Certainly some of his work is merely, and some even crudely, sensuous: but this is work in which the poet was trying his materials and his powers, and rising towards mastery of his real faculty and ultimate function. While discriminating between what was excellent in Keats, and what was not excellent, or was merely tentative in the direction of final excellence, we must not confuse endowments, or the homage which is due to endowments, of a radically different order. Many readers, and there have been among them several men highly qualified to pronounce, have set Keats beside his great contemporary Shelley, and indeed above him. I cannot do this. To me it seems that the primary gift of Shelley, the spirit in which he exercised it, the objects upon which he exercised it, the detail and the sum of his achievement, the actual produce in appraisable work done, the influence and energy of the work in the future, were all superior to those of Keats, and even superior beyond any reasonable terms of comparison. If Shelley's poems had defects--which they indisputably had--Keats's poems also had defects. After all that can be said in their praise--and this should be said in the most generous or rather grateful and thankful spirit--it seems to me true that not many of Keats's poems are highly admirable; that most of them, amid all their beauty, have an adolescent and frequently a morbid tone, marking want of manful thew and sinew and of mental balance; that he is not seldom obscure, chiefly through indifference to the thought itself and its necessary means of development; that he is emotional without substance, and beautiful without control; and that personalism of a wilful and fitful kind pervades the mass of his handiwork. We have already seen, however, that there is a certain not inconsiderable proportion of his poems to which these exceptions do not apply, or apply only with greatly diminished force; and, as a last expression of our large and abiding debt to him and to his well-loved memory, we recur to his own words, and say that he has given us many a "thing of beauty," which will remain "a joy for ever." By his early death he was doomed to be the poet of youthfulness; by being the poet of youthfulness he was privileged to become and to remain enduringly the poet of rapt expectation and passionate delight. THE END. INDEX. A. Abbey, Guardian of Keats, 17, 19, 20, 29, 37, 39 "Adonais," by Shelley, 39, 90, 98, 170 AEschylus, 186 "Agnes, The Eve of St.," 107, 138; critical estimate of the poem, 182-184; 190, 206 "Alastor," by Shelley, 82 "Annals of the Fine Arts," 110 Ariosto, 113 _Asclepiad, The_, 24 _Athenaeum, The_, 23 "Autumn, Ode to," by Keats, 109, 192, 194 B. Bailey, Archdeacon Benjamin, 23, 77, 78, 112, 123; his description of Keats, 124; 130, 133, 141, 142, 145, 158, 159 "Belle Dame (La) sans Merci," by Keats, 112, 182, 185, 190; quoted, 192, &c.; 200 Benjamin, Nathan, 157