This article examines John Keats's unfinished 1819 poem The Fall of Hyperion: A Dream as a document of spiritual awakening and poetic self-transformation. Where Keats's earlier fragment Hyperion attempted an impersonal, Miltonic epic of cosmic succession, The Fall of Hyperion recasts that material inside a first-person dream-vision modeled loosely on Dante, in which the poet-narrator must justify his own presence among visionaries before the goddess Moneta will grant him sight of the fallen Titans. Reading the poem alongside Keats's letters on "Negative Capability" and the "vale of Soul-making," this study argues that the confrontation with Moneta stages an initiation rite in which private ambition is purged and replaced by a disciplined sympathy with suffering — a transformation that is simultaneously religious in structure and aesthetic in consequence. The essay traces how this awakening reorganizes Keats's poetics: his diction thins and hardens, his allegory becomes self-reflexive, and his epic ambition submits to confession. The poem's incompletion is read not as failure but as the formally honest outcome of a poet who could no longer sustain the fiction of impersonal myth once he had made suffering, rather than beauty, his subject. The article closes by situating The Fall of Hyperion within the broader arc of Keats's maturation as inseparable from his mortality, arguing that the poem's fragmentary shape is itself an argument about the limits of poetic vision

Key words: Negative capability, self-reflexive, impersonal,maturation, first-person, fragmentary etc.,