ne which knows Be as a sword consumed before
the sheath By sightless lightning?'

+Stanzas 4. to 6+--(I add here a note out of its due place, which would
be on p. 101: at the time when it occurred to me to raise this point,
the printing had gone too far to allow of my inserting the remark
there.)--On considering these three stanzas collectively, it may perhaps
be felt that the references to Milton and to Keats are more advisedly
interdependent than my notes on the details of the stanzas suggest.
Shelley may have wished to indicate a certain affinity between the
inspiration of Milton as the poet of _Paradise Lost_, and that of Keats
as the poet of _Hyperion_. Urania had had to bewail the death of Milton,
who died old when 'the priest, the slave, and the liberticide,' outraged
England. Now she has to bewail the death of her latest-born, Keats, who
has died young, and (as Shelley thought) in a similarly disastrous
condition of the national affairs. Had he not been 'struck by the
envious wrath of man,' he might even have 'dared to climb' to the
'bright station' occupied by Milton.--The phrase in st. 4, 'Most musical
of mourners, weep again,' with what follows regarding grief for the loss
of Milton, and again of Keats, is modelled upon the passage in Moschus
(p. 65)--'This, O most musical of rivers, is thy second sorrow,--this,
Meles, thy new woe. Of old didst thou love Homer:... now again another
son thou weepest.' My remark upon st. 13, that there Shelley first had
direct recourse to the Elegy of Moschus, should be modified accordingly.

_Cancelled Passages of Adonais, Preface._ These are taken from Dr.
Garnett's _Relics of Shelley_, published in 1862. He says: 'Among
Shelley's MSS. is a fair copy of the _Defence of Poetry_, apparently
damaged by sea-water, and illegible in many places. Being prepared for
the printer, it is written on one side of the paper only: on the blank
pages, but frequently undecipherable for the reason just indicated, are
many passages intended for, but eventually omitted from, the preface to
_Adonais_.'

_I have employed my poetical compositions and publications simply as the
instruments of that sympathy between myself and others which the ardent
and unbounded love I cherished for my kind incited me to acquire._ This
is an important indication of the spirit in which Shelley wrote, and
consequently of that in which his reader should construe his writings.
He poured out his full heart, craving