and lastly the higher, more humanized and spiritualized passion doubly enriched by the ever-present haunting of 'the still, sad music of humanity,' and by the sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man: A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Mr Bridges finds Wordsworth's conception of these three stages more or less accurately paralleled in various passages of Keats's _Sleep and Poetry_. One passage which he quotes, that in which Keats figures human life under the string of joyous images beginning, 'A pigeon tumbling in clear summer air', seems to me irrelevant, as being simply the answer of the poet's soul to certain melancholy promptings of its own. On the other hand there certainly is something that reminds us of Wordsworth's three stages in Keats's repeated indication of the ascending scale of theme and temper along which he hopes to work. And his long figurative passage beginning-- And can I ever bid these joys farewell? Yes, I must pass them for a nobler life-- may fairly, at its outset, be compared with Wordsworth's final stage: only, as I have asked the reader to note, the procession of symbolic and enigmatic forms and actions which Keats summons up before our mind's eye, so far from having any fixed or increasing character of pensiveness or gravity, winds up with a figure of sheer animal happiness and joy of life.