ld repose':
but the repose is not necessarily extinction.

+Stanza 21,+ 11. 1, 2. _Alas that all we loved of him should be, But for
our grief, as if it had not been._ 'All we loved of him' must be the
mind and character--the mental and personal endowments--of Adonais: his
bodily frame is little or not at all in question here. By these lines
therefore Shelley seems to intimate that the mind or soul of Adonais is
indeed now and for ever extinct: it lives no longer save in the grief of
the survivors. But it does not follow that this is a final expression of
Shelley's conviction on the subject: the passage should be read as in
context with the whole poem.

11. 5, 6. _Great and mean Meet massed in death, who lends what life must
borrow._ The meaning of the last words is far from clear to me. I think
Shelley may intend to say that, in this our mortal state, death is the
solid and permanent fact; it is rather a world of death than of life.
The phenomena of life are but like a transitory loan from the great
emporium, death. Shelley no doubt wanted a rhyme for 'morrow' and
'sorrow': he has made use of 'borrow' in a compact but not perspicuous
phrase.

+Stanza 22,+ 1. 2. _'Wake thou,' cried Misery, 'childless mother!'_
We here return to Urania, of whom we had last heard in st. 6. See
the passage translated by Shelley from Bion (p. 63), 'Sleep no
more, Venus:... 'tis Misery calls,' &c.; but here the phrase,
''Tis Misery calls,' is Shelley's own. He more than once introduces
Misery (in the sense of Unhappiness, Tribulation) as an
emblematic personage. There is his lyric named _Misery_, written
in 1818, which begins--

'Come, be happy,--sit by me,
Shadow-vested Misery:
Coy, unwilling, silent bride,
Mourning in thy robe of pride,
Desolation deified.'

There is also the briefer lyric named _Death_, 1817, which begins--

'They die--the dead return not. Misery
Sits near an open grave, and calls them over,
A youth with hoary hair and haggard eye.'

11. 3, 4. _'Slake in thy hearts core A wound--more fierce than his, with
tears and sighs.'_ Construe: Slake with tears and sighs a wound in thy
heart's core--a wound more fierce than his.' See (p. 101) the remarks,
apposite to st. 4, upon the use of inversion by Shelley.

1. 5. _All the Dreams that watched Urania's eyes._ We had not hitherto
heard of 'Dreams' in connexion with Urania, but only in connexion with
Adonais himself. These 'Dreams that watched Urania's eyes' appear to