Technical points worth attention here are the bold reversal of the regular accentual stress twice over in the first line, and the strained use of 'store' for 'fill' and 'recognizance' for 'recognition.' But the main interest of the sonnet is its comparison of the working of Keats's miscellaneous poetic reading in his mind and memory with the effect of the confused but harmonious sounds of evening on the ear,--a frank and illuminating comment by himself on those stray echoes and reminiscences of the older poets which we catch now and again throughout his work. Such echoes and reminiscences are always permitted to genius, because genius cannot help turning whatever it takes into something new of its own: and Keats showed himself from the first one of those chartered borrowers who have the right to draw inspiration as they please, whether direct from nature or, in the phrase of Wordsworth, From the great Nature that exists in works Of mighty poets.[3] Compare Shelley in the preface to _Prometheus Unbound_:--'One great poet is a masterpiece of nature which another not only ought to study but must study.' Most of the remaining sonnets can best be taken in groups, each group centering round a single theme or embodying a single mood or vein of feeling. One is what may be called the sex-chivalry group, including the sequence of three printed separately from the rest and beginning, 'Woman, when I behold thee flippant, vain'; that beginning 'Had I a man's fair form'; that addressed to Georgiana Wylie, with its admirable opening, 'Nymph of the downward smile, etc.,' and its rather lame conclusion; to which, as more loosely connected with the group, and touched in some degree with Byronic suggestion, may be added 'Happy is England, sweet her artless daughters.' That excellent critic, the late F.T. Palgrave, had a singular admiration for the set of three which I have placed at the head of this group: to me its chief interest seems not poetical but personal, inasmuch as in it Keats already defines with self-knowledge the peculiar blend in his nature of ardent, idealizing boyish worship of woman and beauty with an acute critical sensitiveness to flaws of character defacing his ideal in actual women: a sensitiveness which grew with his growth and many a time afterwards put him ill at ease with his company and himself.