fancy so imperiously. The night scene at Corinth pleases me also.
The second part offers fewer opportunities. I own I should like to
see both ISABELLA and the EVE thus illustrated; and then there's
HYPERION - O, yes, and ENDYMION! I should like to see the lot:
beautiful pictures dance before me by hundreds: I believe ENDYMION
would suit you best. It also is in faery-land; and I see a hundred
opportunities, cloudy and flowery glories, things as delicate as
the cobweb in the bush; actions, not in themselves of any mighty
purport, but made for the pencil: the feast of Pan, Peona's isle,
the 'slabbed margin of a well,' the chase of the butterfly, the
nymph, Glaucus, Cybele, Sleep on his couch, a farrago of
unconnected beauties. But I divagate; and all this sits in the
bosom of the publisher.

What is more important, I accept the terms of the dedication with a
frank heart, and the terms of your Latin legend fairly. The sight
of your pictures has once more awakened me to my right mind;
something may come of it; yet one more bold push to get free of
this prisonyard of the abominably ugly, where I take my daily
exercise with my contemporaries. I do not know, I have a feeling
in my bones, a sentiment which may take on the forms of
imagination, or may not. If it does, I shall owe it to you; and
the thing will thus descend from Keats even if on the wrong side of
the blanket. If it can be done in prose - that is the puzzle - I
divagate again. Thank you again: you can draw and yet you do not
love the ugly: what are you doing in this age? Flee, while it is
yet time; they will have your four limbs pinned upon a stable door
to scare witches. The ugly, my unhappy friend, is DE RIGUEUR: it
is the only wear! What a chance you threw away with the serpent!
Why had Apollonius no pimples? Heavens, my dear Low, you do not