they intimate with some clearness how seriously Keats took himself, as the saying is. Much reading of great poetry had set standards for him rather than furnished models. It is not difficult to trace Keats's indebtedness to other poets, so far as words and turns of expression go, yet his confessed imitations show almost as conclusively as his original verse how incapable he was of merely reproducing out of the quarries of other poetry his own fair buildings. His was a nature possessed of poetic power, yet fed more than usual by great poetry. That he should have gone by turns to ancient mythology and mediæval romance for his themes, and have treated both in a spirit of romance, was due to a large artistic endowment, which bade him see both nature and humanity as subjects for composition, furnishing images to be delighted in. He was conscious of poetic genius, and never more so than when reading great poetry. In the presence of Shakespeare and Spenser he could exclaim, 'I too am a poet,' and this was no mere excitement such as hurries lesser men into clever copying, but an exhilaration which sent his pulses bounding as his own conceptions rose fair to view. It was obedience to this strong impulse to produce a great work of art which led him to sketch 'Endymion' and try his powers upon an attack on the very citadel of poetic beauty. Fame waved a wreath before him, yet it was not Fame but Poetry that really urged him forward. It is not unfair to translate even a confession of desire for fame into an acknowledgment of conscious power.
'Endymion' was published in the spring of 1818, and Keats's own attitude toward his work at this time is well expressed in the sonnet 'When I have fears that I may cease to be,' and in that written on sitting down to read King Lear once again. The very completion of his task set free new fancies, and there is a spontaneity in his occasional verse and in his letters which witnesses to a rapid maturing of power and a firmness of tread. The interesting letter to Reynolds of February 3, 1818, which contains a spirited criticism of Wordsworth and holds the Robin Hood verses, is quick with gay strength, and shows the poet alert and sane.
The publication of 'Endymion' was an important event to Keats and his circle. His earlier volume, the verses which he had since written and shown, and his own personality, had raised great expectations among his near friends and the few who could discern poetry without waiting for the poet to be famous; and now he was staking all, as it were, upon this single throw. The book was coarsely and roughly handled by the two leading reviews of the day, Blackwood's and the Quarterly. Criticism in those days was far from impersonal. A poet was condemned or praised, not for his work, but for his politics, the friends he associated with, his religion, and anything in his private life which might be known to the reviewer. Keats knew the worthlessness of much of this criticism, but he felt nevertheless keenly the hostility of what, rightly or wrongly, was looked upon as the supreme court in the republic of letters.
Under other circumstances he might have felt this even more keenly, and there appears to be evidence that he recurred afterward with bitterness to the attitude of the reviews; but just at this time other matters filled his mind. His brother,
