delight in nature itself, a delight so genuine that it almost covers from sight the half formal, half negligent beadroll of poetic subjects. Keats was born almost within sound of Bowbells, but his school days and early youth were spent in the rural environs of Enfield and Edmonton, and he escaped often from the city to Hampstead, not merely for companionship, but because there the nightingale sang, and there the walk in the woods or the stroll on the heath brought him face to face with the solitude which yielded indeed in his mind to pleasant converse, yet was, as he knew well, the direct road to converse with nature. Perhaps, in the lines, 'I stood tiptoe,' it is the close and loving observation of nature which first arrests one's attention, but a nearer scrutiny quickly reveals that imaginative rendering which lifts these lines far above the level of descriptive poetry. If in some of Wordsworth's sketches from nature written when he was of the same age one descries a profounder consciousness of human personality and a deeper sense of elemental relations, one is aware also of longer stretches of purely descriptive verse; with Keats there is an instant alchemy by which all sights and sounds are transmuted into the elements of a poetic world.
As this poem goes on it trembles into a half dreamy rapture of the poet away from all scenes into the world of visions, but it is in 'Sleep and Poetry,' written apparently at about the same time, that we discover a more precise witness to the poetic ideals now well formed in Keats's mind. The poet placed this piece last in his first printed volume, as if he intended to make it his personal apology. It is in part an impassioned plea for the freedom of imagination as against the artifices of the school of Pope, but even when thus half formally reciting his creed, Keats shows how little of the dogmatist there was in his nature, how little even of the critic, by the careless wandering of his own poem, and the unconscious expression of his own delight in everything that is beautiful in nature or art; so that as he writes his eye takes in the walls of the room where he lies, and he falls to versifying its contents. He thrills with the consciousness of being a poet, and flushes over the prospect of what he may do, yet at present what he does is rather the overflow of a poetic nature than the studied product of an artist.
The poems which precede 'Endymion' are many of them chiefly interesting for the hints they give thus of a nature which was gathering itself for a large leap. They are, as the reader will see, tentative excursions into the airy region, and they contain besides little witnesses to some of the important compelling influences which were forming Keats's mind. Thus the sonnets to Haydon illustrate Keats's recognition of Wordsworth, and also the great impression made upon him by the introduction which Haydon gave him to Greek art. They bear evidence, too, of his increasing study of Shakespeare and of his admiration for Milton, whose minor poems seem at this time to have exercised much influence over his style. Hunt's influence can be seen in the poems, but more indirectly than directly, for Hunt with his fine taste had done much to open the way to a return of lovers of poetry to the spacious days of Elizabeth. The poems are sometimes exercises, sometimes illuminations of a poetic mind, and they have a rare value to the student of poetry,
