The class of achievements will include, then, besides a score of sonnets and a few minor pieces of various form, the three completed tales in verse, _Isabella or the Pot of Basil_, _The Eve of St Agnes_, and _Lamia_; with the six odes, _To Psyche_, _On Indolence_ (not published in Keats's lifetime), _On a Grecian Urn_, _To a Nightingale_, _To Melancholy_, and _To Autumn_. Beginning with the minor things,--the sonnets, being mostly occasional and autobiographical, have been sufficiently touched on in our narrative chapters, and so have several of the shorter lyrics, _In drear-nighted December_, _Meg Merrilies_, and _La Belle Dame Sans Merci_. There remains chiefly the batch of pieces in the seven-syllable couplet metre printed in the _Lamia_ volume between the odes _To Psyche_ and _To Autumn_. Two of these, _Lines on the Mermaid Tavern_ and _Robin Hood_, were written, as we have seen, at the beginning of 1818, in the months when Keats was living alone in Well Walk and resting after his labour on _Endymion_. Both are easy, spirited, and intensely English in feeling; both, for all their gay lightness of touch, are marked with that vivid imaginative life in single phrases which almost from the first, amidst all the rawnesses of his youth, stamps Keats for a poet of the great lineage. Already two years earlier, in the valentine 'Hadst thou liv'd in days of old,' he had shown a fair command of this metre, and now we can feel that he has an ear well trained in its cadences by familiarity with the finest early models, from Fletcher (in the _Faithful Shepherdess_) and Ben Jonson (in the masque of _The Satyr_, the songs _To Celia_, and the _Charis_ lyrics) down to _L'Allegro_ and _Il Penseroso_. The other two pieces in the same form, _Bards of Passion and of Mirth_ and _Fancy_, date from nearly a year later, when Keats had settled under Brown's roof after Tom's death, and were copied by him for his brother in a letter dated January 2nd 1819. In the _Mermaid Tavern_ lines he had followed in fancy the poet-guests of that hostelry to the Elysian fields and asked them if they found there any finer entertainment than in their old haunt. In _Bards of Passion and of Mirth_, which he wrote on a blank page in Dilke's copy of Beaumont and Fletcher, Keats singles out this particular pair of poet-partners to follow beyond the grave, and in a strain somewhat more serious tells of the double lives they lead,--their souls left here on earth in their writings, and themselves-- Seated on Elysian lawns Brows'd by none but Dian's fawns ... Where the nightingale doth sing Not a senseless, tranced thing, But divine, melodious truth; Philosophic numbers smooth; Tales and golden histories Of heaven and its mysteries. In the affirmation with which the piece concludes,-- Bards of Passion and of Mirth, Ye have left your souls on Earth! Ye have souls in heaven too, Double-liv'd in regions new!--