Minor achievements--_Bards of Passion and of Mirth_--_Fancy_--The tales--_Isabella_--Story and metre--Influence of Chaucer--Apostrophes and invocations--Horror turned to beauty--The digging scene--Its quality--_The Eve of St Agnes_--Variety of sources--Boccaccio's _Filocolo_--Poetic scope and method--Examples--The unrobing scene--The feast of fruits--A rounded close--_Lamia_--Sources: and a comparison--Metre and quality--Beauties and faults--Perplexing moral--The sage denounced: why?--Comments of Leigh Hunt--The odes: _To Psyche_--Sources: Burton and Apuleius--Qualities: A questionable claim--_On Indolence_--_On a Grecian Urn_--Sources: a composite--Spheres of art and life contrasted--Play between the two spheres--The Nightingale ode--_Ode on Melancholy_--A grand close--The last of the odes--_To Autumn_. The work of Keats's two mature years (if any poet or man in his twenty-third and twenty-fourth years can be called mature) seems to divide itself naturally into two main groups or classes. One class consists of his finished achievements, things successfully carried through in accordance with his first intention; the other of his fragments and experiments, things begun and broken off either from external causes or because in the execution the poet changed his mind or his inspiration failed to sustain itself. I shall ask the reader to consider the two classes separately, the achievements first: not because there may not be even finer work in some of the fragments, but because a thing incomplete, a torso, however splendid in power and promise, cannot be judged on the same terms or with the same approach to finality as a thing of which the whole is before us. One finished thing only, the play of _Otho the Great_, I shall turn over to the second or experimental class, seeing that an experiment it essentially was, and one tried under conditions which made it impossible for Keats to be his true self.