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Which inspired him to pen the famous passage, beginning:

"En zij verborg 't hoofd in hare handen En zat onder de sterren in de nacht."

En al die kalme sterren rezen hoog,

En daalden."

With Keats, of course, the vision of the stars only occurs near the end of Book I, but it is obvious that it was adapted and made us of in this particular context.

It is a matter for some surprise that Verwey, who was so ^

completely captivated by "Hyperion", should have failed signally to appreciate "Endymion" and the "Ode to Autumn" (Dekker s single-line hypotheses we shall not regard as really serious proofs to the contrary), and should have taken the unfortunate example of "Isabella" in illustration of "deze poëzie van beelden zonder oorzaak". Patently he was not prepared to remain an uncritical admirer of Keats; and just as evident is it that it was the English poet's "passie der schoonheid", as expressed through his classical background and his epic style, that made the highest appeal to him. When this began to wear off, he was slightly pained indeed, and over-ready to attribute it to his "philosophy" having now developed beyond the Romantic view of life; without at all realizing that only the most sterling intellectual force and the most intense imaginative vision, and not merely vagueness of thought, could ever have served to assemble Keats' own mighty reading of the cosmic problem. Poetically, in considerable measure, the diversity of aim he came latterly to reveal proved his own undoing; making us marvel at his combining of so many forms and functions, but inclining us too often to remain struck by beauty of technique achieved at the expense of those moments of unrestrained feeling which are the finest echo of Romantic lyricism.

As with Kloos himself, Verwey all over was really much happier in his dealings with Shelley. Kijzer's words might well be adapted