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While the tide of Keats's "La Belle Dame sans Merci" points to Alain Chartier's medieval poem as major source, there is an even earlier subtext suggesting itself in both the ballad's narrative and structure. As demonstrated in this paper, Keats's depiction of the relationship between the knight and the fairy-figure, between poetic ward and mysterious muse, ,refers to the myth of Orpheus and Eurydice as it is presented in Ovid's  Metamorphoses.  Exceeding what can be regarded a fine example of creative reception, the recurrence to the classical tale of poetic inspiration and, as it were, despair adds a metapoetic level to "La Belle Dame." Playing on in a world that is depicted as having fallen silent, the ballad becomes a means for reviving orphic singing and enacts an encounter with antiquity, in which the poet's anxiety of belatedness is eventually overcome. Thereby Keats emerges as another Ovid or even a new writing, writing himself into a greater tradition of mythopoetry

John Keats and Mythopoetics: A Reading of "La Belle Dame sans Merci"