Thus ending, on the shrine he heap'd a spire
Of teeming sweets, enkindling sacred fire;
Anon he stain'd the thick and spongy sod
With wine, in honor of the shepherd-god.
Now while the earth was drinking it, and while
Bay leaves were crackling in the fragrant pile,
And gummy frankincense was sparkling bright
'Neath smothering parsley, and a hazy light
Spread greyly eastward, thus a chorus sang:

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'O THOU, whose mighty palace roof doth hang From jagged trunks, and overshadoweth

Eternal whispers, glooms, the birth, life, death
Of unseen flowers in heavy peacefulness;
Who lov'st to see the hamadryads dress

Their ruffled locks where meeting hazels darken;




And through whole solemn hours dost sit, and hearken
The dreary melody of bedded reeds—

In desolate places, where dank moisture breeds
The pipy hemlock to strange overgrowth;


(232) It was the Hymn to Pan beginning here that the young poet when engaged in the composition of Endymion was induced to recite in the presence of Wordsworth, on the 28th of December 1817, at Haydon's house. Leigh Hunt records that the elder poet pronounced it "a very pretty piece of paganism," though his own magnificent sonnet,

The world is too much with us,


shows that he was not always in a mood to contemn the poeticimaginative aspects of nature open to a Pagan suckled in a creed outworn." It is worth while to note in this connexion the coincidence between the couplet in the text, lines 205-6, and the end of that sonnet :

So might I, standing on this pleasant lea,

Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;

Or hear old Triton blow his wreathed horn.

Bethinking thee, how melancholy loth

Thou wast to lose fair Syrinx-do thou now,

By thy love's milky brow!

By all the trembling mazes that she ran,

Hear us, great Pan!

"O thou, for whose soul-soothing quiet, turtles Passion their voices cooingly 'mong myrtles,

(246) Cancelled manuscript reading

Listen great Pan !


The beautiful tale of Syrinx seems to have entered into Keats's soul, and not unnaturally. Compare this with the tender passage, Telling us how fair, trembling Syrinx fled

Arcadian Pan,

and so on (page 13 of the present volume), and above all with the exquisite couplet

Like the low voice of Syrinx, when she ran

Into the forests from Arcadian Pan

in the rejected passage of Book II, which was published in The Indicator. See note after line 853, Book II.

(248) The verb to passion is another of the words which the "noteless blot" in the Quarterly Review accused Keats of inventing. Spenser, as we have seen, was a sealed book to him; so that it is not strange he ignored the passage in The Faerie Queene (Book II, Canto IX, stanza 41),

Great wonder had the knight to see the maid

So strangely passioned.

But Shakespeare seems to have been a sealed book too, at all events during those seasons in which he took the liberty accorded by Shelley of spilling the overflowing venom from his fangs : otherwise he might have discovered such passages as

Madam, 'twas Ariadne passioning

For Theseus' perjury and unjust flight;

Two Gentlemen of Verona, Act IV, Scene IV, lines 172-3.
And shall not myself . . . passion as they

Tempest, Act V, Scene 1, lines 22-4.

Dumbly she passions, franticly she doteth

Venus and Adonis, line 1059.

What time thou wanderest at eventide
Through sunny meadows, that outskirt the side
Of thine enmossed realms: O thou, to whom
Broad leaved fig trees even now foredoom
Their ripen'd fruitage; yellow girted bees
Their golden honeycombs; our village leas
Their fairest blossom'd beans and poppied corn ;
The chuckling linnet its five young unborn,
To sing for thee; low creeping strawberries
Their summer coolness; pent up butterflies



Their freckled wings; yea, the fresh budding year
All its completions-be quickly near,
By every wind that nods the mountain pine,
O forester divine!

"Thou, to whom every faun and satyr flies For willing service; whether to surprise


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And, being hidden, laugh at their out-peeping;

Or to delight thee with fantastic leaping,
The while they pelt each other on the crown


With silvery oak apples, and fir cones brown

(263) In the manuscript and in the first edition we read fawn for faun.

(272) Cancelled manuscript reading—

To tumble them into fair Naiads Cells.

By all the echoes that about thee ring,
Hear us, O satyr king!

"O Hearkener to the loud clapping shears,
While ever and anon to his shorn peers
A ram goes bleating: Winder of the horn,
When snouted wild-boars routing tender corn
Anger our huntsmen: Breather round our farms,
To keep off mildews, and all weather harms:
Strange ministrant of undescribed sounds,
That come a swooning over hollow grounds,
And wither drearily on barren moors:
Dread opener of the mysterious doors
Leading to universal knowledge-see,
Great son of Dryope,

The many that are come to pay
With leaves about their brows!




their vows

"Be still the unimaginable lodge

For solitary thinkings; such as dodge

Conception to the very bourne of heaven,


Then leave the naked brain: be still the leaven,

That spreading in this dull and clodded earth

Gives it a touch ethereal—a new birth :

Be still a symbol of immensity;

A firmament reflected in a sea;


(283) The manuscript reads Huntsmen, the first edition huntsman; but it is most unlikely that Keats made this slight change in a wrong direction.

(290) Of the various parentages assigned to Pan by the ancients Keats seems to have preferred the Homeric.

(293) The quotation-marks here and at the close of the hymn are not in the first edition, nor in the manuscript; but they are in the corrected copy.

An element filling the space between ;
An unknown-but no more: we humbly screen
With uplift hands our foreheads, lowly bending,
And giving out a shout most heaven rending,
Conjure thee to receive our humble Pæan,
Upon thy Mount Lycean!"

Even while they brought the burden to a close,
A shout from the whole multitude arose,
That lingered in the air like dying rolls
Of abrupt thunder, when Ionian shoals

Of dolphins bob their noses through the brine.
Meantime, on shady levels, mossy fine,
Young companies nimbly began dancing



To the swift treble pipe, and humming string.
Aye, those fair living forms swam heavenly


To tunes forgotten-out of memory:

Fair creatures! whose young childrens' children bred
Thermopyla its heroes-not yet dead,

But in old marbles ever beautiful.

High genitors, unconscious did they cull


Time's sweet first-fruits-they danc'd to weariness,

(307) The contraction E'en is in the manuscript; but the first edition reads Even.

(311) The verb to bob seems to have been considered open to question push and raise stand as marginal suggestions in the manuscript.

(313) The accentuation of the final syllable of dancing is not a piece of original licentiousness, but a reminiscence of a rhythmical way of Spenser's: compare Faerie Queene, Book II, Canto VII, stanza 23

The hateful messengers of heavy things,
Of death and dolor telling sad tidings.

(315) The manuscript shows a marginal suggestion of mov'd for swam here.

(319) Doubtless meant to refer specially to the Elgin marbles.

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