Well--I compare human life to a large Mansion of many apartments, two of which I can only describe, the doors of the rest being as yet shut upon me. The first we step into we call the Infant, or Thoughtless Chamber, in which we remain as long as we do not think. We remain there a long while, and notwithstanding the doors of the second Chamber remain wide open, showing a bright appearance, we care not to hasten to it; but are at length imperceptibly impelled by the awakening of the thinking principle within us--we no sooner get into the second Chamber, which I shall call the Chamber of Maiden-Thought, than we become intoxicated with the light and the atmosphere, we see nothing but pleasant wonders, and think of delaying there for ever in delight. However among the effects this breathing is father of is that tremendous one of sharpening one's vision into the heart and nature of Man--of convincing one's nerves that the world is full of Misery and Heartbreak, Pain, Sickness, and oppression--whereby this Chamber of Maiden Thought becomes gradually darkened, and at the same time, on all sides of it, many doors are set open--but all dark--all leading to dark passages. We see not the balance of good and evil; we are in a mist, _we_ are now in that state, we feel the 'Burden of the Mystery.' To this point was Wordsworth come, as far as I can conceive, when he wrote _Tintern Abbey_, and it seems to me that his genius is explorative of those dark Passages. Now if we live, and go on thinking, we too shall explore them. Here is a typical case of the method of evocation as against the method of exposition. Wordsworth's lines are written with a high, almost an inspired, power of describing and putting into direct words the successive moods of a spirit gradually ripening and deepening in the power of communion with nature, and through nature, with all life. But Keats, fully as he has pondered them, cannot be satisfied that they fit his own case until he has called up the history of his similar experiences in the form natural to him, the form, that is, of concrete similitudes or visions of the imagination--the Thoughtless Chamber, the Chamber of Maiden Thought with its gradual darkening and its many outlets standing open to be explored. It is significant that such visions should still be of architecture, of halls and chambers in an imagined mysterious building.