Yet it is only when Shelley frees himself from the influence of his models, that he soars aloft on mighty wing.

This point, too, is the point of transition from death, sorrow, and the past to immortality, joy, and the rapture of the things that cannot pass away.

The first and second portions of the poem are, at the same time, thoroughly concordant, and the passage from the one to the other is natural.

Two quotations from "Adonais" will suffice to show the power and sweetness of its verse.
The first is a description of Shelley himself following Byron and Moore--the "Pilgrim of Eternity," and Ierne's "sweetest lyrist of her saddest wrong"-- to the couch where Keats lies dead.

There is both pathos and unconscious irony in his making these two poets the chief mourners, when we remember what Byron wrote about Keats in "Don Juan", and what Moore afterwards recorded of Shelley; and when we think, moreover, how far both Keats and Shelley have outsoared Moore, and disputed with Byron his supreme place in the heaven of poetry.
Midst others of less note, came one frail Form, A phantom among men, companionless As the last cloud of an expiring storm, Whose thunder is its knell.