1. 4. _With veiled eyes_, &c. Urania is represented as seated in her paradise (pleasure-ground, garden-bower), with veiled eyes-- downward-lidded, as in slumber: an Echo chaunts or recites the 'melodies,' or poems, which Adonais had composed while Death was rapidly advancing towards him: Urania is surrounded by other Echoes, who hearken, and repeat the strain. A hostile reviewer might have been expected to indulge in one of the most familiar of cheap jokes, and to say that Urania had naturally fallen asleep over Keats's poems: but I am not aware that any critic of _Adonais_ did actually say this. The phrase, 'one with soft enamoured breath,' means 'one of the Echoes'; this is shown in stanza 22, 'all the Echoes whom _their sister's song_.' +Stanza 3,+ 11. 6, 7. _For he is gone where all things wise and fair Descend._ Founded on Bion (p. 64), 'Persephone,... all lovely things drift down to thee.' 1. 7, _The amorous deep._ The depth of earth, or region of the dead; amorous, because, having once obtained possession of Adonais, it retains him in a close embrace, and will not restore him to the land of the living. This passage has a certain analogy to that of Bion (p. 65), 'Not that he is loth to hear, but that the maiden of Hades will not let him go.' +Stanza 4,+ 1. 1. _Most musical of mourners._ This phrase, applying to Urania, is one of those which might seem to favour the assumption that the deity here spoken of is the Muse Urania, and not Aphrodite Urania, But on this point see pp. 50 to 52. 1. 1. _Weep again._ The poem seems to indicate that Urania, slumbering, is not yet aware of the death of Adonais. Therefore she cannot as yet have wept for his death: but she may have wept in anticipation that he would shortly die, and thus can be now adjured to 'weep _again_.' (See also p. 143.) 1. 2. _He died._ Milton. 1. 4. _When his country's pride,_ &c. Construe: When the priest, the slave, and the liberticide, trampled his country's pride, and mocked [it] with many a loathèd rite of lust and blood. This of course refers to the condition of public affairs and of court-life in the reign of Charles II. The inversion in this passage is not a very serious one, although, for the sense, slightly embarrassing. Occasionally Shelley conceded to himself great latitude in inversion: as for instance in the _Revolt of Islam_, canto 3, st. 34, 'And the swift boat the little waves which bore Were cut by its keen keel, though slantingly,' which means 'And the little waves, which bore the swift boat, were cut,' &c.; also in the _Ode to Naples_, strophe 4, 'Florence, beneath the sun, Of cities fairest one, Blushes within her bower for Freedom's expectation.'