The Keats of the first volume, _Poems_, 1817, is a much different person from the Keats of the _Lamia_ volume, in 1820. The three intervening years had brought a maddening love affair, a fatal disease and the famous, though not as once thought fatal review, attacking _Endymion_. His art principles remained much the same. With growing sorrow he worshipped beauty more and sought in it a refuge from grief. His attitude towards women and life was now somewhat different. He paid woman a tribute in the poem in the first volume, beginning with the lines, "Woman! I behold thee," etc. But he had not yet suffered from a Fanny Brawne; here he spoke of woman's being "like a milk-white lamb that bleats for man's protection." And yet before he was twenty he may have had a foreboding that his fate in love might not be a happy one. In the poem, _To Hope_, he wrote: "Should e'er unhappy love my bosom pain, From cruel parents or relentless fair; O let me not think it is quite in vain To sigh out sonnets to the midnight air." Alas for himself, but perhaps (it may be cruel to say) fortunately for the lovers of literature, those sonnets and other poems were sighed out later! Before we can, however, quite understand his sad life and the nature of his work and philosophy, something must be said about his relations to his mother. She died from consumption when he was past fourteen. Keats, who was her favourite child, sat up nights, mourning her, and was inconsolable; he would hide for days under his master's desk. Once, at the age of five, he guarded her sick room with a sword. His mother re-married a year after her husband's death, when the poet was in his tenth year. She separated from her second husband and went to live with her mother. Keats then had a guardian. The poet was the oldest of five children, and was a seven months' child. All this is significant. The Œdipus Complex was strong in the poet. He was not only deprived of his mother early, but witnessed her marry a second time. This event revived the babyish jealousy he felt of his father, and made him unconsciously hate the new husband. He looked for a substitute for the lost mother and thought he found her in Fanny Brawne, and then he learned what grief was. He loved beauty so much because of unrequited love. Some poets, like Wordsworth, seek consolation in nature for lack of love, others like Byron simply voice their woe in a personal note, others like Shelley find it a spur to spread views of reform in connection with the marriage institution. Keats's love of beauty has a strong sexual component. His unfulfilled physical desires were sublimated into poems worshipping beauty. Art was his refuge.