To rescue men's minds from this mode of deadness was part of the work of the English poetical revival of 1800 and onwards, and Keats was the poet who has contributed most to the task. Wordsworth could understand and expound the spirit of Grecian myths, and on occasion, as in his cry for a sight of Proteus and a sound of old Triton's horn, could for a moment hanker after its revival. Shelley could feel and write of Apollo and Pan and Proserpine, of Alpheus and Arethusa, with ardent delight and lyric emotion. But it was the gift of Keats to make live by imagination, whether in few words or many, every ancient fable that came up in his mind. The couple of lines telling of the song with which Peona tries to soothe her brother's pining are a perfect example alike of appropriate verbal music and of imagination following out a classic myth, that of the birth and nurture of Pan, from a mere hint to its recesses and finding the human beauty and tenderness that lurk there:-- 'Twas a lay More subtle cadenced, more forest wild Than Dryope's lone lulling of her child: Even in setting before us so trite a personification as the god of love, Keats manages to escape the traditional and the merely decorative, and to endow him with a new and subtle vitality-- awfully he stands; A sovereign quell is in his waving hands; No sight can bear the lightning of his bow; His quiver is mysterious, none can know What themselves think of it; from forth his eyes There darts strange light of varied hues and dyes: A scowl is sometimes on his brow, but who Look full upon it feel anon the blue Of his fair eyes run liquid through their souls. Keats in one place defines his purpose in his poem, if only he can find strength to carry it out, as a striving to uprear Love's standard on the battlements of song. His actual love scenes, as we have said, are the weakest, his ideal invocations to and celebrations of love among the strongest, things in the poem. One of these, already quoted, comes near the end of the first book: the second book opens with another: in the third book the incident of the moonlight spangling the surface of the sea and penetrating thence to the under-sea caverns where Endymion lies languishing is used to point an essential moral of the narrative:-- O love! how potent hast thou been to teach Strange journeyings! Wherever beauty dwells, In gulph or aerie, mountains or deep dells, In light, in gloom, in star or blazing sun, Thou pointest out the way, and straight 'tis won. When the poet interrupts for a passing moment his tale of the might and mysteries of love, celestial or human, and turns to images of war, we find, him able to condense the whole tragedy of the sack of Troy into three potent lines,--