he visits Devonshire, 87; goes on a walking tour in Scotland with Charles Brown, 113; crosses over to Ireland, 116; returns to Scotland and visits Burns' country, 118; sows there the seeds of consumption, 120; returns to London, 120; is attacked in _Blackwood's Magazine_ and the _Quarterly Review_, 121; Lockhart's conduct towards him, 122; death of his young brother Tom, 128; goes to live with Charles Brown, 128; falls in love, 130-131; visits friends in Chichester, 133; suffers with his throat, 133; his correspondence with his brother George, 139; goes to Shanklin, 143; collaborates with Brown in writing _Otho_, 143; goes to Winchester, 144; returns again to London, 146; more money troubles, 146; determines to make a living by journalism, 146; lives by himself, 146; goes back to Mr Brown, 181; _Otho_ is returned unopened after having been accepted, 182; want of means prevents his marriage, 190; his increasing illness, 191 seq.; temporary improvement in his health, 194; publishes another volume of poems, 196; stays with Leigh Hunt's family, 197; favourable notice in the _Edinburgh Review_, 197; lives with the family of Miss Brawne, 198; goes with Severn to spend the winter in Italy, 199; the journey improves his health, 200; writes his last lines, 201; stays for a time at Naples, 203; goes on to Rome, 203-204; further improvement in his health, 205; sudden and last relapse, 205; he is tenderly nursed by his friend Severn, 206; speaks of himself as already living a 'posthumous life,' 207; grows worse and dies, 208; various tributes to his memory, 214. His genius awakened by the _Faerie Queene_, 13; influence of other poets on him, 21; experiments in language, 21, 64, 147, 169; employment of the 'Heroic' couplet, 27, 30; element and spirit of his own poetry, 50; experiments in metre, 52; studied musical effect of his verse, 55; his Grecian spirit, 58, 77, 95, 114, 154; view of the aims and principles of poetry, 61; imaginary dependence on Shakspere, 69; thoughts on the mystery of Evil, 88; puns, 72, 202; his poems Greek in idea, English in manner, 96; his poetry a true spontaneous expression of his mind, 110; power of vivifying, 161; verbal licenses, 169; influence on subsequent poets, 218; felicity of phrase, 219.