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Keats, having thus defined his ultimate hope, breaks off and sets out again from the foot of a new ascending scale of poetical pleasure and endeavour which he asks us to consider. It differs from the ascending scale of the earlier poems inasmuch as it begins, not with the toying of nymphs in shady places and the like, but with thoughts of olden minstrelsy and romantic tales and prophecies. The verse here is of Keats’ finest: —

      — hist, when the airy stress

       Of music’s kiss impregnates the free winds,

       And with a sympathetic touch unbinds

       Æolian magic from their lucid wombs:

       Then old songs waken from enclouded tombs;

       Old ditties sigh above their father’s grave;

       Ghosts of melodious prophecyings rave

       Round every spot where trod Apollo’s foot;

       Bronze clarions awake, and faintly bruit,

       Where long ago a giant battle was;

       And, from the turf, a lullaby doth pass

       In every place where infant Orpheus slept.

      It is impressed upon us in the next lines that this is a relatively unexalted phase of imaginative feeling, and our thoughts are directed to other experiences of the poetic soul more enthralling and more ‘self-destroying’ (that is more effectual in purging it of egotism), namely the experiences of friendship and love, those of love above all: —

      Aye, so delicious is the unsating food,

       That men, who might have tower’d in the van

       Of all the congregated world, to fan

       And winnow from the coming step of time

       All chaff of custom, wipe away all slime

       Left by men-slugs and human serpentry,

       Have been content to let occasion die,

       Whilst they did sleep in love’s elysium.

       And, truly, I would rather be struck dumb,

       Than speak against this ardent listlessness:

       For I have ever thought that it might bless

       The world with benefits unknowingly;

       As does the nightingale, upperched high,

       And cloister’d among cool and bunched leaves —

       She sings but to her love, nor e’er conceives

       How tiptoe Night holds back her dark-grey hood.

      If a man, next pleads Endymion, may thus reasonably give up even the noblest of worldly ambitions for the joys of a merely mortal love, how much more may he do so for those of an immortal. No, he reassures Peona in reply to her questioning glance, he is not fancy-sick: —

      no, no, I’m sure

       My restless spirit never could endure

       To brood so long upon one luxury,

       Unless it did, though fearfully, espy

       A hope beyond the shadow of a dream.

      We have now been carried back to the top of the scale, and these lines again express, although vaguely, the aspirations of the poetic soul at their highest pitch, rising through thoughts and experiences of mortal love to the hope of communion with immortal Beauty. But that longed-for, loftiest phase of the imaginative life, that hope beyond the shadow of a dream, too vast and too rainbow-bright to be quenched by any fear of earthly disaster, Endymion cannot attempt to define, least of all to the practically-minded Peona. He can only try to convince her of its reality by telling her of later momentary visitations with which the divinity of his dreams has favoured him — her face reflected at him from a spring — her voice murmuring to him from a cave — and how miserably in the intervals he has pined and hungered for her. But now, he ends by assuring his sister, he will be patient and pine no longer. Yet it is but a sickly half-assurance after all.

      There is a paly flame of hope that plays

       Where’er I look: but yet, I’ll say ’tis naught,

       And here I bid it die. Have I not caught,

       Already, a more healthy countenance?

      And with this, as she rows him back from her island, the anxious sister must rest content.

      Book II. opens with a renewed declamation on the power and glory of love, and the relative unimportance of the wars and catastrophes of history. Juliet leaning from her balcony, the swoon of Imogen, Hero wrongfully accused by Claudio, Spenser’s Pastorella among the bandits, he declares,

      Are things to brood on with more ardency

       Than the death-day of empires.

      The passage has caused some critics to reproach Keats as a mere mawkish amorist indifferent to the great affairs and interests of the world. But must one not believe that all poor flawed and fragmentary human loves, real or fabled, happy or miserable, are far off symbols and shadowings of that Love which, unless the universe is quite other than we have trusted, ‘moves the sun and the other stars?’ Are they not related to it as to their source and spring? It is quite true that Keats was not yet able to tell of such loves except in terms which you may call mawkish if you will (he called them so himself a little later). But being a poet he knew well enough their worth and parentage. And when the future looks back on today, even on today, a death-day of empires in a sterner and vaster sense than any the world has known, will all the waste and hatred and horror, all the hope and heroism of the time, its tremendous issues and catastrophes, be really found to have eclipsed and superseded love as the thing fittest to fill the soul and inspire the songs of a poet?

      The invocation ended, we set out with the hero on the adventures that await him. He gathers a wild-rose bud which on expanding releases a butterfly from its heart: the butterfly takes wing and he follows its flight with eagerness. At last they reach a fountain spouting near the mouth of a cave, and in touching the water the butterfly is suddenly transformed into a nymph of the fountain, who speaking to Endymion pities, encourages, and warns him in one breath. Endymion sits and soliloquizes beside the fountain, at first in wavering terms which express the ebb and flow of Keats’ own inner aspirations and misgivings about his poetic calling. Anon he invokes the virgin goddess Cynthia to quell the tyranny of love in him (not yet guessing that his dream visitant is really she). But no, insensibility would be the worst of all; the goddess must, he is assured, know of some form of love higher and purer than the Cupids are concerned with; he prays to her to be propitious; dreams again that he is sailing through the sky with her; and makes a wild appeal to her which is answered by a voice from within the cavern bidding him descend ‘into the sparry hollows of the world.’ He obeys, (this plunge into a spring or fountain and thence into the underworld is a regular incident in a whole group of folk tales, one or another of which was no doubt in Keats’ mind): and we follow him at first into a region

      nor bright, nor sombre wholly,

       But mingled up; a gleaming melancholy;

       A dusky empire and its diadems;

       One faint eternal eventide of gems.

      A vein of gold sparkling with jewels serves him for path, and leads him through twilight vaults and passages to a ridge that towers over many waterfalls: and the lustre of a pendant diamond guides him further till he reaches a temple of Diana. What imaginative youth but has known his passive day-dreams haunted by visions, mysteriously impressive and alluring, of natural and architectural marvels, huge sculptured caverns and glimmering palace-halls in endless vista? To such imaginings, fed by his readings and dreamings on

      Memphis, and Nineveh, and Babylon,

      Keats in this book lets himself go without a check. Now we find ourselves in a temple, described as complete and true to sacred custom, with an image of Diana; and in a trice either we have passed, or the temple itself has dissolved, into a structure which by its ‘abysmal depths of awe,’ its gloomy splendours and intricacies of aisle and vault and corridor, its dimly gorgeous

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