Page:Keats, poems published in 1820 (Robertson, 1909).djvu/276

248 In Hyperion we see, too, the influence of the study of Greek sculpture upon Keats's mind and art. This study had taught him that the highest beauty is not incompatible with definiteness of form and clearness of detail. To his romantic appreciation of mystery was now added an equal sense of the importance of simplicity, form, and proportion, these being, from its nature, inevitable characteristics of the art of sculpture. So we see that again and again the figures described in Hyperion are like great statues—clear-cut, massive, and motionless. Such are the pictures of Saturn and Thea in Book I, and of each of the group of Titans at the opening of Book II.

Striking too is Keats's very Greek identification of the gods with the powers of Nature which they represent. It is this attitude of mind which has led some people—Shelley and Landor among them—to declare Keats, in spite of his ignorance of the language, the most truly Greek of all English poets. Very beautiful instances of this are the sunset and sunrise in Book I, when the departure of the sun-god and his return to earth are so described that the pictures we see are of an evening and morning sky, an angry sunset, and a grey and misty dawn.

But neither Miltonic nor Greek is Keats's marvellous treatment of nature as he feels, and makes us feel, the magic of its mystery in such a picture as that of the

tall oaks Branch-charmèd by the earnest stars, or of thedismal cirque Of Druid stones, upon a forlorn moor,