By way of a sober conclusion to the same letter, he adds the very fine and profoundly felt sonnet in the Shakespearean form beginning 'When I have fears that I may cease to be,' which be calls his last. On the 3rd of February he sends two spirited sets of verses in the favourite four-beat measure, heptasyllable varied with octosyllable, of the later Elizabethans and the youthful Milton, namely those to Robin Hood (suggested by a set of sonnets by Reynolds on Sherwood Forest) and those on the Mermaid Tavern. On the 4th comes another Shakespearean sonnet, that beginning 'Time's sea has been five years at its slow ebb,' in which he recalls the memory of an old, persistent, haunting love-fancy. The two sonnets of January 31 and February 4 should be read strictly together:-- When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charact'ry, Hold like full garners the full-ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour! That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love!--then on the shore Of the wide world I stand alone, and think, Till Love and Fame to nothingness do sink. Time's sea hath been five years at its slow ebb; Long hours have to and fro let creep the sand; Since I was tangled in thy beauty's web, And snared by the ungloving of thine hand. And yet I never look on midnight sky, But I behold thine eyes' well memoried light; I cannot look upon the rose's dye, But to thy cheek my soul doth take its flight; I cannot look on any budding flower, But my fond ear, in fancy at thy lips, And hearkening for a love-sound, doth devour Its sweets in the wrong sense:--Thou dost eclipse Every delight with sweet remembering, And grief unto my darling joys dost bring. The former is far the richer in contents, and in the light of the tragedy to come its two first quatrains now seem to thrill with prophetic meaning. But what is singular is that in the third quatrain should be recalled, in the same high strain of emotion, the vision of a beauty seen but not even accosted three-and-a-half years earlier (not really five) in the public gardens at Vauxhall, and then (August, 1814) addressed in what are almost the earliest of Keats's dated verses, those in which he calls for a 'brimming bowl,'-- From my despairing heart to charm The Image of the fairest form That e'er my reveling eyes beheld, That e'er my wandering fancy spell'd....[6]