This discovery marks the point of crisis in Keats's development. He is
no longer content to be the singer; his poetry must be adequate to all
experience. No wonder then that the whole of the new Induction centres
about this thought. He describes his effort to fight against an invading
death and to reach the altar in the mighty dream palace. As his foot
touches the altar-step life returns, and the prophetic voice of the
veiled goddess reveals to him that he has been saved by his power 'to
die and live again before Thy fated hour.'
'"None can usurp this height," return'd that shade.
"But those to whom the miseries of the world
Are misery and will not let them rest.
All else who find a haven in the world
Where they may thoughtless sleep away their days,
If by a chance into this fane they come,
Rot on the pavement where thou rottedst half."'
Because he has been mindful of the pain in the world, the poet has been
saved. But the true lovers of humanity,--
'Who love their fellows even to the death,
Who feel the giant agony of the world,'
are greater than the poets; 'they are no dreamers weak.
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