synonym for the 'Splendour' obtains some
confirmation from the succeeding phrase about the '_dying_ meteor'--for
this certainly seems used as a simile for the 'Splendour.'

1. 7. _'And, as a dying meteor,'_ &c. The dying meteor, in this simile,
must represent the Splendour; the wreath of moonlight vapour stands for
the pale limbs of Adonais; the cold night may in a general way symbolize
the night of death.

1. 9. _It flushed through his pale limbs, and passed to its eclipse._
The Splendour flushed through the limbs of Adonais, and so became
eclipsed,--faded into nothingness. This terminates the episode of the
'quick Dreams,' beginning with stanza 9.

+Stanza 13,+ 1. 1. _And others came,--Desires and Adorations,_ &c. This
passage is the first in which Shelley has direct recourse, no longer to
the Elegy of Bion for Adonis, but to the Elegy of Moschus for Bion. As
he had spiritualized the impersonations of Bion, so he now spiritualizes
those of Moschus. The Sicilian lyrist gives us (see p. 65) Apollo,
Satyrs, Priapi, Panes, and Fountain-fairies. Shelley gives us Desires,
Adorations, Persuasions, Destinies, Splendours, Glooms, Hopes, Fears,
Phantasies, Sorrow, Sighs, and Pleasure. All these 'lament Adonais'
(stanza 14): they are such emotional or abstract beings as 'he had
loved, and moulded into thought from shape and hue and odour and sweet
sound.' The adjectival epithets are worth noting for their poetic
felicity: winged Persuasions (again hinting at [Greek: epea pteroenta]),
veiled Destinies, glimmering Hopes and Fears, twilight Phantasies.

1. 6. _And Pleasure, blind with tears_, &c. The Rev. Stopford Brooke, in
an eloquent Lecture delivered to the Shelley Society in June, 1889,
dwelt at some length upon the singular mythopoeic gift of the poet.
These two lines are an instance in point, of a very condensed kind.
Pleasure, heart-struck at the death of Adonais, has abrogated her own
nature, and has become blinded with tears; her eyes can therefore serve
no longer to guide her steps. Her smile too is dying, but not yet dead;
it emits a faint gleam which, in default of eyes, serves to distinguish
the path. If one regards this as a mere image, it may be allowed to
approach close to a conceit; but it suggests a series of incidents and
figurative details which may rather count as a compendious myth.

1. 8. _Came in slow pomp:--the moving pomp might seem._ The repetition
of the word 'pomp' gives a certain poverty to the s