Imatges de pÓgina
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COPYRIGHT, 1899, BY HOUGHTON, MIFFLIN AND CO.

ALL RIGHTS RESERVED

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EDITOR'S NOTE

70

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 M 9 Sidney Colvin in his Letters of John Keats, London, 1891, where so many Gi the poems are taken from Keats's own copy, and sometimes the text given b73 Mr. H. Buxton Forman in his careful four volume edition, London, 1883.

Ther73

73 are a good many manuscripts, and these, together with the printed verses, havis a variety of readings. All variations of consequence are noted in the Appendix 6 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 tñe 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.

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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,

agh one two brief notes will not be found here, because already printed in le headings to poems. I have been dependent for the text mainly upon Mr. olvin, supplemented by the minute garnering of Mr. Forman. I have to thank r. John Gilmer Speed for his courtesy in permitting the use of letters which 2 derived from the papers of his grandfather, George Keats. CAMBRIDGE, August, 1899.

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POEMS

POEMS.

To ‘HAD I A MAN'S FAIR FORM,

26

THEN MIGHT MY SIGHS'

1

CION OF SPENSER

SPECIMEN OF AN INDUCTION TO А

1

Рокм

27

IATTERTON

CALIDORE: A FRAGMENT

28

Lo BYRON

WOXAN! WHEN I BEHOLD THEE FLIP-

EPISTLE TO CHARLES COWDEN CLARKE 30.

33

2

To My BROTHERS

PANT, VAIN

ADDRESSED TO

3

BENJAMIN ROBERT

TO SOME LADIES .

HAYDON.

ON RECEIVING A CURIOUS SHELL AND A

I. GREAT SPIRITS NOW ON EARTH

COPY OF VERSES FROM THE SAME LA-

ARE SOJOURNING

33

DIES

JEALOUSY

II. 'HIGHMINDEDNESS, A

RITTEN ON THE DAY THAT MR. LEIGH

33

FOR GOOD

HUNT LEFT PRISON

To KOSCIUSKO.

34

To HoPE

To G. A. W.

34

PDE TO APOLLO

7

STANZAS: “IN A DREAR-NIGHTED DE-

HYMN TO APOLLO

34

CEMBER'

TO A YOUNG LADY WHO SENT ME A

LAUREL CROWN

7

WRITTEN IN Disgust OF VULGAR SU-

35

PERSTITION

SONNET : HOW MANY BARDS GILD THE

ENGLAND! I COULD

SONNET: 'HAPPY IS

8

LAPSES OF TIME'

35

BE CONTENT

SONNET: 'KEEN, FITFUL GUSTS ARE

35

ON THE GRASSHOPPER AND CRICKET

WHISPÄRING HERE AND THERE

SPENSERIAN STANZA, WRITTEN AT THE

SONNET: 'AFTER DARK VAPOURS HAVE

36

OPPRESS'D OUR PLAINS

CLOSE OF CANTO II., BOOK V.,

"THE FAERIE QUEENE'

8

WRITTEN ON THE BLANK SPACE AT THE

THE

END OF CHAUCER'S TALE OF

ON LEAVING SOME FRIENDS AT AN

36

FLOURE AND THE LEFE'

EARLY HOUR

36

ON SEEING THE ELGIN MARBLES

ON FIRST LOOKING INTO CHAPMAN'S

HOMER

To HAYDON (WITH THE PRECEDING

36

SONNET)

EPISTLE TO GEORGE FELTON MATHEW

To LEIGH Hunt, Esq.

37

To -: 'HADST THOU LIV'D IN DAYS

37

ON THE SEA .

OF OLD'

37

SONNET:

LINES: "UNFELT, UNHEARD, UNSEEN

AS FROM THE DARKENING

GLOOM A SILVER DOVE'

12

ON THINK NOT OF IT, SWEET

38

SONNET TO SOLITUDE .

12

LEANDER

ON A PICTURE OF

38

SONNET : TO ONE WHO HAS BEEN LONG

IN CITY PENT

13

ON LEIGH HUNT'S POEM THE STORY

38

TO A FRIEND WHO SENT ME SOME ROSES 13 OF RIMINI'

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

SONNET: WHEN I HAVE FEARS THAT

39

SUMMER'S EVE'

13 I MAY CEASE TO BE'

14

ON SEEING A LOCK OF MILTON'S HAIR 39

TOOD TIPTOE UPON A LITTLE HILL

• KING

18

ON SITTING DOWN TO READ

P AND POETRY

40

LE TO MY BROTHER GEORGE 24

LEAR' ONCE AGAIN

40

LINES ON THE MERMAID TAVERN

I

26

*R GEORGE

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the No

viii

TABLE OF CONTENTS

indebte

ROBIN HOOD

41

II. AH! WOE IS ME! POOR SII

TO THE NILE

41

WING!.

aware

To SPENSER

42

FAME

would

SONG WRITTEN ON A BLANK PAGE IN

ANOTHER ON FAME.

there i

BEAUMONT AND FLETCHER'S WORKS

To SLEEP

since t]

BETWEEN CUPID'S REVENGE' AND

ODE TO PSYCHE

• THE Two NOBLE KINSMEN'

42 SONNET: 'IF BY DULL RHYMES

poetry

FRAGMENT : WELCOME JOY AND WEL-

ENGLISH MUST BE CHAIN'D'

everyt

COME SORROW'

42 ODE TO A NIGHTINGALE .

of the

WHAT THE THRUSH SAID

43 LAMIA

IN ANSWER TO A SONNET ENDING THUS:

person

DRAMAS.

Dark eyes are dearer far

his de

Than those that mock the hyacinthine bell.' 43

OTHO THE GREAT: A TRAGEDY IN

ACTS

To JOHN HAMILTON REYNOLDS

44

KING STEPHEN: A DRAMATIC

THE HUMAN SEASONS

44

MENT

ENDYMION

45

-THE EVE OF ST. MARK

Alt

THE POEMS OF 1818–1819.

direct

HYPERION: A FRAGMENT

ISABELLA, OR THE POT OF BASIL 110

of his

To HOMER

PTO AUTUMN

119

to fin

FRAGMENT OF AN ODE TO MAIA 119 VERSES TO FANNY BRAWNE.

Song: 'HUSH, HUSH! TREAD SOFTLY!

light

SONNET: "THE DAY IS GONE AND ALL

HUSH, HUSH, MY DEAR!'

120

depai

ITS SWEETS ARE GONE'

VERSES WRITTEN DURING A TOUR IN

LINES TO FANNY .

with

SCOTLAND.

To FANNY: 'I CRY YOUR MERCY

I. ON VISITING THE TOMB OF

oug

BURNS

PITY — LOVE - AY, LOVE!'

120

II.

TO AILSA ROCK .

121

THE CAP AND BELLS; OR, THE

olv

III. WRITTEN

IN THE COTTAGE

JEALOUSIES

WHERE BURNS WAS BORN 121

r.

THE LAST SONNET

IV. AT FINGAL'S CAVE

122

V. WRITTEN UPON THE TOP OF SUPPLEMENTARY VERSE.

BEN NEVIS

123 I. HYPERION: A VISION

OAM

TRANSLATION FROM A SONNET OF RON- II. FRAGMENTS:

SARD

123

I. WHERE 'S THE POET? SHOW

To A LADY SEEN FOR A FEW MOMENTS

HIM! SHOW HIM'

AT VAUXHALL

123

II. MODERN LOVE

23

FANCY

124 III. FRAGMENT OF THE CASTLE

ODE: 'BARDS OF PASSION AND OF

BUILDER'

23

MIRTH'

125 IV. EXTRACTS FROM AN OPERA:

Song: 'I HAD A DOVE AND THE SWEET

O! WERE I ONE OF THE

DOVE DIED

125

OLYMPIAN TWELVE' 23

ODE ON MELANCHOLY.

126

DAISY'S SONG

23

THE EVE OF ST. AGNES

127

FOLLY's SONG

24

ODE ON A GRECIAN URN

134

Oh, I AM FRIGHTEN'D WITH

ODE ON INDOLENCE

135

MOST HATEFUL THOUGHTS !' 241

SONNET: WHY DID I LAUGH TO-

Song:

STRANGER

3

NIGHT? NO VOICE WILL TELL 137

LIGHTED FROM HIS STEED

ODE TO FANNY.

137

• ASLEEP! O SLEEP A LITTLE

A

A DREAM, AFTER READING DANTE'S

WHILE, WHITE PEARL!'

EPISODE OF PAOLO AND FRANCESCA 138 III. FAMILIAR VERSES :

LA BELLE DAME SANS MERCI 139 STANZAS TO Miss WYLIE

CHORUS OF FAIRIES .

140 EPISTLE TO JOHN HAMILTON RET

FAERY Songs:

NOLDS

I. SHED NO TEAR! O SHED NO

A DRAUGAT OF SUNSHINE

TEAR!

141 AT TEIGNMOUTH

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