Percey Bysshe Shelley – Adonais (1821)

Šelijev Adonais proglašen je jednom od najvećih engleskih elegija. Posvećen je smrti Džona Kitsa (John Keats, 1795. – 1821.), jednom od legendarnih engleskih, rano preminulih pesnika (poput samog Šelija (1792. – 1822.), koji je takođe otišao mlad, tragičnom smrću samo godinu dana nakon Kitsa).Engleski romantičarski pesnik, Džon Kits, bio je jedan od najvećih umetnika među mlađim stvaraocima svog vremena. Prefinjeni esteta, istovremeno je izražavao duboke misli o suštini umetnosti i o značaju lepote za čoveka. Svojim radom uticao je na obnavljanje stvarnog helenskog duha u evropskoj poeziji. Zajedno sa nemačkim pesnikom tog doba – Helderlinom, Džon Kits predstavlja obnovu stvarnog helenskog duha u evropskoj poeziji, koja je ranije, za vreme klasicizma, bila oslonjena na latinsku antičku književnost. Karakterisao ga je bogat izbor reči i senzualna slikovitost. Umetnost je, u svim svojim vidovima, za Kitsa lično značila nalaženje lepote i stvarnih vrednosti koje se uzdižu iznad ružne i mučne svakodnevnice. To je za njega bila nasušna potreba, kojoj je intenzivno, u poslednjim godinama života strasno služio. Preminuo je u Rimu, 1821. godine od posledica tuberkuloze…


I weep for Adonais—he is dead!
Oh, weep for Adonais! though our tears
Thaw not the frost which binds so dear a head!
And thou, sad Hour, selected from all years
To mourn our loss, rouse thy obscure compeers,
And teach them thine own sorrow, say: “With me
Died Adonais; till the Future dares
Forget the Past, his fate and fame shall be
An echo and a light unto eternity!”


Where wert thou, mighty Mother, when he lay,
When thy Son lay, pierc’d by the shaft which flies
In darkness? where was lorn Urania
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 beneath,
He had adorn’d and hid the coming bulk of Death.


Oh, weep for Adonais—he is dead!
Wake, melancholy Mother, wake and weep!
Yet wherefore? Quench within their burning bed
Thy fiery tears, and let thy loud heart keep
Like his, a mute and uncomplaining sleep;
For he is gone, where all things wise and fair
Descend—oh, dream not that the amorous Deep
Will yet restore him to the vital air;
Death feeds on his mute voice, and laughs at our despair.


Most musical of mourners, weep again!
Lament anew, Urania! He died,
Who was the Sire of an immortal strain,
Blind, old and lonely, when his country’s pride,
The priest, the slave and the liberticide,
Trampled and mock’d with many a loathed rite
Of lust and blood; he went, unterrified,
Into the gulf of death; but his clear Sprite
Yet reigns o’er earth; the third among the sons of light.


Most musical of mourners, weep anew!
Not all to that bright station dar’d to climb;
And happier they their happiness who knew,
Whose tapers yet burn through that night of time
In which suns perish’d; others more sublime,
Struck by the envious wrath of man or god,
Have sunk, extinct in their refulgent prime;
And some yet live, treading the thorny road,
Which leads, through toil and hate, to Fame’s serene abode.


But now, thy youngest, dearest one, has perish’d,
The nursling of thy widowhood, who grew,
Like a pale flower by some sad maiden cherish’d,
And fed with true-love tears, instead of dew;
Most musical of mourners, weep anew!
Thy extreme hope, the loveliest and the last,
The bloom, whose petals nipp’d before they blew
Died on the promise of the fruit, is waste;
The broken lily lies—the storm is overpast.


To that high Capital, where kingly Death
Keeps his pale court in beauty and decay,
He came; and bought, with price of purest breath,
A grave among the eternal.—Come away!
Haste, while the vault of blue Italian day
Is yet his fitting charnel-roof! while still
He lies, as if in dewy sleep he lay;
Awake him not! surely he takes his fill
Of deep and liquid rest, forgetful of all ill.


He will awake no more, oh, never more!
Within the twilight chamber spreads apace
The shadow of white Death, and at the door
Invisible Corruption waits to trace
His extreme way to her dim dwelling-place;
The eternal Hunger sits, but pity and awe
Soothe her pale rage, nor dares she to deface
So fair a prey, till darkness and the law
Of change shall o’er his sleep the mortal curtain draw.


Oh, weep for Adonais! The quick Dreams,
The passion-winged Ministers of thought,
Who were his flocks, whom near the living streams
Of his young spirit he fed, and whom he taught
The love which was its music, wander not—
Wander no more, from kindling brain to brain,
But droop there, whence they sprung; and mourn their lot
Round the cold heart, where, after their sweet pain,
They ne’er will gather strength, or find a home again.


And one with trembling hands clasps his cold head,
And fans him with her moonlight wings, and cries,
“Our love, our hope, our sorrow, is not dead;
See, on the silken fringe of his faint eyes,
Like dew upon a sleeping flower, there lies
A tear some Dream has loosen’d from his brain.”
Lost Angel of a ruin’d Paradise!
She knew not ’twas her own; as with no stain
She faded, like a cloud which had outwept its rain.


One from a lucid urn of starry dew
Wash’d his light limbs as if embalming them;
Another clipp’d her profuse locks, and threw
The wreath upon him, like an anadem,
Which frozen tears instead of pearls begem;
Another in her wilful grief would break
Her bow and winged reeds, as if to stem
A greater loss with one which was more weak;
And dull the barbed fire against his frozen cheek.


Another Splendour on his mouth alit,
That mouth, whence it was wont to draw the breath
Which gave it strength to pierce the guarded wit,
And pass into the panting heart beneath
With lightning and with music: the damp death
Quench’d its caress upon his icy lips;
And, as a dying meteor stains a wreath
Of moonlight vapour, which the cold night clips,
It flush’d through his pale limbs, and pass’d to its eclipse.


And others came . . . Desires and Adorations,
Winged Persuasions and veil’d Destinies,
Splendours, and Glooms, and glimmering Incarnations
Of hopes and fears, and twilight Phantasies;
And Sorrow, with her family of Sighs,
And Pleasure, blind with tears, led by the gleam
Of her own dying smile instead of eyes,
Came in slow pomp; the moving pomp might seem
Like pageantry of mist on an autumnal stream.


All he had lov’d, and moulded into thought,
From shape, and hue, and odour, and sweet sound,
Lamented Adonais. Morning sought
Her eastern watch-tower, and her hair unbound,
Wet with the tears which should adorn the ground,
Dimm’d the aëreal eyes that kindle day;
Afar the melancholy thunder moan’d,
Pale Ocean in unquiet slumber lay,
And the wild Winds flew round, sobbing in their dismay.


Lost Echo sits amid the voiceless mountains,
And feeds her grief with his remember’d lay,
And will no more reply to winds or fountains,
Or amorous birds perch’d on the young green spray,
Or herdsman’s horn, or bell at closing day;
Since she can mimic not his lips, more dear
Than those for whose disdain she pin’d away
Into a shadow of all sounds: a drear
Murmur, between their songs, is all the woodmen hear.


Grief made the young Spring wild, and she threw down
Her kindling buds, as if she Autumn were,
Or they dead leaves; since her delight is flown,
For whom should she have wak’d the sullen year?
To Phoebus was not Hyacinth so dear
Nor to himself Narcissus, as to both
Thou, Adonais: wan they stand and sere
Amid the faint companions of their youth,
With dew all turn’d to tears; odour, to sighing ruth.


Thy spirit’s sister, the lorn nightingale
Mourns not her mate with such melodious pain;
Not so the eagle, who like thee could scale
Heaven, and could nourish in the sun’s domain
Her mighty youth with morning, doth complain,
Soaring and screaming round her empty nest,
As Albion wails for thee: the curse of Cain
Light on his head who pierc’d thy innocent breast,
And scar’d the angel soul that was its earthly guest!


Ah, woe is me! Winter is come and gone,
But grief returns with the revolving year;
The airs and streams renew their joyous tone;
The ants, the bees, the swallows reappear;
Fresh leaves and flowers deck the dead Seasons’ bier;
The amorous birds now pair in every brake,
And build their mossy homes in field and brere;
And the green lizard, and the golden snake,
Like unimprison’d flames, out of their trance awake.


Through wood and stream and field and hill and Ocean
A quickening life from the Earth’s heart has burst
As it has ever done, with change and motion,
From the great morning of the world when first
God dawn’d on Chaos; in its stream immers’d,
The lamps of Heaven flash with a softer light;
All baser things pant with life’s sacred thirst;
Diffuse themselves; and spend in love’s delight,
The beauty and the joy of their renewed might.


The leprous corpse, touch’d by this spirit tender,
Exhales itself in flowers of gentle breath;
Like incarnations of the stars, when splendour
Is chang’d to fragrance, they illumine death
And mock the merry worm that wakes beneath;
Nought we know, dies. Shall that alone which knows
Be as a sword consum’d before the sheath
By sightless lightning?—the intense atom glows
A moment, then is quench’d in a most cold repose.


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
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.


He will awake no more, oh, never more!
“Wake thou,” cried Misery, “childless Mother, rise
Out of thy sleep, and slake, in thy heart’s core,
A wound more fierce than his, with tears and sighs.”
And all the Dreams that watch’d Urania’s eyes,
And all the Echoes whom their sister’s song
Had held in holy silence, cried: “Arise!”
Swift as a Thought by the snake Memory stung,
From her ambrosial rest the fading Splendour sprung.


She rose like an autumnal Night, that springs
Out of the East, and follows wild and drear
The golden Day, which, on eternal wings,
Even as a ghost abandoning a bier,
Had left the Earth a corpse. Sorrow and fear
So struck, so rous’d, so rapt Urania;
So sadden’d round her like an atmosphere
Of stormy mist; so swept her on her way
Even to the mournful place where Adonais lay.


Out of her secret Paradise she sped,
Through camps and cities rough with stone, and steel,
And human hearts, which to her aery tread
Yielding not, wounded the invisible
Palms of her tender feet where’er they fell:
And barbed tongues, and thoughts more sharp than they,
Rent the soft Form they never could repel,
Whose sacred blood, like the young tears of May,
Pav’d with eternal flowers that undeserving way.


In the death-chamber for a moment Death,
Sham’d by the presence of that living Might,
Blush’d to annihilation, and the breath
Revisited those lips, and Life’s pale light
Flash’d through those limbs, so late her dear delight.
“Leave me not wild and drear and comfortless,
As silent lightning leaves the starless night!
Leave me not!” cried Urania: her distress
Rous’d Death: Death rose and smil’d, and met her vain caress.


“Stay yet awhile! speak to me once again;
Kiss me, so long but as a kiss may live;
And in my heartless breast and burning brain
That word, that kiss, shall all thoughts else survive,
With food of saddest memory kept alive,
Now thou art dead, as if it were a part
Of thee, my Adonais! I would give
All that I am to be as thou now art!
But I am chain’d to Time, and cannot thence depart!


“O gentle child, beautiful as thou wert,
Why didst thou leave the trodden paths of men
Too soon, and with weak hands though mighty heart
Dare the unpastur’d dragon in his den?
Defenceless as thou wert, oh, where was then
Wisdom the mirror’d shield, or scorn the spear?
Or hadst thou waited the full cycle, when
Thy spirit should have fill’d its crescent sphere,
The monsters of life’s waste had fled from thee like deer.


“The herded wolves, bold only to pursue;
The obscene ravens, clamorous o’er the dead;
The vultures to the conqueror’s banner true
Who feed where Desolation first has fed,
And whose wings rain contagion; how they fled,
When, like Apollo, from his golden bow
The Pythian of the age one arrow sped
And smil’d! The spoilers tempt no second blow,
They fawn on the proud feet that spurn them lying low.


“The sun comes forth, and many reptiles spawn;
He sets, and each ephemeral insect then
Is gather’d into death without a dawn,
And the immortal stars awake again;
So is it in the world of living men:
A godlike mind soars forth, in its delight
Making earth bare and veiling heaven, and when
It sinks, the swarms that dimm’d or shar’d its light
Leave to its kindred lamps the spirit’s awful night.”


Thus ceas’d she: and the mountain shepherds came,
Their garlands sere, their magic mantles rent;
The Pilgrim of Eternity, whose fame
Over his living head like Heaven is bent,
An early but enduring monument,
Came, veiling all the lightnings of his song
In sorrow; from her wilds Ierne sent
The sweetest lyrist of her saddest wrong,
And Love taught Grief to fall like music from his tongue.


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; he, as I guess,
Had gaz’d on Nature’s naked loveliness,
Actaeon-like, and now he fled astray
With feeble steps o’er the world’s wilderness,
And his own thoughts, along that rugged way,
Pursu’d, like raging hounds, their father and their prey.


A pardlike Spirit beautiful and swift—
A Love in desolation mask’d—a Power
Girt round with weakness—it can scarce uplift
The weight of the superincumbent hour;
It is a dying lamp, a falling shower,
A breaking billow; even whilst we speak
Is it not broken? On the withering flower
The killing sun smiles brightly: on a cheek
The life can burn in blood, even while the heart may break.


His head was bound with pansies overblown,
And faded violets, white, and pied, and blue;
And a light spear topp’d with a cypress cone,
Round whose rude shaft dark ivy-tresses grew
Yet dripping with the forest’s noonday dew,
Vibrated, as the ever-beating heart
Shook the weak hand that grasp’d it; of that crew
He came the last, neglected and apart;
A herd-abandon’d deer struck by the hunter’s dart.


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 brow,
Which was like Cain’s or Christ’s—oh! that it should be so!


What softer voice is hush’d over the dead?
Athwart what brow is that dark mantle thrown?
What form leans sadly o’er the white death-bed,
In mockery of monumental stone,
The heavy heart heaving without a moan?
If it be He, who, gentlest of the wise,
Taught, sooth’d, lov’d, honour’d the departed one,
Let me not vex, with inharmonious sighs,
The silence of that heart’s accepted sacrifice.


Our Adonais has drunk poison—oh!
What deaf and viperous murderer could crown
Life’s early cup with such a draught of woe?
The nameless worm would now itself disown:
It felt, yet could escape, the magic tone
Whose prelude held all envy, hate and wrong,
But what was howling in one breast alone,
Silent with expectation of the song,
Whose master’s hand is cold, whose silver lyre unstrung.


Live thou, whose infamy is not thy fame!
Live! fear no heavier chastisement from me,
Thou noteless blot on a remember’d name!
But be thyself, and know thyself to be!
And ever at thy season be thou free
To spill the venom when thy fangs o’erflow;
Remorse and Self-contempt shall cling to thee;
Hot Shame shall burn upon thy secret brow,
And like a beaten hound tremble thou shalt—as now.


Nor let us weep that our delight is fled
Far from these carrion kites that scream below;
He wakes or sleeps with the enduring dead;
Thou canst not soar where he is sitting now.
Dust to the dust! but the pure spirit shall flow
Back to the burning fountain whence it came,
A portion of the Eternal, which must glow
Through time and change, unquenchably the same,
Whilst thy cold embers choke the sordid hearth of shame.


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.


He has outsoar’d the shadow of our night;
Envy and calumny and hate and pain,
And that unrest which men miscall delight,
Can touch him not and torture not again;
From the contagion of the world’s slow stain
He is secure, and now can never mourn
A heart grown cold, a head grown gray in vain;
Nor, when the spirit’s self has ceas’d to burn,
With sparkless ashes load an unlamented urn.


He lives, he wakes—’tis Death is dead, not he;
Mourn not for Adonais. Thou young Dawn,
Turn all thy dew to splendour, for from thee
The spirit thou lamentest is not gone;
Ye caverns and ye forests, cease to moan!
Cease, ye faint flowers and fountains, and thou Air,
Which like a mourning veil thy scarf hadst thrown
O’er the abandon’d Earth, now leave it bare
Even to the joyous stars which smile on its despair!


He is made one with Nature: there is heard
His voice in all her music, from the moan
Of thunder, to the song of night’s sweet bird;
He is a presence to be felt and known
In darkness and in light, from herb and stone,
Spreading itself where’er that Power may move
Which has withdrawn his being to its own;
Which wields the world with never-wearied love,
Sustains it from beneath, and kindles it above.


He is a portion of the loveliness
Which once he made more lovely: he doth bear
His part, while the one Spirit’s plastic stress
Sweeps through the dull dense world, compelling there
All new successions to the forms they wear;
Torturing th’ unwilling dross that checks its flight
To its own likeness, as each mass may bear;
And bursting in its beauty and its might
From trees and beasts and men into the Heaven’s light.


The splendours of the firmament of time
May be eclips’d, but are extinguish’d not;
Like stars to their appointed height they climb,
And death is a low mist which cannot blot
The brightness it may veil. When lofty thought
Lifts a young heart above its mortal lair,
And love and life contend in it for what
Shall be its earthly doom, the dead live there
And move like winds of light on dark and stormy air.


The inheritors of unfulfill’d renown
Rose from their thrones, built beyond mortal thought,
Far in the Unapparent. Chatterton
Rose pale, his solemn agony had not
Yet faded from him; Sidney, as he fought
And as he fell and as he liv’d and lov’d
Sublimely mild, a Spirit without spot,
Arose; and Lucan, by his death approv’d:
Oblivion as they rose shrank like a thing reprov’d.


And many more, whose names on Earth are dark,
But whose transmitted effluence cannot die
So long as fire outlives the parent spark,
Rose, rob’d in dazzling immortality.
“Thou art become as one of us,” they cry,
“It was for thee yon kingless sphere has long
Swung blind in unascended majesty,
Silent alone amid a Heaven of Song.
Assume thy winged throne, thou Vesper of our throng!”


Who mourns for Adonais? Oh, come forth,
Fond wretch! and know thyself and him aright.
Clasp with thy panting soul the pendulous Earth;
As from a centre, dart thy spirit’s light
Beyond all worlds, until its spacious might
Satiate the void circumference: then shrink
Even to a point within our day and night;
And keep thy heart light lest it make thee sink
When hope has kindled hope, and lur’d thee to the brink.


Or go to Rome, which is the sepulchre,
Oh, not of him, but of our joy: ’tis nought
That ages, empires and religions there
Lie buried in the ravage they have wrought;
For such as he can lend—they borrow not
Glory from those who made the world their prey;
And he is gather’d to the kings of thought
Who wag’d contention with their time’s decay,
And of the past are all that cannot pass away.


Go thou to Rome—at once the Paradise,
The grave, the city, and the wilderness;
And where its wrecks like shatter’d mountains rise,
And flowering weeds, and fragrant copses dress
The bones of Desolation’s nakedness
Pass, till the spirit of the spot shall lead
Thy footsteps to a slope of green access
Where, like an infant’s smile, over the dead
A light of laughing flowers along the grass is spread;


And gray walls moulder round, on which dull Time
Feeds, like slow fire upon a hoary brand;
And one keen pyramid with wedge sublime,
Pavilioning the dust of him who plann’d
This refuge for his memory, doth stand
Like flame transform’d to marble; and beneath,
A field is spread, on which a newer band
Have pitch’d in Heaven’s smile their camp of death,
Welcoming him we lose with scarce extinguish’d breath.


Here pause: these graves are all too young as yet
To have outgrown the sorrow which consign’d
Its charge to each; and if the seal is set,
Here, on one fountain of a mourning mind,
Break it not thou! too surely shalt thou find
Thine own well full, if thou returnest home,
Of tears and gall. From the world’s bitter wind
Seek shelter in the shadow of the tomb.
What Adonais is, why fear we to become?


The One remains, the many change and pass;
Heaven’s light forever shines, Earth’s shadows fly;
Life, like a dome of many-colour’d glass,
Stains the white radiance of Eternity,
Until Death tramples it to fragments.—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.


Why linger, why turn back, why shrink, my Heart?
Thy hopes are gone before: from all things here
They have departed; thou shouldst now depart!
A light is pass’d from the revolving year,
And man, and woman; and what still is dear
Attracts to crush, repels to make thee wither.
The soft sky smiles, the low wind whispers near:
‘Tis Adonais calls! oh, hasten thither,
No more let Life divide what Death can join together.


That Light whose smile kindles the Universe,
That Beauty in which all things work and move,
That Benediction which the eclipsing Curse
Of birth can quench not, that sustaining Love
Which through the web of being blindly wove
By man and beast and earth and air and sea,
Burns bright or dim, as each are mirrors of
The fire for which all thirst; now beams on me,
Consuming the last clouds of cold mortality.


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;
Whilst, burning through the inmost veil of Heaven,
The soul of Adonais, like a star,
Beacons from the abode where the Eternal are.

Elegija Adonais (1821.),napisana povodom prerane smrti pesnika romantičara Džona Kitsa, svakako je jedna od najpoznatijih i najboljih Šelijevih pesama, deo mnogih bitnih antologija. Šeli tuguje ne samo zbog smrti pesnika Kitsa, kojeg je smatrao najvećim, nego i zbog inercije i uskogrudnosti engleskog društva, koje je dopuštalo da Kits umre u siromaštvu u Rimu, gotovo sam, bolestan od tuberkoloze, a u duši bolestan zbog nepriznavanja njegovog dela.

On nije umro, on više ne spava-
iz sna o životu, sada se lako budi…
priroda i on u jedno se slili:
u muzici njenoj glas njegov se grana
k’o grom gromoglasni, k’o poj ptica mili;
on je sad prisutnost koja biva znana
kamenu i travci sred noći i dana;
kreće se za silom punom večnog žara
vaseljenu drži i svetlost joj stvara

Oplakujući smrt svog velikog prijatelja, utonuo u melanholiju pastoralne, refleksivne elegije Šeli poziva i sve ostale ljude da tuguju s njim, govoreći kako Kitsa treba zauvek pamtiti. Da bi to učinio, Šeli pripisuje Kitsov identitet Adonisu, grčkom bogu kojeg je volela boginja Afrodita i koji je umro vrlo mlad (rastrgnut od strane divljih svinja). Grčka legenda o Adonisu je priča o zgodnom mladiću kojem su se jednako divile Afrodita (Uranija), kraljica ljubavi, i Persefona, kraljica smrti (Šeli pretvara Uraniju u Adonisovu majku u ovoj elegiji, izbegavajući erotski kontekst mitske priče). Budući da se nije mogao dogovoriti koja će ga boginja imati, Zevs, kao vrhunsko božanstvo antičke Grčke je odlučio da će provesti pola godine na Zemlji s Afroditom (proleće i leto), a pola godine u podzemlju s Persefonom. (jesen i zima). Tokom letnjeg lova, Adonis je svojim kopljem probio vepra, ranivši, ali ne i ubivši zver. Kao odmazdu, vepar je napao Adonisa i ubo ga svojom kljovom…

Koristeći ovaj mit kao središnju temu u elegiji (mit o Adonisu, čije ime znači Gospodar, u kojem se Adonis rađa iz stabla smirne, umire u nesreći u lovu gde ga ubija vepar, a zatim se pretvara u anemonu, cvet bez mirisa. U Šelijevoj pesmi, Adonisa ubija zli kritičar, prikazan kao divlja zver), Šeli se nada, ili sugeriše, da će Kits biti besmrtan kao mladi Adonis. Šeli bira aluziju i alegoriju koja se vraća u drevni mit kako bi izrazio svoju tugu zbog gubitka prijatelja i zamolio ostatak sveta da nikada ne zaboravi delo mladog barda. Korištenje drevne mitologije sugeriše da Šeli vidi Kitsa kao istinski veličanstvenu figuru.

Adonis je jako voleo lepote prirode, a sada sile prirode dolaze oplakivati ​​njegovu smrt. Jutro na njezinoj istočnoj osmatračnici tuguje s razvezanom kosom; melanholična grmljavina ječi; okean je nemiran, a vetar duva jecajući okolo. Eho sedi tiho među planinama u svojoj tuzi, ne mareći odgovoriti na vetrove ili pesmu veselih ptica, jer više ne može odgovoriti na slatku muziku Adonisa. Mlado proleće ludi od tuge i neuredno baca svoje cveće. Svetli cvetovi, zumbul i narcis, bledi su zbog gubitka svog dragog Adonisa: stoje bledi među manje šarenim cvećem – sve je puno suza i sažaljenja. Prolećno je doba: vraća se život u sve objekte prirode poput zraka, potoci, lišće i cveće; mravi, pčele, ptice, gušteri itd., bude se u novi život. Po večnom zakonu prirode, život koji oživljava osvežio je šumu i potok, polje, okean i nebo. Obična stvorenja dahću od nove radosti. Čak i raspadajuća mrtva tela, dotaknuta čarobnim uticajem proleća, služe za hranjenje biljaka koje cvetaju u boji i mirisu. Ništa što znamo ne umire zauvek. Hoće li onda samo ljudska inteligencija – ljudski duh – živeti na trenutak i zatim zauvek umreti? Pesnika boli pomisao da bi smrt trebala biti kraj svega što su ljudi voleli u Adonisu, da bi ljudi trebali biti samo glumci i gledaoci na pozornici života, da će dani, meseci i godine dolaziti i prolaziti samo s jadom za njih.

On je nadvisio sjenu naše noći;
Zavist i kleveta i mržnja i bol,
I taj nemir koji ljudi krivo nazivaju užitkom,
Ne mogu ga dirnuti i više ga ne mučiti;
Od zaraze sporog sataina svijeta
On je siguran, i sada nikada ne može žaliti
Srce ohladnjelo, glava uzalud posijedjela; Niti, kada duh duha prestane gorjeti,
S tovarom pepela bez iskri i neoplakanom urnom.

Živi, budi se – smrt je mrtva, ne on;
Ne tuguj za Adonaisom. Ti mlada zoro
Pretvori svu svoju rosu u sjaj, jer iz tebe
Duh koji oplakuješ nije nestao;
Vi pećine i vi šume, prestanite jaukati!
Prestani klonuti cvijeće i fontane, i ti Zrak
Koji si poput vela žalosti tvoj šal bacio
Nad napuštenu Zemlju, sada je ostavi golu
Čak i radosnim zvijezdama koje se smiješe njenom očaju!

On je jedno s Prirodom:
Njegov se glas čuje u svoj njezinoj glazbi, od jauka
grmljavine, do pjesme slatke noćne ptice;
On je prisutnost koju treba osjetiti i spoznati
U tami i na svjetlu, od bilja i kamena,
Širi se gdje god se ta Moć može kretati
Koja je povukla njegovo biće k sebi,
Koja vlada svijetom s neumornom ljubavlju,
Održava ga odozdo i zapali ga gore.

Adonisa je otrovao kritičar koji je bio gluv za sve čari poezije i opak kao zmija otrovnica. Adonisova prva pesma utišala je mržnju i zavist ostalih kritičara koji su čekali njegovu zrelu poeziju. Kritičar koji ga je udario ostao je anoniman; on će povremeno ispuštati svoj otrov, ali njegova kazna je njegovo vlastito kajanje i spoznaja o tome kakvo je prezirno stvorenje. Sam pesnik (Šeli) mu ne može dati težu kaznu od ove. Ne bismo trebali žaliti što je Adonis pobegao od ovih opakih ptica grabljivica i sada živi s duhovima besmrtnog pesnika. Podli kritičar nikada se ne može vinuti tako visoko. Iako je istina da se prah u prah vraća, čisti Adonisov duh vraća se Večnom Duhu iz kojeg je potekao, dok će mrtvo telo kritičara samo ugušiti zemlju. Utešimo se na kraju mišlju da Adonis nije mrtav – jednostavno se probudio iz sna života; to smo mi, živa stvorenja, koja trpimo pokvarenost sa strahom i tugom i hladnim nadama. Adonis je smrću izbegao ove velike životne nevolje – zavist, klevetu, mržnju i bol. On je iznad žalosti smrti. Živi, budi se u svetu lepote; tako da niko od nas ne treba žaliti za njim; niti zore, pećine, šume, itd., ne bi trebali žaliti za njim, jer on nije stvarno otišao iz njih. Postao je Jedno s Prirodom. Njegov se glas čuje u pesmi slavuja i tutnjavi grmljavine; njegova se prisutnost oseća i poznaje u tami i na svetlu, budući da je postao jedno s onom snagom koja se kreće kroz svemir, održavajući ga i oživljavajući. On je deo Energizirajuće Lepote koja oblikuje zemlju, drveće, zveri i ljude. Sjaj duše može biti prigušen na neko vreme, ali smrt je ne može izbrisati. Duše mrtvih pesnika kreću se kao vetrovi svetlosti na svodu vremena.

Na kraju ove božanstvene, dirljive elegije, Šeli, prihvatajući dostojanstveno smrt svog velikog prijatelja iznosi ideju, viziju da će Kitsovo duhovno, umetničko svetlo besmrtne poezije nastaviti paliti inspiraciju svemira, večno sjati kao iskra u tami bezdana obasjavajući put novoj umetnosti, nesputanim duhovima kreacije, ljubavi, prijateljstva i slobode. Ožalošćeni se čovek mora uveriti da je grob najbolje sklonište velikih umetničkih duša od nevolja sveta. Kroz smrt, smrtnici Zemlje prolaze, odlaze i stapaju se s Večnošću koja ostaje zauvek; život je poput kupole od raznobojnog stakla; kada ga smrt slomi, njegovo svetlo postaje jedno s belim Svetlom Večnosti. Dakle, Smrt je ono kroz šta se možemo stopiti u Večnost u koju je Adonis otišao.

By Dragan Adonais Uzelac, lirski tragičar vremena ispraznih, oktobar 2022.

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