This poem observes that we, "in mad trance, strike with our spirit's knife / Invulnerable nothings.
This poem observes that we, "in mad trance, strike with our spirit's knife / Invulnerable nothings." This poem scandalized religious audiences with a stanza in which "The Stranger," a stand-in for the poet, "Made bare his branded and ensanguined brow, / Which was like Cain's or Christ's." The speaker of this poem asks that the "curse of Cain / Light on his head who pierced thy innocent breast," a reference to the anonymous critic who had skewered its subject in the Quarterly Review. This poem offers a "Fond wretch" a chance either to "come forth… and know thyself and him aright," or to "go ... to (*) Rome - at once the Paradise, / The grave, the city, and the wilderness." The speaker of this poem commands: "Most musical of mourners, weep again!" and asks the muse Urania to "Lament anew." Its fifty-fifth and final stanza observes that the soul of its subject, "like a star, / Beacons from the abode where the eternal are." For 10 points, name this pastoral elegy for John Keats, written by Percy Bysshe Shelley.
This poem observes that we, "in mad trance, strike with our spirit's knife / Invulnerable nothings.
“Adonais” [or, if you insist on being That Guy, “Adonaïs: An Elegy on the Death of John Keats, Author of Endymion, Hyperion, etc.”]