+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 be dreams in the more obvious sense of that word-visions which had haunted the slumbers of Urania. 1. 8. _Swift as a thought by the snake memory stung._ The context suggests that the 'thought' here in question is a grievous thought, and the term 'the snake memory' conveys therefore a corresponding impression of pain. Shelley however had not the usual feeling of repulsion or abhorrence for snakes and serpents. Various passages could be cited to prove this; more especially Canto 1 of _The Revolt of Islam,_ where the Spirit of Good is figured under the form of a serpent. 1. 9. _Front her ambrosial rest the fading Splendour sprung._ Urania. She is in her own nature a splendour, or celestial deity: at the present moment her brightness is 'fading,' as being overcast by sorrow and dismay. 'Her ambrosial rest' does not appear to signify anything more precise than 'her rest, proper to an immortal being.' The forms 'sprung, sung,' &c. are constantly used by Shelley instead of 'sprang, sang,' &c. +Stanza 23,+ 1. 5. _Had left the Earth a corpse._ Shelley, in this quasi-Greek poem, takes no count of the fact that the sun, when it ceases to illumine one part of the earth, is shining upon another part. He treats the unillumined part as if it were the whole earth--which has hereby become 'a corpse.'