[13] Keats, mentally placing his story in England and writing it at Teignmouth, had at first turned this line otherwise,--'For o'er the bleak Dartmoor I have a home for thee.' [14] A critic, not often so in error, has contended that the death of the beadsman and Angela in the concluding stanza are due to the exigencies of rime. On the contrary, they are foreseen from the first: that of the beadsman in the lines, But no--already had his death-bell rung; The joys of all his life were said and sung; that of Angela where she calls herself A poor, weak, palsy-stricken, churchyard thing, Whose passing bell may ere the midnight toll. The touch of flippant realism which Keats had, again to Woodhouse's distress, proposed to throw into his story at this point was as follows. For the four last lines of the last stanza Keats had proposed to write,-- Angela went off Twitch'd with the palsy: and with face deform The beadsman stiffen'd, 'twixt a sigh and laugh Ta'en sudden from his beads by one weak little cough. In printing the poem Keats, probably at the instance of Taylor and Woodhouse, reverted to the earlier and better version. [15] May the following be counted evidence to the same effect? The old woman in _Apuleius_, chap. xxi, just as she is about to tell her daughter the story of Cupid and Psyche, says, 'as the visions of the day are accounted false and untrue, so the visions of the night do often chance contrary.' Compare Keats at the end of the _Ode on Indolence_:-- Farewell! I yet have visions for the night, And for the day faint visions there is store. [16] The _Musee Napoleon_ is a set of four volumes illustrating with outline engravings the works of classic art collected by Napoleon Bonaparte as spoils of war and brought to Paris. Keats's original tracing from the Sosibios vase was in the collection of Sir Charles Dilke and is reproduced on the frontispiece of the Clarendon Press edition of Keats's poems, 1906. The subject has been much discussed, but only from the point of view of the classical archaeologist, which ignores the part played by paintings as well as antiques in stimulating Keats's imagination. From that point of view the nearest approach, as I hold, to a right solution is set out in a paper by Paul Wolters, in _Archiv fuer das Studium der neueren Sprachen_, Band xx, Heft 1/2: Braunschweig; though I think he is too positive in ruling out Roman representations of the _Suovetaurilia_ such as the fine urn at Holland House suggested as Keats's source by the late Mr A. S. Murray and reproduced in _The Odes of Keats_, by A. C. Downer, M.A. (Oxford, 1897).