beautiful thought, they would suffuse with tears, and his mouth trembled." It is noticeable that his friends, whenever they begin to describe his looks, go off in this way to tell of the feelings and the soul that shone through them. To return to Haydon :-"he was in his glory in the fields. The humming of a bee, the sight of a flower, the glitter of the sun, seemed to make his nature tremble; then his eyes flashed, his cheek glowed, and his mouth quivered." In like manner George Keats:-"John's eyes moistened, and his lip quivered, at the relation of any tale of generosity or benevolence or noble daring, or at sights of loveliness or distress;" and a shrewd and honoured survivor of those days, "herself of many poets the frequent theme and valued friend,"-need I name Mrs Procter?-has recorded the impression the same eyes have left upon her, as those of one who had been looking on some glorious sight'. In regard to his social qualities, Keats is said, and owns himself, to have been not always perfectly well-conditioned or at his ease in the company of women, but in that of men all accounts agree that he was pleasantness itself: quiet and abstracted or brilliant and voluble by turns, according to his mood and company, but thoroughly amiable and unaffected. If the conversation did not interest him he was apt to draw apart, and sit by himself in the window, peering into vacancy; so that the windowseat came to be recognized as his place. His voice was rich and low, and when he joined in discussion, it was usually with an eager but gentle animation, while his occasional bursts of fiery indignation at wrong or meanness bore no undue air of assumption, and failed not to command respect. His powers of mimicry and dramatic 1 See Appendix, p. 224. recital are said to have been great, and never used unkindly. Thus stamped by nature, and moving in such a circle as we have described, Keats found among those with whom he lived nothing to check, but rather everything to foster, his hourly growing, still diffident and trembling, passion for the poetic life. His guardian, as we have said, of course was adverse: but his brothers, including George, the practical and sensible one of the family, were warmly with him, as his allusions and addresses to them both in prose and verse, and their own many transcripts from his compositions, show. In August 1816 we find him addressing from Margate a sonnet and a poetical Epistle in terms of the utmost affection and confidence to George. About the same time he gave up his lodgings in St Thomas's Street to go and live with his brothers in the Poultry; and in November he composes another sonnet on their fraternal fire-side occupations. Poetry and the love of poetry were at this period in the air. It was a time when even people of business and people of fashion read: a time of literary excitement, expectancy, and discussion, such as England has not known since. In such an atmosphere Keats soon found himself induced to try his fortune and his powers with the rest. The encouragement of his friends was indeed only too ready and enthusiastic. It was Leigh Hunt who first brought him before the world in print, publishing without comment, in the Examiner for the 5th of May, 1816, his sonnet beginning, 'O Solitude! if I with thee must dwell,' and on the 1st of December in the same year the sonnet on Chapman's Homer. This Hunt accompanied by some prefatory remarks on the poetical promise of its author, associating with his name those of Shelley and Reynolds. It was by the praise of Hunt in this paper, says Mr Stephens, that Keats's fate was sealed. But already the still more ardent encouragement of Haydon, if more was wanted, had come to add fuel to the fire. In the Marlborough Street studio, in the Hampstead cottage, in the City lodgings of the three brothers, and in the convivial gatherings of their friends, it was determined that John Keats should put forth a volume of his poems. A sympathetic firm of publishers was found in the Olliers. The volume was printed, and the last proof-sheets were brought one evening to the author amid a jovial company, with the intimation that if a dedication was to be added the copy must be furnished at once. Keats going to one side quickly produced the sonnet To Leigh Hunt Esqr., with its excellent opening and its weak conclusion: "Glory and Loveliness have pass'd away; For if we wander out in early morn, No crowd of nymphs soft-voiced and young and gay, A leafy luxury, seeing I could please, With these poor offerings, a man like thee." With this confession of a longing retrospect towards the beauty of the old pagan world, and of gratitude for present friendship, the young poet's first venture was sent forth in the month of March 1817. C. K. CHAPTER III. The Poems of 1817. THE note of Keats's early volume is accurately struck in the motto from Spenser which he prefixed to it : "What more felicity can fall to creature Than to enjoy delight with liberty?" The element in which his poetry moves is liberty, the consciousness of release from those conventions and restraints, not inherent in its true nature, by which the art had for the last hundred years been hampered. And the spirit which animates him is essentially the spirit of delight delight in the beauty of nature and the vividness of sensation, delight in the charm of fable and romance, in the thoughts of friendship and affection, in anticipations of the future, and in the exercise of the art itself which expresses and communicates all these joys. We have already glanced, in connection with the occasions which gave rise to them, at a few of the miscellaneous boyish pieces in various metres which are included in the volume, as well as at some of the sonnets. The remaining and much the chief portion of the book consists of half a dozen poems in the rhymed decasyllabic couplet. These had all been written during the period between November 1815 and April 1817, under the combined influence of the older English poets and of Leigh Hunt. The former influence shows itself everywhere in the substance and spirit of the poems, but less, for the present, in their form and style. Keats had by this time thrown off the eighteenth-century stiffness which clung to his earliest efforts, but he had not yet adopted, as he was about to do, a vocabulary and diction of his own full of licences caught from the Elizabethans and from Milton. The chief verbal echoes of Spenser to be found in his first volume are a line quoted from him entire in the epistle to G. F. Mathew, and the use of the archaic teen' in the stanzas professedly Spenserian. We can indeed trace Keats's familiarity with Chapman, and especially with one poem of Chapman's, his translation of the Homeric Hymn to Pan, in a predilection for a particular form of abstract descriptive substantive :"the pillowy silkiness that rests Full in the speculation of the stars:" "Or the quaint mossiness of aged roots :"- The only other distinguishing marks of Keats's diction in this first volume consist, I think, in the use of the Miltonic sphery,' and of an unmeaning coinage of his 1 Compare Chapman, Hymn to Pan : "the bright-hair'd god of pastoral, By lot, all loftiest mountains crown'd with snow, All sylvan copses, and the fortresses Of thorniest queaches here and there doth rove, |