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‘ [314] judgment, hereafter. The Genius of Poetry must work out its own salvation in a man. It cannot be matured by law and precept, but by sensation and watchfulness in itself. That which is creative must create itself. In “Endymion” I leaped headlong into the sea, and thereby have become better acquainted with the soundings, the quicksands, and the rocks, than if I had stayed upon the green shore, and piped a silly pipe, and took tea and comfortable advice. I was never afraid of failure; for I would sooner fail than not be among the greatest.’

This was undoubtedly true, and it was naturally the side which a large-minded person would display to a friend. This is what he thought, but whether it was what he felt, I think doubtful. I look upon it rather as one of the phenomena of that multanimous nature of the poet, which makes him for the moment that of which he has an intellectual perception. Elsewhere he says something which seems to hint at the true state of the case. ‘I must think that difficulties nerve the spirit of a man: they make our prime objects a refuge as well as a passion.’ One cannot help contrasting Keats with Wordsworth,— the one altogether poet; the other essentially a Wordsworth, with the poetic faculty added,— the one shifting from form to form, and from style to style, and pouring his hot throbbing life into every mould; the other remaining always the individual, producing works, and not so much living in his poems as memorially recording his life in them. When Wordsworth alludes to the foolish criticisms on his writings, he speaks serenely and generously of Wordsworth the poet, as if he were an unbiassed third person, who takes up the argument merely in the interest of literature. He towers into a bald egotism which is quite above and beyond selfishness. Poesy was his employment; it was Keats's very existence, and he felt

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