onto him in memory and rejoice in his virtual resurrection by reading his words.we apparently see from the narration, Shelley blames Keats death on literary criticism that was recently published (he was unaware that Keats was suffering from tuberculosis). He scorns the weakness and cowardice of the critic compared with the poet. The poet wonders why Adonis mother (Urania) was not able to do more to save her beloved son, and he summons all spirits, living and dead, to join him in his mourning (so he mentions Byron Pilgrim of Eternity, Thomas Moore - sweetest lyrist, Chatterton, Sydney - calling them by name). Shelley argues that Keats had great potential as a poet and is perhaps the loveliest and the last great spirit of the Romantic period.eight and nine continue with Shelley s beckoning of mourners. Stanza ten changes to dialogue: his mother, Urania, holds the corpse of her young poet son and realizes that some dream has loosened from his brain (19, 134) .That is, something about his mind is not dead although his body may be dead. The body is visited by a series of Greek Goddesses, who take three or four stanzas to prepare the corpse for the afterlife; Keats deserves it.nature is mourning the loss, where things like the ocean, winds, and echoes (here we observe a great example of antonomasia) are stopping to pay their respects. As the seasons come and go, the mourned is feeling no better. By stanza twenty, the hero finally perceives a separation between the corpse and the spirit, one going to fertilize new life in nature, the other persisting to inspire aesthetic beauty. This is when Urania awakens from her own dejected sleep and takes flight across the land, taunting death to meet her but realizing she is chained to time and can not be with her beloved son, so she is again left feeling hopeless and dejected. She acknowledges her son s defenselessness against the herded wolves of mankind but then compares him to Apollo, suggesting he will have more inspiration in death than he would have in life (1, 217) .poet then describes the death of Keats with scorn for those he thinks is responsible. Keats visits his mother as a ghost whom she does not recognize. The author calls for Keats to be remembered for his work and not the age of his death, and Shelley takes an unusual religious tone as he places Keats as a soul in the heavens, looking down upon earth. Shelley contends that Keats, in death, is more alive than the common man will ever be, and he can now exist peacefully, safe from the evils of men and their criticisms.stanza forty-one, the poem takes a major shift. The narrator begins to rejoice, becoming aware that the young Adonis is alive (in spirit) and will live on forever. We see the Romantic notion that he is now one with nature, and just as other young poets who have died (Shelley lists them), their spirits all live on in the inspiration we draw from their work and short lives. Even so, Keats is a head above the rest. Completely turning on his original position, the speaker now calls upon anyone who mourns for Adonis as a wretch, arguing that his spirit is immortal, making him as permanent as the great city of Rome. Shelley ends the poem wondering about his own fate, when he will die, and if he will be mourned and remembered with such respect as he is giving Keats (1, 145) .poem is overloaded with stylistic devices that are aimed to express deep sorrow for Adonais, splendor of his rebirth and ultimate doom that awaits everyone, the author in particular. Mentioning the deliberate use of antonomasia along with capitalization which is so common for all the Romantic poets (ie Light, Beauty, Benediction, Curse, Love, Time, Hour etc.) one should notice that those images are not only personified, they act as characters too and mourn Adonais along with real human beings. Epithets are also numerous, concerning only Adonais himself - young Dawn, a pardlike Spirit, a Power, a Love, Vesper etc. Among others - trembling throng, revolving year, eclipsing Curse, sustaining Love, cold mortality, kingless sphere, dazzling immortality, unascended majesty, mourning mind. We can observe several important cases of other lexical stylistic devices, such as metaphor (soft sky smiles, ages, empires, religions lie buried), metonymy (Light whose smile shines, bones of Desolation s nakedness), simily (Rome as Paradise, grave , wilderness; time feeds a slow fire, soul like flame, life like a dome of many colored glass), comparison (wrecks like shattered mountains,, Adonais like a star). Among syntactical stylistic devices we may enumerate frequent use of repletions (Adonais died, weep for Adonais; why, why, why; up to Rome etc), suspense and asyndeton. Although the whole poem is an immense allusion we must mark some cases inside of it - spirit s bark, allusion to Charon s ferry; sphere skies,allusion to the movement of Gnosticism, kingly Death has his court, allusion to Hades, Greek God of Underworl...
