Page:Miscellanies (IA miscellanies00swinrich).pdf/228

 a sense of sunshine, the nuptial picture of Marlowe's Hero and the sleeping presence of Shakespeare's Imogen. Beside this poem should always be placed the less famous but not less precious Eve of St. Mark, a fragment unexcelled for the simple perfection of its perfect simplicity, exquisite alike in suggestion and in accomplishment. The triumph of Hyperion is as nearly complete as the failure of Endymion; yet Keats never gave such proof of a manly devotion and rational sense of duty to his art as in his resolution to leave this great poem unfinished; not, as we may gather from his correspondence on the subject, for the pitiful reason assigned by his publishers, that of discouragement at the reception given to his former work, but on the solid and reasonable ground that a Miltonic study had something in its very scheme and nature too artificial, too studious of a foreign influence, to be carried on and carried out at such length as was implied by his original design. Fortified and purified as it had been on a first revision, when much introductory allegory and much tentative effusion of sonorous and superfluous verse had been rigorously clipped down or pruned away, it could not long have retained spirit enough to support or inform the shadowy body of a subject so little charged with tangible significance. The faculty of assimilation as distinguished from imitation, than which there can be no surer or stronger sign of strong and sure original genius, is not more evident in the most Miltonic passages of the revised Hyperion than in the more Shakespearean passages of the unrevised tragedy which no radical correction could have left other than radically incorrigible. It is no conventional exaggeration, no hyperbolical