on objects of sense must _ipso facto_ be a mind of the sensuous order. But the mind which is mainly sensuous by direct action may also work by reflex action, and pass from sensuousness into sentiment. It cannot fairly be denied that Keats's mind continually did this; it had direct action potently, and reflex action amply. He saw so far and so keenly into the sensuous as to be penetrated with the sentiment which, to a healthy and large nature, is its inseparable outcome. We might say that, if the sensuous was his atmosphere, the breathing apparatus with which he respired it was sentiment. In his best work--for instance, in all the great odes--the two things are so intimately combined that the reader can only savour the sensuous nucleus through the sentiment, its medium or vehicle. One of the most compendious and elegant phrases in which the genius of Keats has been defined is that of Leigh Hunt: "He never beheld an oak tree without seeing the Dryad." In immediate meaning Hunt glances here at the mythical sympathy or personifying imagination of the poet; but, if we accept the phrase as applying to the sensuous object-painting, along with its ideal aroma or suggestion in his finest work, we shall still find it full of right significance. We need not dwell upon other less mature performances in which the two things are less closely interfused. Certainly some of his work is merely, and some even crudely, sensuous: but this is work in which the poet was trying his materials and his powers, and rising towards mastery of his real faculty and ultimate function.

While discriminating between what was excellent in Keats, and what was not excellent, or was merely tentative in the direction of final excellence, we must not confuse endowments, or the homage which is due to endowments, of a radically different order. Many readers, and there have been among them several men highly qualified to pronounce, have set Keats beside his great contemporary Shelley, and indeed above him. I cannot do this. To me it seems that the primary gift of Shelley, the spirit in which he exercised it, the objects upon which he exercised it, the detail and the sum of his achievement, the actual produce in appraisable work done, the influence and energy of the work in the future, were all superior to those of Keats, and even superior beyond any reasonable terms of comparison. If Shelley's poems had defects--which they indisputably had--Keats's poems also had defects. After all that can be said in their praise--and this should be said in the most generous or rather grateful and thankful spirit--it seems to me true that not many of Keats's poems are highly admirable; that most of them, amid all their beauty, have an adolescent and frequently a morbid tone, marking want of manful thew and sinew and of mental balance; that he is not seldom obscure, chiefly through indifference to the thought itself and its necessary means of development; that he is emotional without substance, and beautiful without control; and that personalism of a wilful and fitful kind pervades the mass of his handiwork. We have already seen, however, that there is a certain not inconsiderable proportion of his poems to which these exceptions do not apply, or apply only with greatly diminished force; and, as a last expression of our large and abiding debt to him and to his well-loved memory, we recur to his own words, and say that he has given us many a "thing of beauty," which will remain "a joy for ever." By his early death he was doomed to be the poet of youthfulness; by being the poet of youthfulness he was privileged to become and to remain enduringly the poet of rapt expectation and passionate delight.

THE END.

INDEX.

A.

Abbey, Guardian of Keats, 17, 19, 20, 29, 37, 39

"Adonais," by Shelley, 39, 90, 98, 170

AEschylus, 186

"Agnes, The Eve of St.," 107, 138;
critical estimate of the poem, 182-184; 190, 206

"Alastor," by Shelley, 82

"Annals of the Fine Arts," 110

Ariosto, 113

_Asclepiad, The_, 24

_Athenaeum, The_, 23

"Autumn, Ode to," by Keats, 109, 192, 194

B.

Bailey, Archdeacon Benjamin, 23, 77, 78, 112, 123;
his description of Keats, 124; 130, 133, 141, 142, 145, 158, 159

"Belle Dame (La) sans Merci," by Keats, 112, 182, 185, 190;
quoted, 192, &c.; 200

Benjamin, Nathan, 157

Bion, Idyll on "Adonis," by, 170

Blackwood, William, 91

_Blackwood's Magazine_, 90;
articles in by Z, on The Cockney School of Poetry, 91; 92, 93, 95, 97,
98, 99, 100, 103, 104, 153

Boccaccio's "Decameron," 107, 180, 181

Boileau, 70

Bojardo's "Orlando Innamorato," 114

Brawne, Fanny, engaged to Keats, 30, 32;
Keats's description of her, 33; 34, 35, 36, 38, 40, 42, 44, 45;
Keats's love-letters to her, 45-46, &c.; 53, 57, 60, 62, 102;
her marriage to Mr. Lindon, 121; 130, 141, 143, 146, 147, 158, 160;
poems to, 202

Brawne, Mrs., 29, 34, 36, 60, 61, 143

Brown, Charles Armitage, friend of Keats, 25;
Keats's verses on, 26; 27, 28, 29, 33, 38, 39, 41,
42, 43, 46, 48, 53;
letter from Keats to, 55-56, 59, 108, 111, 112, 114, 116, 119;
his death, 120; 136, 156, 157, 160, 206

Burton's "Anatomy of Melancholy," 108

Byron, Lord, 32, 102, 103, 105, 125, 128, 185

Byron's "Don Juan," 58

C.

Caius Cestius, 118

"Calidore," by Keats, 65, 165

"Cap and Bells, The," by Keats, 113, 183

"Caviare" (pseudonym of Keats), 112

"Cenci, The," by Shelley, 123

_Champion, The_, 115

"Chapman's Homer," sonnet by Keats, 66, 69, 165, 166, 203

Chartier, Alain, 112

Chatterton, 67, 68

Chaucer, 112

Christ's Entry into Jerusalem, picture by Haydon, 21, 36, 43,
126, 158

"Christmas Eve," sonnet by Keats, quoted, 157

Clark, Mrs., 60

Clark, Sir James, 59, 60

Clarke, Charles Cowden, preceptor and friend of Keats, 14, 18, 19,
20, 25, 65, 66;
his "Recollections," 102; 104, 125, 126, 129, 140, 148

Clarke, Epistle to, by Keats, 67, 68

Clarke, Rev. John, Keats's schoolmaster, 14

Coleridge, 25, 151, 164

Coleridge's "Christabel," 185

Colman, 156

Colvin's, Mr., "Life of Keats," 9, 35, 42

"Comus," by Milton, 115

Cox, Miss Jane ["Charmian"], 30, 31, 32, 34, 143, 146

Cripps, 133

D.

Dante, 112, 113

Dilke, Charles Wentworth, 23, 27, 29, 34, 39, 51, 53, 58, 103,
115, 120, 131, 133, 142, 150, 156, 160

Dilke, Mrs., 28

"Dream, A," sonnet by Keats, 112, 204

Dryden, 70, 108, 190

Duncan, Admiral, 16

E.

_Edinburgh Review_, 109, 117

Edouart, 35

"Endymion," by Keats, 23, 24, 25, 54, 67, 72;
details as to the composition of, 76;
preface to, 79, 80;
criticism upon in _The Quarterly Review_, 83;
Keats's feeling as to this and other criticisms, 91-106; 107,
108, 109, 122, 130, 137, 139, 141, 149, 152, 166;
Shelley's opinion of, 167;
summary of the poem, 168-175;
critical estimate of it, 176-180; 182, 186, 188, 189, 190

_Examiner, The_, 21, 68, 100

Eyre, Sir Vincent, 119

F.

"Fancy, The," by Reynolds, 22

Finch, Colonel, 39, 98

"Florence, The Garden of," by Reynolds, 22, 107

Forman, Mr. H. Buxton, 18, 25, 33, 34, 35, 52, 123

G.

_Gentleman's Magazine, The_, 102

George IV., 21, 114

Gifford, William, 83, 95, 168

Girometti, 128

Gisborne, Mrs., 44, 98

Grafty, Mrs., 64

"Grasshopper and Cricket, The," sonnets by Keats and Hunt, 166

"Grecian Urn, Ode on a," by Keats, 109, 110, 192, 194-198

Guido, 155

H.

Hammond, Surgeon, 18, 19

Haslam, William, 54

Haydn, 148

Haydon, Benjamin Robert, the painter, friend of John Keats, 13, 16,
18, 21, 36, 37, 44;
his last interview with Keats, 54, 55, 64, 69, 76, 78, 99;
his view as to Keats's feeling regarding critical attacks, 100, &c.;
105, 110, 123, 126, 127, 128, 132, 133;
his view of Keats's character, 134-135, 136, 137, 138, 140, 141,
142, 150, 152, 153, 155, 158

Hazlitt, 116, 152

Hilton, 128

Holmes, Edward, 54

Homer, 165

Hood, Mrs. (Miss Reynolds), 23

Hood, Thomas, 23

Hooker, Bishop, 32

Houghton, Lord, 41, 42, 58, 99, 114, 119, 125, 132, 136, 139

Howard, John, 32

Hunt, John, 20

Hunt, Leigh, 20, 21, 25, 44, 59, 66-69, 77, 83, 84, 85, 89-92,
97, 98, 100;
his view as to Keats's sensitiveness to criticism, 102; 110,
112, 114, 121, 122, 123;
his description of Keats, 124; 125, 131, 134, 141, 142, 148,
150, 156, 158, 164, 166, 181, 207

Hunt, Leigh, dedicatory sonnet to, by Keats, 66

Hunt, Leigh, leaving prison, sonnet by Keats, 66

Hunt, Mrs., 44

Hunt, Thornton, 44

"Hyperion," by Keats, 96, 97, 107, 108, 113, 137, 182;
critical estimate of the poem, 185-189;
recast of, 189; 190, 192, 206

I.

"I stood tiptoe upon a little hill," poem by Keats, 67;
extract from, 74; 165

_Indicator, The_, 112, 114

"Indolence, Ode to," by Keats, 202

"Isabella, or the Pot of Basil," by Keats, 95, 107, 138;
critical estimate of the poem, 180-182; 206

"Islam, The Revolt of," by Shelley, 77, 82, 123

J.

J. S., 93, 94

Jeffrey, Lord, 109

Jeffrey, Mr., 120

Jennings, grandfather of Keats, 12, 37

Jennings, Captain, 16

Jennings, Mrs., 16

"Joseph and his Brethren," by Wells, 23

K.

Kean as Richard Duke of York,
critique by Keats, 93, 115

Kean, Edmund, 112

Keats, Fanny, sister of the poet, 13, 29, 38, 43, 45, 57, 62,
120, 121, 129, 148

Keats, Frances, mother of the poet, 12;
her death, 16; 25, 126

Keats, George, brother of the poet, 13, 15, 18, 19, 25, 27, 30,
32, 37, 38, 64, 71, 95, 98;
his view as to John Keats's sensitiveness to criticism, 103; 111,
119, 120, 126, 136, 141, 142, 145, 146, 147, 150, 151, 155, 159, 160

Keats, George, Epistle to, by John Keats, 67, 68

Keats, John, his parentage, 12;
his birth in London, October 31, 1795, 13;
anecdote of his childhood, 13;
goes to the school of Mr. Clarke at Enfield, 14;
his studies, pugnacity, &c., 15;
death of his parents, 16;
apprenticed to a surgeon, Hammond, 18;
leaves Hammond, and walks the hospitals, 18, 19;
reads Spenser's "Faery Queen," and drops surgical study, 20;
makes acquaintance with Leigh Hunt, Haydon, and others, 20, 21, 22;
his first volume, Poems, 1817, 22;
writes "Endymion," 23;
his health suffers in Oxford, 24;
anecdotes (Coleridge, &c.), 25;
makes a pedestrian tour in Scotland &c. with
Charles Armitage Brown, 25-29;
takes leave of his brother George and his wife, 27;
his brother Tom dies, 29;
lodges with Brown at Hampstead, 29;
meets Miss Cox ("Charmian") and Miss Brawne, and falls in love
with the latter, 30-35;
their engagement, 36;
his friendship towards Haydon cools, 36, 37;
at Shanklin and Winchester, 37, 38;
sees his brother George again, and is left by him in pecuniary
straits, 38, 39;
the painful circumstances of his closing months, owing to illness,
his love affair, and the depreciation of his poems, 40, 41;
beginning of his consumptive illness, 41, 42;
removes to Kentish Town, 43, 44;
returns to Mrs. Brawne's house at Hampstead, 45;
his love-letters, 45-54;
travels to Italy with Joseph Severn, 54-59;
Severn's account of his last days in Rome, 60, 61;
his death there, February 23, 1821, 62, 63;
his early turn for mere rhyming, 64;
his early writings, and first volume, 65, 69;
diatribe against Boileau, and poets of that school, 70;
the publishers relinquish sale of the volume, 72;
"Endymion," and passage from an early poem forecasting
this attempt, 73-76;
details as to composition of "Endymion," 76-79;
prefaces to the poem, 79-83;
adverse critique in _The Quarterly Review_, 83-91;
question debated whether this and other attacks affected Keats
deeply, 91-97;
statements by Shelley, 97;
and by Haydon, 99;
other evidence, 102;
conclusion as to this point, 105;
Keats writes "Isabella," "The Eve of St. Agnes," and
"Hyperion," 107;
"Lamia," 108;
and publishes the volume containing these poems, 1820, 108;
other poems in the volume, 109;
posthumous poems of Keats, "The Eve of St. Mark," "Otho the Great,"
"The Cap and Bells," &c., 110-115;
his letters and other prose writings, 115-117;
Keats's burial-place, 118-119;
projects for writing his life, accomplished finally by
Lord Houghton, 119;
his relations with Hunt, Shelley, and others, 121-123;
Keats's small stature and personal appearance, 124-126;
the portraits of him, 126-129;
difficulty of clearly estimating his character, 129;
his poetic ambition and intensity of thought, 130, 131;
his moral tone, 132;
his character ("no decision" &c.,) estimated by Haydon, 133-139;
Lord Houghton's account of his manner in society, 139;
his suspiciousness, 141;
and dislike of mankind, 142;
his feeling towards women, 143-146;
and towards Miss Brawne, 147, 148;
his habits, opinions, likings, &c., 148-155;
humour and jocularity, 155-157;
negative turn in religious matters, 157-160;
wine and diet, 160, 161;
conclusion as to his character, 161, 162;
his early tone in poetry, 164;
critical estimate of his first volume, Poems, 1817, 165-166;
of "Endymion," 167, 168;
narrative of this poem, 168-175;
defects and beauties of "Endymion," 176-180;
critical estimate of "Isabella," 180;
"Eve of St. Agnes," 182;
"Eve of St. Mark," 184;
"Hyperion," 185;
"Otho the Great," 189;
"Lamia," 190;
"Belle Dame sans Merci" (quoted), 192;
the five chief Odes, 194;
analysis of the "Ode to a Nightingale," 200;
various posthumous lyrics, sonnets, &c., 202;
Keats's feeling towards women, as developed in his poems, 205;
"swooning," 206;
sensuousness and sentiment, 207;
comparison between Keats and Shelley, and final remarks, 208

Keats, Mrs. George, 27, 32, 95, 120

Keats, Thomas, father of the poet, 12;
his death, 16; 126

Keats, Thomas, brother of the poet, 13, 15, 19, 23, 24, 25, 28;
his death, 29; 37, 38, 39, 121, 135, 159, 160

"King Stephen," by Keats, 73, 112, 190

Kotzebue, 150

L.

Lamb, Charles, 78, 150

Lamb, Dr., 44

"Lamia," by Keats, 108, 138, 151, 160;
critical estimate of the poem, 190, &c.; 206

"Lamia, and other Poems," by Keats (1820), 44, 97, 103, 108,
109, 110, 206

Lawrence, Sir Thomas, 61

Lempriere's "Classical Dictionary," 15

Lindon, Mrs. (_see_ Brawne, Fanny)

Llanos, 121

Lockhart, 91

Lucas, 19

Lucy Vaughan Lloyd (pseudonym of Keats), 114

Lyrics (various) by Keats, 204

M.

Mackereth, George Wilson, 19

"Maia, Ode to," by Keats, 202

"Mark, Eve of St.," by Keats, 52, 110, 182;
critical estimate of the poem, 184-185; 190

Marmontel's "Incas of Peru," 15

Mathew, George Felton, Epistle to, by Keats, 67; 157

Medwin's "Life of Shelley," 34

"Melancholy, Ode on," by Keats, 109, 192, 194-199

Milton, 107, 135, 147, 159, 165, 186, 188

"Miserrimus," by Reynolds, 23

Mitford, Miss, 101, 135

Moore, Thomas, 165

_Morning Chronicle, The_, 93

Murray, John, 102

N.

Napoleon I., 32

"Narensky," opera by C. A. Brown, 27

Newton, Sir Isaac, 151

"Nightingale, Ode to a," by Keats, 103, 109, 160, 192, 194-202;
analysed, 200-202; 204

"Nile," Sonnets on the, by Keats, &c.; 110

O.

Ollier, Charles, 21, 71

"Otho the Great," by Keats, 38, 111, 112;
critical estimate of, 189

P.

"Paradise Lost," 108, 175, 187

"Paradise Lost," Notes on, by Keats, 115

Philostratus's "Life of Apollonius," 108

"Poems" (1817), by Keats, 23, 66;
letter regarding this volume, by the publishers, 72; 122, 164-167

Pope, 70

Procter, Mrs., 125, 126

Purcell, 148

"Psyche, Ode to," by Keats, 109, 192, 194-199

Q.

_Quarterly Review, The_, 83;
its critique of "Endymion" extracted, 83-91; 93, 95, 96, 97,
98, 99, 102, 104, 153, 179

"Quixote, Don," 120

R.

R. B., 93

Raphael, 155

Rawlings, William, 16

Reynolds, John Hamilton, 22, 79, 95, 107, 115, 128, 156

Reynolds, Misses, 30, 31, 142, 145, 148

Reynolds, Mrs., 31

Rice, James, 38, 41, 147

Richardson, Dr., 25

Ritchie, 78

Robinson Crusoe, 15

Robinson, H. Crabb, 104

Rossetti, Dante G., 52, 184, 185, 190

S.

Sandt, 150

Scott, Sir Walter, 91, 100

Severn, Joseph, 39;
leaves England with Keats for Italy, 54; 59;
his narrative of Keats's last days, 60, &c.; 104, 118, 119, 125;
his portraits of Keats, 127-129; 139, 143, 147, 148

Shakespeare (Macbeth), 15;
(Hamlet), 52; 93, 114, 135, 147;
(King Lear), 151; 155, 165

Shakespeare, Notes on, by Keats, 115

Shakespeare's sonnets, Book on, by C. A. Brown, 27

Sharpey, Dr., 30

Shelley, Percy Bysshe, 39, 58, 59, 71, 77, 82, 91, 96;
his references to "Endymion," and _The Quarterly
Review_, 97-99; 102, 110, 119, 123, 125, 141, 147,
167, 179, 180, 185;
comparison between Shelley and Keats, 208

"Sleep and Poetry," by Keats, 67, 69;
extract from, 70; 165

Smith, Horace, 68

Snook, 56

Sonnet by Keats ("Bright Star," &c.), 114

Sonnets (various) by Keats, 164, 167, 203, &c.

Spence's "Polymetis," 15

Spenser, Edmund, 66, 164, 165

Spenser's Cave of Despair, picture by Severn, 55

Spenser's "Faery Queen," 20, 149

"Spenser, Imitation of," by Keats, 64

Stephens, Henry, 19, 78, 132, 147

"Stories after Nature," by Wells, 23

Swinburne, Mr. (on "Hyperion"), 186; 189, 199

T.

Tasso, 165

Taylor and Hessey, 23, 72, 76, 78, 83, 93, 96, 109, 120, 128,
140, 146, 149, 152

Terry, 100

Thomson, James, 70

Titian's "Bacchus and Ariadne," 179

Tooke's "Pantheon," 15

Torlonia, 61

V.

Virgil, 165

Virgil's AEneid, 15, 20

Voltaire, 158

W.

Webb, Cornelius, 92

Webster, 189

Wells, Charles, 23

Wilson, John, 91

"Woman, when I behold thee" &c., poem by Keats, quoted, 143

Wood, Warrington, 119

Woodhouse, Richard, 94, 149, 153, 188

Wordsworth, 21, 78; ("The Excursion,") 152; 153, 156, 164, 179

Z.

Z (probably Lockhart), 91, 92, 100.

BIBLIOGRAPHY.

BY

JOHN P. ANDERSON

(British Museum).

I. Works.
II. Poetical Works.
III. Single Works.
IV. Letters, etc.
V. Miscellaneous.
VI. Appendix--
Biography, Criticism, etc.
Magazine Articles.
VII. Chronological List of Works.

I. WORKS.

The Poetical Works and other Writings of John Keats, now first brought together, including poems and numerous letters not before published. Edited, with notes and appendices, by H. B. Forman. 4 vols. London, 1883, 8vo.

The Letters of John Keats. Edited by J. G. Speed. (The Poems of J. Keats, with the annotations of Lord Houghton, and a memoir by J. G. Speed.) 3 vols. New York, 1883, 8vo.

A number of letters now included in this work were first
published in the New York _World_ of June 25-6, 1877, and
afterwards reprinted in the _Academy_, vol. xii., 1877,
pp. 38-40, 65-67.

II. POETICAL WORKS.

The Poetical Works of Coleridge, Shelley, and Keats. In one volume. Paris, 1829, 8vo.

John Keats (including Memoir), i.-vii. and 1-75.

Standard Library. The Poetical Works of J. K. London, 1840, 8vo.

The first _collected_ edition of Keats's Works.

The Poetical Works of J. K. London, 1840, 8vo.

With an engraved frontispiece from the portrait in chalk
by Hilton. This book, although dated 1840, was not issued
until the following year. The frontispiece is dated
correctly.

The Poetical Works of J. K. London, 1841, 8vo.

The Poetical Works of J. K. A new edition. London, 1851, 8vo.

The Poetical Works of J. K. With Memoir by R. M. Milnes [Lord Houghton]. Illustrated by a portrait and 120 designs by George Scharf, Jun. London, 1854, 8vo.

A small number of copies were struck off upon large
paper.

The Poetical Works of J. K. With a life [signed J. R. L.--_i.e._, James Russell Lowell]. Boston [U.S.], 1854, 8vo.

The Poetical Works of J. K. With a Memoir by Richard Monckton Milnes [Lord Houghton]. A new edition. London, 1861, 8vo.

Upon the reverse of the half-title to the "Memoir" is a
wood-cut profile of Keats.

The Poetical Works of J. K. Edited, with a critical memoir, by W. M. Rossetti. Illustrated by T. Seccombe. London [1872], 8vo.

The Poetical Works of J. K. Edited, with an introductory memoir and illustrations, by William B. Scott. London [1873], 8vo.

The Poetical Works of J. K. With a memoir by James Russell Lowell. Portrait and 10 illustrations. New York, 1873, 8vo.

The Memoir was afterwards reprinted in "Among my Books,"
second series, 1876, pp. 303-327.

The Poetical Works of J. K., reprinted from the early editions, with memoir, explanatory notes, etc. (_Chandos Classics._) London [1874], 8vo.

The Poetical Works of J. K. Chronologically arranged and edited, with a memoir, by Lord Houghton. (_Aldine Edition._) London, 1876, 8vo.

The Poetical Works of Coleridge and Keats, with a memoir of each. (_Riverside Edition._) 4 vols. in 2. New York, 1878, 8vo.

The Poetical Works of J. K. London [1878], 8vo.

The Poetical Works of J. K. Edited, with an introductory memoir, by W. B. Scott. (_Excelsior Series._) London [1880], 8vo.

The Poetical Works of J. K. Edited, with a critical memoir, by W. M. Rossetti. [Portrait, fac-simile, and six illustrations by Thomas Seccombe.] (_Moxon's Popular Poets._) London [1880], 8vo.

The same as the edition of 1872. The Memoir was reprinted
in "Lives of Famous Poets."

The Poetical Works of J. K., reprinted from the original editions, with notes, by F. T. Palgrave. (_Golden Treasury Series._) London, 1884, 8vo.

The Poetical Works of J. K. Edited by W. T. Arnold. London, 1884, 8vo.

There was a large paper edition, consisting of fifty
copies, numbered and signed.

The Poetical Works of John Keats. Edited by H. B. Forman. London, 1884, 8vo.

The Poetical Works of J. K. With an introductory sketch by John Hogben. (_Canterbury Poets._) London, 1885, 8vo.

III. SINGLE WORKS.

Poems, by John Keats. London, 1817, 16mo.

The Museum copy contains a MS. note by F. Locker.

Endymion; a Poetic Romance. By J. K. London, 1818, 8vo.

Endymion. Illustrated by F. Joubert. From paintings by E. J. Poynter. London, 1873, fol.

The Eve of St. Agnes. By J. K. With 20 illustrations by E. H. Wehnert. London, 1856, 8vo.

The Eve of St. Agnes. Illustrated by E. H. Wehnert. London [1875], 8vo.

The Eve of St. Agnes. Illustrated by nineteen etchings by Charles O. Murray. London, 1830, fol.

The Eve of St. Agnes, and other Poems. Illustrated. Boston [U.S.], 1876, 24mo.

Miscellanies of the Philobiblon Society. London, 1856-7, 8vo.

Vol. iii. contains "Another version of Keats's _Hyperion,
a Vision_," edited, with an introduction, by R. M. Milnes
(Lord Houghton).

Keatsii Hyperionis. Libri i-ii. Latine reddidit Carolus Merivale. Cambridge, 1862, 8vo.

Keats's Hyperion. Book I. With notes [life and introduction]. London [1877], 8vo.

Keats's Hyperion. Book I. With introduction, elucidatory notes, and an appendix of exercises. London [1878], 8vo.

Lamia, Isabella, The Eve of St. Agnes, and other Poems. By J. K. London, 1820, 12mo.

Lamia. With illustrative designs by W. H. Low. Philadelphia, 1885, fol.

Ode to a Nightingale. By J. K. Edited, with an introduction, by Thomas J. Wise. London, 1884, 8vo.

Printed for private distribution, and issued in parchment
wrappers. Four copies on vellum and twenty-five on paper
only printed.

IV. LETTERS, ETC.

Life, Letters, and Literary Remains of J. K. Edited by R. M. Milnes. 2 vols. London, 1848, 16mo.

Life and Letters of John Keats. A new and completely revised edition. Edited by Lord Houghton. London, 1867, 8vo.

Letters of J. K. to Fanny Brawne, written in the years 1819 and 1820, and now given from the original manuscripts, with introduction and notes, by Harry Buxton Forman. London, 1878, 8vo.

In addition to the ordinary issue, the following special
copies were "printed for private distribution"--In 8vo on
Whatman's hand-made paper 60 copies, on vellum 2 copies;
in post 8vo there were 6 copies with title-page set up in
different style, and 2 copies of coloured bank-note
paper, one blue and the other yellow.

V. MISCELLANEOUS.

CONTRIBUTIONS TO MAGAZINES.

_Annals of the Fine Arts. A quarterly magazine, edited by James Elmes_--

"Ode to the Nightingale," vol. iv., 1820, pp. 354-356.
The first appearance of this poem, which was afterwards
included in the "Lamia" volume, 1820, pp. 107-112.

"Ode on a Grecian Urn." Appeared first in the "Annals of
the Fine Arts" vol. iv., 1820, pp. 638, 639, afterwards
included in the Lamia volume.

_The Athenaeum_--

First appearance of the Sonnet "On hearing the Bag-pipe
and seeing 'The Stranger' played at Inverary," June 7,
1873, p. 725.

_The Champion_--

"On Edmund Kean as a Shakesperian actor, and on Kean in
'Richard, Duke of York.'" Appeared on the 21st and 28th
Dec. 1817.

_The Dial_--

"Notes on Milton's Paradise Lost." In vol. iii., 1843,
pp, 500-504; reprinted by Lord Houghton.

_The Examiner_--

The "Sonnet to Solitude," Keats's first published poem,
according to Charles Cowden Clarke, appeared on the 5th
of May 1816, signed J. K., p. 282.

The first appearance of the sonnet "To Kosciusko," Feb.
16, 1817, p. 107.

The first appearance of the sonnet, "After dark vapors
have oppress'd our plains," etc., Feb. 23, 1817, p. 124.

Two sonnets "To Haydon, with a Sonnet written on seeing
the Elgin Marbles," and "On seeing the Elgin Marbles"
appear for the first time, March 9, 1817, p. 155. In 1818
they were reprinted in the _Annals of the Fine Arts_, No.
8.

The first appearance of the sonnet, "Written on a blank
space at the end of Chaucer's tale of 'The Floure and the
Lefe,'" March 16, 1817, p. 173.

Sonnet "On the Grasshopper and Cricket" appeared on the
21st Sept. 1817, p. 599.

_The Gem, a Literary Annual, Edited by Thomas Hood_--

The sonnet "On a picture of Leander" appeared for the
first time in 1829, p. 108.

_Hood's Comic Annual_--

"Sonnet to a Cat," 1830, p. 14.

_Hood's Magazine_--

In vol. ii., 1844, p. 240, the sonnet "Life's sea hath
been five times at its slow ebb" appears for the first
time; included by Lord Houghton in the Literary Remains.

In vol. ii., 1844, p. 562, the poem "Old Meg," written
during a tour in Scotland, appears for the first time.

_The Indicator. Edited by Leigh Hunt_--

In vol. i., 1820, p. 120. there are thirty-four lines,
headed _Vox et praeterea nihil_, supposed by Mr. Forman to
be a cancelled passage of Endymion, and reprinted by him
in his edition of Keats, 1883, vol. i, p. 221.

In vol. i. 1820, pp. 246-248, the poem "La Belle Dame Sans
Merci" first appeared, and signed "Caviare."

First appearance of the sonnet, "A Dream after reading
Dante's Episode of 'Paolo and Francesca,'" signed
"Caviare," vol. i. 1820, p. 304.

_Leigh Hunt's Literary Pocket Book_--

First appearance of the sonnets, "To Ailsa Rock" and "The
Human Season" in 1819.

VI. APPENDIX.

BIOGRAPHY, CRITICISM, ETC.

Armstrong, Edmund J.--Essays and Sketches of Edmund J. Armstrong. London, 1877, 8vo.

Keats, pp. 176-179.

Atlantic Monthly.--Boston, 1858, 8vo.

"The Poet Keats." Seven stanzas, vol. ii., pp. 531-532.

Belfast, Earl of.--Poets and Poetry of the xixth century. A course of lectures. London, 1852, 8vo.

Moore, Keats, Scott, pp. 59-131.

Best Bits.--Best Bits. London, 1884, 8vo.

"The Last Moments of Keats," vol. ii., p. 119.

Biographical Magazine.--Lives of the Illustrious (The Biographical Magazine). London, 1853, 8vo.

John Keats, vol. iii., pp. 260-271.

Caine, T. Hall. Recollections of Dante Gabriel Rossetti. London, 1882, 8vo.

Keats, pp. 167-183.

Caine, T. Hall.--Cobwebs of Criticism, etc. London, 1883, 8vo. Keats, pp. 158-190.

Carr, J. Comyns.--Essays on Art. London, 1879, 8vo.

The artistic spirit in Modern English Poetry, pp. 3-34.

Clarke, Charles Cowden.--The Riches of Chaucer, in which his impurities have been expunged, etc. 2 vols. London, 1835, 12mo.

John Keats, vol. i., pp. 52, 53.

---- Recollections of Writers. London, 1878, 8vo.

John Keats, pp. 120-157.

Colvin, Sidney.--Keats (_English Men of Letters_). London, 1887, 8vo.

Cotterill, H. B.--An Introduction to the Study of Poetry. London, 1882, 8vo.

Keats, pp. 242-268.

Courthope, William J.--The Liberal Movement in English Literature. London, 1885, 8vo.

Poetry, Music, and Painting. Coleridge and Keats, pp.
159-194.

Cunningham, Allan.--Biographical and Critical History of the British Literature of the last fifty years. [Reprinted from the "Athenaeum."] Paris, 1834, 12mo.

Keats, pp. 102-104.

Dennis, John.--Heroes of Literature. English Poets. London, 1883, 8vo.

Keats, pp. 365-373.

De Quincey, Thomas.--Essays on the Poets, and other English Writers. Boston, 1853, 8vo.

John Keats, pp. 75-97.

---- De Quincey's Works. 16 vols. Edinburgh, 1862-71, 12mo.

John Keats, vol. v, pp. 269-288.

Devey, J.--A comparative estimate of Modern English Poetry. London, 1873, 8vo.

Alexandrine Poets. Keats, pp. 263-274.

Dilke, Charles Wentworth.--The Papers of a Critic. Selected from the writings of the late Charles W. Dilke. 2 vols. London, 1875, 8vo.

John Keats, vol. i., pp. 2-14.

Encyclopaedia Britannica.--Encyclopaedia Britannica. Eighth edition. Edinburgh, 1857, 4to.

John Keats, vol. xiii., pp. 55-57.

---- Ninth edition. Edinburgh, 1882, 4to.

John Keats, by Algernon C. Swinburne, vol. xiv.,
pp. 22-24.

English Writers.--Essays on English Writers. By the author of "The Gentle Life." London, 1869, 8vo.

Shelley, Keats, etc., pp. 338-349.

Gilfillan, George.--A Gallery of Literary Portraits. Edinburgh, 1845, 8vo.

John Keats, pp. 372-385.

Gossip.--The Gossip. London, 1821, 8vo.

Three Stanzas, signed G. V. D., May 19, 1821, p. 96, "On
Reading Lamia and other poems, by John Keats."

Griswold, Rufus W.--The Poets and Poetry of England in the Nineteenth Century. New York, 1875, 8vo.

John Keats, with portrait, pp. 301-311.

Haydon, Benjamin Robert,--Life of B. R. Haydon. Edited and compiled by Tom Taylor. 3 vols. London, 1853, 8vo.

Numerous references to Keats.

---- Correspondence and Table-Talk. With a memoir by his son, F. W. Haydon. 2 vols. London, 1876, 8vo.

Contains ten letters and two extracts from letters to
Haydon, and ten letters from Haydon to Keats, vol. ii.,
pp. 1-17.

Hinde, F.--Essays and Poems. Liverpool, 1864, 8vo.

The life and works of the poet Keats: a paper read before
the Liverpool Philomathic Society, April 15, 1862,
pp. 57-95.

Hoffmann, Frederick A.--Poetry, its origin, nature, and history, etc. London, 1884, 8vo.

Keats, vol. i., pp. 483-491.

Howitt, William.--Homes and Haunts of the most eminent British Poets. Third edition. London, 1857, 8vo.

John Keats, pp. 292-300.

---- The Northern Heights of London, etc. London, 1869, 8vo.

Keats, pp. 95-103.

Hunt, Leigh.--Imagination and Fancy; or, selections from the English Poets. London, 1844, 12mo.

Keats, born 1796, died 1821, pp. 312-345.

---- Foliage, or Poems original and translated. London, 1818, 8vo.

Contains four sonnets; "To John Keats," "On receiving a
Crown of Ivy from the same," "On the same," "To the
Grasshopper and the Cricket."

---- Lord Byron and some of his Contemporaries; with recollections of the author's life, and of his visit to Italy. London, 1826, 4to.

John Keats, pp. 246-268.

---- The Autobiography of Leigh Hunt; with reminiscences of friends and contemporaries. In three volumes. London, 1850, 8vo.

The references to John Keats, vol. ii., pp. 201-216, etc.
are substantially reproduced from the preceding work.

Hutton, Laurence.--Literary Landmarks of London. London, [1885], 8vo.

John Keats, pp. 177-182.

Jeffrey, Francis.--Contributions to the Edinburgh Review. London, 1853, 8vo.

John Keats. Review of Endymion and Lamia, pp. 526-534.

Lester, John W.--Criticisms. Third edition, London, 1853, 8vo.

John Keats, pp. 343-349.

Lowell, James Russell.--Among my Books. Second series. London, 1876, 8vo.

Keats, pp. 303-327.

---- The Poetical Works of J. R. L. New revised edition. Boston [U.S.], 1882, 8vo.

Sonnet "To the Spirit of Keats," p. 20.

Maginn, William.--Miscellanies: prose and verse. Edited by R. W. Montagu. 2 vols. London, 1885; 8vo.

Remarks on Shelley's Adonais, vol. ii., pp. 300-311.

Mario, Jessie White.--Sepoleri Inglesi in Roma. (Estratto dalla _Nuova Antologia_, 15 Maggio, 1879.) Roma, 1879, 8vo.

On Keats and Shelley.

Mason, Edward T.--Personal Traits of British Authors. New York, 1885, 8vo.

John Keats, pp. 195-207.

Masson, David.--Wordsworth, Shelley, Keats, and other Essays. London, 1874, 8vo.

"The Life and Poetry of Keats," pp. 143-191.

Medwin, Thomas.--Journal of the Conversations of Lord Byron: noted during a residence with his Lordship at Pisa, in the years 1821 and 1822. By T. Medwin. London, 1824, 4to.

John Keats, pp. 143, 237-240, 255, etc.

Milnes, Richard Monckton, _Lord Houghton_.--Life, Letters, and Literary Remains of John Keats. In two volumes. London, 1848, 8vo.

---- Life and Letters of John Keats. A new and completely revised edition. Edited by Lord Houghton, London, 1867, 8vo.

Mitford, Mary Russell.--Recollections of a Literary Life, etc. 3 vols. London, 1852, 8vo.

Shelley and Keats, vol. ii., pp. 183-192.

Moir, D. M.--Sketches of the poetical literature of the past half-century. London, 1851, 8vo.

John Keats, pp. 215-221.

Noel, Hon. Roden.--Essays on poetry and poets. London, 1886, 8vo.

Keats, pp. 150-171.

Notes and Queries.--General Index to Notes and Queries. 5 series. London, 1856-80, 4to.

Numerous references to John Keats.

Olio.--The Olio. London [1828]. 8vo.

"Recollections of Books and their Authors," No. 6, "John
Keats, the Poet," vol. i., pp. 391-394.

Oliphant, Mrs.--The Literary History of England, etc. 3 vols. London, 1885, 8vo.

John Keats, vol. iii., pp. 133-155.

Owen, Frances Mary.--John Keats. A Study. London, 1880, 8vo.

Reviewed in the _Academy_, July 5 1884, p. 2.

Payn, James.--Stories from Boccaccio, and other Poems. London, 1852, 8vo.

Sonnet to John Keats, p. 97.

Phillips, Samuel.--Essays from "The Times." Being a selection from the literary papers which have appeared in that journal. London, 1851, 8vo.

"The Life of John Keats," pp. 255-269. This article
originally appeared in "The Times" on Sept. 17, 1849.

---- New Edition. 2 vols. London, 1871, 8vo.

John Keats, vol. i., pp. 255-269.

Richardson, David Lester.--Literary Chit-Chat, etc. Calcutta, 1848, 8vo.

Shelley, Keats, and Coleridge, pp. 271-281.

Rossetti, Dante Gabriel.--Ballads and Sonnets. London, 1881, 8vo.

Sonnets "To Five English Poets." No. iv., John Keats,
p. 316.

Rossetti, William Michael.--Lives of Famous Poets. London [1885], 8vo.

John Keats, pp. 349-361.

Sarrazin, Gabriel.--Poetes Modernes de l'Angleterre. Paris, 1885, 8vo.

John Keats, pp. 131-152.

Scott, William Bell.--Poems, Ballads, Studies from Nature, Sonnets, etc. Illustrated by seventeen etchings by the author and L. Alma Tadema. London, 1875, 8vo.

An etching by the author of Keats' Grave, p. 177; sonnet
"On the Inscription, Keats' Tombstone," p. 179. An Ode
"To the memory of John Keats," pp. 226-230.

Scribner's Monthly Magazine.--Scribner's Monthly Magazine. New York, 1880, 1887, 8vo.

The No. for June 1880 contains fourteen lines "To the
Immortal memory of Keats," and the May No. for 1887, p.
110, "Keats" (ten verses) by Robert Burns Wilson.

Shelley, Percy Bysshe.--Adonais. An elegy on the death of John Keats, author of Endymion, Hyperion, etc. Pisa, 1821, 4to.

---- Adonais. An elegy on the death of John Keats, etc. Cambridge, 1829, 8vo.

---- Adonais. Edited, with notes, by H. Buxton Forman. London, 1880, 8vo.

Shelley, Lady.--Shelley Memorials; from authentic sources. Edited by Lady Shelley. London, 1859, 8vo.

John Keats, pp. 74, 150-152, 155, 156, 200, 203.

Stedman, Edmund Clarence.--Victorian Poets. London, 1876, 8vo.

John Keats, pp. 18, 104, 106, 155, 367, etc.

Swinburne, Algernon Charles.--Miscellanies. London, 1886, 8vo.

Keats, pp. 210-218. Originally appeared in the
Encyclopaedia Britannica.

Tuckerman, Henry T.--Characteristics of Literature, illustrated by the genius of distinguished men. Philadelphia, 1849, 8vo.

Final Memorials of Lamb and Keats, pp. 256-269.

---- Thoughts on the Poets. London [1852], 12mo.

Keats, pp. 212-226.

Verdicts.--Verdicts. [Verse.] London, 1852, 8vo.

John Keats, occupies 93 lines, pp. 28-32.

Ward, Thomas H.--The English Poets, etc. 4 vols. London, 1883, 8vo.

John Keats, by Matthew Arnold, vol. iv., pp. 427-464.

Willis, N. P.--Pencillings by the Way. A new edition. London, 1844, 8vo.

"Keats's Poems," pp. 84-88.

Wiseman, Cardinal.--On the Perception of Natural Beauty by the Ancients and the Moderns, etc. London, 1856, 8vo.

Keats, pp. 13, 14; reviewed by Leigh Hunt in _Fraser's
Magazine_ for December, 1859.

MAGAZINE ARTICLES.

Keats, John

--Examiner, June 1, 1817, p. 345, July 6, 1817, pp. 428, 429,
July 13, 1817, pp. 443, 444.

--Blackwood's Edinburgh Magazine, vol. 3, 1818, pp. 519-524.

--Blackwood's Edinburgh Magazine, vol. 7, 1820, p. 665;
vol. 27, 1830, p. 633.

--Indicator, by Leigh Hunt, vol. 1, 1820, pp. 337-352.

--Quarterly Review, vol. 37, 1828, pp. 416-421.

--Southern Literary Messenger, by H. T. Tuckerman, vol. 8,
1842, pp. 37-41.

--Tait's Edinburgh Magazine, by T. De Quincey, vol. 13, N.S.,
1846, pp. 249-254; same article, Eclectic Magazine, vol. 8,
pp. 202-209.

--Democratic Review, vol. 21, N.S., 1847, pp. 427-429.

--United States Magazine, vol. 21, N.S., 1847, pp. 427-429;
vol. 26, N.S., 1850, pp. 415-421.

--Hogg's Weekly Instructor, with portrait, vol. 1, 1848,
pp. 145-148; same article, Eclectic Magazine, vol. 14,
pp. 409-415.

--Chambers's Edinburgh Journal, vol. 10, N.S., 1848,
pp. 376-380.

--Sharpe's London Magazine, vol. 8, 1849, pp. 56-60.

--Knickerbocker, vol. 55, 1860, pp. 392-397.

--Temple Bar, vol. 38, 1873, pp. 501-512.

--Edinburgh Review, July 1876, pp. 38-42.

--Harper's New Monthly Magazine, vol. 40. 1870, pp. 523-525
and vol. 55, 1877, by E. F. Madden, pp. 357-361,
illustrated.

--Scribner's Monthly, by R. H. Stoddard, vol. 15, 1877,
pp. 203-213.

--American Bibliopolist, vol. 7, p. 94, etc., and vol. 8,
p. 94, etc.

--_La Revue Politique et Litteraire_, by Leo Quesnel, 1877,
pp. 61-65.

--Argonaut, by Reginald W. Corlass, vol. 2, 1875, pp. 172-178.

--Canadian Monthly, by Edgar Fawcett, vol. 2, 1879,
pp. 449-454.

--_Century_, by Edmund C. Stedman, illustrated, vol. 27, 1884,
pp. 599-602.

---- _and his Critics._ Dial, vol. 1, 1881, pp. 265, 266.

---- _and Joseph Severn._ Dublin University Magazine, by
E. S. R., vol. 96, 1880, pp. 37-39.

---- _and Lamb._ Southern Literary Messenger, by H. T.
Tuckerman, vol. 14, 1848, pp. 711-715.

---- _and Shelley._ To-Day, June 1883, pp. 188-206, etc.

---- _and the Quarterly Review._ Morning Chronicle, Oct. 3 and
8, 1818 (two letters). Examiner, 11 Oct., 1818, pp. 648,
649.

---- _an Esculapian Poet._ Asclepiad, with portrait on steel,
vol. 1, 1884, pp. 138-155.

---- _Art of._ Our Corner, by J. Robertson, vol. 4, 1884,
pp. 40-45, 72-76.

---- _Cardinal Wiseman on._ Fraser's Magazine, by Leigh Hunt,
vol. 60, 1859, pp. 759, 760.