<P> 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 . He also thanked Joseph Severn for caring for Keats in Rome . This praise increased literary interest in Severn's works . </P> <P> Shelley was introduced to Keats in Hampstead towards the end of 1816 by their mutual friend, Leigh Hunt, who was to transfer his enthusiasm from Keats to Shelley . Shelley's initial admiration of Keats was ambiguous: his reception to Keats' Endymion was largely unfavorable, while he found his later work, Hyperion, to be the highest example of contemporary poetry . Keats found some of Shelley's advice patronising (the suggestion, for example, that Keats should not publish his early work). It is also possible that Keats resented Hunt's transferred allegiance . Despite this, the two poets exchanged letters after Shelley and his wife moved to Italy . When Keats fell ill, the Shelleys invited him to stay with them in Pisa, but Keats only made it as far as Rome, accompanied by the painter Severn . Shelley's concern for Keats's health remained undimmed, until he learned months after the fact that Keats had died in Rome, prompting the composition of Adonais . Shelley said of Keats, after inviting him to stay with him in Pisa after Keats fell ill: "I am aware indeed that I am nourishing a rival who will far surpass me and this is an additional motive & will be an added pleasure ." </P> <P> Shelley regarded Adonais as the "least imperfect" of his works . In a 5 June 1821 letter to John and Maria Gisborne, Shelley wrote about the work: "It is a highly wrought piece of art, perhaps better in point of composition than anything I have written ." </P> <Table> <Tr> <Td> </Td> <Td> Wikisource has original text related to this article: Adonaïs </Td> </Tr> </Table>

Who calls adonais a highly wrought piece of art