can think, indeed, of the pathos of _Isabella_, but of that alone, as equally powerful in its kind with the nature-magic of the _Hymn to Pan_ and the _Ode to a Nightingale_, with the glow of romance colour in _St Agnes' Eve_, the weirdness of romance sentiment in _La Belle Dame Sans Merci_, the conflict of elemental force with fate in _Hyperion_, the revelations of the soul of ancient life and art in the _Ode on a Grecian Urn_ and the fragment of an _Ode to Maia_. It remains to glance at the influence exercised by Keats on the poets who have come after him. In two ways chiefly, I should say, has that influence been operative. First on the subject-matter of poetry, in kindling and informing in other souls the poetic love of nature for her own sake, and also, in equal degrees, the love both of classic fable and of romance. And secondly on its form, in setting before poets a certain standard of execution--a standard not of technical correctness, for which Keats never cared sufficiently, but of that quality to which he himself refers when he speaks of 'loading every rift of a subject with ore.' We may define it as the endeavour after a continual positive poetic richness and felicity of phrase. A typical instance is to be found in the lines already quoted that tell us of the trembling hopes of Madeline,-- "But to her heart her heart was voluble, Paining with eloquence her balmy side." The beauty of such a phrase is no mere beauty of fancy or of sound; it is the beauty which resides in truth only, every word being chosen and every touch laid by a vital exercise of the imagination. The first line describes in perfection the duality of consciousness in such a moment of suspense, the second makes us realise at once the physical effect of the emotion on the heroine, and the spell of her imagined presence on ourselves. In so far as Keats has taught other poets really to write like this, his influence has been wholly to their advantage,--but not so when for this quality they give us only its simulacrum, in the shape of brilliancies merely verbal and a glitter not of gold. The first considerable writer among Keats's successors on whom his example took effect was Hood, in the fairy and romance poems of his earlier time. The dominant poet of the Victorian age, Tennyson, has been profoundly influenced by it both in the form and the matter of his art, and is indeed the heir of Keats and of Wordsworth in almost equal degrees. After or together with Coleridge, Keats has also contributed most, among English writers, to the poetic method and ideals of Rossetti and his group. Himself, as we have seen, alike by gifts and training a true child of the Elizabethans, he thus stands in the most direct line of descent between the great poets of that age and those, whom posterity has yet to estimate, of our own day.