Adonais: An Elegy on the Death of John Keats, Author of Endymion, Hyperion, etc. (/ˌædoʊˈneɪ.ɪs/) is a pastoralelegy written by Percy Bysshe Shelley for John Keats in 1821, and widely regarded as one of Shelley's best and most well-known works.
The poem, which is in 495 lines in 55 Spenserian stanzas, was composed in the spring of 1821 immediately after 11 April, when Shelley heard of Keats' death (seven weeks earlier). It is a pastoral elegy, in the English tradition of John Milton's Lycidas. Shelley had studied and translated classical elegies.
It was published by Charles Ollier in July 1821 (see 1821 in poetry) with a preface in which Shelley made the mistaken assertion that Keats had died from a rupture of the lung induced by rage at the unfairly harsh reviews of his verse in the Quarterly Review and other journals.
The English Protestant Cemetery in Rome
Adonais
II(2)
Where wert thou, mighty Mother, when he lay,
When thy Son lay, pierc'd by the shaft which flies
In darkness?(the ananymity of the review of Endymion) where was lorn(forlorn)Urania(She had originally been the Muse of astronomy, but the name was also an epithet for Venus. Shelley converts Venus Urania into the mother of Adonais)
When Adonais died? With veiled eyes,
'Mid listening Echoes, in her Paradise
She sate, while one, with soft enamour'd breath,
Rekindled all the fading melodies,
With which, like flowers that mock the corse(corpse)beneath,
He had adorn'd and hid the coming bulk(A heap, or a dead body, carcase) of Death.
XXI(21)
Alas! that all we lov'd of him should be,
But for our grief, as if it had not been,
And grief itself be mortal! Woe is me!
Whence are we, and why are we? of what scene
The actors or spectators? Great and mean(low)
Meet mass'd in death, who lends what life must borrow.
As long as skies are blue, and fields are green,
Evening must usher night, night urge the morrow,
Month follow month with woe, and year wake year to sorrow.
XXXIV(34)
All stood aloof, and at his partial moan
Smil'd through their tears; well knew that gentle band
Who in another's fate now wept his own,
As in the accents of an unknown land
He sung new sorrow; sad Urania scann'd
The Stranger's mien, and murmur'd: "Who art thou?"
He answer'd not, but with a sudden hand
Made bare his branded and ensanguin'd(bloodied) brow,
Which was like Cain's or Christ's(like that which God had branded Cani for murdering Abel-or like that left by Christ's crown of thorns)—oh! that it should be so!
XXXIX(39)
Peace, peace! he is not dead, he doth not sleep,
He hath awaken'd from the dream of life;
'Tis we, who lost in stormy visions, keep
With phantoms an unprofitable strife,
And in mad trance, strike with our spirit's knife
Invulnerable nothings. We decay
Like corpses in a charnel; fear and grief
Convulse us and consume us day by day,
And cold hopes swarm like worms within our living clay.
"On July 3, 1969, two days before the Rolling Stones were to headline a free music festival in Hyde Park, their former guitarist Brian Jones drowned in his swimming pool. What was supposed to have been a party became, instead, a memorial. About half a million people saw the Stones perform. Before they played, Jagger read out Shelley's poem Adonais, and 3,500 white butterflies were released..." from The Times Magazine
Until Death tramples it to fragments.(Earthly life colors["stains"] the pure white light of the One, which is the source of all light. The azure sky, flower, etc., exemplify earthly colors that, however beautiful, fall far short of the "glory" of the pure Light that they transmit but also refract["transfuse"])—Die, If thou wouldst be with that which thou dost seek!
Follow where all is fled!—Rome's azure sky,
Flowers, ruins, statues, music, words, are weak
The glory they transfuse with fitting truth to speak.
LV(55)
The breath whose might I have invok'd in song
Descends on me; my spirit's bark is driven,
Far from the shore, far from the trembling throng
Whose sails were never to the tempest given;
The massy earth and sphered skies are riven!
I am borne darkly, fearfully, afar;(Mary Shelley in 1839 asked: "Who but will regard as a prophecy the last stanza of the 'Adonais'?")
Whilst, burning through the inmost veil of Heaven,
The soul of Adonais, like a star,
Beacons from the abode where the Eternal are.
Examples of Another Elegy
오든(W. H. Auden), “장례식 블루스”
Funeral Blues
장례식 블루스
Stop all the clocks, cut off the telephone,
Prevent the dog from barking with the juicy bone.
Silence the pianos and, with muffled drum,
Bring out the coffin. Let the mourners come.
시계를 모두 멈춰라. 전화선도 끊어 버려라.
육즙이 가득한 뼈를 물고 있는 저 강아지도 못 짖게 하라.
피아노 소리도 죽이고, 숨죽인 북소리와 함께
관을 내오라. 조문객을 들이라.
Let aeroplanes circle moaning overhead
Scribbling in the sky the message: “He is dead!”
Put crepe bows around the white necks of the public doves.
Let the traffic policemen wear black cotton gloves.
비행기가 흐느끼며 상공을 맴돌게 하라
그러면서 하늘에 이렇게 쓰게 하라. “그가 죽었다!”
공원에 있는 비둘기의 하얀 목덜미에도 상장(喪章)을 매라.
거리의 교통순경들도 검은 색 목장갑을 끼라고 해라.
He was my north, my south, my east and west,
My working week and Sunday rest,
My noon, my midnight, my talk, my song.
I thought that love would last forever; I was wrong.
그는 나의 북쪽과 남쪽, 나의 동쪽과 서쪽이었다.
나의 일하는 평일의 나날이었고, 일요일의 안식이었다.
나의 정오였고, 나의 자정이었고, 나의 이야기, 나의 노래였다.
나는 사랑이 영원할 줄 알았다. 내가 틀렸다.
The stars are not wanted now; put out every one.
Pack up the moon and dismantle the sun.
Pour away the ocean and sweep up the wood.
For nothing now can come to any good.
별도 이젠 다 필요없다. 별빛 따윈 다 꺼버려라.
달도 가리고, 해도 치워라.
바닷물도 다 따라 버리고, 숲도 모두 밀어버려라.
이젠 아무 것도 아무 소용이 없으니까.
Auden의 또 다른 Elegy
In Memory of W. B. Yeats
by W. H. Auden
I
He disappeared in the dead of winter:
The brooks were frozen, the airports almost deserted,
And snow disfigured the public statues;
The mercury sank in the mouth of the dying day.
What instruments we have agree
The day of his death was a dark cold day.
그는 죽음 같은 겨울날 사라졌다.
개울은 얼었고,공항엔 인적이 끊겼으며,
눈 내린 동상들은 제 모습을 잃었다.
새벽별은 머물어가는 하루의 입구에서 가라앉았다.
어떤 기구로 재든 상관없이
그가 죽은 날은 어둡고 추운 날이었다.
Far from his illness
The wolves ran on through the evergreen forests,
The peasant river was untempted by the fashionable quays;
By mourning tongues
The death of the poet was kept from his poems.
그의 병에는 아랑곳없이
늑대들은 푸르른 숲속을 여전히 뛰어다녔고,
농촌의 강물은 맵시있는 선창가를 무심하게 지나쳤으며,
그의 시는 시인의 죽음을 알지 못했다.
But for him it was his last afternoon as himself,
An afternoon of nurses and rumours;
The provinces of his body revolted,
The squares of his mind were empty,
Silence invaded the suburbs,
The current of his feeling failed; he became his admirers.
그러나 그에게는 그때가 정신이 있었던 마지막 오후였고,
간호원들이 뛰어다니고 소문이 흉흉했던 그런 오후였다.
그의 몸은 구역마다 반란을 일으켰고
그의 마음의 광장들은 텅 비었었다.
그 주변부도 침묵으로 뒤덮이고,
그의 감정의 강물은 뚝 끊겼다.그렇게 그는 그의 숭배자가 되었다.
Now he is scattered among a hundred cities
And wholly given over to unfamiliar affections,
To find his happiness in another kind of wood
And be punished under a foreign code of conscience.
The words of a dead man
Are modified in the guts of the living.
이제 그는 수백의 도시들에 뿌려졌고,
익숙치않은 애정에 완전히 바쳐졌다.
또 다른 숲에서 행복을 찾거나
낯선 양심의 규약에 따라 처벌받도록.
죽은 자의 말들은
산 자의 뱃속에서 변형되기 마련이니까.
But in the importance and noise of to-morrow
When the brokers are roaring like beasts on the floor of the Bourse,
And the poor have the sufferings to which they are fairly accustomed,
And each in the cell of himself is almost convinced of his freedom,
A few thousand will think of this day
As one thinks of a day when one did something slightly unusual.
그러나 내일의 중요성과 떠들썩함 속에서,
거간꾼들이 증권거래소의 바닥에 서서 짐승처럼 고함치고 있을 때,
그리고 가난한 자들이 이제는 익숙해진 고통을 참아내고 있을 때,
그리고 그 모두가 각각 자신의 방안에서 자신의 자유를 거의 확신하고 있을 때,
몇 천 명쯤은 그날을 조금 색다른 날,
다소 이례적인 일을 했던,그런 날로 생각하게 될 것이다.
What instruments we have agree
The day of his death was a dark cold day.
어떤 기구로 재든 상관없이
그가 죽은 날은 어둡고 추운 날이었다.
II
You were silly like us; your gift survived it all:
The parish of rich women, physical decay,
Yourself. Mad Ireland hurt you into poetry.
Now Ireland has her madness and her weather still,
For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
Adonais: An Elegy on the Death of John Keats, Author of Endymion, Hyperion, etc. (/ˌædoʊˈneɪ.ɪs/) is a pastoralelegy written by Percy Bysshe Shelley for John Keats in 1821, and widely regarded as one of Shelley's best and most well-known works.
The poem, which is in 495 lines in 55 Spenserian stanzas, was composed in the spring of 1821 immediately after 11 April, when Shelley heard of Keats' death (seven weeks earlier). It is a pastoral elegy, in the English tradition of John Milton's Lycidas. Shelley had studied and translated classical elegies.
It was published by Charles Ollier in July 1821 (see 1821 in poetry) with a preface in which Shelley made the mistaken assertion that Keats had died from a rupture of the lung induced by rage at the unfairly harsh reviews of his verse in the Quarterly Review and other journals.
The English Protestant Cemetery in Rome
Adonais
II(2)
Where wert thou, mighty Mother, when he lay,
When thy Son lay, pierc'd by the shaft which flies
In darkness?(the ananymity of the review of Endymion) where was lorn(forlorn)Urania(She had originally been the Muse of astronomy, but the name was also an epithet for Venus. Shelley converts Venus Urania into the mother of Adonais)
When Adonais died? With veiled eyes,
'Mid listening Echoes, in her Paradise
She sate, while one, with soft enamour'd breath,
Rekindled all the fading melodies,
With which, like flowers that mock the corse(corpse)beneath,
He had adorn'd and hid the coming bulk(A heap, or a dead body, carcase) of Death.
XXI(21)
Alas! that all we lov'd of him should be,
But for our grief, as if it had not been,
And grief itself be mortal! Woe is me!
Whence are we, and why are we? of what scene
The actors or spectators? Great and mean(low)
Meet mass'd in death, who lends what life must borrow.
As long as skies are blue, and fields are green,
Evening must usher night, night urge the morrow,
Month follow month with woe, and year wake year to sorrow.
XXXIV(34)
All stood aloof, and at his partial moan
Smil'd through their tears; well knew that gentle band
Who in another's fate now wept his own,
As in the accents of an unknown land
He sung new sorrow; sad Urania scann'd
The Stranger's mien, and murmur'd: "Who art thou?"
He answer'd not, but with a sudden hand
Made bare his branded and ensanguin'd(bloodied) brow,
Which was like Cain's or Christ's(like that which God had branded Cani for murdering Abel-or like that left by Christ's crown of thorns)—oh! that it should be so!
XXXIX(39)
Peace, peace! he is not dead, he doth not sleep,
He hath awaken'd from the dream of life;
'Tis we, who lost in stormy visions, keep
With phantoms an unprofitable strife,
And in mad trance, strike with our spirit's knife
Invulnerable nothings. We decay
Like corpses in a charnel; fear and grief
Convulse us and consume us day by day,
And cold hopes swarm like worms within our living clay.
"On July 3, 1969, two days before the Rolling Stones were to headline a free music festival in Hyde Park, their former guitarist Brian Jones drowned in his swimming pool. What was supposed to have been a party became, instead, a memorial. About half a million people saw the Stones perform. Before they played, Jagger read out Shelley's poem Adonais, and 3,500 white butterflies were released..." from The Times Magazine
Until Death tramples it to fragments.(Earthly life colors["stains"] the pure white light of the One, which is the source of all light. The azure sky, flower, etc., exemplify earthly colors that, however beautiful, fall far short of the "glory" of the pure Light that they transmit but also refract["transfuse"])—Die, If thou wouldst be with that which thou dost seek!
Follow where all is fled!—Rome's azure sky,
Flowers, ruins, statues, music, words, are weak
The glory they transfuse with fitting truth to speak.
LV(55)
The breath whose might I have invok'd in song
Descends on me; my spirit's bark is driven,
Far from the shore, far from the trembling throng
Whose sails were never to the tempest given;
The massy earth and sphered skies are riven!
I am borne darkly, fearfully, afar;(Mary Shelley in 1839 asked: "Who but will regard as a prophecy the last stanza of the 'Adonais'?")
Whilst, burning through the inmost veil of Heaven,
The soul of Adonais, like a star,
Beacons from the abode where the Eternal are.
Examples of Another Elegy
오든(W. H. Auden), “장례식 블루스”
Funeral Blues
장례식 블루스
Stop all the clocks, cut off the telephone,
Prevent the dog from barking with the juicy bone.
Silence the pianos and, with muffled drum,
Bring out the coffin. Let the mourners come.
시계를 모두 멈춰라. 전화선도 끊어 버려라.
육즙이 가득한 뼈를 물고 있는 저 강아지도 못 짖게 하라.
피아노 소리도 죽이고, 숨죽인 북소리와 함께
관을 내오라. 조문객을 들이라.
Let aeroplanes circle moaning overhead
Scribbling in the sky the message: “He is dead!”
Put crepe bows around the white necks of the public doves.
Let the traffic policemen wear black cotton gloves.
비행기가 흐느끼며 상공을 맴돌게 하라
그러면서 하늘에 이렇게 쓰게 하라. “그가 죽었다!”
공원에 있는 비둘기의 하얀 목덜미에도 상장(喪章)을 매라.
거리의 교통순경들도 검은 색 목장갑을 끼라고 해라.
He was my north, my south, my east and west,
My working week and Sunday rest,
My noon, my midnight, my talk, my song.
I thought that love would last forever; I was wrong.
그는 나의 북쪽과 남쪽, 나의 동쪽과 서쪽이었다.
나의 일하는 평일의 나날이었고, 일요일의 안식이었다.
나의 정오였고, 나의 자정이었고, 나의 이야기, 나의 노래였다.
나는 사랑이 영원할 줄 알았다. 내가 틀렸다.
The stars are not wanted now; put out every one.
Pack up the moon and dismantle the sun.
Pour away the ocean and sweep up the wood.
For nothing now can come to any good.
별도 이젠 다 필요없다. 별빛 따윈 다 꺼버려라.
달도 가리고, 해도 치워라.
바닷물도 다 따라 버리고, 숲도 모두 밀어버려라.
이젠 아무 것도 아무 소용이 없으니까.
Auden의 또 다른 Elegy
In Memory of W. B. Yeats
by W. H. Auden
I
He disappeared in the dead of winter:
The brooks were frozen, the airports almost deserted,
And snow disfigured the public statues;
The mercury sank in the mouth of the dying day.
What instruments we have agree
The day of his death was a dark cold day.
그는 죽음 같은 겨울날 사라졌다.
개울은 얼었고,공항엔 인적이 끊겼으며,
눈 내린 동상들은 제 모습을 잃었다.
새벽별은 머물어가는 하루의 입구에서 가라앉았다.
어떤 기구로 재든 상관없이
그가 죽은 날은 어둡고 추운 날이었다.
Far from his illness
The wolves ran on through the evergreen forests,
The peasant river was untempted by the fashionable quays;
By mourning tongues
The death of the poet was kept from his poems.
그의 병에는 아랑곳없이
늑대들은 푸르른 숲속을 여전히 뛰어다녔고,
농촌의 강물은 맵시있는 선창가를 무심하게 지나쳤으며,
그의 시는 시인의 죽음을 알지 못했다.
But for him it was his last afternoon as himself,
An afternoon of nurses and rumours;
The provinces of his body revolted,
The squares of his mind were empty,
Silence invaded the suburbs,
The current of his feeling failed; he became his admirers.
그러나 그에게는 그때가 정신이 있었던 마지막 오후였고,
간호원들이 뛰어다니고 소문이 흉흉했던 그런 오후였다.
그의 몸은 구역마다 반란을 일으켰고
그의 마음의 광장들은 텅 비었었다.
그 주변부도 침묵으로 뒤덮이고,
그의 감정의 강물은 뚝 끊겼다.그렇게 그는 그의 숭배자가 되었다.
Now he is scattered among a hundred cities
And wholly given over to unfamiliar affections,
To find his happiness in another kind of wood
And be punished under a foreign code of conscience.
The words of a dead man
Are modified in the guts of the living.
이제 그는 수백의 도시들에 뿌려졌고,
익숙치않은 애정에 완전히 바쳐졌다.
또 다른 숲에서 행복을 찾거나
낯선 양심의 규약에 따라 처벌받도록.
죽은 자의 말들은
산 자의 뱃속에서 변형되기 마련이니까.
But in the importance and noise of to-morrow
When the brokers are roaring like beasts on the floor of the Bourse,
And the poor have the sufferings to which they are fairly accustomed,
And each in the cell of himself is almost convinced of his freedom,
A few thousand will think of this day
As one thinks of a day when one did something slightly unusual.
그러나 내일의 중요성과 떠들썩함 속에서,
거간꾼들이 증권거래소의 바닥에 서서 짐승처럼 고함치고 있을 때,
그리고 가난한 자들이 이제는 익숙해진 고통을 참아내고 있을 때,
그리고 그 모두가 각각 자신의 방안에서 자신의 자유를 거의 확신하고 있을 때,
몇 천 명쯤은 그날을 조금 색다른 날,
다소 이례적인 일을 했던,그런 날로 생각하게 될 것이다.
What instruments we have agree
The day of his death was a dark cold day.
어떤 기구로 재든 상관없이
그가 죽은 날은 어둡고 추운 날이었다.
II
You were silly like us; your gift survived it all:
The parish of rich women, physical decay,
Yourself. Mad Ireland hurt you into poetry.
Now Ireland has her madness and her weather still,
For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
