tinct in their refulgent prime._ These others include
Keats (Adonais) himself, to whom the phrase, 'struck by the envious
wrath of man,' may be understood as more peculiarly appropriated. And
generally the 'others' may be regarded as nearly identical with 'the
inheritors of unfulfilled renown' who appear (some of them pointed out
by name) in stanza 45. The word God is printed in the Pisan edition with
a capital letter: it may be questioned whether Shelley meant to indicate
anything more definite than 'some higher power--Fate.'

11. 8, 9. _And some yet live, treading the thorny road Which leads,
through toil and hate, to Fame's serene abode._ Byron must be supposed
to be the foremost among these; also Wordsworth and Coleridge; and
doubtless Shelley himself should not he omitted.

+Stanza 6,+ 1. 2. _The nursling of thy widowhood._ As to this expression
see p. 51. I was there speaking only of the Muse Urania; but the
observations are equally applicable to Aphrodite Urania, and I am unable
to carry the argument any further.

11. 3, 4. _Like a pale flower by some sad maiden cherished, And fed
with true love tears instead of dew._ It seems sufficiently clear that
Shelley is here glancing at a leading incident in Keats's poem of
_Isabella, or the Pot of Basil_, founded upon a story in Boccaccio's
_Decameron_. Isabella unburies her murdered lover Lorenzo;
preserves his head in a pot of basil; and (as expressed in st. 52
of the poem)

'Hung over her sweet basil evermore,
And moistened it with tears unto the core.'

I give Shelley's words 'true love tears' as they appear in the
Pisan edition: 'true-love tears' might be preferable.

1. 9. _The broken lily lies--the storm is overpast._ As much as to say:
the storm came, and shattered the lily; the storm has now passed away,
but the lily will never revive.

+Stanza 7,+ 1. i. _To that high Capital where kingly Death_, &c. The
Capital is Rome (where Keats died). Death is figured as the King of
Rome, who there 'keeps his pale court in beauty and decay,'--amid the
beauties of nature and art, and amid the decay of monuments and
institutions.

11. 3, 4. _And bought, with price of purest breath, A grave among the
eternal._ Keats, dying in Rome, secured sepulture among the many
illustrious persons who are there buried. This seems to be the only
meaning of 'the eternal' in the present passage: the term does not
directly imply (what is sufficiently enforced elsewhere) Keats's own
p