1. 3. _The Pilgrim of Eternity._ This is Lord Byron. As inventor of the personage Childe Harold, the hero and so-called 'Pilgrim' of the poem _Childe Harold's Pilgrimage_, and as being himself to a great extent identical with his hero, Byron was frequently termed 'the Pilgrim.' Shelley adopts this designation, which he magnifies into 'the Pilgrim of Eternity,' He admired Byron most enthusiastically as a poet, and was generally on easy--sometimes on cordial--terms with him as a man. He has left us a fine and discriminating portrait of Byron in the 'Count Maddalo' of his poem _Julian and Maddalo_, written in 1818. At times however Shelley felt and expressed great indignation against Byron, especially in reference to the ungenerous and cruel conduct of the latter towards Miss Clairmont. See some brief reference to this matter at p. 9. 11. 3-5. _Whose fame Over his living head like heaven is bent, An early but enduring monument._ These phrases are not very definite. When fame is spoken of as being bent over Byron's head, we must conceive of fame as taking a form cognizable by the senses. I think Shelley means to assimilate it to the rainbow; saying substantially--Fame is like an arc bent over Byron's head, as the arc of the rainbow is bent over the expanse of heaven. The ensuing term 'monument' applies rather to fame in the abstract than to any image of fame as an arc. 11. 6, 7. _Came, veiling all the lightnings of his song In sorrow._ No doubt it would have been satisfactory to Shelley if he could have found that Byron entertained or expressed any serious concern at Keats's premature death, and at the hard measure which had been meted out to him by critics. Byron did in fact admire _Hyperion_; writing (in November 1821, not long after the publication of _Adonais_)--'His fragment of _Hyperion_ seems actually inspired by the Titans, and is as sublime as Aeschylus'; and other utterances of his show that--being with difficulty persuaded to suppose that Keats's health and life had succumbed to the attack in the _Quarterly_--he fittingly censured the want of feeling or want of reflection on the critic's part which had produced so deplorable a result. But on the whole Byron's feeling towards Keats was one of savage contempt during the young poet's life, and of bantering levity after his death. Here are some specimens. (From a letter to Mr. Murray, 12 October, 1820). 'There is such a trash of Keats and the like upon my tables that I am ashamed to look at them.... No more Keats, I entreat. Flay him alive: if some of you don't, I must skin him myself. There is no bearing the drivelling idiotism of the manikin.' '"Who killed John Keats?" "I," says the Quarterly, So savage and Tartarly; "'Twas one of my feats."'