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‘ [317] being, I love the thought of you. I should like her to ruin me, and I should like you to save me.’

It is pleasant always to see Love hiding his head with such pains, while his whole body is so clearly visible, as in this extract. This lady, it seems, is not a Cleopatra, only a Charmian; but presently we find that she is imperial. He does not love her, but he would just like to be ruined by her, nothing more. This glimpse of her, with her leopardess beauty, crossing the room and drawing men after her magnetically, is all we have. She seems to have been still living in 1848, and as Lord Houghton tells us, kept the memory of the poet sacred. ‘She is an East-Indian,’ Keats says, ‘and ought to be her grandfather's heir.’ Her name we do not know. It appears from Dilke's ‘Papers of a Critic’ that they were betrothed: ‘It is quite a settled thing between John Keats and Miss—. God help them. It is a bad thing for them. The mother says she cannot prevent it, and that her only hope is that it will go off. He don't like any one to look at her or to speak to her.’ Alas, the tropical warmth became a consuming fire!

His passion cruel grown took on a hue
Fierce and sanguineous.

Between this time and the spring of 1820 he seems to have worked assiduously. Of course, worldly success was of more importance than ever. He began ‘Hyperion,’ but had given it up in September, 1819, because, as he said, ‘there were too many Miltonic inversions in it.’ He wrote ‘Lamia’ after an attentive study of Dryden's versification. This period also produced the ‘Eve of St. Agnes,’ ‘Isabella,’ and the odes to the ‘Nightingale’ and to the ‘Grecian Urn.’ He studied Italian, read Ariosto, and wrote part of a humorous poem, ‘The Cap and Bells.’ He tried his hand at tragedy, and Lord Houghton has

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