GENIUS AND OTHER ESSAYS
Agnes"? Is it not the purest mediæval structure in our verse—a romance-poem more faultless, in the strict sense of the word, than larger models of earlier or later date? In proportion, color, exquisite detail, it is comparable to some Gothic hall or chapel of the best period; and just as surely "Isabella" is Florentine, and equally without flaw. These poems are none the less charged with high imaginings, Keats being one of the few whose imagination is not lessened by technical supremacy. The sonnet on Chapman's Homer was, in this respect, a foretaste of the large utterance to which he afterward attained. "Hyperion," with its Titanic opening and Doric grandeur of tone inviolate from first to last, was a work which the author, with half his power still in reserve, left unfinished, in the loftiest spirit of self-criticism, avowing that it had too many Miltonic inversions. The word "faults" is, in truth, the last to use concerning Keats. His limitation was one of horizon, not of blemish within its bounds.
As regards verbal expression, a close test of original power, he certainly outranks any poet since Shakespeare. Others are poets and something more, or less,—reformers, men of the world, or, like Körner and Chénier, aglow for heroic action. Keats had but one ambition; he was all poet, and I think he would have remained so. However possible the grotesque changes contrived for Byron and Burns in Hawthorne's fantastic draft of "P's Correspondence," the romancer felt that Keats would never become transformed, and pictured him as still true to the ideal. Shelley wor-
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