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And Junius Brutus, pretty well so so,
Making the best of's way towards Soho.

Few are there who escape these visitings,Perhaps one or two whose lives have patent wings, And thro' whose curtains peeps no hellish nose,

15 No wild boar tushes, and no Mermaid's toes; But flowers bursting out with lusty pride, And young Æolian harps personify'd; Some Titian colours touch'd into real life,The sacrifice goes on; the pontiff knife Gleams in the Sun, the milk-white heifer lows, The pipes go shrilly, the libation flows : A white sail shows above the green-head cliff, Moves round the point, and throws her anchor stiff ; The mariners join hymn with those on land. 25


You know the Enchanted Castle, it doth stand
Upon a rock, on the border of a Lake,
Nested in trees, which all do seem to shake
From some old magic-like Urganda's Sword.
O Phoebus ! that I had thy sacred word
To show this Castle, in fair dreaming wise,
Unto my friend, while sick and ill he lies!


You know it well enough, where it doth seem
A mossy place, a Merlin's Hall, a dream ;
You know the clear Lake, and the little Isles,
The mountains blue, and cold near neighbour rills,


(11) The term pretty well so so was used by Keats's set to signify pretty well tipsy; and this sense is destroyed by the comma which has hitherto stood between pretty well and so so.

(14) The metre here probably implies the colloquial pronunciation praps for perhaps.

All which elsewhere are but half animate ;
There do they look alive to love and hate,
To smiles and frowns; they seem a lifted mound
Above some giant, pulsing underground.


Part of the Building was a chosen See,
Built by a banish'd Santon of Chaldee;
The other part, two thousand years from him,
Was built by Cuthbert de Saint Aldebrim ;
Then there's a little wing, far from the Sun,
Built by a Lapland Witch turn'd maudlin Nun;
And many other juts of aged stone
Founded with many a mason-devil's groan.



The doors all look as if they op'd themselves,
The windows as if latch'd by Fays and Elves,
And from them comes a silver flash of light,
As from the westward of a Summer's night ;
Or like a beauteous woman's large blue eyes
Gone mad thro' olden songs and poesies.


See! what is coming from the distance dim!
A golden Galley all in silken trim!
Three rows of oars are lightening, moment whiles,
Into the verd'rous bosoms of those isles;
Towards the shade, under the Castle wall,
It comes in silence,—now 'tis hidden all.
The Clarion sounds, and from a Postern-gate


(54) The late Dante Gabriel Rossetti wrote to me that he thought this line was a repetition of something elsewhere in Keats. Perhaps he had in his mind the lines from the poem on seeing Milton's hair

Will I, grey gone in passion, and

And mad with glimpses of futurity !

An echo of sweet music doth create
A fear in the poor Herdsman, who doth bring
His beasts to trouble the enchanted spring,
He tells of the sweet music, and the spot,
To all his friends, and they believe him not.




O that our dreamings all, of sleep or wake,
Would all their colours from the sunset take :
From something of material sublime,
Rather than shadow our own soul's day-time
In the dark void of night. For in the world
We jostle,-but my flag is not unfurl'd
On the Admiral-staff,—and so philosophize
I dare not yet! Oh, never will the prize,
High reason, and the love of good and ill,
Be my award! Things cannot to the will
Be settled, but they tease us out of thought ;
Or is it that imagination brought
Beyond its proper bound, yet still confin'd,
Lost in a sort of Purgatory blind,
Cannot refer to any standard law
Of either earth or heaven? It is a flaw
In happiness, to see beyond our bourn,-
It forces us in summer skies to mourn,
It spoils the singing of the Nightingale.



Dear Reynolds ! I have a mysterious tale,
And cannot speak it: the first page I read

(73) In the Aldine edition we read to for so.

(77) Rossetti also notes that this line “is anticipative of the Grecian Urn ode”, –

Thou, silent form, dost tease us out of thought... The same may be said of "the milk-white heifer lows,” in line 21.

Upon a Lampit rock of green sea-weed
Among the breakers; 'twas a quiet eve,
The rocks were silent, the wide sea did weave 90
An untumultuous fringe of silver foam
Along the flat brown sand; I was at home
And should have been most happy,—but I saw
Too far into the sea, where every maw
The greater on the less feeds evermore.-

But I saw too distinct into the core
Of an eternal fierce destruction,
And so from happiness I far was gone.
Still am I sick of it, and tho', to-day,
I've gather'd young spring-leaves, and flowers gay
Of periwinkle and wild strawberry,
Still do I that most fierce destruction see,-
The Shark at savage prey,—the Hawk at pounce,-
The gentle Robin, like a Pard or Ounce,
Ravening a worm,-Away, ye horrid moods !

105 Moods of one's mind! You know I hate them well. You know I'd sooner be a clapping Bell To some Kamtschatcan Missionary Church, Than with these horrid moods be left i' the lurch.


(90) The Aldine edition reads weave; but the 1848 version has


(105) I do not know whether a line has been lost, or whether Keats is himself responsible for the want of a rhyme to this line.



VER the Hill and over the Dale,

And over the Bourne to Dawlish,
Where ginger-bread wives have a scanty sale,

And ginger-bread nuts are smallish.

This scrap occurs in a letter to James Rice, written from Teignmouth on the 25th of March 1818, and published by Lord Houghton in the first volume of the Life, Letters &c. (1848). Keats closes his letter with “I went yesterday to Dawlish fair”, and this quatrain. The hilly walk to Dawlish is recorded with topographical accuracy. Whether the rest is observation or (as is more probable) mere rhyme, I cannot say.

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