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us 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." Mr. Swinburne is a critic with whom one may well be content to go astray, if astray it is. I will therefore say that I entirely agree with him in this estimate of "Hyperion," and of the sound discretion which Keats exercised in giving it up. To deal with the gods of Olympus is no easy task--it had decidedly overtaxed Keats in "Endymion," though he limited himself to the two goddesses Diana and Venus, and casually the gods Neptune and Mercury; but to deal with the elder gods--Saturn, Ops, Hyperion--and with the Titans, on the scale of a long epic narration, is a task which may well be pronounced unachievable. The Olympian gods would also have had to be introduced: Apollo already appears in the poem, not too promisingly. The elder gods are necessarily mere figure-heads of bulk, might, majesty, and antiquity; to get any character out of them after these "property" attributes have been exhausted to the mind's eye, to "set them going" in act, and doing something apportionable into cantos, and readable by human energies, was not a problem which could be solved by a poet of the nineteenth century. Past question, Keats started grandly, and has left us a monument of Cyclopean architecture in verse almost impeccable--a Stonehenge of reverberance; he has made us feel that his elder gods were profoundly primaeval, powers so august and abstract-natured as to have become already obsolete in the days of Zeus and Hades: his Titans, too, were so vast and muscular that no feat would have been difficult to them except that of interesting us. This sufficed for the first book of the poem; in the second book, the enterprise is already revealing itself as an impossible one, for the council at which Oceanus and others speak is reminiscent of the Pandaemonic council in Milton, and clearly very inferior to that. It could not well help resembling the scene in "Paradise Lost," nor yet help being inferior; besides, even were it equal or preferable, Milton had done the thing first. The "large utterance of the early gods," large though it be, tends to monotony. In book iii., we go off to Mnemosyne and Apollo; but of this section little remains, and we close the poem with a conviction that Keats, if he had succeeded in writing "a _fragment_ as
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