All is cold Beauty; pain is never done:
For who has mind to relish, Minos-wise,
The Real of Beauty, free from that dead
hue

Sickly imagination and sick pride Cast wan upon it! Burns! with honour due

I oft have honour'd thee. Great shadow, hide

Thy face; I sin against thy native skies.

II

TO AILSA ROCK

The tourists crossed to Ireland for a short trip, and after returning to Scotland, made their way into Ayrshire, entering it a little beyond Cairn. Their walk led them into a long wooded glen. 'At the end,' writes Keats, July 10, 1818, 'we had a gradual ascent and got among the tops of the mountains whence in a little time I descried in the Sea Ailsa Rock, 940 feet high-it was 15 Miles distant and seemed close upon us. The effect

of Ailsa with the peculiar perspective of the Sea in connection with the ground we stood on, and the misty rain then falling gave me a complete Idea of a deluge. Ailsa struck me very suddenly really I was a little alarmed.'

HEARKEN, thou craggy ocean pyramid ! Give answer from thy voice, the seafowls' screams!

When were thy shoulders mantled in huge streams?

When, from the sun, was thy broad fore

head hid ?

How long is 't since the mighty power bid Thee heave to airy sleep from fathom dreams?

Sleep in the lap of thunder or sunbeams, Or when gray clouds are thy cold coverlid. Thou answer'st not; for thou art dead

asleep;

Thy life is but two dead eternities The last in air, the former in the deep; First with the whales, last with the eagle

skies

Drown'd wast thou till an earthquake made thee steep,

Another cannot wake thy giant size.

III

'WRITTEN IN THE COTTAGE WHERE BURNS WAS BORN

From Kingswell's, July 13, 1818, Keats wrote of his experience in visiting Burns's birthplace: The approach to it [Ayr] is extremely fine quite outwent my expectations - richly meadowed, wooded, heathed and rivuleted with a grand Sea view terminated by the black Mountains of the isle of Annan. As soon as I saw them so nearby I said to myself, "How is it they did not beckon Burns to some grand attempt at Epic ?" The bonny Doon is the sweetest river I ever saw - overhung with fine trees as far as we could see

-

- We stood some time on the Brig across it, over which Tam o' Shanter fled - - we took a pinch of snuff on the Keystone - then we proceeded to the "auld Kirk Alloway." As we were looking at it a Farmer pointed the spots where Mungo's Mither hang'd hersel' and "drunken Charlie brake 's neck's bane." Then we proceeded to the Cottage he was born in there was a board to that effect by the door side it had the same effect as the same sort of memorial at Stratford on Avon. We drank some Toddy to Burns's memory with an old Man who knew Burns damn him and damn his anecdotes - he was a great bore — it was impossible for a Southron to understand above 5 words in a hundred. There was something good in his description of Burns's melancholy the last time he saw him. I was determined to write a sonnet in the Cottage

I did but it was so bad I cannot venture it here.' He wrote in the same strain to Reynolds, saying, 'I wrote a sonnet for the mere sake of writing some lines under the Roof they are so bad I cannot transcribe them. . . I cannot write about scenery and visitings Fancy is indeed less than a present palpable reality, but it is greater than remembrance.

One song of Burns's is of more worth to you than all I could think for a whole year in his native country.'

Keats saw his brother George and wife set sail from Liverpool at the end of June, 1818, and then set forth with his friend Charles Armitage Brown on a walking tour through Wordsworth's country and into Scotland. The verses included in this section were all sent in letters, chiefly to his brother Tom. He did not include any in the volume which he published in 1820, and they first saw the light when Lord Houghton included them in the Life, Letters and Literary Remains. The more off-hand and familiar verses written at this time are given in the Appendix.

I

ON VISITING THE TOMB OF BURNS

Written at Dumfries on the evening of July 1, 1818. 'Burns's tomb,' writes Keats, is in the Churchyard corner, not very much to my taste, though on a scale large enough to show they wanted to honour him. This Sonnet I have written in a strange mood, half asleep. I know not how it is, the Clouds, the Sky, the Houses, all seem anti-Grecian and anti-Charlemagnish.'

THE Town, the churchyard, and the setting