[The] de facto conflation of voice with silent presence in the very passages that draw out attention to the supposed difference between them is responsible for some of our more spectacularly sublime encounters with the poet. . . . "As Adam Early in the Morning" provokes a shiver by commanding us to look on and touch a body we cannot see or get hold of. . . . Here body and voice are metonymically associated but also explicitly distinguished. Yet the body we are directed to behold and touch is present only in the accents of these words; in this uncanny moment we put our hands, as it were, to a voice, registering the magical presence voice implies.