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The virulence with which Shelley, as author of Adonais, was assailed by Blackwood's Magazine, is the more remarkable, and the more symptomatic of partizanship against Keats and any of his upholders, as this review had in previous instances been exceptionally civil to Shelley, though of course with some serious offsets.
+Stanza 48,+ 1. 1. Or go to Rome. This is still addressed to the mourner, the 'fond wretch' of the preceding stanza. He is here invited to adopt a different test for 'knowing himself and Adonais aright'; namely, he is to visit Rome, and muse over the grave of the youthful poet. Which is the sepulchre, Oh not of him, but of our joy.
The dying meteor, in this simile, must represent the Splendour; the wreath of moonlight vapour stands for the pale limbs of Adonais; the cold night may in a general way symbolize the night of death. It flushed through his pale limbs, and passed to its eclipse. The Splendour flushed through the limbs of Adonais, and so became eclipsed, faded into nothingness.
"What I should have expected." "God help him! we must save him out of that last lowest deep!" cried Campbell. "Where is he, sir?" "A vow! a vow! I have a vow in heaven! Why guide the hounds toward the trembling hare? Our Adonais hath drunk poison; Oh! What deaf and viperous murderer could crown Life's early cup with such a draught of woe?"
There is nothing to show positively why Shelley adopted the name Adonais as a suitable Hellenic name for John Keats. I believe the name Adonais was not really in use among the Greeks, and is not anywhere traceable in classical Grecian literature. It has sometimes been regarded as a Doricized form of the name Adonis: Mr.
Not that they think of him as morbid, his poetry surely could not make this impression, but rather that the popular conception of him is, after all these years, a legendary Keats, the poet who was killed by reviewers, the Keats of Shelley's preface to the Adonais, the Keats whose story is written large in the world's book of Pity and of Death.
Garnett's Relics of Shelley, pages 49, 190. On the 11th of June, 1821, he wrote to Ollier: "As yet I have laughed; but woe to those scoundrels if they should once make me lose my temper!" The stanzas on the "Quarterly" in "Adonais", and the invective against Lord Eldon, show what Shelley could have done if he had chosen to castigate the curs. Meanwhile the critics achieved what they intended.
They were words of true prayer, and the poor, erring, hardened little boy rose from his knees too overcome to speak. The few remain, the many change and pass, Heaven's light alone remains, earth's shadows flee; Life, like a dome of many coloured glass, Stains the white radiance of eternity, Until death shiver it to atoms. Shelley's Adonais.
With this should be read Adonais , the best known of all Shelley's longer poems. Adonais is a wonderful threnody, or a song of grief, over the death of the poet Keats. Even in his grief Shelley still preserves a sense of unreality, and calls in many shadowy allegorical figures, Sad Spring, Weeping Hours, Glooms, Splendors, Destinies, all uniting in bewailing the loss of a loved one.
The spirit which once was the vital or mental essence the soul of Adonais came from the Eternal Soul, and, now that he is dead, is re-absorbed into the Eternal Soul: as such, it is imperishable. Whilst thy cold embers choke, &c.
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