"We regret that your brother ever requested us to publish his book, or that our opinion of its talent should have led us to acquiesce in undertaking it. We are, however, much obliged to you for relieving us from the unpleasant necessity of declining any further connexion with it, which we must have done, as we think the curiosity is satisfied and the sale has dropped. By far the greater number of persons who have purchased it from us have found fault with it in such plain terms that we have in many cases offered to take the book back rather than be annoyed with the ridicule which has time after time been showered upon it. In fact, it was only on Sunday last that we were under the mortification of having our own opinion of its merits flatly contradicted by a gentleman who told us he considered it 'no better than a take-in.' These are unpleasant imputations for any one in business to labour under; but we should have borne them and concealed their existence from you had not the style of your note shown us that such delicacy would be quite thrown away. We shall take means without delay for ascertaining the number of copies on hand, and you shall be informed accordingly. "3 Welbeck Street, 29th April 1817." I do not find that the after-fate of the "Poems" is recorded: probably they were handed over to Messrs. Taylor and Hessey, who undertook the publication of "Endymion." CHAPTER V. To "Endymion" we now have to turn. The early verses of Keats (as well as the later ones) contain numerous allusions to Grecian mythology--Muses, Apollo, Pan, Narcissus, Endymion and Diana, &c. For the most part these early allusions are nothing more than tawdry conventionalisms; so indeed are some of the later ones, as for instance in the drama of "King Stephen," written in 1819, the schoolboy classicism of "2nd Captain"-- "Royal Maud From the thronged towers of Lincoln hath looked down, Like Pallas from the walls of Ilion;" and we cannot discover that any more credit is due to Keats for dribbling out his tritenesses about Apollo and the Muses than to any Akenside, Mason, or Hayley, of them all. At times, however, there is a genuine tone of _enjoyment_ in these utterances sufficient to persuade us that the subject had really taken possession of his mind, and that he could feel Grecian mythology, not merely as a convenient vehicle for rhetorical personifications, but as an ever-vital embodiment of ideas of beauty in forms of beauty. In the early and partly boyish poem, "I stood tip-toe upon a little hill," a good deal of space is devoted to showing that classical myths are an outcome of eager sensitiveness to the lovely things of Nature: the tales of Psyche, Pan and Sirynx, Narcissus, are cited in confirmation--and finally Diana and Endymion, in the following lines:--