English romantic poets cherish imagination and emphasize it in their works. To the poets of the eighteenth century such as Pope, Johnson, and Dryden, imagination is not important because their focus is not life`s mysteries, and they consider poets more interpreters than creators. But to the English romantic poets, imagination is central because they hold poets to be conscious creators with a marvelous ability to create imaginary worlds. And they insist that the most vital activity of mind is imagination largely because the world of imagination is the world of eternity. Romantic poets also generally think of love as a common centripetal force, the source of the cohesive forces with the human and nonhuman universe. They adopt this outlook in their poetry; all the major romantic poets are primarily poets of love. John Keats as one of major romantic poets is no exception. He experiments with his imagination in various ways in his poems: it sometimes is expressed in travelling into a heavenly world through nature or art; sometimes it is expressed in a love story. Among these efforts, the romantic love between man and woman embodied as an experiment of imagination is seen in The Eve of St. Agnes. In the poem, the love of Porphyro and Madeline plays a role as an allegory of poetic imagination. He unfolds his love story with beginning, development, climax and ending through the process of imagination. When young Porphyro crosses the moors to claim his bride, he enters a hostile castle, where Madeline`s kinsmen will murder even on holy days. As he proceeds to Madeline`s room in the face of this danger, he is helped by Angela. She is the only person in the castle other than Madeline from whom Porphyro can expect a kind reception. Before arriving at Madeline`s bed chamber, Porphyro cleverly designs his stratagem to coincide with Madeline`s involvement in the legend of St. Agnes` Eve. He intends to pretend supernatural influences that she may invoke. His twofold purpose is to appear as the future husband of her dream and to seem to make the dream come true. Phophyro grows through his spiritual ascent toward heaven until he sees Madeline, and Keats describes him first as young Porphyro with heart on fire for Madeline, then says he implores all saints to give him the sight of Madeline so that he might gaze and worship. At last Porphyro sees Madeline who is the embodiment of imagination, and he continues to idealize her and his love for her when an eroticized imagination would have shrunk before cold reality. He wishes to become her beauty`s shield and worship at her silver shrine. He exemplifies the passionate, aspiring, and even heroic intensity of imagination that will fly at desire, at the same time, he wins all men s goal, eternal love by fleeing into elfin-storm from faery land. Here, Keats`s mind-dreams are synonymous with imagination, by which a person may penetrate into heaven`s bourne. Madeline`s dream of Porphyro is a case history of this visionary imagination. Therefore, Porphyro`s passion remains human in its nature and yet is raised to superhuman intensity by imagination. Instead of being thrust back into humanity, in this poem, a miracle is to be performed. That`s the magic of imagination and this creativity of the imagination is God-like. Keats creates romantic love story as an allegory of imagination within the act of artistic creation. He describes Porphyro as the poet and Madeline as the imagination which is exerted by the poet. He also accepts the workings of the imagination not only as existing in itself, but as probing ultimate identity, declaring that "The Imagination may be compared to Adam`s dream--he awoke and found it truth." Keats`s imagination enjoys a creative freedom which it consciously seeks to exploit, either for the revelation of spiritual truth. Since Keats`s quest for truth is centered on imagination, he really wishes a life of sensations represented imagination or feelings, not thoughts nor reason. So