302:(1818), who, in Shelley's opinion, traumatised John Keats, worsening his condition. The worst punishment that Shelley can contrive is that such a scoundrel should live: "Live thou, whose infamy is not thy fame!/ Live!" Faced with the contradiction that he would wish a long life upon the miscreant who took his hero's life, in stanza 38 the poet bursts open the gates of consolation that are required of the pastoral elegy: "Nor let us weep that our delight is fled/ Far from these carrion kites." In stanza 39, he uses the imagery of worms as symbolic of death: "And cold hopes swarm like worms within our living clay." In stanzas 45 and 46, Shelley laments that—like Thomas Chatterton, Sir Philip Sidney, and Lucan—Keats died young and did not live to develop as a poet . Keats transcends human life and has been unified with the immortal: "He has outsoared the shadow of our night;/Envy and calumny and hate and pain,/ ... Can touch him not and torture not again.... He is made one with Nature." Keats is as one with Nature, the Power, the One, and the one Spirit.
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richer and fuller life that
Adonais must now be experiencing, the poet becomes mindful that he is in Rome, itself a city rife with visible records of loss and decay. Moreover, he is in the Protestant cemetery there, where Shelley's three-year-old son is buried as well; and yet, as if mocking all despair, a "light of laughing flowers along the grass is spread." Nature does not abhor death and decay, he sees; it is humans, who fear and hate in the midst of life, who do. "What Adonais is, why fear we to become?" he asks in stanza 51.
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able to imagine eternality—presence in the same place throughout the whole of time or of history. This latter concept is embodied in the idea of Rome as the "Eternal" city. Since both Rome and the particular cemetery symbolise (through the imagery used) the dominance of eternity, the mourner can doubly conceive of Keats as part of eternity—as absorbed into it and diffused throughout it—and thus conceive of him as part of the World Soul, among whose aspects is eternity as well as omnipresence.
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250:, come to greet him (sts. XXXVIII–XLVI). Let anyone who still mourns Keats send his "spirit's light" beyond space and be filled with hope, or let him go to Rome where Keats is buried. Let him "Seek shelter in the shadow of the tomb. / What Adonais is, why fear we to become?" He is with the unchanging Spirit, Intellectual Beauty, or Love in heaven. By comparison with the clear light of eternity, life is a stain (sts. XLVII–LII).
186:, to be the highest example of contemporary poetry. Keats found some of Shelley's advice patronising (the suggestion, for example, that Keats should not publish his early work). It is also possible that Keats resented Hunt's transferred allegiance. Despite this, the two poets exchanged letters after Shelley and his wife moved to Italy. When Keats fell ill, the Shelleys invited him to stay with them in
22:
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The poet tells himself he should now depart from life, which has nothing left to offer. The One, which is Light, Beauty, Benediction, and Love, now shines on him. He feels carried "darkly, fearfully, afar" to where the soul of Keats glows like a star, in the dwelling where those who will live forever
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to mourn for Keats who died in Rome (sts. I–VII). The poet summons the subject matter of Keats' poetry to weep for him. It comes and mourns at his bidding (sts. VIII–XV). Nature, celebrated by Keats in his poetry, mourns him. Spring, which brings nature to new life, cannot restore him (sts. XVI–XXI).
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It is life's worldly cares—that obscuring and distracting "dome of many-coloured glass"—not Death that is the enemy and the source of human despair. "Follow where all is fled," he urges, and he goads his own heart into having the courage to face not extinction but "that Light whose smile kindles the
279:
In
Stanzas 30 through 34, a series of human mourners appears. The "Pilgrim of Eternity" is Lord Byron, George Gordon, who had met and was a friend of Shelley's but who had never met Keats. The Irish poet Thomas Moore then appears who laments the sadness and loss that time causes. Shelley himself and
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The poet urges the mourners not to weep any longer. Keats has become a portion of the eternal and is free from the attacks of reviewers. He is not dead; it is the living who are dead. He has gone where "envy and calumny and hate and pain" cannot reach him. He is "made one with Nature." His being has
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In addition, the description of Keats's spirit as part of "Eternal" Rome shows parallels with the earlier description, in stanzas 44–46, of his spirit becoming part of the "firmament" of eternal stars which are the immortal spirits of great poets. And in stanza 52, as "The One" is to the "many" and
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and so cease mourning. To imagine this by means of the conceptual exercise prescribed in stanza 47 may be too difficult for the mourner, who may not be able to imagine omnipresence—presence at the same time throughout the whole of space as well as at each individual point in space—but who would be
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The over-riding theme is one of despair. Mourners are implored to "weep for
Adonais—he is dead!" In Stanza 9 the "flocks" of the deceased appear, representing his dreams and inspirations. In Stanza 13, the personifications of the thoughts, emotions, attitudes, and skills of the deceased appear. In
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Adonais "is not dead, he doth not sleep, he hath awaken'd from the dream of life." "Who mourns for
Adonais?" he asks in stanza 47. Shelley turns his grief from Adonais to "we" who must live on and "decay/ Like corpses in a charnel," and after a series of stanzas (39–49) in which he celebrates the
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Adonais begins with the announcement of his death and the mourning that followed: "I weep for
Adonais—he is dead!" In Stanzas 2 through 35 a series of mourners lament the death of Adonais. The mother of Adonais, Urania, is invoked to arise to conduct the ceremony at his bier. The allusion is to
323:"heaven's light" is to "Earth's shadows" and the "white radiance of Eternity" is to multicolored Life, so "The glory" of the World Soul is to aspects of Rome that represent death but symbolise eternity. By means of these parallels, the Rome section becomes fully integrated into the poem.
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The section on Rome (stanzas 48–52) is significant in the poem not only because Keats and
Shelley's son are buried in the Protestant cemetery there but also because the section offers an alternative way of understanding themes already expressed in the poem. Beginning with a statement of
194:. Shelley said of Keats, after inviting him to stay with him in Pisa after the latter fell ill: "I am aware indeed that I am nourishing a rival who will far surpass me and this is an additional motive & will be an added pleasure."
190:, but Keats only made it as far as Rome, accompanied by the painter Severn. Shelley's concern for Keats's health remained undimmed, until he learned months after the fact that Keats had died in Rome, prompting the composition of
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Leigh Hunt are also part of the "procession of mourners". In
Stanzas 31 through 34 the mourner is described as "one frail Form" who has "fled astray", "his branded and ensanguined brow" a brow "like Cain's or Christ's".
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Universe." The poem concludes by imagining
Adonais to be a part of "the white radiance of Eternity." At the end of the elegy, "like a star," the soul of the dead poet "Beacons from the abode where the Eternal are."
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on 5 July 1969. Jones, founder and guitarist of the Stones, had drowned 3 July 1969 in his swimming pool. Before an audience estimated at 250,000 to 300,000, Jagger read the following verses from
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Stanza 22, Urania is awakened by the grief of Misery and the poet. The lament is invoked: "He will awake no more, oh, never more!" Urania pleads in vain for
Adonais to awake and to arise.
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The sense of despair and hopelessness continues. In Stanza 37 the poet muses over a just punishment for the "nameless worm" and "noteless blot" who is the anonymous (now known to be
148:) with a preface in which Shelley made the mistaken assertion that Keats had died from a rupture of the lung induced by rage at the unfairly harsh reviews of his verse in the
94:, was composed in the spring of 1821 immediately after 11 April, when Shelley heard of Keats' death (seven weeks earlier). It is a pastoral elegy, in the English tradition of
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recording which was released, originally in 1956, as an LP record and a cassette recording, Caedmon CPN 1059 and TC 1059. The recording was re-released in 1996.
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Urania rises, goes to Keats' death chamber and laments that she cannot join him in death (sts. XXII–XXIX). Fellow poets mourn the death of Keats:
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alternativeness ("Or go to Rome"), the section provides an alternative way for the continuing mourner to imagine
Adonais as part of the
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in 1821, and widely regarded as one of Shelley's best and best-known works. The poem, which is in 495 lines in 55
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been withdrawn into the one Spirit which is responsible for all beauty. In eternity, other poets, among them
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has recorded a song entitled "Adonais" based on the Shelley elegy as a B-side single and on the collection
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511:" (1967) is an allusion to the Shelley elegy, Stanza 47, line 415. A 2013 fan-produced sequel, "
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for caring for Keats in Rome. This praise increased literary interest in Severn's works.
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The poet weeps for John Keats, who is dead and who will be long mourned. He calls on
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Adonais: An Elegy on the Death of John Keats, Author of Endymion, Hyperion, etc.
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Epstein, Andrew. (1999). "'Flowers that Mock the Corse Beneath': Shelley's
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as the "least imperfect" of his works. In a 5 June 1821 letter to John and
515:", continued the allusion, by using the title given to Byron in the poem.
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209:, perhaps better in point of composition than anything I have written."
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Mahony, Patrick. J. (1964). "An Analysis of Shelley's Craftsmanship in
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838:, Vol. 32, No. 3, Romantic Historicism (Fall, 1993), pp. 425–451.
805:, Vol. 23, No. 3, Percy Bysshe Shelley (Fall, 1984), pp. 379–400.
745:, Vol. 23, No. 3, Percy Bysshe Shelley (Fall, 1984), pp. 295–315.
695:"From Poet to Poet or Shelley's Inconsistencies in Keats's Panegyric:
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critic is blamed for Keats' death and chastised (sts. XXXVI–XXXVII).
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686:: Formal Design and the Lyric Speaker's Crisis of Imagination".
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http://englishhistory.net/keats/letters/shelley16August1820.html
704:
Brigham, Linda C. (1999). "Disciplinary Hybridity in Shelley's
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Sharp, Michele Turner. (Summer, 2000). "Mirroring the Future:
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John Keats: Letters: To Percy Bysshe Shelley, 16 August 1820:
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The Constant Theme of Death in the Works of Keats and Shelley
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125:, a god of fertility. Some critics suggest that Shelley used
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Wolfstein, The Murderer; or, The Secrets of a Robber's Cave
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http://www.angelfire.com/film/rdsquires/RadioRecordings.htm
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O, weep for Adonais — for he is being adapted by Hollywood
21:
230:, Shelley, and Leigh Hunt (sts. XXX–XXXV). The anonymous
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43:
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Carl H. Pforzheimer Collection of Shelley and His Circle
205:, Shelley wrote about the work: "It is a highly wrought
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was largely unfavorable, while he found his later work,
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And cold hopes swarm like worms within our living clay.
622:
http://www.thecure.com/discography/detail.aspx?pid=989
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Urania, the goddess of astronomy, and to the goddess
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532:
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663:Beatty, Bernard. "The Transformation of Discourse:
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Heaven's light forever shines, Earth's shadows fly;
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690:, Vol. 78, No. 2 (Spring, 1981), pp. 194–210.
388:If thou wouldst be with that which thou dost seek!
525:
367:And in mad trance, strike with our spirit's knife
114:), an epic poem by the 1st-century AD Roman poet
2012:
420:(2004). "Adonais" was originally the B-side to "
170:towards the end of 1816 by their mutual friend,
359:Peace, peace! he is not dead, he doth not sleep
1817:Bright star, would I were stedfast as thou art
1010:Poetical Essay on the Existing State of Things
417:Join the Dots: B-Sides and Rarities, 1978–2001
1649:
901:
779:." Essays on Literary and Theological Themes.
1789:On Sitting Down to Read King Lear Once Again
763:SEL: Studies in English Literature 1500–1900
386:Until Death tramples it to fragments. — Die,
469:. Unsourced material may be challenged and
61:
1656:
1642:
1081:Posthumous Fragments of Margaret Nicholson
908:
894:
378:The One remains, the many change and pass;
296:) and highly critical reviewer of Keats's
118:, and refers to the untimely death of the
797:Sacks, Peter. "Last Clouds: A Reading of
489:Learn how and when to remove this message
382:Life, like a dome of many-coloured glass,
371:Like corpses in a charnel; fear and grief
363:'Tis we, who lost in stormy visions, keep
16:1821 poem written by Percy Bysshe Shelley
1796:When I have Fears that I may Cease to Be
915:
587:"The Rolling Stones mourn Brian Jones",
568:. 2 Vols. Oxford: Clarendon Press, 1964.
20:
1992:Keats and His Nightingale: A Blind Date
361:He hath awakened from the dream of life
326:
2013:
867:, selections 49–50, by Leonard Wilson.
777:Plotinus in 'Mont Blanc' and 'Adonais'
384:Stains the white radiance of Eternity,
373:Convulse us and consume us day by day,
1768:On First Looking into Chapman's Homer
1637:
889:
852:." book/daddy, Jerome Weeks on books.
701:, 15 June 2007. Retrieved 7 May 2009.
365:With phantoms an unprofitable strife,
272:, who is also known as Venus Urania.
1338:Wolfstein; or, The Mysterious Bandit
1234:Rosalind and Helen, A Modern Eclogue
1073:Original Poetry by Victor and Cazire
726:Everest, Kelvin. (2007). "Shelley's
467:adding citations to reliable sources
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427:
154:and other journals. He also thanked
1354:Zastrozzi, The Master of Discipline
812:, Elegy, and the Life in Letters."
741:: Shelley's Consumption of Keats."
699:as an Autobiographical Work of Art"
566:The Letters of Percy Bysshe Shelley
166:Shelley was introduced to Keats in
13:
2046:Works based on classical mythology
1782:You say you love; but with a voice
1218:Alastor, or The Spirit of Solitude
827:The Hague and Paris: Mouton, 1972.
14:
2057:
856:
369:Invulnerable nothings. — We decay
1687:
1526:The Life of Percy Bysshe Shelley
1057:" (published posthumously, 1840)
958:
872:Audiorecording of extracts from
719:, Keats, and Poetic Influence."
439:
283:
36:
654:Sandy, Mark. 'Adonais (1821)',
262:
2026:Poetry by Percy Bysshe Shelley
1663:
1455:Sir Percy Shelley, 3rd Baronet
1432:The Man Who Wrote Frankenstein
1171:One Word is Too Often Profaned
1047:A Philosophical View of Reform
821:Poetic Synthesis in Shelley's
772:. Book Review. 26 August 2007.
751:CliffsNotes on Shelley's Poems
614:
595:
580:
571:
558:
546:
504:Star Trek: The Original Series
1:
2036:Works by Percy Bysshe Shelley
1883:The Fall of Hyperion: A Dream
1851:Isabella, or the Pot of Basil
1606:The Haunting of Villa Diodati
1024:A Vindication of Natural Diet
1017:A Letter to Lord Ellenborough
518:
346:memorial concert at London's
161:
1979:Keats–Shelley Memorial House
1380:Keats–Shelley Memorial House
1303:History of a Six Weeks' Tour
1032:History of a Six Weeks' Tour
682:Becht, Ronald E. "Shelley's
620:The Cure: Single: The 13th:
25:1821 title page, Pisa, Italy
7:
1178:Music, When Soft Voices Die
1122:Hymn to Intellectual Beauty
863:LibriVox audiorecording of
601:The Vincent Price Exhibit:
257:
10:
2062:
956:
834:and the Death of Poetry."
794:NY: Silver, Burdett, 1902.
734:, 57(3), pp. 237–264.
677:Liverpool University Press
656:The Literary Encyclopaedia
644:"Percy Shelley: Adonais",
637:
537:"Percy Shelley: Adonais",
390:Follow where all is fled!
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1050:(1819–20, published 1920)
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660:. Retrieved 30 June 2005.
650:. Retrieved 30 June 2005.
564:Jones, Frederick L., ed.
543:. Retrieved 30 June 2005.
1810:La Belle Dame sans Merci
1042:" (1817, published 1832)
1003:The Necessity of Atheism
737:Heffernan, James A. W. "
671:, and some lyrics". In:
1916:Charles Wentworth Dilke
1679:John Keats bibliography
1533:Shelley's Vegetarianism
509:Who Mourns for Adonais?
1936:John Hamilton Reynolds
1906:Charles Armitage Brown
1623:Shelley Memorial Award
836:Studies in Romanticism
803:Studies in Romanticism
782:Roberts, Charles G.D.
768:Meirelles, Alexandre.
749:MacEachen, Dougald B.
743:Studies in Romanticism
723:, 48, pp. 90–128.
693:Bertoneche, Caroline.
410:The English rock band
393:
26:
1911:Charles Cowden Clarke
1803:The Eve of Saint Mark
1558:Bride of Frankenstein
1540:Shelley: A Life Story
1489:Thomas Jefferson Hogg
1282:The Masque of Anarchy
765:, 4. pp. 555–68.
675:, ed. Miriam Allott.
627:12 March 2010 at the
424:", released in 1996.
356:
246:, and the Roman poet
24:
1946:Percy Bysshe Shelley
1875:The Eve of St. Agnes
1734:Ode to a Nightingale
1713:Ode on a Grecian Urn
1590:Rowing with the Wind
1509:Edward John Trelawny
1362:Zastrozzi, A Romance
1150:Ode to the West Wind
917:Percy Bysshe Shelley
841:Ward, J.V. (2003). "
819:Silverman, Edwin B.
775:O'Leary, Joseph S. "
712:(Winnipeg), Vol. 32.
688:Studies in Philology
608:21 July 2010 at the
463:improve this section
327:Notable performances
254:are (sts. LIII–LV).
140:It was published by
84:Percy Bysshe Shelley
1985:negative capability
1608:" (2020 TV episode)
1504:Thomas Love Peacock
1426:authorship question
1293:Collaborations with
1274:The Triumph of Life
1226:The Revolt of Islam
1055:A Defence of Poetry
830:Ulmer, William A. "
732:Essays in Criticism
658:(20 September 2002)
589:The Times of London
577:Newell 2011, ch. 5.
513:Pilgrim of Eternity
1697:Poetry collections
1467:Sir Bysshe Shelley
1416:Authorship debates
1266:The Witch of Atlas
1258:Julian and Maddalo
1065:Poetry collections
940:Prometheus Unbound
648:(12 February 2004)
541:(12 February 2004)
336:the Rolling Stones
292:, not the editor,
290:John Wilson Croker
144:in July 1821 (see
92:Spenserian stanzas
27:
2008:
2007:
1727:Ode on Melancholy
1631:
1630:
1397:Shelley's Cottage
1143:Love's Philosophy
881:Text of the poem
730:and John Keats."
673:Essays on Shelley
501:The title of the
499:
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240:Thomas Chatterton
197:Shelley regarded
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1835:Sleep and Poetry
1720:Ode on Indolence
1691:
1658:
1651:
1644:
1635:
1634:
1478:Claire Clairmont
1402:Shelley Memorial
1108:The Devil's Walk
1089:Posthumous Poems
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848:Weeks, Jerome. "
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1461:Timothy Shelley
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1391:Rising Universe
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1040:On Frankenstein
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753:. 18 July 2011.
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142:Charles Ollier
137:, as a model.
110:(a poem about
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448:This section
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397:Vincent Price
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284:Stanzas 36–55
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244:Philip Sidney
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156:Joseph Severn
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33:
32:
23:
19:
1997:
1990:
1950:
1949:
1931:George Keats
1901:Fanny Brawne
1881:
1873:
1865:
1857:
1849:
1841:
1833:
1775:To Kosciusko
1703:
1672:Bibliography
1598:Mary Shelley
1596:
1588:
1580:
1573:
1564:
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1538:
1531:
1524:
1449:Mary Shelley
1430:
1424:Frankenstein
1423:
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1295:Mary Shelley
1280:
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1157:To a Skylark
1087:
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1022:
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485:
476:
461:Please help
449:
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394:
358:
351:
339:
330:
321:
312:
308:
304:
297:
287:
278:
274:
266:
263:Stanzas 1–35
252:
236:
231:
228:Thomas Moore
216:
207:piece of art
206:
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191:
181:
175:
165:
149:
139:
105:
99:
30:
29:
28:
18:
1999:Bright Star
1974:Keats House
1958:John Taylor
1760:Short poems
1601:(2017 film)
1593:(1988 film)
1585:(1988 film)
1577:(1986 film)
1569:(1984 play)
1561:(1935 film)
1518:Biographies
1330:Adaptations
1100:Short poems
995:Non-fiction
876:by the BBC.
344:Brian Jones
332:Mick Jagger
96:John Milton
82:written by
2031:1821 poems
2015:Categories
1926:Leigh Hunt
1827:Long poems
1665:John Keats
1550:Portrayals
1494:John Keats
1473:Lord Byron
1311:Proserpine
1202:Long poems
1136:Ozymandias
1129:Mont Blanc
1115:Mutability
984:St. Irvyne
784:Shelley's
646:John Keats
539:John Keats
519:References
479:April 2023
316:World Soul
172:Leigh Hunt
162:Background
88:John Keats
1748:To Autumn
1705:1819 odes
1210:Queen Mab
1164:The Cloud
976:Zastrozzi
932:The Cenci
814:Criticism
507:episode "
450:does not
429:Star Trek
348:Hyde Park
168:Hampstead
129:'s tenth
107:Achilleis
1859:Hyperion
1843:Endymion
1819:" (1820)
1812:" (1819)
1805:" (1819)
1798:" (1818)
1791:" (1818)
1784:" (1817)
1777:" (1816)
1770:" (1815)
1463:(father)
1194:" (1834)
1187:" (1824)
1180:" (1824)
1173:" (1822)
1166:" (1820)
1159:" (1820)
1152:" (1820)
1145:" (1819)
1138:" (1818)
1131:" (1817)
1124:" (1817)
1117:" (1816)
1110:" (1812)
1019:" (1812)
1012:" (1811)
1005:" (1811)
816:, 42, 3.
625:Archived
606:Archived
422:The 13th
412:The Cure
299:Endymion
258:Synopsis
183:Hyperion
177:Endymion
112:Achilles
77:pastoral
1967:Related
1951:Adonais
1708:(1819)
1616:Related
1250:Adonaïs
1185:A Dirge
968:Fiction
874:Adonais
865:Adonais
832:Adonais
823:Adonais
810:Adonais
799:Adonais
790:Alastor
786:Adonais
770:Adonais
759:Adonais
739:Adonais
728:Adonais
717:Adonais
706:Adonais
697:Adonais
684:Adonais
679:, 1982.
669:Adonais
638:Sources
591:, 1969.
471:removed
456:sources
431:episode
401:Adonais
352:Adonais
342:at the
340:Adonais
213:Summary
199:Adonais
192:Adonais
131:Eclogue
116:Statius
101:Lycidas
75:) is a
2041:Adonis
1894:People
1886:(1819)
1878:(1819)
1870:(1819)
1862:(1818)
1854:(1818)
1846:(1817)
1838:(1817)
1574:Gothic
1451:(wife)
1442:People
1373:Places
1365:(1986)
1357:(1977)
1349:(1850)
1341:(1822)
1322:(1820)
1314:(1820)
1306:(1817)
1285:(1832)
1277:(1824)
1269:(1824)
1261:(1824)
1253:(1821)
1245:(1821)
1237:(1819)
1229:(1818)
1221:(1816)
1213:(1813)
1092:(1824)
1084:(1810)
1076:(1810)
1035:(1817)
1027:(1813)
987:(1811)
979:(1810)
951:(1822)
948:Hellas
943:(1820)
935:(1819)
710:Mosaic
395:Actor
242:, Sir
219:Urania
127:Virgil
123:Adonis
1867:Lamia
1457:(son)
1319:Midas
924:Plays
403:on a
399:read
270:Venus
248:Lucan
224:Byron
120:Greek
80:elegy
788:and
454:any
452:cite
188:Pisa
86:for
801:."
761:."
721:KSJ
708:."
465:by
334:of
98:'s
2017::
845:."
667:,
527:^
354::
226:,
59:eɪ
50:oʊ
1987:"
1983:"
1954:)
1948:(
1815:"
1808:"
1801:"
1794:"
1787:"
1780:"
1773:"
1766:"
1750:"
1746:"
1743:"
1739:"
1736:"
1732:"
1729:"
1725:"
1722:"
1718:"
1715:"
1711:"
1657:e
1650:t
1643:v
1604:"
1190:"
1183:"
1176:"
1169:"
1162:"
1155:"
1148:"
1141:"
1134:"
1127:"
1120:"
1113:"
1106:"
1053:"
1038:"
1015:"
1008:"
1001:"
909:e
902:t
895:v
825:.
792:.
492:)
486:(
481:)
477:(
473:.
459:.
71:/
68:s
65:ɪ
62:.
56:n
53:ˈ
47:d
44:æ
41:ˌ
38:/
34:(
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