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The wide differences between Keats and Shelley have often been noted. "Yet, notwithstanding all," Hugh Walker maintained, "those who have been influenced by Shelley have almost without exception been influenced by Keats." 1 This, as we have seen, is true of Perk in Holland. And it is so also as regards Kloos. Except this — that one might well feel inclined to question how any single poet could possibly carry any further foreign influence than what had already come to him through the writings of Shelley, both in prose and verse. It need scarcely surprise us, then, if we learn that he was the Keatsian in nothing like a corresponding measure — and certainly not in the degree at all of that other leading Jachtiger, Verwey. Mainly, indeed, he was Keats-like in so far as he had no idea of a ' mission holding the view, if he did not always practise it, that "de Dichtkunst mag geen Zeuren over oude Abstracties zijn was by nature more sensuous, held after a more normal ideal of love, and, above all, in postulating the primary, all-absording creed of:

"Confederate to one golden end —


Kloos' "God is de hoogste Schoonheid" is not different in essence from the immortal "Beauty is truth, truth beauty , however much less perfectly stated; and the epic fragment "Okeanos" especially is full of the gorgeous imagery of "Hyperion", with something of the same Titanic vision about it, to show how authentically the principle had been assimilated:

"De Goden zaten op hun tronen, de één Zóó ver van d'ander, in een halven kring,

Als, hier op aarde, in 't laatste licht der zon,

Alom-gezien, de steigerende toppen Der Alpen zich verheffen heinde en veer...

Een ieglijk heerscher in zijn eigen rijk En omtrek, oppermachtig en alleen,

1 "The Literature of the Victorian Era," p. 282.