Miltonic influence display the more narrowly 'artistic' aspect of the
same evolution. A technique more responsive to the felt reality of
experience must be found--'English ought to be kept up'--the apparatus
of Romantic story must be abandoned--'Wonders are no wonders to me'--yet
the Romantic colour must be kept to restore to a realistic psychology
the vividness and richly various quality that are too often lost by
analysis We do not believe that we have in any respect forced the
interpretation of the letters; the terminology of that age needs to be
translated to be understood 'Men and Women ... Characters and
Sentiments' are called, for better or worse, 'psychology' nowadays. And
our translation has this merit, that some of our ultra-moderns will
listen to the word 'psychology,' where they would be bat-blind to
'Characters' and stone-deaf to 'Sentiments.'

Modern poetry is still faced with the same problem; but very few of its
adepts have reached so far as to be able to formulate it even with the
precision of Keats's scattered allusions. Keats himself was struck down
at the moment when he was striving (against disease and against a
devouring, hopeless love-passion) to face it squarely. The revised
Induction reveals him in the effort to shape the traditional (and
perhaps still necessary) apparatus of myth to an instrument of his
attitude. The meaning of the Induction is not difficult to discover; but
current criticism has the habit of regarding it dubiously. Therefore we
may be forgiven for attempting, with the brevity imposed upon us, to
make its elements clear. The first eighteen lines, which Sir Sidney
Colvin on objective grounds regrets are, we think, vital.

'Fanatics have their dreams, wherewith they weave
A paradise for a sect; the savage, too,
From forth the loftiest fashion of his sleep