ound of this line; it
can hardly, I think, have been deliberately intended. In other respects
this stanza is one of the most melodious in the poem.

+Stanza 14+, 11. 3, 4. _Morning sought Her eastern watch-tower, and her
hair unbound_, &c. Whether Shelley wished the reader to attribute any
distinct naturalistic meaning to the 'hair' of Morning is a question
which may admit of some doubt. If he did so, the 'hair unbound' is
probably to be regarded as streaks of rain-cloud; these cloudlets ought
to fertilize the soil with their moisture; but, instead of that, they
merely dim the eyes of Morning, and dull the beginnings of day. In this
instance, and in many other instances ensuing, Shelley represents
natural powers or natural objects--morning, echo, flowers, &c.--as
suffering some interruption or decay of essence or function, in sympathy
with the stroke which has cut short the life of Adonais. It need hardly
be said that, in doing this, he only follows a host of predecessors. He
follows, for example, his special models Bion and Moschus. They probably
followed earlier models; but I have failed in attempting to trace how
far back beyond them this scheme of symbolism may have extended;
something of it can be found in Theocritus. The legend--doubtless a very
ancient one--that the sisters of Phaeton wept amber for his fall belongs
to the same order of ideas (as a learned friend suggests to me).

1. 8. _Pale Ocean_. As not only the real Keats, but also the figurative
Adonais, died in Rome, the ocean cannot be a feature in the immediate
scene; it lies in the not very remote distance, felt rather than visible
to sight. Of course too, Ocean (as well as Thunder and Winds) is
personated in this passage; he is a cosmic deity, lying pale in unquiet
slumber.

+Stanza 15+, 1. 1. _Lost Echo sits_, &c. Echo is introduced into both
the Grecian elegies, that of Moschus as well as that of Bion. Bion (p.
64) simply says that 'Echo resounds, "Adonis dead!"' But Moschus (p.
65), whom Shelley substantially follows, sets forth that 'Echo in the
rocks laments that thou [Bion] art silent, and no more she mimics thy
voice'; also, 'Echo, among the reeds, doth still feed upon thy songs.'
It will be observed that in this stanza Echo is a single personage--the
Nymph known to mythological fable: but in stanza 2 we had various
'Echoes,' spirits of minor account, who, in the paradise of Urania, were
occupied with the poems of Adonais.

11. 6-8. _His lip