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Adonais, in Greek mythology, was a beautiful young man. Aphrodite, the goddess Read more
of love, fell in love with him. He was killed by a wild boar while hunting. Aphrodite’s
grief over his death was so great that Zeus (the chief god) allowed him to spend six
months in the year with her. Aphrodite was worshipped in Greece both as Aphrodite
Urania (the goddess of the sky) and as Aphrodite Pandemos, (the goddess of all the
people, or goddess of marriage and family life). Later the distinction acquired a
new meaning: Aphrodite Urania became that goddess of higher and purer love;
Aphrodite Pandemos, the goddess of sexual lust. Shelley in this poem changes the
spelling of “Adonis” to “Adonais”, and he makes Urania the mother of Adonais, not
his beloved, in order to keep out the erotic element from his elegy.

Adonais is Shelley’s elegy on the death of John Keats. Keats died in Rome, aged
twenty-five, on 23rd February 1821, of tuberculosis. Shelley got the impression that
Keats’s death had been hastened by the brutal attacks of an anonymous reviewer
in the “Quarterly Review on his poetry. Shelley came to know the true facts of Discover the 
Keats’s death only when he had finished writing Adonais which he called “the
Secrets to
image of my regret and honour for poor Keats”.
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Few poets have had lives so unfortunate as Keats’s. None has inspired finer
memorial verses than these fifty-five Spenserian stanzas.

In writing this poem, Shelley makes use of two Greek poems in the pastoral
tradition of Theocritus (who was a great Greek pastoral poet of the third century
B.C.). The first is the “Elegy of Adonis written by Bion, a pastoral poet of the first
century B.C., who was an imitator of Theocritus. Shelley at times copies Bion’s
lament for Adonis closely, particularly in the opening.

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Full Description | Glossary

The second Greek poem in the Elegy for Bion, written by Moschus—he was also a
pastoral poet and had been a pupil of Bion. Moschus wrote an elegy on the
premature death of Bion.

In this elegy, Bion is alleged to have been cruelly poisoned by an unknown hand.

Shelley’s Adonais has been acclaimed as one of the greatest English elegies.

Analysis of the Poem, Adonais by Shelley

In the poem, “Adonais” by Shelley, the poet laments the death of Keats. The tears
or mourners will not bring Keats back to life. The Hour of Keats’s death is itself in
mourning. Keats’s fate and fame will never be forgotten.

Shelley laments the death of Keats to whom he gives the name of Adonais. Shelley
wanted by this name to point out the connection of his poem with the Greek poet
Bion’s famous “Lament of Aphrodite For Adonais”. He changed the form of the word
“Adonis” to “Adonais”. This change was probably made to correspond with the
change of the spirit of Shelley’s poem.
The Adonis of Bion’s Lament is a youth who was loved by the goddess Aphrodite,
and who died from a wound inflicted by a wild boar.

By “though our tears/Thaw not the frost which binds so dear a head!” The poet
says the tears of the mourners will not bring their dear Keats back to life. Shelley
here addresses the particular hour when Keats died. That hour is personified. It is
sad hour because it witnessed the tragedy of Keats’s premature death.

Let the sad hour of Keats’s death rouse its less-known companion. Hours are
personified and they are imagined as companions or comrades. The hour when
Keats died is regarded as a conspicuous hour, while the other hours are called
obscure or little-known ones.

Keats’s fame and fate will always be remembered and will serve as a light for the
endless epochs which are yet to come. The past cannot be forgotten by the future
and, therefore, the poetic achievement of Keats and his premature death will never
be forgotten.

Stanza 2: Urania was absent when her son, Adonais (or Keats), was killed by the
cruel criticism of this work by anonymous reviewers and commentators. Urania was
at that time sitting in her Paradise. Urania or the incarnation of the Spirit of
Heavenly Love loved her son like any other mother in this world, the poet says,
Keats was loved and regarded as the son of Urania, but he was killed by the savage
unsigned or anonymous criticism of Keats’ poetry.

The word “Urania” means “Celestial”. Urania sat in her Paradise, while Keats sang
his exquisite sons in a soft loving voice on earth. With these songs or poems, Keats
embellished and hid the approaching heavy figure of death. His songs were like
flowers which are heaped over a dead body and which, by their beauty and
fragrance, seem to mock the dead body.

Stanza 3: Let Urania weep over Keats’s death. And yet her tears will be of no use.
Keats is gone to the deep region of death and will never return to the earth.
The “melancholy Mother”, the reference is again to Urania, “Yet wherefore?”—Yet it
is of no use Urania’s shedding tears.

Let Urania withhold her burning tears of grief.

Let Urania not imagine that Proserpina, the Queen of the regions of death, will
restore Keats to the earth. The amorous Deep refers to Proserpina, the goddess of
the underworld. “Amorous” because death is too fond of its victims to let them go
back to the world of the living. The vital air means air breathed by  the living

Death is happy that Keats can no longer sing his songs. Death mocks the grief of
those who are mourning Keats’s departure from this world.

Stanza 4: Let Urania weep over the death of Keats. Milton, who was the third
greatest epic poet died, but his spirit yet reigns over the earth.

Urania is the goddess not only of heavenly love but also of poetry and song.

When the poet says “He died” the reference is to Milton: who was the Sire of an
immortal strain – Milton, who was the author of an immortal poem (Paradise Lost).

Blind, old, and lonely – Milton became blind at the age of 46. His old age was lonely
because he lived to see the total collapse of the great principles of freedom and
religious faith and the triumph of the reactionary forces under Charles II.

The poet says, “when his country’s pride……… of lust and blood – The priest, the
slave, and the liberticide crushed the proud independence of Milton’s country with
their hateful deeds of greed, cruelty, and bloodshed. The priest here represents the
Anglican Churches; the slave represents the Royalist Party; and the liberticide – the
murderer of freedom—refers to Charles II.

The poet says, “he went, unterrified/into the gulf of death” – Milton met his death
fearlessly, “but his clear Spirit/Yet resigns o’er earth” – Milton died, but his pure
spirit continues to hold sway over the earth.

The poet says, “the third among the songs of light – the third greatest epic poet.
Homer was the first, and Dante the second, epic poet, and third was Milton.

Stanza 5: All poets dared not attempt to rise to Milton’s lofty status. Poets who
cherished no lofty ideals and are yet famous are happier than Milton was. Some
poets met a premature death because they felt victims of the cruelty of jealous
men. Some poets yet live and are struggling against heavy odds to achieve fame.
When the poet says, “Not all to that bright station dared to climb – he means that
happier are those lesser poets who never tried to emulate Milton’s example, who
wrote no epics, cherished no high ideals, and are yet famous. Some tapers or
candles continue to burn through the darkness of time although many suns have
completely been lost. In other words, certain inferior poets are still remembered
while some of the greatest poets (of antiquity) are known today by name only, their
works having been lost.

In his Defence of Poetry, Shelley: “Ennius, Varro, Pacuvius, and Accius, all great
poets have been lost”.

“envious wrath – jealous and resentment. And “others more sublime…… refulgent
prime—some poets of superior gifts have died in their early career because of the
jealousy and resentment of their fellow poets or because of the cruelty of fate.
These poets had won glory but died prematurely. Here the meaning of “refulgent
prime” is early glory, glory that they won in their early life. Shelley here refers to
the fate of Lucan, Chatterton, and of course Keats.

By the lines, “And some yet live, treading the thorny road, Which leads, through toil
and hate, to Fame’s serene abode”, the poet says that some poets, who are yet
alive, are bravely struggling against heavy odds. They are being attacked by critics
but they are facing these attacks with courage and they will ultimately reach their
destination where they will be greeted by Fame. Shelley here refers to Leigh Hunt
and Byron, and also perhaps to Coleridge and Wordsworth who were bravely facing
the attacks of critics and who were to reach the serene abode of Fame. Shelley
here also predicts everlasting fame for these poets.

Stanza 6: In this stanza, the poet says that let Urania, the most musical of
mourners, weep over the death of her youngest and dearest son whose poetic
genius has now been rendered utterly waste. By the lines like “The nursling of thy
widowhood—” the poet says that Keats is regarded as having been reared during
the widowhood of Urania. The idea is that Keats, a child of the Muses, was born at
an unpoetic age.

Like a pale flower by some sad maiden cherished, the poet compares Keats to a
pale flower looked after by some grief-stricken damsel. This is a reference to the
story of Keats’s poem “Isabella”, or “The pot of Basil”, in which a young girl keeps
weeping over a plant growing in a pot in which the head of her murdered lover was
buried.

The poet further says that “Thy extreme hope” –the last hop of Urania was namely
Keats only, but “the broken lily lies: meaning Keats has died in the prime of his life.
Stanza 7: In this stanza, the poet says that Keats met his death in the city of Rome
where many poets and artists have their memorials. Let Urania not try to wake him
up because he is taking his fill of sleep.

Here the meaning of “High Capital” is the city of Rome where Keats died, whereas
by “Where kingly Death ….and decay – the city of Rome is regarded as the Court of
Death because it is full of the memorials of departed artists and writers.

By “He came…. Among the eternal”, the poet means that Keats came to Rome and,
at the cost of his own pure life, obtained a grave in the company of the dead artists
who lay buried in that city.

Further, when Shelley says, “Haste, while the vault….. Charnel-roof” he calls upon
Urania to come away and take a look at the dead Keats while he still lies unburied
under the dome of the blue Italian sky.

On the other hand, by the lines: “Awake him not…..forgetful of all ill”, the poet says
that let Urania not try to wake up the sleeping (or dead) Keats because, forgetful of
all the evil of the world, he is enjoying a deep and restful slumber.

Stanza 8: Through this stanza, the poet says that Keats will wake up no more.
Corruption waits to mar his body, but corruption will have to wait till he is actually
buried in his grave.

By the lines: “Invisible Corruption waits…..dwelling-place – he means: soon the

dead body of Keats will be marred by Corruption. The idea is that the dead body
will begin to rot soon.

Here, corruption is personified. And by lines like: “The eternal Hunger sits…the
mortal curtain draw—” the poet means the corruption is ready to mar Keats’
beauty. But this action of Corruption is being delayed by pity and awe which are
trying to diminish the fury of Corruption.
Nor can Corruption dare to touch the dead poet till he is laid away in the darkness
of the grave. Till the time of his burial in a grave, he will lie unpolluted. Here, “She”
is referred to as Corruption. In other words, Corruption is personified as a woman.

Stanza 9: In this stanza, the poet says that the poetic thoughts and conceptions of
Keats, which would have been communicated by him to other minds, are now
fading away. By the lines like: “The quick Dreams……or find a home again”—he
means that the quick dreams are the thoughts and fancies which Keats nursed in
his mind. Had he lived longer, he would have communicated these thoughts and
fancies to the minds of other people. These thoughts and fancies are described as
the flocks of which Keats was the herdsman.

Now these thoughts and fancies are fading at their very source. They are unhappy
over their sad fate, and they are lamenting their unhappy lot round the cold heart
of dead Keats. These thoughts and fancies are fading with the man who created
them, but the pain that they are experiencing is sweet because death is coming to
them in an easy form.

These dying thoughts and fancies can never be revived and they can never find
another home. Here the thoughts and fancies of which Keats was the creator have
been personified. With the death of the creator, his products are also about to die.

Stanza 10: In this stanza, the poet says that one of Keats’s poetic thoughts has
shed a tear over Keats’s dead body and after shedding a tear, has vanished. By the
lines: “And one with trembling hands…….her moonlight wings”, he says that the
personification of Keats’s thoughts and fancies (“the quick Dreams”) continues.
One of these thoughts and fancies holds the cold head of Keats with her trembling
hands and flutters her moonlight wings in order to fan her dead creator.  As we
know, “the quick Dreams” are personified in the forms of women.

By the lines: “Lost Angel of a ruined Paradise” – The thought or dream, conceived
by Keats before his death, is here regarded as the lost angle. The mind of the dead
Keats was the Paradise which is now a wreck. And through lines: “She knew
not….outwept its rain”, the poet means that this thought did not realize that the
tear on the silken fringe of Keats’s eye was shed by herself, that is, by that very
thought (which has been personified as a woman). Then, in an instant, this thought
vanished in the same manner as a cloud vanishes after it has dissolved itself in
rain. The thought left no stain just as a    dissolving cloud leaves no trace behind.

Stanza 11: Shelley, through this stanza, says that another poetic thoughts of
Keats seem to have embalmed Keats’s dead body with glittering dew. Another has
thrown a wreath of her loose locks over his dead body. Yet another has broken her
weapons.

Here, by the word “One” the poet means “one of the Dreams or fancies. And by the
words like: ‘lucid urn”, he means bright and shining pot or vessel. When the poet
says, “of starry dew” he means—containing dew which glitters like the stars.

Through the lines: Washed his light limbs as if embalming them, Shelley says that
one of the Dreams washed the light limbs of Keats with the glittering dew taken
from a bright urn. It seemed that the Dream was trying to embalm the dead body
of Keats so that it should not rot even after burial.

In lines 94 to 99, when the poet says, “Another clipped her profuse locks……
against his frozen cheek”, he means that another dream clipped her loose locks of
hair and threw them upon Keats’s dead body to serve as a wreath. This wreath was
decorated not with pearls but with the frozen tears of that Dream. Yet another
Dream broke her weapons (bow and arrows) in sheer grief. It was the intention of
this Dream to diminish the intensity of her grief over Keats’s death by inflicting on
herself some lesser pain (such as the breaking of her weapon).

Through lines: “And dull the barbed fire,” in line 99, he means that and deaden the
pain caused by the flame-like arrow; and deaden the pain caused by Keats’s death.

Stanza 12: The poet talks about a splendid poetic fancy, which would have
delighted the hearts of Keats’s readers, has met its end. In line 100, when he says,
“Another Splendour on his mouth alit”, he means that “Another splendour” stands
for another thought or poetic conception. The word “Splendour” here refers to the
sublime or shining quality of that thought. It descended on Keats’s mouth, while
the mean of alit is alighted; descended.

From lines 101 to 104, such as: “That mouth, whence it was wont…..and with
music”, he means that when Keats was alive, this thought or poetic conception
would have been changed into a spoken or written word. As such, this thought
would have been able to gain an entrance into the mind of Keats’s listeners or
readers and would have reached their hearts and touched their feelings. This
thought would have found expression in brilliant, vivid, and musical language. And
when he says, “to pierce the guarded wit”, he means to get entry into the closed
mind of some listener or reader, whereas by “panting heart” he means that heart
throbbing with feelings.”  The meaning of “with lighting” he means in brilliant vivid
language, and “with music” on the other hand, stands for in a melodious voice.
When the poet says, “the damp death/Quenched its caress upon his icy lips, he
means that the dewy death extinguished the thought, which, in other words,
means that the thought, instead of drawing life from Keats’s lips, died of the
contact.

In lines from 106 to 108, he says that the thought is here compared to a meteor,
and the dead body of Keats to a moonlit cloud, lying across the cold night sky. As
the meteor fades, the sky is reddened for a moment by its glow. In the same
manner, the thought seemed to pass through Keats’s cold and pale limbs and then
fade into nothingness. Here the meaning of the word “clips” is “embraces”. As the
night embraces the cloud, so Keats lies in the embrace of Death.

Stanza 13: This stanza talks about the Desires and Adorations, Glooms,
Incarnations of hopes and fears that come in a slow procession to mourn Keats’s
death. When he says: “And others came –he means that other thoughts, poetic
conceptions, and splendours appeared on the scene, while Desires and
Adorations…and twilight Phantasies—are all personifications of the thoughts of the
human mind.

By the lines like: “And Pleasure, blind with tears…in slow pomp”, he means that
pleasure had changed to mourning, and was almost blind because of her tears, but
a faint smile still lingered on her lips. She moved forward solemnly, led not by her
eyes which were blinded by tears, but by the light of her fading smile.

The line as: “the moving pomp might seem/Like pageantry autumnal stream” he
means that in an exquisitely ethereal simile, the moving processing of figures, such
as Desires, Adorations, Splendour, Glooms, etc., is compared to the mist which is
sometimes seen rolling along over the surface of a stream in autumn (in England,
of course). It is possible to trace a procession of figures in the clouds of mist, which
keep moving with the current of the stream and which seem to change their shape
every moment.

Stanza 14: In this stanza, the poet says, “The Morning, the Thunder, the Ocean,
the Wild Winds – all these and others mourned Keats’s death. All of these are
personifications.

From lines 120 to 123, when he says, “Mourning sought………..eyes that kindle
day,” he means that the Morning was also grief-stricken over Keats’s death. As she
appeared in the east, her hair was loose and untied. Her tears (that is, the dew-
drops), which should have fallen upon the ground to decorate it, took the shape of
clouds which darkened the sky. When he says, “dimmed the aereal eyes that kindle
day, he means darkened the sky which should have been bright on account of
sunlight.

From lines 124 to 126, when he says, “Afar the melancholy thunder…..sobbing in
their dismay, he means that Thunder, the ocean, and the winds were all lamenting
the death of Keats.

From stanza 3 to 29, the poet elaborates the myth and the ideas introduced in the
first two stanzas. All through these stanzas, he continues the appeal to Urania who
is asked to wake up and weep for Adonais. As discussed above, Urania is called
“the most musical of mourners” and she is told that her youngest, dearest son,
“the nursling of her widowhood” has perished. The poet who is dead was the third
among “the sons of light” that is, the third greatest epic poet. From stanza 7 to 17,
he talks about a large number of abstractions, as discussed above; grieve for
Adonais, such as Dreams, Splendours, Desires, Adorations, Persuasions, Glooms,
veiled Destinies, twilight Phantasies. All these come in slow pomp to express their
grief. Echo feeds her grief amid the mountains and will no more reply to any
sounds. Adonais was dearer to Echo than Hyacinth was to Pheobus, or than
Narcissus to himself. Albion (or the spirit of the English nation) feels more grieved
over the death of Adonias than is a nightingale over the loss of its mate. May the
curse of Cain descend upon the head of the reviewer whose cruel criticism
hastened the death of Adonais!

Further in the stanza, from 18 to 31, Shelley expresses his own sorrow and speaks
of the return of spring when all objects of Nature are happy and throb with a new
life. Nothing that we know, ever dies, says Shelley. The soul too cannot die, though
the body certainly turns cold and inanimate, whereas from stanza 29 to 32, the
poet says that this lamenting stings Urania to action. Stricken by sorrow and fear,
she rises and sets out for the place where the dead Keats lies

Eternal flowers spring from the drops of blood which fall from her feet along the
rough route which she follows.

Urania appeals to the dead Adonais to speak to her and give her a kiss. She asks
the dead man why he had ventured upon the path of poetry too soon. The savage
and brutal critics, who killed Adonais, did not have the courage to face Byron when
they were attacked by him in his satirical poem, English Bards and Scotch
Reviewers.
From stanza 30 to 35, Shelley says that contemporary poets, in the guise of
mountain shepherds with “garlands sere” and “magic mantles rent”, come to pay
their tribute. The poet chooses Byron and Moore as the first two mourners. It is to
be noted here that Byron and Moore did not really feel the sentiments that Shelley
attributes to them.

Amongst the less distinguished mourners is Shelley himself. The poet here makes a
striking image out of the legend of Actaeon, the hunter who was turned into a stag
and haunted by his own hounds because he had watched the naked Diana bathing
in a pool.

Shelley devotes four stanzas, such as; 31 and 34 to this self-analysis. He calls
himself a “pard-like spirit beautiful and swift”, “a Power girt round with weakness”,
“a dying lamp”, “a breaking billow”, a solitary and companionless figure. These
stanzas are characterized by the feeling of self-pity which we also find in several
other poems of Shelley. Yet the stanzas are memorable ones, with some fine
images, and the real objection to them is that they should not have been there at
all. A briefer mention of himself would have been more appropriate. In 34, he
speaks of his “branded brow” which, he says, was like Cain’s or Christ’s. In the
stanza that follows he refers to Leigh Hunt, lost in grief, one of the sincerest of
Keats’s friends.

In order to counterbalance his over-praise of the poet-mourners, Shelley heaps

invective on the suspected murderer, the reviewer, while in stanzas 36 and 38, he
warns him that he will live to be haunted by feelings of shame, remorse, and self-
contempt, while the pure spirit of Adonais will flow back to the radiant fountain
from which it had come. There is no need to weep, as Keats has joined the
company of the illustrious dead, and his soul has become a portion of the eternal.

The last seventeen stanzas of the poem, that is, from 39 to 55, are an exultant
denial of death’s victory, from a typically Shelleyan angle. This is the best part of
the poem in which the pastoral convention is abandoned. We are told, in stanza 39
to 43 that we should not mourn for Keats. Keats is not dead but has achieved a true
life. He has climbed to a height where he is absolutely secure from all evil. There is
no need for Nature to lament the death of Keats who has now become one with
Nature and whose presence is, therefore, to be felt and known in all aspects and
phenomena of Nature. Keats has been absorbed into the immutable One Spirit, the
Platonic prototype which is the source of all worldly forms. The spirit of Keats has
been fused with the One Spirit which injects the essence of beauty into all things
by forcing stubborn material into approximately of the ideal forms, observed by us
as “Nature”.
The fame of men of high intellectual gifts can never be totally extinguished, says
Shelley (in stanza 44). The spirits of the great dead poets live in the lofty thoughts
of the young readers. Shelley compares the great poet to the stars of the sky.
Death in the case of these poets is “a low mist which cannot blot the brightness it
may veil”.

Further in stanzas 45—46, the great poetry-stars of the past, especially the
“inheritors of unfulfilled renown”, who died in the prime of their life, rises to meet
Adonais as he approaches his new celestial abode. These, Chatterton, Sidney,
Lucan, “and man more whose names on earth are dark” tell him that the sphere
which he is to rule as its king has been waiting for him.  He is Vesper because he is
the latest, and also perhaps because he is to be the brightest of their company.

In stanzas 47 to 51, Shelley advises anyone who persists in mourning to visit

Keats’s grave in the beautiful Protestant cemetery at Rome. Keats needs no
reflected glory from the ages, empires, and religions which lie buried at Rome “in
the ravage they have wrought.” Rather Rome will gain some more glory because
Keats lies buried there. Then follows a famous image in stanza xxx, when the poet
says, “The One remains, the many change and pass.” “Life, like a dome of many-
coloured glass, stains the white radiance of Eternity, until Death tramples it to
fragments.” This image has been called “the best epigrammatic expression of
Platonism in English poetry”, and has been interpreted variously.

In stanzas 53-55, Shelley now gets ready to join Keats in his heavenly abode. He
imagines that divine light and divine beauty are shining upon him and preparing
him for his departure from this mortal world. Here Shelley accurately foretells his
own death which came a year later. But he is visiting Adonais only in fancy; so it is
a chance prophecy, arising because he liked to travel by boat in fact as well as in
fancy.

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 Home » Percy Bysshe Shelley » Adonais: An Elegy on the Death of John Keats

About Dharmender Kumar

Dharmender is a writer by passion, and a lawyer by
profession. He has has a degree in English literature from
Delhi University, and Mass Communication from Bhartiya
Vidhya Bhavan, Delhi, as well as holding a law degree. Dharmender is
awesomely passionate about Indian and English literature.

gurinder says:
at
why does the analysis stop a quarter of the way through the poem?

Lee-James Bovey says:

at
I could see why you might say that. The second part of the analysis is not as in
depth as the first. Quite why the author chose to do that I am not sure. However,
the second part of the poem is there, just not in much detail and the stanzas are
not divided into sections as they are in the first part of the poem.

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