In neither of these poems is the use of Elizabethan verbal forms, or the coinage of similar forms by analogy, carried nearly as far as we shall find it carried later on, especially in _Endymion_. The abstract nouns expressing qualities pleasant to the senses or the sensuous imagination, on the model of those in Chapman's _Hymn to Pan_, increase in number, and we get the 'quaint mossiness of aged roots,' the 'hurrying freshnesses' of a stream running over gravel, the 'pure deliciousness' of the Endymion story, the 'pillow silkiness' of clouds, the 'blue cragginess' of other clouds, and the 'widenesses' of the ocean of poetry. Once, evidently with William Browne's 'roundly form' in his mind, Keats invents, infelicitously enough, an adjective 'boundly' for 'bounden.' In the matter of metre, he is now fairly well at home in the free Elizabethan use of the couplet, letting his periods develop themselves unhampered, suffering his full pauses to fall at any point in the line where the sense calls for them, the rime echo to come full and emphatic or faint and light as may be, and the pause following the rime-word to be shorter or longer or almost non-existent on occasion. If his ear was for the moment attuned to the harmonies of any special master among the Elizabethans, it was by this time Fletcher rather than Browne: at least in _Sleep and Poetry_ the double endings no longer come in clusters as they did in the earlier epistle, nor are the intervening couplets so nearly regular, while there is a marked preference for emphasizing an adjective by placing it at the end of a line and letting its noun follow at the beginning of the next,--'the high | Imagination,'--'the small | Breath of new buds unfolding.' The reader will best see my point if he will compare the movement of the passages in _Sleep and Poetry_ where these things occur with the Endymion passage he will find quoted later on from the _Faithful Shepherdess_ (p. 168). As to contemporary influences apparent in Keats's first volume, enough has been said concerning that of Leigh Hunt. The influence of an incommensurably greater poet, of Wordsworth, is also to be traced in it. That Keats was by this time a diligent and critical admirer of Wordsworth we know: both of the earlier poems and of the _Excursion_, which had appeared when his passion for poetry was already at its height in the last year of his apprenticeship at Edmonton. There is a famous passage in the fourth book of _The Excursion_ where Wordsworth treats of the spirit of Greek religion and imagines how some of its conceptions first took shape:--