his early maturity, as a re-incarnation of the mighty Elizabethan spirit, the first fruit of a constructive after a destructive period, his affinity to the great poets who flourished a few years before his death (he died in 1827) will be readily understood. Thus in the Minstrel's Song, before quoted, we at once discern that the rhythm is of the same strain as the largest utterance of Marlowe and Webster and Shakespeare precedent, and as the noblest modern exemplar the blank verse of Hyperion subsequent. It is not, however, in this early maturity, but in his second childhood and boyhood and youth, when he was withdrawn from common life into mysticism, when moonlight was his sunlight, and water was his wine, and the roses red as blood were become all white as snow, in the Songs of Innocence, the Songs Of Experience, and the Auguries of Innocence (always Innocence, mark, not Virtue} that the seeds may be traced of much which is now half consciously struggling towards organic perfection, and which in two or three generations may be crowned with foliage and blossoms and fruit as the Tree of Life for one epoch.
The essence of this poetry is mysticism, and the essence of this mysticism is simplicity. The two meanings in which this last word is commonly used—the one reverential, the other kindly contemptuous—are severally appropriate to the most wise and the least wise mani-
- Keats avowed imitation of Milton in the structure of his rhythm. Similarity to the Council in Pandemonium there of course could not but be in the Council of the overthrown Titans; but the verse of Keats (if I have any ear and intelligence for verse) is as different from the verse of Milton as with the same language and the same metrical standard it possibly could be. It is in my judgment even more beautiful and more essentially powerful and sublime than Milton's.