who claimed no more for himself than that he had loved "the principle of beauty in all things," and to whose hushed and listening soul the cry of Shelley's "divine discontent" rang jarringly in the stillness of the night. If the poetry of Keats, a handful of scattered jewels left us by a dying boy, is, as Matthew Arnold admits, more solid and complete than Shelley's superb and piercing song, to what is this due, save that Keats possessed, in addition to his poetic gift, the tranquil artist soul; content, as Goethe was content, to love the principle of beauty, and to be in sympathy with the great living past which has nourished, and still nourishes, the living present. The passion for reconstructing society, and for distributing pamphlets as a first step in the reconstruction, had no part in his artistic development. The errors of his fellow-mortals touched him lightly; their superstitions did not trouble him at all; their civil rights and inherited diseases were not matters of daily thought and analysis. But what he had to give them he gave unstintedly, and we to-day are rich in the fullness of his gift. "The proper and immediate object
