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EDITOR'S NOTE

The period of Keats's poetical production was so brief, and he leaped so quickly into the possession of his poetical powers, that almost any arrangement of his works, which was orderly, would serve.

Yet since Keats has left in all but a very few cases indication of the date of composition, and since even delicate intimations of poetic growth in the case of so rare a genius are worth attention, I have endeavored to make the arrangement as nearly chronological as the evidence, chiefly obtainable from Keats's letters, will permit. The head-notes disclose all instances where I have had to fall back on conjecture. The adoption of this order has compelled me to disregard the grouping of the volumes published by Keats and the posthumous publication by editors, but for the information of students a bibliographical note, setting forth the historical order of publication, is given in the Appendix.

The text of the poems published in Keats's three volumes has been carefully collated with copies of the first editions. I am indebted to Mr. F. H. Day for the opportunity of using the volumes of 1817 and 1820, and to Col. T. W. Higginson for Endymion. In reprinting the posthumous poems I have followed sometimes Lord Houghton in the Life, Letters and Literary Remains of John Keats, London, 1848, and the same editor's Aldine edition of 1876, sometimes Mr. Sidney Colvin in his Letters of John Keats, London, 1891, where so many of the poems are taken from Keats's own copy, and sometimes the text given by Mr. H. Buxton Forman in his careful four volume edition, London, 1883. There are a good many manuscripts, and these, together with the printed verses, have a variety of readings. All variations of consequence are noted in the Appendix; it was beyond the scope of this series to give every minute alteration. For an exhaustive statement, the curious student is referred to the invaluable edition by Mr. Forman. I have not deemed it indispensable to follow scrupulously the spelling and punctuation even of the poems whose publication was supervised by Keats, but I have not wilfully departed from either in accordance with any mere change of fashion; the spelling conforms to the accepted spelling of Keats's day; the capitalization is somewhat modified; the punctuation is studied with reference to the legibility of the passage.

For the prefatory notes I have been mainly indebted to Keats's letters, and have endeavored, as far as possible, to put the reader in possession of such light as Keats himself throws on his composition. I have also, in pursuance of the plan adopted for the arrangement of the poems, indicated in each instance the date, exactly or approximately. In accordance with the general scheme of the Cambridge editions, these prefatory notes are rarely critical; they are designed to be

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rather historical and bibliographical. In the preparation of these notes, as also of the Notes and Illustrations in the Appendix, I must again acknowledge my great indebtedness to Mr. Forman.

In undertaking to assemble Keats's Complete Poetical Works, I have been aware that I was including some things which neither Keats nor any one else would call poetical. Yet besides the contribution which verse makes to beauty, there is also the light which it throws on the poetical mind and character. And since the volume of Keats's production is not large, and much of his posthumous poetry is rightly classed with his own acknowledged work, it seemed best to give everything, but to make the natural discrimination between the poetry in the body of the volume and that which follows in the division, Supplementary Verse. The personality of Keats is so vivid, that just as his friends in his lifetime and after his death carefully garnered every scrap which he wrote, so the friends created by his life and his poetry may be trusted to know what his imperishable verse is, and yet will handle affectionately even the toys he played with.

Although I have endeavored to draw from Keats's letters such passages as throw direct light on his poetry, there yet remains an undefined scholia in the whole body of his familiar correspondence. No attentive reader of Keats's letters will fail to find in these unstudied, spontaneous expressions of the poet's mind a lambent light playing all over the surface of his poetry, and therefore it is not a wide departure from the scheme of this series of poets to include, in the same volume with Keats's poems, a collection also of his letters. This collection is complete, though one or two brief notes will not be found here, because already printed in the headings to poems. I have been dependent for the text mainly upon Mr. Colvin, supplemented by the minute garnering of Mr. Forman. I have to thank Mr. John Gilmer Speed for his courtesy in permitting the use of letters which he derived from the papers of his grandfather, George Keats.

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POEMS

EARLY POEMS.

To 'Had I A MAN'S FAIR FORM,

IMITATION OF SPENSER

THEN MIGHT MY SIGHS'

26

Ox DEATH

SPECIMEN OF AN INDUCTION TO

To CHATTERTON

2

Рокм

27

To BYRON

CALIDORE: A FRAGMENT

28

WOMAN! WHEN I BEHOLD THEE FLIP-

EPISTLE TO CHARLES COWDEN CLARKE 30

PANT, VAIN'

2

To MY BROTHERS

33

To SOME LADIES .

ADDRESSED TO BENJAMIN ROBERT

ON RECEIVING A CURIOUS SHELL AND A

HAYDON.

COPY OF VERSES FROM THE SAME LA-

I. 'GREAT SPIRITS NOW ON EARTH

DIES

ARE SOJOURNING

33

WRITTEN ON THE DAY THAT MR. LEIGH II. 'HighMINDEDNESS, A JEALOUSY

HuNT LEFT PRISON .

FOR GOOD'

33

To HoPE .

To KOSCIUSKO.

34

ODE TO APOLLO

6

To G. A. W.

34

HYMN TO APOLLO

7

STANZAS: “IN A DREAR-NIGHTED DE-

TO A YOUNG LADY WHO SENT ME A

CEMBER

34

LAUREL CROWN

7 WRITTEN IN DISGUST OF VULGAR SU:

SONNET : How MANY BARDS GILD THE

PERSTITION

35

LAPSES OF TIME'.

8

SONNET : HAPPY is ENGLAND! I

COULD

SONNET: 'KEEN, FITFUL GUSTS ARE

BE CONTENT'

35

WHISPÄRING HERE AND THERE

8 ON THE GRASSHOPPER AND CRICKET 35

SPENSERIAN STANZA, WRITTEN AT THE

SONNET: AFTER DARK VAPOURS HAVE

CLOSE OF CANTO II., Book V.,

OPPRESS'D OUR PLAINS

36

"THE FAERIE QUEENE'

8 WRITTEN ON THE BLANK SPACE AT THE

ON LEAVING SOME FRIENDS AT AN

END OF CHAUCER's TALE OF THE

EARLY HOUR

9

FLOURE AND THE LEFE'

36

ON FIRST LOOKING INTO CHAPMAN'S ON SEEING THE ELGIN MARBLES

36

HOMER

9

To HAYDON (WITH THE PRECEDING

EPISTLE TO GEORGE FELTON MATHEW

SONNET)

36

To —; 'HADST THOU LIV'D IN DAYS

To Leigh Hunt, Esq. .

37

OF OLD'

11

ON THE SEA.

37

SONNET: 'As FROM THE DARKENING

LINES: "UNFELT, UNHEARD, UNSEEN 37

GLOOM A SILVER DOVE'

12 ON * THINK NOT OF IT, SWEET

SONNET TO SOLITUDE .

12

ONE, so'

38

SoxNET : TO ONE WHO HAS BEEN LONG

ON A PICTURE OF LEANDER

38

IN CITY PENT'

13

ON LEIGH HUNT'S POEM THE STORY

TO A FRIEND WHO SENT ME SOME Roses 13 OF RIMINI

38

SONNET : 'OH! How I LOVE, ON A FAIR

SONNET: “WHEN I HAVE FEARS THAT

SUMMER'S EVE

13 I MAY CEASE TO BE

39

I STOOD TIPTOE UPON A LITTLE HILL' 14 ON SEEING A LOCK OF MILTON'S HAIR 39

SLEEP AND POETRY

18

ON SITTING DOWN TO READ "KING

EPISTLE TO MY BROTHER GEORGE . 24

LEAR' ONCE AGAIN

40

TO MY BROTHER GEORGE

26 LINES ON THE MERMAID TAVERN 40

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NT DEAR!'

.

WHY DID I LAUGH TO-

41

II. Ah! WOE IS ME! POOR SILVER-

41

WING!.

141

42 ON FAME

142

BLANK PAGE IN

ANOTHER ON FAME.

142

ve DSTCHER'S WORKS

To SLEEP

142

nos REVENGE' AND

ODE TO PSYCHE

142

kus KINSMEN'

42 SONNET: 'IF BY DULL RHYMES OUR

SVE JOY AND WEL-

ENGLISH MUST BE CHAIN'D'

144

42 ODE TO A NIGHTINGALE .

144

43 LAMIA

146

YUXET ENDING THUS:

DRAMAS.

xar dearer far

43

OTHO THE GREAT : A TRAGEDY IN FIVE

- she hyacinthine bell.'

ACTS

158

UR REYNOLDS

44

KING STEPHEN: A DRAMATIC FRAG-

44

MENT

192

45

THE EVE OF ST. MARK

196

1815-1819.

HYPERION: A FRAGMENT

198

6.8 POT OF BASIL 110

TO AUTUMN

119

213

119 VERSES TO FANNY BRAWNE.

. Ntsh! TREAD SOFTLY!

SONNET: "THE DAY IS GONE AND ALL

120

ITS SWEETS ARE GONE'

214

LEN DURING A TOUR IN

LINES TO FANNY.

214

To FANNY: 'I CRY YOUR MERCY —

VNTING THE TOMB OF

PITY — LOVE - AY, LOVE!'

215

120

121

THE CAP AND BELLS; OR, THE

JEALOUSIES

IN

СоттAGE

THE

216

YANS BURNS WAS BORN .

121

THE LAST SONNET

232

GAL'S CAVE

122

SUPPLEMENTARY VERSE.

EN UPON THE TOP OF

123 I. HYPERION: A VISION

233

- Tea FROM A SONNET OF RON-

II. FRAGMENTS:

123

I. WHERE'S THE POET? SHOW

- SEN FOR A FEW MOMENTS

HIM! SHOW HIM'

238

123

II. MODERN LOVE

238

124 III. FRAGMENT OF

"THE CASTLE

S OF PASSION AND OF

BUILDER'

239

125 IV. EXTRACTS FROM AN OPERA :

A DOVE AND THE SWEET

•O! WERE I ONE OF THE

125

OLYMPIAN TWELVE

239

USLANCHOLY .

126

Daisy's SONG

239

O ST. AGNES

127

FOLLY's Song

240

134

Oh, I AM FRIGHTEN'D WITH

SOLENCE

135

MOST HATEFUL THOUGHTS!' 240

Song: • THE STRANGER

No VOICE WILL TELL' 137

LIGHTED FROM HIS STEED' 240

FaxNY.

137

ASLEEP! O SLEEP A LITTLE

AFTER READING DANTE's

WHILE, WHITE PEARL!' 240

OF PAOLO AND FRANCESCA 138 III. FAMILIAR VERSES :

DAME SANS MERCI 139 STANZAS TO Miss WYLIE

240

FAIRIES .

140 EPISTLE TO John HAMILTON REY-

SGS:

NOLDS

240

NO TEAR!

O SHED NO

A DRAUGHT OF SUNSHINE .

242

. 141

AT TEIGNMOUTH

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