[1ProfessorDowden，’LifeofShelley’，vol。ii。，p。501，says"schooner-rigged。"Thisisalandsman’smistake。]
LeighHunt，thatamiable，shiftless，Radicalmanofletters，wascomingoutfromEnglandwithhiswife；onJuly1stShelleyandWilliamssailedinthe’Ariel’toLeghorntomeetthem，andsettlethemintotheground-floorofByron’spalaceatPisa。
Hisbusinessdespatched，ShelleyreturnedfromPisatoLeghorn，withHunt’scopyofKeats’s’Hyperion’inhispockettoreadonthevoyagehome。Thoughtheweatherlookedthreatening，heputtoseaagainonJuly8th，withWilliamsandanEnglishsailor-boy。TrelawnywantedtoconvoytheminByron’syacht，butwasturnedbackbytheauthoritiesbecausehehadnoport-clearance。Theairwassultryandstill，withastormbrewing，andhewentdowntohiscabinandslept。Whenheawoke，itwastoseefishing-boatsrunningintoharbourunderbarepolesamidthehubbubofathunder-squall。Inthatsquallthe’Ariel’disappeared。Itisdoubtfulwhethertheunseaworthycraftwasmerelyswamped，orwhether，asthereissomereasontosuppose，anItalianfeluccaranherdownwithintenttorobtheEnglishmen。Inanycase，thecalamityisthecrowningexampleofthatcombinationofbadmanagementandbadluckwhichdoggedShelleyallhislife。Itwasmadnesstotrustanopenboat，mannedonlybytheinexperiencedWilliamsandaboy（forShelleywasworsethanuseless），tothechancesofaMediterraneanstorm。Anddestinyturnsontrifles；ifthe’Bolivar’hadbeenallowedtosail，Trelawnymighthavesavedthem。
Hesentoutsearch-parties，andonJuly19thsealedthedespairingwomen’scertaintyofdisasterbythenewsthatthebodieshadbeenwashedashore。Shelley’swasidentifiedbyacopyofSophoclesinonecoat-pocketandtheKeatsinanother。
WhatTrelawnythendidwasanactionofthatperfectfitnesstowhichonlytherarestnaturesareprompted：hechargedhimselfwiththebusinessofburningthebodies。Thisrequiredsomeorganisation。Therewereofficialformalitiestofulfil，andthematerialshadtobeassembled——thefuel，theimprovisedfurnace，theironbars，saltandwineandoiltopouruponthepyre。Inhisartless’Records’hedescribesthelastsceneontheseashore。Shelley’sbodywasgiventotheflamesonadayofintenseheat，whentheislandslayhazyalongthehorizon，andinthebackgroundthemarble-fleckedApenninesgleamed。
Byronlookedonuntilhecouldstanditnolonger，andswamofftohisyacht。Theheartwasthelastparttobeconsumed。ByTrelawny’scaretheasheswereburiedintheProtestantcemeteryatRome。
ItisoftensoughttodeepenoursenseofthistragedybyspeculatingonwhatShelleywouldhavedoneifhehadlived。
But，ifsuchaquestionmustbeasked，therearereasonsforthinkingthathemightnothaveaddedmuchtohisreputation。
Itmayindeedbeanaccidentthathislasttwoyearswerelessfertileinfirst-rateworkthantheyears1819and1820，andthathislastunfinishedpoem，’TheTriumphofLife’，isevenmoreincoherentthanitspredecessors；yet，whenweconsiderthenatureofhistalent，thefactisperhapssignificant。Hissongwasentirelyanaffairofuncontrolledafflatus，andthisisaforcewhichdwindlesinmiddlelife，leavingstrandedthepoetwhohasnootherresource。Somemensufferspiritualupheavalsandeclipses，inwhichtheylosetheiroldselvesandemergewithnewanddifferentpowers；butwemaybefairlysurethatthiswouldnothavehappenedtoShelley，thatashegrewolderhewouldalwayshavereturnedtomuchthesameimpressions；forhismind，ofonepiecethroughandthrough，hadthatpeculiarrigiditywhichcansometimesbeobservedinviolentlyunstablecharacters。Thecolourofhisemotionwouldhavefluctuated——ittookon，asitwas，adeepeningshadeofmelancholy；butthereisnoindicationthatthematerialonwhichitworkedwouldhavechanged。
ChapterIIPrincipalWritingsThetruevisionaryisoftenamanofaction，andShelleywasaverypeculiarcombinationofthetwo。Hewasadreamer，butheneverdreamedmerelyforthesakeofdreaming；healwaysrushedtotranslatehisdreamsintoacts。Thepracticalsideofhimwassostrongthathemighthavebeenagreatstatesmanorreformer，hadnothisimagination，stimulatedbyatorrentialfluencyoflanguage，overbornehiswill。Hewaslikeaboat（thecomparisonwouldhavepleasedhim）builtforstrengthandspeed，butimmenselyoversparred。Hislifewasasceneofincessantbustle。Glancingthroughhispoems，letters，diaries，andpamphlets，histranslationsfromGreek，Spanish，German，andItalian，andrememberingthathediedatthirty，andwas，besides，feverishlyactiveinamultitudeofaffairs，wefancythathispencanscarcelyeverhavebeenoutofhishand。Andnotonlywasheperpetuallywriting；hereadgluttonously。HewouldthreadtheLondontraffic，nourishinghisunworldlymindfromanopenbookheldinonehand，andhisasceticbodyfromahunchofbreadheldintheother。Thisfuryforliteratureseizedhimearly。Butthequalityofhisearlyworkwasastonishinglybad。Anauthorwhilestillaschoolboy，hepublishedin1810anovel，writtenforthemostpartwhenhewasseventeenyearsold，called’Zastrozzi’，themeretitleofwhich，withitsromanticprofusionofsibilants，iseloquentofitsnature。Thiswassoonfollowedbyanotherlikeit，’St。Irvyne，ortheRosicrucian’。WhethertheyareadaptationsfromtheGerman[2]ornot，thesebooksaremerelybadimitationsofthebadschooltheninvogue，theflesh-creepingschoolofskeletonsandclankingchains，ofconvulsionsandecstasies，whichMissAusten，thoughnooneknewit，hadkilledwithlaughteryearsbefore。[3]"Verezziscarcelynowshudderedwhentheslimylizardcrossedhisnakedandmotionlesslimbs。Thelargeearthworms，whichtwinedthemselvesinhislongandmattedhair，almostceasedtoexcitesensationsofhorror"——thatisthekindofstuffinwhichtheimaginationoftheyoungShelleyrioted。Andevidentlyitisnotconsciouslyimagined；lifereallypresenteditselftohimasaromanceofthiskind，withhimselfashero——aherowhoisahopelesslover，blightedbyprematuredecay，orawandererdoomedtosharethesinsandsorrowsofmankindtoalleternity。Thisattitudefoundventinamassofsentimentalverseandprose，muchofitmoreorlesssurreptitiouslypublished，whichtheresearchesofspecialistshavebroughttolight，andwhichneednotbedweltuponhere。
[2SoMr。H。B。FormansuggestsintheintroductiontohiseditionofShelley’sProseWorks。ButHoggsaysthathedidnotbeginlearningGermanuntil1815。]
[3’NorthangerAbbey’，satirisingMrs。Radcliffe’snovels，waswrittenbefore1798，butwasnotpublisheduntil1818。]
Butverysoonanotherinfluencebegantominglewiththisfeeblyextravagantvein，aninfluencewhichpurifiedandstrengthened，thoughitneverquiteobliteratedit。Atschoolheabsorbed，alongwiththeofficialtinctureofclassicaleducation，aviolentprivatedoseofthephilosophyoftheFrenchRevolution；hediscoveredthatallthatwasneededtoabolishalltheevildoneunderthesunwastodestroybigotry，intolerance，andpersecutionasrepresentedbyreligiousandmonarchicalinstitutions。Atfirstthisinfluencecombinedwithhismisguidedliterarypassionsonlytoheightenthewholeabsurdity，aswhenheexclaims，inaletterabouthisfirstdisappointedlove，"Iswear，andasIbreakmyoaths，mayInfinity，Eternity，blastme——neverwillIforgiveIntolerance！"Thecharacteroftheromanceischangedindeed；
ithasbecomeanepicofhumanregeneration，anditsemotionsarededicatedtotheserviceofmankind；butstillitisaromance。Theresults，however，aremomentous；forthehero，beingamanofaction，isnolongercontenttowriteandpayfortheprinting：inhiscapacityofliberatorhehastostepintothearena，and，aboveall，hehastothinkoutaphilosophy。
AnearlymanifestationofthisimpulsewastheIrishenterprisealreadymentioned。Publicaffairsalwaysstirredhim，but，astimewenton，itwasmoreandmoretoverseandlesstopracticalintervention，andafter1817heabandonedargumentaltogetherforsong。Butonepamphlet，’AProposalforputtingReformtotheVote’（1817），ischaracteristicofthewayinwhichhewasalwayslabouringtodosomething，notmerelytoventilateexistingevils，buttopromotesomepracticalschemeforabolishingthem。Letanationalreferendum，hesays，beheldonthequestionofreform，andletitbeagreedthattheresultshallbebindingonParliament；hehimselfwillcontribute100poundsayear（one-tenthofhisincome）totheexpensesoforganisation。HeisinfavourofannualParliaments。Thoughabelieverinuniversalsuffrage，hepreferstoadvancebydegrees；itwouldnotdotoabolisharistocracyandmonarchyatonestroke，andtoputpowerintothehandsofmenrenderedbrutalandtorpidbyagesofslavery；
andheproposesthatthepaymentofasmallsumindirecttaxesshouldbethequalificationfortheparliamentaryfranchise。
Theidea，ofcourse，wasnotinthesphereofpracticalpoliticsatthetime，butitssobrietyshowshowfarShelleywasfrombeingavulgartheory-riddencranktowhomtheyearsbringnowisdom。
Meanwhileithadbeenrevealedtohimthat"intolerance"wasthecauseofallevil，and，inthesameflash，thatitcouldbedestroyedbyclearandsimplereasoning。Applytheacidofenlightenedargument，andreligiousbeliefswillmeltaway，andwiththemthewholerottenfabricwhichtheysupport——crownsandchurches，lustandcruelty，warandcrime，theinequalityofwomentomen，andtheinequalityofonemantoanother。
WithShelley，toembracethedazzlingvisionwastoactuponitatonce。Thefirstthing，sincereligionisatthebottomofallforceandfraud，wastoproclaimthatthereisnoreasonforbelievinginChristianity。Thiswaseasyenough，andanumberofimpatientargumentativepamphletsweredashedoff。
Oneofthese，’TheNecessityofAtheism’，caused，aswesaw，arevolutioninhislife。But，whileChristiandogmawastheheartoftheenemy’sposition，therewereout-workswhichmightalsobeusefullyattacked：——therewerealcoholandmeat，thecausesofalldiseaseanddevastatingpassion；thereweredespotismandplutocracy，basedoncommercialgreed；andtherewasmarriage，whichirrationallytyrannisingoversexualrelations，producesunnaturalcelibacyandprostitution。Thesethreads，andmanyothers，werealltakenupinhisfirstseriouspoem，’QueenMab’（1812-13），anover-longrhapsody，partlyinblankverse，partlyinloosemetres。ThespiritofIantheisraptbytheFairyMabinherpellucidcartotheconfinesoftheuniverse，wherethepast，present，andfutureoftheearthareunfoldedtothespirit’sgaze。Weseetyrantswrithingupontheirthrones；Ahasuerus，"thewanderingJew，"isintroduced；theconsummationonearthoftheageofreasonisdescribed。Intheendthefairy’scarbringsthespiritbacktoitsbody，andIanthewakestofind"Henry，whokneeledinsilencebyhercouch，Watchinghersleepwithlooksofspeechlesslove，AndthebrightbeamingstarsThatthroughthecasementshone。"
Thoughmanypoetshavebeguntheircareerswithsomethingbetterthanthis，’QueenMab’willalwaysberead，becauseitgivesus，inembryo，thewholeofShelleyatastroke。Themelodyoftheverseisthinandloose，butitsoarsfromthegroundandspinsitselfintoaseriesofetherialvisions。Andthesevisions，thoughtheylookutterlydisconnectedfromreality，areinfactonlyanaspectofhispassionateinterestinscience。Inthisrespectthesoledifferencebetween’QueenMab’andsuchpoemsas’TheWestWind’and’TheCloud’isthat，intheproseofthenotesappendedto’QueenMab’，withtheirdisquisitionsonphysiologyandastronomy，determinismandutilitarianism，thescientificskeletonisexplicit。Thesenotesareaqueermedley。Wemaylaughattheircrudity——theircertaintythat，onceorthodoxyhasbeendestroyedbyargument，themillenniumwillbegin；whatismoretothepurposeistorecognisethathereissomethingmorethantheordinarydogmatismofyouthfulignorance。Thereisaflowofvigorouslanguage，vividnessofimagination，and，aboveall，muchconscientiousreasoningandapassionforhardfacts。Hiswifewasnotfarwrongwhenshepraisedhimfora’logicalexactnessofreason。"Theargumentsheusesare，indeed，allsecond-hand，andmostlyfallacious；butheknewinstinctivelysomethingwhichisforeverhiddenfromthemassofmankind——thedifferencebetweenanargumentandaconfusedstirringofprejudices。Then，again，hewasnotcontentwithabstractgeneralities：hewasalwaystryingtoenforcehisviewsbyfactsindustriouslycollectedfromsuchbooksofmedicine，anatomy，geology，astronomy，chemistry，andhistoryashecouldgetholdof。Forinstance，hedoesnotpreachabstinencefromfleshonpureapriorigrounds，butbecause"theorang-outangperfectlyresemblesmanbothintheorderandnumberofhisteeth。"Wecatchherewhatisperhapsthefundamentalparadoxofhischaracter——thecombinationofacuriousrationalhardnesswiththewildestandmostromanticidealism。Forallitsairiness，hisversewasthrownoffbyamindnostrangertothoughtandresearch。
WearenowonthethresholdofShelley’spoeticachievement，anditwillbewellbeforegoingfurthertounderlinetheconnection，whichpersistsallthroughhisworkandisalreadysostrikingin’QueenMab’，betweenhispoetryandhisphilosophicalandreligiousideas。
LikeColeridge，hewasaphilosophicalpoet。ButhisphilosophywasmuchmoredefinitethanColeridge’s；itgavesubstancetohischaracterandedgetohisintellect，and，intheend，canscarcelybedistinguishedfromtheemotiongeneratinghisverse。Thereis，however，notraceoforiginalityinhisspeculativewriting，andweneednotregretthat，afterhesitatingwhethertobeametaphysicianorapoet，hedecidedagainstphilosophy。Beforefinallysettlingtopoetry，heatonetimeprojectedacompleteandsystematicaccountoftheoperationsofthehumanmind。Itwastobedividedintosections——childhood，youth，andsoon。Oneofthefirstthingstobedonewastoascertaintherealnatureofdreams，andaccordingly，withcharacteristicpassionforafoundationoffact，heturnedtotheonlyfactsaccessibletohim，andtriedtodescribeexactlyhisownexperiencesindreaming。Theresultshowedthat，alongwiththescientificimpulse，therewasworkinginhimamorepowerfulantagonisticforce。Hegotnofurtherthantellinghowonce，whenwalkingwithHoggnearOxford，hesuddenlyturnedthecornerofalane，andascenepresenteditselfwhich，thoughcommonplace，wasyetmysteriouslyconnectedwiththeobscurerpartsofhisnature。
Awindmillstoodinaplashymeadow；behinditwasalonglowhill，and"agreycoveringofuniformcloudspreadovertheeveningsky。Itwastheseasonoftheyearwhenthelastleafhadjustfallenfromthescantandstuntedash。"Themanuscriptconcludes："Isuddenlyrememberedtohaveseenthatexactsceneinsomedreamoflong——HereIwasobligedtoleaveoff，overcomewiththrillinghorror。"And，apartfromsuchoverwhelmingsurgesofemotionfromthedepthsofsub-consciousness，hedoesnotseemevertohavetakenthatsortofinterestintheproblemsoftheuniversewhichisdistinctiveofthephilosopher；insofarashespeculatedonthenatureanddestinyoftheworldorthesoul，itwasnotfromcuriosityaboutthetruth，butratherbecausecorrectviewsonthesemattersseemedtohimespeciallyinearlyyears，aninfalliblemethodofregeneratingsociety。Ashisexpectationofheavenonearthbecamelessconfident，sothespeculativeimpulsewaned。NotlongbeforehisdeathhetoldTrelawnythathewasnotinquisitiveaboutthesystemoftheuniverse，thathismindwastranquilonthesehighquestions。
Heseems，forinstance，tohaveoscillatedvaguelybetweenbeliefanddisbeliefinpersonallifeafterdeath，andonthewholetohaveconcludedthattherewasnoevidenceforit。
Atthesametime，itisessentialtoajustappreciationofhim，eitherasmanorpoet，toseehowallhisopinionsandfeelingswereshapedbyphilosophy，andbytheinfluenceofoneparticulardoctrine。ThisdoctrinewasPlatonism。Hefirstwentthroughastageofdevotiontowhathecalls"thescepticalphilosophy，"whenhiswritingswerefullofschoolboyechoesofLockeandHume。Atthistimeheavowedhimselfamaterialist。ThenhesuccumbedtoBishopBerkeley，whoconvincedhimthatthenatureofeverythingthatexistsisspiritual。Wefindhimsaying，withcharmingpompousness，"I
confessthatIamoneofthosewhoareunabletorefusetheirassenttotheconclusionsofthosephilosopherswhoassertthatnothingexistsbutasitisperceived。"This"intellectualsystem，"herightlysees，leadstotheviewthatnothingwhateverexistsexceptasinglemind；andthatistheviewwhichhefound，orthoughtthathefound，inthedialoguesofPlato，andwhichgavetohiswholebeingabentitwasnevertolose。Helikedtocallhimselfanatheist；and，ifpantheismisatheism，anatheistnodoubthewas。But，whateverthecorrectlabel，hewaseminentlyreligious。Inthenotesto’QueenMab’heannounceshisbeliefin"apervadingSpiritco-eternalwiththeuniverse，"andreligionmeantforhima"perceptionoftherelationinwhichwestandtotheprincipleoftheuniverse"——aperceptionwhich，inhiscase，wasaccompaniedbyintenseemotion。Havingthusgraspedthenotionthatthewholeuniverseisonespirit，heabsorbedfromPlatoatheorywhichaccordedperfectlywithhispredisposition——thetheorythatallthegoodandbeautifulthingsthatweloveoneartharepartialmanifestationsofanabsolutebeautyorgoodness，whichexistseternalandunchanging，andfromwhicheverythingthatbecomesandperishesintimederivessuchrealityasithas。Henceourhumanlifeisgoodonlyinsofarasweparticipateintheeternalreality；andthecommunioniseffectedwheneverweadorebeauty，whetherinnature，orinpassionatelove，orintheinspirationofpoetry。WeshallhavetosaysomethingpresentlyabouttheeffectsofthisPlatonicidealismonShelley’sconceptionoflove；hereweneedonlynoticethatitinspiredhimtotranslatePlato’s’Symposium’，adialogueoccupiedalmostentirelywiththeoriesaboutlove。Hewasnot，however，wellequippedforthistask。
Hisversion，orratheradaptation（formuchisomittedandmuchisparaphrased），isfluent，buthehadnotenoughGreektoreproducethefinershadesoftheoriginal，or，indeed，toavoidgrossmistakes。
ApoetwhoisalsoaPlatonistislikelytoexalthisoffice；
itishisnotmerelytoamuseortoplease，buttoleadmankindnearertotheeternalideal——ShelleycalleditIntellectualBeauty——whichistheonlyabidingreality。Thisistherealthemeofhis’DefenceofPoetry’（1821），thebestpieceofproseheeverwrote。ThomasLovePeacock，scholar，novelist，andpoet，and，inspiteofhismellowworldliness，oneofShelley’smostadmiredfriends，hadpublishedawittilyperverseandparadoxicalarticle，notwithoutmuchgoodsense，on’TheFourAgesofPoetry’。Peacockmaintainedthatgenuinepoetryisonlypossibleinhalf-civilisedtimes，suchastheHomericorElizabethanages，which，aftertheintervalofalearnedperiod，likethatofPopeinEngland，areinevitablysucceededbyashamreturntonature。Whathehadinmindwas，ofcourse，themovementrepresentedbyWordsworth，Southey，andColeridge，theromanticpoetsoftheLakeSchool，whomhedescribesasa"modern-antiquecompoundoffripperyandbarbarism。"Hemusthavegreatlyenjoyedwritingsuchaparagraphasthis："Apoetinourtimesisasemi-barbarianinacivilisedcommunity……Themarchofhisintellectislikethatofacrab，backward。Thebrighterthelightdiffusedaroundhimbytheprogressofreason，thethickeristhedarknessofantiquatedbarbarisminwhichheburieshimselflikeamole，tothrowupthebarrenhillocksofhisCimmerianlabours。"ThesegayshaftshadatanyratethemeritofstingingShelleytoaction。’TheDefenceofPoetry’washisreply。PeoplelikePeacocktreatpoetry，andartgenerally，asanadventitiousseasoningoflife——ornamentalperhaps，butratheroutofplaceinaprogressiveandpracticalage。Shelleyunderminesthewholepositionbyassertingthatpoetry——anamewhichincludesforhimallseriousart——istheverystuffoutofwhichallthatisvaluableandrealinlifeismade。"A
poemistheveryimageoflifeexpressedinitseternaltruth。"
"Thegreatsecretofmoralsislove，oragoingoutofourownnature，andanidentificationofourselveswiththebeautifulthatexistsinthought，action，orperson，notourown。Aman，tobegreatlygood，mustimagineintenselyandcomprehensively；
hemustputhimselfintheplaceofanotherandofmanyothers；
thepainsandpleasuresofhisspeciesmustbecomehisown。
Thegreatinstrumentofmoralgoodistheimagination。"Anditisontheimaginationthatpoetryworks，strengtheningitasexercisesstrengthenalimb。Historically，heargues，goodpoetryalwayscoexistswithgoodmorals；forinstance，whensociallifedecays，dramadecays。Peacockhadsaidthatreasonersandmechanicalinventorsaremoreusefulthanpoets。
Thereplyisthat，lefttothemselves，theysimplymaketheworldworse，whileitispoetsand"poeticalphilosophers"whoproduce"trueutility，"orpleasureinthehighestsense。
Withoutpoetry，theprogressofscienceandofthemechanicalartsresultsinmentalandmoralindigestion，merelyexasperatingtheinequalityofmankind。"PoetryandtheprincipleofSelf，ofwhichmoneyisthevisibleincarnation，aretheGodandmammonoftheworld。"Whiletheemotionspenetratedbypoetrylast，"Selfappearsaswhatitis，anatomtoauniverse。"Poetry’s"secretalchemyturnstopotablegoldthepoisonouswaterswhichflowfromdeaththroughlife。"Itmakesthefamiliarstrange，andcreatestheuniverseanew。
"Poetsarethehierophantsofanunapprehendedinspiration；themirrorsofthegiganticshadowswhichfuturitycastsuponthepresent；thewordswhichexpresswhattheyunderstandnot；thetrumpetswhichsingtobattle，andfeelnotwhattheyinspire；
theinfluencewhichismovednot，butmoves。Poetsaretheunacknowledgedlegislatorsoftheworld。"
OtherpoetsbesidesShelleyhaveseen"ThroughallthatearthlydressBrightshootsofeverlastingness，"
andothershavefeltthatthefreedomfromself，whichisattainedinthevision，issupremelygood。Whatispeculiartohim，anddistinguisheshimfromthepoetsofreligiousmysticism，isthathereflectedrationallyonhisvision，broughtitmoreorlessintoharmonywithaphilosophicalsystem，and，inembracingit，alwayshadinviewtheimprovementofmankind。Notforamoment，though，mustitbeimaginedthathewasadidacticpoet。Itwasthetheoryoftheeighteenthcentury，andforabriefperiod，whenthefirstimpulseoftheRomanticMovementwasspent，itwasagaintobecomethetheoryofthenineteenthcentury，thattheobJectofpoetryistoinculcatecorrectprinciplesofmoralsandreligion。Poetry，withitspowerofpleasing，wasthejamwhichshouldmakeusswallowthepowderunawares。ThisconceptionwasabhorrenttoShelley，bothbecausepoetryoughtnottodowhatcanbedonebetterbyprose，andalsobecause，forhim，thepleasureandthelessonwereindistinguishablyone。Thepoetistoimproveus，notbyinsinuatingamoral，butbycommunicatingtootherssomethingofthatecstasywithwhichhehimselfburnsincontemplatingeternaltruthandbeautyandgoodness。
Hithertoallthewritingsmentionedhavebeen，except’TheDefenceofPoetry’，thoseofayoungandenthusiasticrevolutionary，whichmighthavesomeinterestintheirproperhistoricalandbiographicalsetting，butotherwisewouldonlybereadascuriosities。WehaveseenthatbeneathShelley’stwofolddrifttowardspracticalpoliticsandspeculativephilosophyadeeperforcewasworking。Yetitischaracteristicofhimthathealwaystendedtoregardthewritingofverseasa’pisaller’。In1819，whenhewasactuallyworkingon’Prometheus’，hewrotetoPeacock，"I
considerpoetryverysubordinatetomoralandpoliticalscience，"addingthatheonlywroteitbecausehisfeeblehealthmadeithopelesstoattemptanythingmoreuseful。Weneednottakethistooseriously；hewasoftenwrongaboutthereasonsforhisownactions。Fromwhatevermotive，writepoetryhedid。Wewillnowconsidersomeofthemorevoluminous，ifnotthemostvaluable，results。
’Alastor，ortheSpiritofSolitude，’[4]isalongpoem，writtenin1815，whichseemstoshadowforththeemotionalhistoryofayoungandbeautifulpoet。Asachildhedrankdeepofthebeautiesofnatureandthesublimestcreationsoftheintellect，until，"Whenearlyyouthhadpast，heleftHiscoldfiresideandalienatedhome，Toseekstrangetruthsinundiscoveredlands。"
Hewanderedthroughmanywildernesses，andvisitedtheruinsofEgyptandtheEast，whereanArabmaidenfellinlovewithhimandtendedhim。Buthepasseson，"throughArabie，andPersia，andthewildCarmanianwaste，"and，arrivedatthevaleofCashmire，liesdowntosleepinadell。Herehehasavision。
A"veiledmaid"sitsbyhim，and，aftersingingfirstofknowledgeandtruthandvirtue，thenoflove，embraceshim。
Whenheawakes，allthebeautyoftheworldthatenchantedandsatisfiedhimbeforehasfaded：
"TheSpiritofSweetHumanLovehassentAvisiontothesleepofhimwhospurnedHerchoicestgifts，"
andherusheson，wildlypursuingthebeautifulshape，likeaneagleenfoldedbyaserpentandfeelingthepoisoninhisbreast。Hislimbsgrowlean，hishairthinandpale。Doesdeathcontainthesecretofhishappiness？Atlasthepauses"ontheloneChorasmianshore，"andseesafrailshallopinwhichhetrustshimselftothewaves。DayandnighttheboatfiiesbeforethestormtothebaseofthecliffsofCaucasus，whereitisengulfedinacavern。Followingthetwistsofthecavern，afteranarrowescapefromamaelstrom，hefloatsintoacalmpool，andlands。Elaboratedescriptionsofforestandmountainscenerybringus，asthemoonsets，tothedeathoftheworn-outpoet——
"Thebrave，thegentle，andthebeautiful，Thechildofgraceandgenius！HeartlessthingsAredoneandsaidi’theworld，andmanywormsAndbeastsandmenliveon……butthouartfled。"
[4"Alastor"isaGreekwordmeaning"thevictimofanAvengingSpirit。"]
In’Alastor’hemeltedwithpityoverwhathefelttobehisowndestiny；in’TheRevoltofIslam’（1817）hewas"atrumpetthatsingstobattle。"This，thelongestofShelley’spoems（thereare4176linesofit，exclusiveofcertainlyricalpassages），isaversifiednovelwithamoreorlesscoherentplot，thoughthemechanismiscumbrous，andanyonewhoexpectsfromthetitleastoryofsomeactualrebellionagainsttheTurkswillbedisappointed。Itstheme，typifiedbyanintroductoryvisionofaneagleandserpentbattlinginmid-sky，isthecosmicstrugglebetweenevilandgood，or，whatforShelleyisthesamething，betweentheforcesofestablishedauthorityandofman’saspirationforliberty，theeaglestandingforthepowerfuloppressor，andthesnakefortheoppressed。
"WhenroundpureheartsahostofhopesassembleTheSnakeandEaglemeet——theworld’sfoundationstremble。"
Thispieceofsymbolismbecameasortoffixedlanguagewithhim；"theSnake"wasanamebywhichitamusedhimtobeknownamonghisfriends。Theclashofthetwooppositesiscrudelyandnarrowlyconceived，withnosuggestionyetofsomemoretremendousforcebehindboth，suchaslateronwastogivedepthtohisviewoftheworldconflict。ThelovesandthevirtuesofLaonandCythna，thegiftedbeingswhooverthrowthetyrantandperishtragicallyinacounter-revolution，aretoobrightagainstabackgroundthatistooblack；butevensotheywereagoodopportunityfordisplayingthevariousphasesthroughwhichhumanitarianpassionmayrun——thefirstwhispersofhope，thedevotionofthepioneer，thejoyoffreedomandlove，intriumphexultationtemperedbyclemency，indefeatdespairennobledbyfirmness。AndalthoughinthisextraordinaryproductionShelleyhasstillnotquitefoundhimself，thetechnicalpowerdisplayedisgreat。ThepoemisinSpenserianstanzas，andhemanagesthelongbreakingwaveofthatmeasurewithsurenessandease，impartingtoitarapidityofonsetthatisallhisown。Buttherearesmallblemishessuchas，evenwhenallowanceismadeforhasteofcomposition（itwaswritteninasinglesummer），anaturallydelicateearwouldneverhavepassed；heapologisesintheprefaceforonealexandrine（thelonglastlinewhichshouldexceedtherestbyafoot）leftinthemiddleofastanza，whereasinfacttherearesomeeightplaceswhereobviouslyredundantsyllableshavecreptin。Amoreseriousdefectisthepersistence，stillunassimilated，oftheelementoftheromantic-horrible。WhenLaon，chainedtothetopofacolumn，gnawscorpses，wefeelthattheauthorofZastrozziisstillslightlyridiculous，magnificentthoughhiswritinghasbecome。Itishard，again，nottosmileatthisworldinwhichthemelodiousvoicesofyoungeleutherarchshaveonlytosoundforthecrouchingslavetorecoverhismanhoodandfortyrantstotrembleandturnpale。Thepoetknows，ashewroteinanswertoacriticism，thathismissionis"toapprehendminuteandremotedistinctionsoffeeling，"and"tocommunicatetheconceptionswhichresultfromconsideringeitherthemoralorthematerialuniverseasawhole。"Hedoesnotseethathehasfailedofbothaims，partlybecause’TheRevolt’istooabstract，partlybecauseitistoodefinite。Itisneitheronethingnortheother。Thefeelingsapprehendedare，indeed，remoteenough；inmanydescriptionswhereland，sea，andmountainshimmerthroughagorgeousmistthatneverwasofthisearth，the"materialuniverse"mayperhapsbeadmittedtobegraspedasawhole；andhehasembodiedhisconceptionofthe"moraluniverse"inapictureofallthegoodimpulsesofthehumanheart，thatshouldbesofruitful，poisonedbythepressureofreligiousandpoliticalauthority。Itwasnaturalthatthemethodwhichhechoseshouldbethatoftheromanticnarrative——wehavenoticedhowhebeganbytryingtowritenovels——noristhatmethodessentiallyunfittedtorepresenttheconflictbetweengoodandevil，withthewholeuniverseforastage；instancesofgreatnovelsthatareepicsinthissensewilloccurtoeveryone。Butrealismisrequired，andShelleywasconstitutionallyincapableofrealismThepersonagesofthestory，LaonandtheHermit，theTyrantandCythna，arepaleprojectionsofShelleyhimself；ofDr。Lind，anenlightenedoldgentlemanwithwhomhemadefriendsatEton；ofHisMajesty’sGovernment；andofMaryWollstonecraft，hiswife’sillustriousmother。Theyareneitheroftheworldnoroutofit，andconsequently，insofarastheyarelocalisedandincarnateandtheiractionswovenintoatale，’TheRevoltofIslam’isafailure。Inhisnextgreatpoemhewastopursuepreciselythesameaims，butwithmoresuccess，becausehehadnowhituponafigureofmoreappropriatevaguenessandsublimity。Theschemeof’PrometheusUnbound’（1819）isdrawnfromtheimmortalcreationsofGreektragedy。
HehadexperimentedwithTassoandhadthoughtofJob；buttherebelliousTitan，Prometheus，thebenefactorofmankindwhomAeschylushadrepresentedaschainedbyZeustoCaucasus，withavulturegnawinghisliver，offeredaperfectembodimentofShelley’sfavouritesubject，"theimage，"toborrowthewordsofhiswife，"ofonewarringwiththeEvilPrinciple，oppressednotonlybyit，butbyall——eventhegood，whoaredeludedintoconsideringevilanecessaryportionofhumanity；avictimfulloffortitudeandhopeandtheSpiritoftriumph，emanatingfromarelianceintheultimateomnipotenceofGood。"IntheGreekplay，Zeusisanusurperinheavenwhohassupplantedanolderandmilderdynastyofgods，andPrometheus，visitedinhispunishmentbythenymphsofocean，knowsasecretonwhichtheruleofZeusdepends。Shelleytookoverthesefeatures，andgraftedonthemhisownpeculiarconfidenceintheultimateperfectionofmankind。HisPrometheusknowsthatJupiter（theEvilPrinciple）willsomedaybeoverthrown，thoughhedoesnotknowwhen，andthathehimselfwillthenbereleased；andthiseventisshownasactuallytakingplace。Itmaybedoubtedwhetherthistreatment，whileitallowsthepoettodescribewhattheworldwillbelikewhenfreedfromevil，doesnotdiminishtheimpressivenessofthesufferingTitan；forifPrometheusknowsthatatermissettohispunishment，hisdefianceoftheoppressoriseasier，and，sofar，lesssublime。
Howeverthatmaybe，hisopeningcriesofpainhavemuchromanticbeauty：
"Thecrawlingglacierspiercemewiththespearsoftheirmoon-freezingcrystals，thebrightchainsEatwiththeirburningcoldintomybones。"
Mercury，Jupiter’smessenger，issenttoofferhimfreedomifhewillrepentandsubmittothetyrant。Onhisrefusal，theFuriesareletloosetotorturehim，andhisagonytakestheformofavisionofallthesufferingoftheworld。Theagonypasses，andMotherEarthcallsupspiritstosoothehimwithimagesofdelight；buthedeclares"mostvainallhopebutlove，"andthinksofAsia，hiswifeinhappierdays。ThesecondactisfullofthedreamsofAsia。WithPanthea，oneoftheoceannymphsthatwatchoverPrometheus，shemakesherwaytothecaveofDemogorgon，"thatterrificgloom，"whoseemsmeanttotypifythePrimalPoweroftheWorld。HencetheyaresnatchedawaybytheSpiritoftheHouratwhichJovewillfall，andthecomingofchangepulsatesthroughtheexcitementofthosematchlesssongsthatbegin：
"Lifeoflife！thylipsenkindleWiththeirlovethebreathbetweenthem。"
Inthethirdactthetyrantistriumphinginheaven，whenthecaroftheHourarrives；Demogorgondescendsfromit，andhurlshimtotheabyss。Prometheus，setfreebyHercules，isunitedagaintoAsia。Andnow，withthetyrannyofwrongfulpower，’Theloathsomemarkhasfallen，themallremainsSceptreless，free，uncircumscribed，butmanEqual，unclassed，tribeless，andnationless，Exemptfromawe，worship，degree，thekingOverhimself；just，gentle，wise。"
Thefourthactisanepilogueinwhich，toquoteMrs。Shelleyagain，"thepoetgivesfurtherscopetohisimagination……
MaternalEarth，themightyparent，issupersededbytheSpiritoftheEarth，theguideofourplanetthroughtherealmsofsky；whilehisfairandweakercompanionandattendant，theSpiritoftheMoon，receivesblissfromtheannihilationofevilinthesuperiorsphere。"Weareinastrangemetaphysicalregion，aninterstellarspaceofincrediblyrarefiedfireandlight，thetruehomeofShelley’sspirit，wherethecirclingspheressingtooneanotherinwaveuponwaveoflyricalrapture，asinexpressibleinproseasmusic，andculminatinginthecry：
"TosufferwoeswhichHopethinksinfinite；
Toforgivewrongsdarkerthandeathornight；
TodefyPowerwhichseemsomnipotent；
Tolove，andbear；tohopetillHopecreatesFromitsownwreckthethingitcontemplates；
Neithertochange，norfalter，norrepent；
This，likethyglory，Titan，istobeGood，greatandjoyous，beautifulandfree；
ThisisaloneLife，Joy，EmpireandVictory。"
Onthewhole，Prometheushasbeenover-praised，perhapsbecausethebeautyoftheinterspersedsongshasdazzledthecritics。
Notonlyarethepersonagestootransparentlyallegorical，buttheallegoryisinsipid；especiallytactlessisthetreatmentofthemarriagebetweenPrometheus，theSpiritofHumanity，andAsia，theSpiritofNature，asaromanticloveaffair。When，inthelastofhismoreimportantpoems，Shelleyreturnedtothestrugglebetweenthegoodandevilprinciples，itwasinadifferentSpirit。Theshortdramaof’Hellas’（1821）was"amereimprovise，"theboilingoverofhissympathywiththeGreeks，whowereinrevoltagainsttheTurks。Hewoveintoit，withallpossibleheighteningofpoeticimagery，thechiefeventsoftheperiodofrevolutionthroughwhichsouthernEuropewasthenpassing，sothatitdiffersfromthePrometheusinhavinghistoricalfactsasostensiblesubject。ThroughitreverberatesthedissolutionofkingdomsinfeatsofarmsbylandandseafromPersiatoMorocco，andthesecataclysms，thoughsuggestiveofsomethingthattranscendsanyhumanwarfare，areyetnotcompletelypinnacledin"theintenseinane。"Butthisisnottheonlymeritof"Hellas；’itspoetryispurerthanthatoftheearlierwork，becauseShelleynolongertakessidessoviolently。Hehaslostthecruderoptimismofthe’Prometheus’，andisthrownbackforconsolationuponsomethingthatmovesusmorethananyprospectofaheavenrealisedonearthbyabolishingkingsandpriests。
WhenthechorusofcaptiveGreekwomen，whoprovidethelyricalsetting，singroundthecouchofthesleepingsultan，weareawareofanineffablehopeattheheartoftheirstrainofmelancholypity；andsoagainwhentheirburthenbecomesthetransienceofallthingshuman。Thesultan，too，feelsthatIslamisdoomed，and，asmessengeraftermessengerannouncesthesuccessoftherebels，hisfatalismexpressesitselfasthegrowingperceptionthatallthisbloodandallthesetearsarebutphantomsthatcomeandgo，bubblesontheseaofeternity。
ThisagainisthepurportofthetalkofAhasuerus，theWanderingJew，whoevokesforhimavisionofMahmudII
capturingConstantinople。Thesultanispuzzled：
"Whatmeanestthou？ThywordsstreamlikeatempestOfdazzlingmistwithinmybrain"；
but’we’knowthatthesubstancebehindthemistisShelley’s"immaterialphilosophy，"thedoctrinethatnothingisrealexcepttheoneeternalMind。Everlouderandmoreconfidentsoundsthisnote，untilitdrownseventhecriesofvictorywhenthetideofbattleturnsinfavouroftheTurks。Thechorus，lamentingantiphonallythedestructionofliberty，areinterruptedbyrepeatedhowlsofsavagetriumph："Kill！crush！
despoil！LetnotaGreekescape’"Butthesediscordsaregraduallyresolved，throughexquisitelycomplicatedcadences，intothegoldenandequableflowoftheconcludingsong：
"Theworld’sgreatagebeginsanew，Thegoldenyearsreturn，TheearthdothlikeasnakerenewHerwinterweedsoutworn：
Heavensmiles，andfaithsandempiresgleam，Likewrecksofadissolvingdream。"
Breezyconfidencehasgivenplacetoapoignantmoodofdisillusionment。
"Oh，cease！musthateanddeathreturn？
Cease！mustmenkillanddie？
Cease！drainnottoitsdregstheurnOfbitterprophecy。
Theworldiswearyofthepast，Oh，mightitdieorrestatlast！"
PerhapstheperfectbeautyofGreekcivilisationshallneverberestored；butthewisdomofitsthinkersandthecreationsofitsartistsareimmortal，whilethefabricoftheworld"Isbutavision；——allthatitinheritsAremotesofasickeye，bubblesanddreams。"
ItiscuriousthatforthreeofhismoreconsiderableworksShelleyshouldhavechosentheformofdrama，sincethelastthingonewouldsayofhimisthathehadthedramatictalent。
’Prometheus’and’Hellas’，however，aredramasonlyinname；
thereisnothoughtinthemofscenicrepresentation。’TheCenci’（1819），ontheotherhand，isarealplay；inwritingithehadthestageinview，andevenaparticularactress，MissO’Neil。Itthusstandsaloneamonghisworks，unlessweputbesideitthefragmentofaprojectedplayaboutCharlesI
（1822），athemewhich，withitscrowdofhistoricalfigures，wasill-suitedtohispowers。Andnotonlyis’TheCenci’aplay；itisthemostsuccessfulattemptsincetheseventeenthcenturyatakindofwriting，tragedyinthegrandstyle，overwhichallourpoets，fromAddisontoSwinburne，havemoreorlesscometogrief。ItssubjectisthefateofBeatriceCenci，thedaughterofanobleRomanhouse，whoin1599wasexecutedwithherstepmotherandbrotherforthemurderofherfather。
Thewickedfather，moreintenselywickedforhisgreyhairsandhisimmenseability，whosewealthhadpurchasedfromthePopeimpunityforalongsuccessionofcrimes，hatedhischildren，anddrovethemtofrenzybyhisrelentlesscruelty。Whentoinsultsandoppressionheaddedthehorrorsofanincestuouspassionforhisdaughter，thecupoverflowed，andBeatrice，facedwithshamemoreintolerablethandeath，preferredparricide。HerewasasubjectmadetoShelley’shand——anaturallypureandgentlesoulsoiled，driventoviolence，andfinallyextinguished，byunnameablewrong，whileallauthority，bothhumananddivine，isonthesideofthepersecutor。
Hauntedbythegrave，sadeyesofGuidoReni’spictureofBeatrice，sothattheverystreetsofRomeseemedtoechohername——thoughitwasonlyoldwomencallingout"rags"
（’cenci’）——hewastemptedfromhisairyflightstothrowhimselfforonceintotheportrayalofreality。Therewasnoneednowtodip"hispeninearthquakeandeclipse"；clothedinplainandnaturallanguage，theactionunfoldeditselfinacrescendoofhorror；butfromtheeasewithwhichhewrote——itcosthimrelativelytheleasttimeandpainsofallhisworks——itwouldberashtoinferthathecouldhaveconstructedanequallygoodtragedyonanyothersubjectthantheinjuredBeatriceandthecombination，whichCountFrancescoCenciis，ofpaternalpowerwiththeextremelimitofhumaniniquity。
Withtheexceptionof’TheCenci’，everythingShelleypublishedwasalmostentirelyunnoticedatthetime。Thisplay，beingmoreintelligiblethantherest，attractedbothnoticeandpraise，thoughitwasalsomuchblamedforwhatwouldnowbecalleditsunpleasantness。Manypeople，amongthemhiswife，regrettedthat，havingprovedhisabilitytohandletheconcrete，hestillshoulddevotehimselftoidealandunpopularabstractions，suchas’TheWitchofAtlas’（1821），afantasticalpieceinrimeroyal，whichseemsparticularlytohaveprovokedMrs。Shelley。A"ladyWitch"livedinacaveonMountAtlas，andhergamesinamagicboat，herdancesintheupperregionsofspace，andtheprankswhichsheplayedamongmen，aredescribedinverseofarichnessthatbewildersbecauseitleadstonothing。Thepoetjuggleswithflowersandgems，starsandspirits，loversandmeteors；weareconstantlyexpectinghimtobreakintosomedesign，andareasconstantlydisappointed。Ourbewildermentisofapeculiarkind；itisnotthesame，forinstance，asthatproducedbyBlake’spropheticbooks，whereweareconsciousofagreatspiritfumblingaftertheinexpressible。Shelleyisnotatruemystic。Heisseldompuzzled，andheneverseemstohaveanydifficultyinexpressingexactlywhathefeels；hisimagesareperfectlydefinite。Ouruneasinessarisesfromthefactthat，withsomuchcleardefinition，suchgreatactivityinreproducingthesubtlestimpressionswhichNaturemakesuponhim，hisworkshouldhavesolittleartisticpurposeorform。
Strokeisaccumulatedonstroke，eachatriumphofimaginativebeauty；butastheydonotcoheretoanydiscoverableend，thetotalimpressionisapttobeoneofeffortrunningtowaste。
Thisformlessness，thismonotonyofsplendour，isfeltevenin’Adonais’（1821），hiselegyonthedeathofKeats。JohnKeatswasaverydifferentpersonfromShelley。Thesonofalivery-stablekeeper，hehadbeenanapothecary’sapprentice，andforashorttimehadwalkedthehospitals。Hewasdrivenintoliteraturebysheerartisticpassion，andnotatallfromanycravingtoamelioratetheworld。HisodesareamongthechiefgloriesoftheEnglishlanguage。Hislife，unlikeShelley’s，wasdevotedentirelytoart，andwasuneventful，itsonlyincidentsanunhappylove-affair，andthegrowth，hastenedbydisappointedpassionandthe’QuarterlyReview’s’
contemptuousattackonhiswork，oftheconsumptionwhichkilledhimattheageoftwenty-six。HewassenttoItalyasalastchance。Shelley，whowasthenatPisa，proposedtonursehimbacktohealth，andofferedhimshelter。Keatsrefusedtheinvitation，anddiedatRomeonFebruary23，1821。ShelleywasnotintimatewithKeats，andhadbeenslowtorecognisehisgenius；butitwasenoughthathewasapoet，insympathywiththeRadicals，anexile，andthevictimoftheToryreviewers。