M. R.
CONTENTS
| PAGE | |
| Preface | [ii] |
| Life of Keats | [v] |
| Advertisement | [2] |
| Lamia. Part I | [3] |
| Lamia. Part II | [27] |
| Isabella; or, The Pot of Basil. A Story from Boccaccio | [47] |
| The Eve of St. Agnes | [81] |
| Ode to a Nightingale | [107] |
| Ode on a Grecian Urn | [113] |
| Ode to Psyche | [117] |
| Fancy | [122] |
| Ode ['Bards of Passion and of Mirth'] | [128] |
| Lines on the Mermaid Tavern | [131] |
| Robin Hood. To a Friend | [133] |
| To Autumn | [137] |
| Ode on Melancholy | [140] |
| Hyperion. Book I | [145] |
| Hyperion. Book II | [167] |
| Hyperion. Book III | [191] |
| Note on Advertisement | [201] |
| Introduction To Lamia | [201] |
| Notes on Lamia | [203] |
| Introduction to Isabella and The Eve of St. Agnes | [210] |
| Notes on Isabella | [215] |
| Notes on The Eve of St. Agnes | [224] |
| Introduction to the Ode to a Nightingale, Ode on a Grecian Urn, Ode on Melancholy, and To Autumn | [229] |
| Notes on Ode to a Nightingale | [232] |
| Notes on Ode on a Grecian Urn | [235] |
| Introduction to Ode to Psyche | [236] |
| Notes on Ode to Psyche | [237] |
| Introduction to Fancy | [238] |
| Notes on Fancy | [238] |
| Notes on Ode ['Bards of Passion and of Mirth'] | [239] |
| Introduction to Lines on the Mermaid Tavern | [239] |
| Notes on Lines on the Mermaid Tavern | [239] |
| Introduction To Robin Hood | [240] |
| Notes on Robin Hood | [241] |
| Notes on 'To Autumn' | [242] |
| Notes on Ode on Melancholy | [243] |
| Introduction to Hyperion | [244] |
| Notes on Hyperion | [249] |
LIFE OF KEATS
Of all the great poets of the early nineteenth century—Wordsworth, Coleridge, Scott, Byron, Shelley, Keats—John Keats was the last born and the first to die. The length of his life was not one-third that of Wordsworth, who was born twenty-five years before him and outlived him by twenty-nine. Yet before his tragic death at twenty-six Keats had produced a body of poetry of such extraordinary power and promise that the world has sometimes been tempted, in its regret for what he might have done had he lived, to lose sight of the superlative merit of what he actually accomplished.
The three years of his poetic career, during which he published three small volumes of poetry, show a development at the same time rapid and steady, and a gradual but complete abandonment of almost every fault and weakness. It would probably be impossible, in the history of literature, to find such another instance of the 'growth of a poet's mind'.