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SHELLEY AND KEATS FROM THE LOOKING GLASS OF 鈥楢DONAIS鈥�

When 鈥榯he golden nest of singing birds鈥�, i.e. the Elizabethan period withered and coarse classic rules prevailed, to lift literature from the thorns of classic rules, the wave of Romanticism was revived. The glory of this age is in the poetry of Wordsworth, Coleridge, Keats and Shelley.聽 They all believed in the natural goodness of man, the idea that man in a state of nature would behave well.聽 From this springs out the empathy.聽 The young radical enthusiasts turned to poetry as naturally as a happy man to singing.聽 To deviate from the practical, rough road of prose they took the rustic and grassy road of poetry.聽 The later romantic poets namely Keats, Shelley, Byron, Moore, though were of the same goal, were on different paths.聽 Prominent among them were Shelley and Keats.

Where Shelley finds optimism, prophecy, and a positivistic mood, Keats is in gloom.聽 Though there is much contrast between these, Shelley was of the view that 鈥淜eats is one of the grand pillars of Romantic Mansion鈥�.聽 To Keats, poetry is not at all 鈥渁 criticism of life鈥� but the very child of it.聽 He loathed criticism of anything but sought the eternal beauty.聽 When the bud of Keat鈥檚 life was clipped by the reviewers, Shelley felt the pain, as a natural romantic and 鈥楢donais鈥� came out as his 鈥榯ears鈥�.

After the fashion of Greek Pastoral Elegies, Shelley mourns the untimely death of Adonais or Keats.聽 He invokes the spirit of time and the whole earth to join the mourning. Urania, the mighty mother of all poetry, is also called upon to join the lament for the death of her youngest, most promising child so unexpectedly cut off in his prime.

Since the loss of the blind, old, lonely Milton, sire of an immortal strain, this is the saddest loss English poetry has had to bear.

It is given only to a few to rise to such eminence in peotry, those who try to do so are often struck by the envious wrath of man or 鈥淕od鈥�.聽 But, when an especially promising career, like that of Keats, is cut short so suddenly, lament is both natural and necessary.聽 All this lamentation clearly shows the influence of the Greek models which Shelley was following.聽 (Theocritus, Bion, Moschus).

Various Abstractions, like splendours, Adorationks desires and Winged personalities come to mourn the death of Adonais.

All things that he had loved in Nature also join the lament, Mourning, the pale of Ocean, the wild winds and even echo [Literature in particular 鈥淧oetry鈥漖.聽 Spring and Autumn and Nightingale join the band of mourners. The poet鈥檚 personal grief for the death of Adonais is contrasted with the coming of spring in Italy. Spring comes to life from year to year, but not to the dead.聽 What is, then, the source of life and its goal?.聽 Shelley thus falls into spirituality that was brought upon him by the death of Keats.

Grief now becomes all the keener on this account and a fresh outburst of grief follows.聽 Incidentally, Shelley laments the evil days on which poetry had fallen in his own times, in England.聽 Urania鈥檚 lament follows and she condemns the Reviewers whose hatred had brought it about. The Mountain shepherds, i.e., Byron, Leigh Hunt, Moore and lastly Shelley himself come to pay their last tribute to the dead. [A Phantom among men].

The vile Reviewer is again condemned for his crime. The pagan idea of death, which is the theme of the poem so far, is now discarded in favour of the Pantheistic idea.

He is not dead, he lives.聽 The Christian doctrine of personal survival after the death of the body is now subtly introduced.聽 Keat鈥檚 soul has now become an all-pervading influence for good throughout Nature. He is now a star and occupies a sphere like Chaucer, Chatterton, Sidney and Lucas, the inheritors of unfulfilled renown.

The Reviewer is finally asked to visit the Protestant Cemetery, where the remains of Keats were buried, and pay homage to the poet whom he had wronged.

All in all, Shelley thus glorifies the greatness of the Poet of Beauty, Keats, in his grief towards the irrecoverable loss.tc "SHELLEY AND KEATS From the looking glass of 鈥楢donais鈥�"