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No, no, go not to Lethe, neither twist

Wolf's-bane, tight-rooted, for its poisonous wine ;
Nor suffer thy pale forehead to be kiss'd

By nightshade, ruby grape of Proserpine ;
Make not your rosary of yew-berries,
Nor let the beetle, nor the death-moth be

Your mournful Psyche, nor the downy owl I
A partner in your sorrow's mysteries;
For shade to shade will come too drowsily,

And drown the wakeful anguish of the soul.'

Lord Houghton gives the following stanza as the intended opening of the Ode, from the original manuscript:

Though you should build a bark of dead men's bones,

And rear a phantom gibbet for a mast,
Stitch shrouds together for a sail, with groans

To fill it out, blood-stained and aghast ;
Although your rudder be a dragon's tail
Long sever'd, yet still hard with agony,

Your cordage large uprootings from the skull
Of bald Medusa, certes you would fail
To find the Melancholy-whether she

Dreameth in any isle of Lethe dull. His Lordship adds—“But no sooner was this written, than the poet became conscious that the coarseness of the contrast would destroy the general effect of luxurious tenderness which it was the

2. But when the melancholy fit shall fall

Sudden from heaven like a weeping cloud,
That fosters the droop-headed flowers all,

And hides the green hill in an April shroud;
Then glut thy sorrow on a morning rose,
Or on the rainbow of the salt sand-wave,

Or on the wealth of globed peonies;
Or if thy mistress some rich anger shows,
Emprison her soft hand, and let her rave,

And feed deep, deep upon her peerless eyes.

3. She dwells with Beauty-Beauty that must die;

And Joy, whose hand is ever at his lips Bidding adieu ; and aching Pleasure nigh,

Turning to poison while the bee-mouth sips : Ay, in the very temple of Delight Veild Melancholy has her sovran shrine, Though seen of none save him whose strenuous

tongue Can burst Joy's grape against his palate fine; His soul shall taste the sadness of her might,

And be among her cloudy trophies hung.

object of the poem to produce, and he confined the gross notion of Melancholy to less violent images,..."




(Lord Houghton records, no doubt on the authority of Brown, that Hyperion was begun after the death of Tom Keats, when the poet took up his residence with Brown. In the journal-letter to George and his wife in which the first allusion to Tom's death occurs, written in December 1818 or January 1819, Keats says, “I think

you knew before you left England, that my next subject would be the 'Fall of Hyperion'. I went on a little with it last night..."; and on the 14th of February 1819 he writes “I have not gone on with ‘Hyperion?.” In August he writes to Bailey from Winchester, " I have also been writing parts of my 'Hyperion '..." On the 22nd of September he says in his letter to Reynolds, “ I have given up *Hyperion '—there were too many Miltonic inversions in it-Miltonic verse cannot be written but in an artful, or, rather, artist's humour. I wish to give myself up to other sensations. English ought to be kept up. It may be interesting to you to pick out some lines from ‘Hyperion,' and put a mark, +, to the false beauty, proceeding from art, and one ll, to the true voice of feeling. Upon my soul, 'twas imagination ; I cannot make the distinction-every now and then there is a Miltonic intonation—but I cannot make the division properly." Lord Houghton observes upon this passage that the allusion is probably to the Vision, or earlier version of Hyperion ; but see the note quoted below from Woodhouse. Shelley, it will be remembered, says in the Preface to Adonais, I consider the fragment of Hyperion, as second to nothing that was ever produced by a writer of the same years”. And in his unfinished Letter to the Editor of The Quarterly Review he says, “The great proportion of this piece is surely in the very highest style of poetry". In a letter to Peacock he calls Hyperion“ an astonishing piece of writing”; and in another he says “if the Hyperion be not grand poetry, none has been produced by our contemporaries”. Hunt remarks in The Indicator, very happily, “The Hyperion is a fragment,-a gigantic one, like a ruin in the desart, or the bones of the mastodon. It is truly of a piece with its subject, which is the downfall of the elder gods." Woodhouse, in his interleaved and annotated copy of Endymion, in which I was so fortunate as to recover so many readings from the draft of that poem, records under the date April 1819 that Keats had lent him the fragment of Hyperion for perusal. “ It contains," says Woodhouse, “2 books & {ab' goo lines in all).” As the extant fragment of the earlier version, the Vision, consists of one Canto of 444 lines, and the 62 opening lines of a second Canto, while the fragment published in 1830 consists of 883 lines, that was, no doubt, what Woodhouse had: moreover he makes, in connexion with his note, three extracts

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