l. [23]. The weariness . . . fret. Cf. 'The fretful stir unprofitable and the fever of the world' in Wordsworth's Tintern Abbey, which Keats well knew.
[Page 109]. l. [26]. Where youth . . . dies. See Introduction to the Odes, p. [230].
l. [29]. Beauty . . . eyes. Cf. [Ode on Melancholy], 'Beauty that must die.'
l. [32]. Not . . . pards. Not wine, but poetry, shall give him release from the cares of this world. Keats is again obviously thinking of Titian's picture (Cf. Lamia, i. 58, [note]).
l. [40]. Notice the balmy softness which is given to this line by the use of long vowels and liquid consonants.
[Page 110]. ll. [41 seq.] The dark, warm, sweet atmosphere seems to enfold us. It would be hard to find a more fragrant passage.
l. [50]. The murmurous . . . eves. We seem to hear them. Tennyson, inspired by Keats, with more self-conscious art, uses somewhat similar effects, e.g.:
The moan of doves in immemorial elms,
And murmuring of innumerable bees.
The Princess, vii.
l. [51]. Darkling. Cf. The Eve of St. Agnes, l. 355, [note].