ThereisnotillAdonaisthatnoteofpersonalbereavementwhichwailsthroughTennyson’s’InMemoriam’orCowley’s’OdeontheDeathofMr。Hervey’。Much，especiallyintheearlierstanzas，iscommonform。TheMuseUraniaissummonedtolament，andahostofpersonifiedabstractionsflitbeforeus，"likepageantryofmistonanautumnalstream"——
"DesiresandAdorations，WingedPersuasions，andveiledDestinies，SplendoursandGlooms，andglimmeringIncarnationsOfHopesandFears，andtwilightFantasies。"
Atfirsthescarcelyseemstoknowwhatitisthathewantstosay，butasheproceedshewarmstohiswork。ThepoetsgatherroundAdonais’bier，andinfouradmirablestanzasShelleydescribeshimselfas"aphantomamongmen，"who"HadgazedonNature’snakedloveliness，Actaeon-like；andnowhefledastrayWithfeeblestepso’ertheworld’swilderness，AndhisownthoughtsalongthatruggedwayPursued，likeraginghounds，theirfatherandtheirprey。"
TheQuarterlyReviewerisnextchastised，andatlastShelleyhasfoundhiscue。Thestrainrisesfromthoughtsofmortalitytotheconsolationsoftheeternal：
’Peace，peace！heisnotdead，hedothnotsleep！
Hehathawakenedfromthedreamoflife。
’Tiswe，who，lostinstormyvisions，keepWithphantomsanunprofitablestrife。"
Keatsismade"onewithNature"；heisaparceofthatpower"Whichwieldstheworldwithneverweariedlove，Sustainsitfrombeneath，andkindlesitabove。"
Itisoncemorethesameconviction，theoffspringofhisphilosophyandofhissuffering，thatwenoticedinHellas，onlyherethepathosismoreacute。Sostrongisthesenseofhisownmisery，thepremonitionofhisowndeath，thatwescarcelyknow，nordoesitmatter，whetheritisinthepersonofKeatsorofhimselfthatheislamentingtheimpermanenceofearthlygood。Hisspiritwashasteningtoescapefrom"thelastcloudsofcoldmortality"；hisbarkisdriven"Farfromtheshore，farfromthetremblingthrongWhosesailswerenevertothetempestgiven。"
Ayearlaterhewasdrowned。
WhilethebeautyofAdonaisiseasilyappreciated，’Epipsychidion’，writteninthesameyear，muststrikemanyreadersasmeremoonshineandmadness。In’Alastor’，thepoet，attheopeningofhiscareer，hadpursuedinvainthroughthewildernessoftheworldavisionofidealloveliness；itwouldnowseemthatthisvisionisatlastembodiedin"thenobleandunfortunateLadyEmiliaViviani，"towhom’Epipsychidion’isaddressed。Shelleybeginsbyexhausting，intheefforttoexpressherperfection，allthemetaphorsthatrapturecansuggest。Hecallsherhisadorednightingale，aspirit-wingedheart，aseraphofheaven，sweetbenedictionintheeternalcurse，moonbeyondtheclouds，starabovethestorm，"thouWonderandthouBeautyandthouTerror！ThouHarmonyofNature’sart！"Sheisasweetlamp，a"wellofsealedandsecrethappiness，"astar，atone，alight，asolitude，arefuge，adelight，alute，aburiedtreasure，acradle，aviolet-shadedgrave，anantelope，amoonshiningthroughamistofdew。Butallhis"worldoffancies"isunequaltoexpressher；hebreaksoffindespair。Acalmerpassageofgreatinterestthenexplainshisphilosophyoflove：
"Thatbestphilosophy，whosetasteMakesthiscoldcommonhell，ourlife，adoomAsgloriousasafierymartyrdom，"
andtellshowhe"neverwasattachedtothatgreatsect，"whichrequiresthateveryoneshouldbindhimselfforlifetoonemistressorfriend；forthesecretoftrueloveisthatitisincreased，notdiminished，bydivision；likeimagination，itfillstheuniverse；thepartsexceedthewhole，andthisisthegreatcharacteristicdistinguishingallthingsgoodfromallthingsevil。Wethenhaveashadowyrecordoflove’sdealingswithhim。Inchildhoodheclaspedthevisionineverynaturalsightandsound，inverse，andinphilosophy。Thenitfled，this"souloutofmysoul。"Hegoesintothewintryforestoflife，where"onewhosevoicewasvenomedmelody"entrapsandpoisonshisyouth。Theidealissoughtinvaininmanymortalshapes，untilthemoonrisesonhim，"thecoldchasteMoon，"
smilingonhissoul，whichliesinadeath-liketrance，afrozenocean。Atlastthelong-soughtvisioncomesintothewintryforest；itisEmily，likethesun，bringinglightandodourandnewlife。Henceforthheisaworldruledbyandrejoicinginthesetwinspheres。"Astorealfleshandblood，"
hesaidinalettertoLeighHunt，"youknowthatIdonotdealinthosearticles；youmightaswellgotoagin-shopforalegofmuttonasexpectanythinghumanorearthlyfromme。"Yetitiscertainthatthefiguresbehindtheshiftingwebofmetaphorsarepartlyreal——thatthepoisonousenchantressishisfirstwife，andthemoonthatsavedhimfromdespairhissecondwife。Thelastpartofthepoemhymnstheblissofunionwiththeideal。Emilymustflywithhim；"ashipisfloatingintheharbournow，"andthereis"anisleunderIonianskies，"thefairestofallShelley’simaginarylandscapes，wheretheirtwosoulsmaybecomeone。Then，atthesuprememoment，thesongtremblesandstops：
"Woeisme！
ThewingedwordsonwhichmysoulwouldpierceIntotheheightsoflove’srareuniverse，Arechainsofleadarounditsflightoffire——
Ipant，Isink，Itremble，Iexpire。"
WehavenowtakensomeviewofthechiefofShelley’slongerpoems。Mostofthesewerepublishedduringhislife。Theybroughthimlittleapplauseandmuchexecration，butifhehadwrittennothingelsehisfamewouldstillbesecure。Theyare，however，lessthanhalfoftheversethatheactuallywrote。
Besidesmanycompletedpoems，itremainedforhiswifetodecipher，fromscrapsofpaper，scribbledover，interlined，anderased，ahostoffragments，allvaluable，andmanyofthemgemsofpurestray。Wemustnowattemptageneralestimateofthiswholeoutput。
ChapterIIIThePoetofRebellion，ofNature，andofLoveItmayseemstrangethatsomuchspacehasbeenoccupiedinthelasttwochaptersbyphilosophicalandpoliticaltopics，andthisalthoughShelleyisthemostpurelylyricalofEnglishpoets。ThefactisthatinnearlyallEnglishpoetsthereisastrongmoralandphilosophicalstrain，particularlyinthoseoftheperiod1770-1830。Theyaredeeplyinterestedinpolitical，scientific，andreligiousspeculationsinaestheticquestionsonlysuperficially，ifatallShelley，withthetap-rootsofhisemotionsstrikingdeepintopoliticsandphilosophy，isonlyanextremeinstanceofanationaltrait，whichwasunusuallyprominentintheearlypartofthenineteenthcenturyowingtothestateofourinsularpoliticsatthetimethoughitmustbeadmittedthatEnglishartistsofallperiodshaveaninherenttendencytomoralisewhichhassometimesbeenaweakness，andsometimeshasgiventhemsurprisingstrength。
LiketheotherpoetsoftheRomanticMovementShelleyexpendedhisemotiononthreemainobjects——politics，nature，andlove。
Ineachofthesesubjectshestruckanotepeculiartohimself，buthissingularityisperhapsgreatestinthesphereofpolitics。ItmaybesummedupintheobservationthatnoEnglishimaginativewriterofthefirstrankhasbeenequallyinspiredbythosedoctrinesthathelpedtoproducetheFrenchRevolution。Thatallmenarebornfreeandequal；thatbyacontractenteredintoinprimitivetimestheysurrenderedasmuchoftheirrightsaswasnecessarytothewell-beingofthecommunity，thatdespoticgovernmentsandestablishedreligions，beingviolationsoftheoriginalcontract，areencroachmentsonthoserightsandthecausesofallevil；thatinequalitiesofrankandpowercanbeabolishedbyreasoning，andthatthen，sincemenarenaturallygood，thegoldenagewillreturn——thesearepositionswhichtheEnglishmind，withitsdislikeofthe’apriori’，willnotreadilyaccept。TheEnglishUtilitarians，whoexertedagreatinfluenceonthecourseofaffairs，andtheclassicalschoolofeconomiststhatderivedfromthem，didindeedholdthatmenwerenaturallygood，inasense。Theirtheorywasthat，ifpeoplewerelefttothemselves，andiftherestraintsimposedbyauthorityonthoughtandcommercewereremoved，theoperationofordinaryhumanmotiveswouldproducethemostbeneficentresults。Buttheirtheorywasquiteempirical；workedoutinvariouswaysbyAdamSmith，Bentham，andMill，itadmirablysuitedthenativeindependenceoftheEnglishcharacter，andwasjustifiedbythefactthat，attheendoftheeighteenthcentury，governmentsweresobadthatanimmenseincreaseofwealth，intelligence，andhappinesswasboundtocomemerelyfrommakingacleansweepofobsoleteinstitutions。Shelley’sRadicalismwasnotofthisdrabhue。
Hewasincapableofsoberlystudyingtheconnectionsbetweencausesandeffectsanincapacitywhichcomesoutinthedistastehefeltforhistory——andhisconceptionoftheidealatwhichthereformershouldaimwasvagueandfantastic。Inboththeserespectshisshortcomingswereduetoignoranceofhumannatureproceedingfromignoranceofhimself。
Andfirstastothenatureofhisideals。Whileallgoodmenmustsympathisewiththesincerityofhispassiontoremouldthissorryschemeofthings"nearertotheheart’sdesire，"fewwillfindthemodel，asitappearsinhispoems，veryexhilarating。Itischieflyexpressedinnegatives：therewillbenopriests，nokings，nomarriage，nowar，nocruelty——manwillbe"tribelessandnationless。"Thoughtheearthwillteemwithplentybeyondourwildestimagination，thegeneraleffectisinsipid；or，iftherearecoloursinthescene，theyarehectic，unnaturalcolours。Hiscouplesoflovers，isolatedinbowersofbliss，readingPlatoandeatingvegetables，arepoorsubstitutesfortherichvarietyofhumanemotionswhichtherealworld，withallitsadmixtureofevil，actuallyadmits。
HenceShelley’stoneirritateswhenheshrillysummonsustoadorehisNewJerusalem。Reflectingonthenarrownessofhisidealsweareapttoseehimasanignorantandfanaticalsectary，andtodetectanunpleasantflavourinhisverse。Andweperceivethat，aswithallhonestfanatics，hisnarrownesscomesfromignoranceofhimself。ThestoryofMrs。Southey’sbunsistypical。WhenhevisitedSoutheytherewerehotbutteredbunsfortea，andhesomuchoffendedMrs。Southeybycallingthemcoarse，disgustingfoodthatshedeterminedtomakehimtrythem。Heatefirstone，thenanother，andendedbyclearingofftwoplatesoftheuncleanthing。Activelyconsciousofnothinginhimselfbutaspirationstowardsperfection，heneversawthat，likeeveryoneelse，hewasacockpitofordinaryconflictinginstincts；or，ifthistumultoflowermovementsdidemergeintoconsciousness，hewouldjudgeittobewhollyevil，sinceithadnoconnection，exceptasahindrance，withhisactivitiesasareformer。Similarlytheworldatlarge，fullasitwasofnightmareoppressionsofwrong，fellforhimintotwosharplyopposedspheresoflightanddarknessononesidetheradiantarmiesofright，ontheothertheperverseoppositionofdevils。
Withthishystericallyover-simplifiedviewoflife，fosteredbylackofself-knowledge，wasconnectedacorrespondingmistakeastothemeansbywhichhisendscouldbereached。
Oneofthefirstobservationswhichgenerousspiritsoftenmakeisthattheunsatisfactorystateofsocietyisduetosomeverysmallkinkorflawinthedispositionsofthemajorityofpeople。Thisperception，whichitdoesnotneedmuchexperiencetoreach，isthesourceofthecommonerrorofyouththateverythingcanbeputrightbysomesimpleremedy。Ifonlysometinychangecouldbemadeinmen’sattitudetowardsoneanotherandtowardstheuniverse，whatafloodofevilcouldbedammed；theslightnessofthecauseisasstrikingastheimmensityoftheeffect。Thosewhoridiculetheyoungdonot，perhaps，alwaysseethatthisisperfectlytrue，thoughofcoursetheyarerightindenouncingtheinferencesooftendrawn——andherelayShelley’sfundamentalfallacy——thattherequiredtinychangedependsonaneffortofthewill，andthatthewillonlydoesnotmaketheeffortbecausefeelingispervertedandintelligencedimmedbyconventiontraditions，prejudices，andsuperstitions。Itiscertain，foronething，thatwillonlyplaysasmallpartinournature，andthatbythemselvesactsofwillcannotmaketheworldperfect。Mostmenarehelpedtothislessonbyobservationofthemselves；
theyseethattheirhighresolvesareineffectivebecausetheircharactersaremixed。Shelleyneverlearntthis。Hesaw，indeed，thathiseffortswerefutileevenmischievous；but，beingcertain，andrightly，ofthenobilityofhisaims，hecouldneverseethathehadactedwrongly，thatheoughttohavecalculatedtheresultsofhisactionsmorereasonably。
Everthwarted，andnevernearerthehappinesshedesiredforhimselfandothers，hedidnot，likeordinarymenattainajusternotionoftherelationbetweengoodandillinhimselfandintheworld；helapsedintoaplaintivebewilderedmelancholy，translatingtheinexplicableconflictofrightandwrongintothetranscendentalviewthat"Life，likeadomeofmany-colouredglass，StainsthewhiteradianceofEternity。"
Buthisfailureistheworld’sgain，forallthatisbestinhispoetryisthisexpressionoffrustratedhope。Hehasindeed，whenheismovedsimplybypublicpassion，somewonderfultrumpet-notes；whathateandindignationcando，hesometimesdoes。Andhisrapturousdreamsoffreedomcanstirtheintellect，ifnottheblood。Butitmustberemarkedthatpoetryinspiredsolelybyrevolutionaryenthusiasmisliabletoonefatalweakness：itdegeneratestooeasilyintorhetoric。
Toavoidbeingadidactictreatiseithastodealinhigh-flownabstractions，andinShelleyfear，famine，tyranny，andtherest，sometimeshavealltheemptinessoftheclassicalmanner。
Theyappearnowasbrothers，nowasparents，nowassistersofoneanother；thetaskofunravellingtheirgenealogywouldbeasdifficultasitispointless。IfShelleyhadbeenmerelythesingerofrevolution，theintensityandsincerityofhisfeelingwouldstillhavemadehimabetterpoetthanByron；buthewouldnothavebeenagreatpoet，partlybecauseoftheinherentdrawbacksofthesubject，partlybecauseofhisstrainedandfalseviewof"themoraluniverse"andofhimself。
Hissong，intreatingofmenascitizens，asgovernorsandgoverned，couldneverhavetouchedsuchaheightasBurns’"A
man’samanfora’that。"
Fortunatelyforourliterature，Shelleydidmorethanarraigntyrants。TheRomanticMovementwasnotmerelyanewwayofconsideringhumanbeingsintheirpubliccapacity；itmeantalsoanewkindofsensitivenesstotheirenvironment。Ifweturn，say，fromPope’s’TheRapeoftheLock’toWordsworth’s’ThePrelude’，itisasifwehavepassedfromasalooncrowdedwithabewiggedandpaintedcompany，wittilyconversinginanatmospherethathasbecomeratherstuffy，intothefreshnessofastarlitnight。Andjustas，onsteppingintotheopenair，thesplendoursofmountain，sky，andseamayenlargeourfeelingswithwonderanddelight，soacorrespondingchangemayoccurinouremotionstowardsoneanother；inthissettingofauniversewithwhichwefeelourselvesnowrapturously，nowcalmly，united，welovewithlessartifice，withgreaterimpetuosityandself-abandonment。"ThomsonandCowper，"saysPeacock，"lookedatthetreesandhillswhichsomanyingeniousgentlemenhadrhymedaboutsolongwithoutlookingatthem，andtheeffectoftheoperationonpoetrywaslikethediscoveryofanewworld。"TheRomanticpoetstendedtobeabsorbedintheirtreesandhills，butwhentheyalsolookedinthesamespiritontheirownhearts，thatoperationaddedyetanotherworldtopoetry。InShelleytheabsorptionoftheselfinnatureiscarriedtoitsfurthestpoint。IfthepassiontowhichnaturemovedhimislessdeeplymeditatedthaninWordsworthandColeridge，itsexuberanceiswilder；andinhisbestlyricsitisinseparablymingledwiththepassionwhichputshimamongtheworld’stwoorthreegreatestwritersoflove-poems。
Ofallhisverse，itisthesesongsaboutnatureandlovethateveryoneknowsandlikesbest。And，infact，manyofthemseemtosatisfywhatisperhapstheultimatetestoftruepoetry：theysometimeshavethepower，whichmakespoetryakintomusic，ofsuggestingbymeansofwordssomethingwhichcannotpossiblybeexpressedinwords。Obviouslythetestisimpossibletousewithanyobjectivecertainty，but，forareasonwhichwillappear，itseemscapableofafairlystraightforwardapplicationtoShelley’swork。
Firstwemayobservethat，justasthesightofsomerealscene——notnecessarilyasunsetoraglacier，butaploughedfieldorastreet-corner——maycallupemotionswhich"lietoodeepfortears"andcannotbeputintowords，thissameeffectcanbeproducedbyunstudieddescriptions。Wordsworthoftenproducesit：
"IwanderedlonelyasacloudThatfloatsonhigho’ervalesandhills，WhenallatonceIsawacrowd，Ahostofgoldendaffodils。"
Now，inthedescriptionofnaturalscenesthatkindofeffectisbeyondShelley’sreach，thoughhehasmanypictureswhicharebothdetailedandemotional。Consider，forinstance，theselinesfrom’TheInvitation’（1822）。HecallstoJaneWilliamstocomeaway"tothewildwoodsandtheplains，"
"Wherethelawnsandpasturesbe，Andthesandhillsofthesea；——
Wherethemeltinghoar-frostwetsThedaisy-starthatneversets，Andwind-flowers，andviolets，Whichyetjoinnotscenttohue，Crownthepaleyearweakandnew；
WhenthenightisleftbehindInthedeepeast，dunandblind，Andthebluemoonisoverus，AndthemultitudinousBillowsmurmuratourfeet，Wheretheearthandoceanmeet，AndallthingsseemonlyoneIntheuniversalsun。"
Thishasawonderfullightnessandradiance。Andhereisapassageofcarefuldescriptionfrom’Evening：PonteaMare，Pisa’：
"Thesunisset；theswallowsareasleep；
Thebatsareflittingfastinthegrayair；
Theslowsofttoadsoutofdampcornerscreep，Andevening’sbreath，wanderinghereandthereOverthequiveringsurfaceofthestream，Walkesnotoneripplefromitssummerdream。
Thereisnodewonthedrygrassto-night，Nordampwithintheshadowofthetrees；
Thewindisintermitting，dryandlight；
AndintheinconstantmotionofthebreezeThedustandstrawsaredrivenupanddown，Andwhirledaboutthepavementofthetown。"
Evidentlyhewasagoodobserver，inthesensethathesawdetailsclearly——unlikeByron，whohadfornaturebutavagueandapreoccupiedeye——andevidently，too，hisobservationissteepedinstrongfeeling，andisexpressedinmostmelodiouslanguage。Yetwegettheimpressionthatheneithersawnorfeltanythingbeyondexactlywhathehasexpressed；thereisnosuggestion，asthereshouldbeingreatpoetry，ofsomethingbeyondallexpression。And，curiouslyenough，thisseemstobetrueevenofthosefancifulpoemssoespeciallycharacteristicofhim，suchas’TheCloud’and’Arethusa’，wherehehasdashedtogetheronhispalettethemoststartlingcoloursinnature，andcomposedoutofthemanextravagantlyimaginativewhole：
"Thesanguinesunrise，withhismeteoreyes，Andhisburningplumesoutspread，Leapsonthebackofmysailingrack，Whenthemorningstarshinesdead，AsonthejagofamountaincragWhichanearthquakerocksandswings，AneaglealitonemomentmaysitInthelightofitsgoldenwings。
And，whensunsetmaybreathe，fromthelitseabeneath，Itsardoursofrestandoflove，AndthecrimsonpallofevemayfallFromthedepthsofheavenabove，WithwingsfoldedIrest，onmyairynest，Asstillasabroodingdove。"
Canhekeepitup，wewonder，thismanipulationofeaglesandrainbows，ofsunsetandmoonshine，ofsprayandthunderandlightning？Weholdourbreath；itissuperhuman，miraculous；
butheneverfalters，sovehementistheimpulseofhisdelight。Itisonlyafterwardsthatweaskourselveswhetherthereisanythingbeyondthemeredelight；andrealisingthat，thoughwehavebeenraptfarabovetheearth，wehavehadnodisturbingglimpsesofinfinity，weareleftwithaslightflatnessofdisappointment。
Butdisappointmentvanisheswhenweturntothepoemsinwhichecstasyisshotthroughwiththatstrainofmelancholywhichwehavealreadynoticed。HeinvokesthewildWestWind，notsomuchtoexultimpersonallyintheforcethatchariotsthedecayingleaves，spreadstheseedsabroad，wakestheMediterraneanfromitsslumber，andcleavestheAtlantic，astocryoutinthepainofhisownhelplessnessandfailure：
"Ohlifemeasawave，aleaf，acloud！
Ifalluponthethornsoflife！Ibleed！
AheavyweightofhourshaschainedandbowedOnetoolikethee：tameless，andswift，andproud。"
OranautumndayintheEuganeanhills，growingfrommistymorningthroughbluenoontotwilight，brings，ashelooksover"thewavelessplainofLombardy，"ashortrespite：
"ManyagreenisleneedsmustbeInthedeepwideseaofmisery；
OrtheMariner，wornandwan，Ne’erthuscouldvoyageon。"
Thecontrastbetweenthepeacefullovelinessofnatureandhisownmiseryisapiteouspuzzle。OnthebeachnearNaples"Thesuniswarm，theskyisclear，Thewavesaredancingfastandbright，BlueislesandsnowymountainswearThepurplenoon’stransparentmight。"
But"Alas！Ihavenorhopenorhealth，Norpeacewithinnorcalmaround，NorthatcontentsurpassingwealthThesageinmeditationfound，Andwalkedwithinwardglorycrowned——
Norfame，norpower，norlove，norleisure。
OthersIseewhomthesesurround——
Smilingtheylive，andcalllifepleasure；——
Tomethatcuphasbeendealtinanothermeasure"；
sothat"Icouldliedownlikeatiredchild，Andweepawaythelifeofcare。"
Theachingwearinessthatthrobsinthemusicoftheseversesisnotmeresentimentalself-pity；itisthecryofasoulthathasknownmomentsofblisswhenithasbeenabsorbedintheseaofbeautythatsurroundsit，onlythemomentspass，andthereunion，eversought，seemsevermorehopeless。OverandoveragainShelley’ssonggivesusboththefugitiveglimpsesandthemysteryoffrustration。
"Isangofthedancingstars，IsangofthedaedalEarth，AndofHeaven——andthegiantwars，AndLove，andDeath，andBirth，——
AndthenIchangedmypipings，——
SinginghowdownthevaleofMenalusIpursuedamaidenandclasp’dareed：
Godsandmen，wearealldeludedthus！
Itbreaksinourbosomandthenwebleed：
Allwept，asIthinkbothyenowwould，Ifenvyoragehadnotfrozenyourblood，Atthesorrowofmysweetpipings。"
Whyisitthatheisequaltothehighestofficeofpoetryinthesesad’crisdecoeur’ratherthananywhereelse？Thereisonepoem——perhapshisgreatestpoem——whichmaysuggesttheanswer。Inthe’SensitivePlant’（1820）agardenisfirstdescribedonwhicharelavishedallhispowersofweavinganimaginarylandscapeoutofflowersandlightandodour。Alltheflowersrejoiceinoneanother’sloveandbeautyexcepttheSensitivePlant，"FortheSensitivePlanthasnobrightflower；
Radianceandodourarenotitsdower；
Itloves，evenlikeLove，itsdeepheartisfull，Itdesireswhatithasnot，thebeautiful。"
Nowtherewas"apowerinthissweetplace，anEveinthisEden。""ALady，thewonderofherkind，"tendedtheflowersfromearliestspring，throughthesummer，"and，erethefirstleaflookedbrown，shedied！"Thelastpartofthepoem，apendanttothefirst，isfullofthehorrorsofcorruptionanddecaywhenthepowerofgoodhasvanishedandthepowerofevilistriumphant。Cruelfrostcomes，andsnow，"Andanorthernwhirlwind，wanderingaboutLikeawolfthathadsmeltadeadchildout，Shooktheboughsthusladen，andheavyandstiff，Andsnappedthemoffwithhisrigidgriff。
WhenwinterhadgoneandspringcamebackTheSensitivePlantwasaleaflesswreck；
Butthemandrakes，andtoadstools，anddocks，anddarnels，Roselikethedeadfromtheirruinedcharnels。"
Thenthereisanepiloguesayingquitebaldlythatperhapswemayconsoleourselvesbybelievingthat"InthislifeOferror，ignorance，andstrife，Wherenothingis，butallthingsseem，Andwetheshadowsofthedream，Itisamodestcreed，andyetPleasantifoneconsidersit，Toownthatdeathitselfmustbe，Likealltherest，amockery。
Thatgardensweet，thatladyfair，Andallsweetshapesandodoursthere，Intruthhaveneverpassedaway：
’Tiswe，’tisours，arechanged；notthey。
Forlove，andbeauty，anddelight，Thereisnodeathnorchange：theirmightExceedsourorganswhichendureNolight，beingthemselvesobscure。"
ThefactisthatShelley’smelancholyisintimatelyconnectedwithhisphilosophicalideas。ItisthecreedofthestudentofBerkeley，ofPlato，ofSpinoza。Whatisrealandunchangingistheonespiritwhichinterpenetratesandupholdstheworldwith"loveandbeautyanddelight，"andthisspirit——thevisionwhichAlastorpursuedinvain，the"UnseenPower"ofthe’OdetoIntellectualBeauty’——iswhatisalwayssuggestedbyhispoetryatitshighestmoments。Thesuggestion，initsfulness，isofcourseineffable；onlyinthecaseofShelleysomeapproachcanbemadetonamingit，becausehehappenedtobesteepedinphilosophicalwaysofthinking。Theformsinwhichhegaveitexpressionarepredominantlymelancholy，becausethiskindofidealism，withitsinsistenceontheunrealityofevil，istherecoilfromlifeofanunsatisfiedanddisappointedsoul。
Hisphilosophyofloveisbutaspecialcaseofthisall-embracingdoctrine。Wesawhowin’Epipsychidion’herejectedmonogamicprinciplesonthegroundthattrueloveisincreased，notdiminished，bydivision，andwecannowunderstandwhyhecallsthistheoryan"eternallaw。"For，inthislifeofillusion，itisinpassionatelovethatwemostnearlyattaintocommunionwiththeeternalreality。Hencethemoreofitthebetter。Themorewedivideandspreadourlove，themorenearlywillthefragmentsofgoodnessandbeautythatareineachofusfindtheirtruefruition。Thisdoctrinemaybeinconvenientinpractice，butitisfarremovedfromvulgarsensualism，ofwhichShelleyhadnotatrace。Hoggsaysthathewas"pre-eminentlyaladies’man，"meaningthathehadthatchildlikehelplessnessandsinceritywhichgostraighttotheheartsofwomen。Tothisyouth，preachingsublimemysteries，andneedingtobemotheredintothebargain，theywereasirontothemagnet。TherewasalwaysanEveinhisEden，andeachwasthe"wonderofherkind"；butwhoevershewas——HarrietGrove，HarrietWestbrook，ElizabethHitchener，CorneliaTurner，MaryGodwin，EmiliaViviani，orJaneWilliams——shewasneveraDonJuan’smistress；shewasanincarnationofthesouloftheworld，amomentarymirroroftheeternal。Suchanattitudetowardstheleastcontrollableofpassionshasseveraldrawbacks：itinvolvesacertaininhumanity，anditisonlypossibleforlongtoonewhoremainsignorantofhimselfandcannotseethatpartoftheforceimpellinghimisblindattractiontowardsaprettyface。Italsohastheresultthat，iftheloverisapoet，hislove-songswillbesad。Obsessedbytheideaofcommunionwithsomedivineperfection，hemustneedsbeoftencastdown，notonlybyfindingthat，Ixion-like，hehasembracedacloud（asShelleysaidofhimselfandEmilia），butbecause，evenwhentheobjectofhisaffectionisworthy，completecommunioniseasiertodesirethantoattain。
ThusShelley’slove-songsarejustwhatmightbeexpected。Ifhedoesstraintothemomentofingressintothedivinebeing，itistoswoonwithexcessofbliss，asattheendof’Epipsychidion’，orasinthe’IndianSerenade’：
"Ohliftmefromthegrass！
Idie！Ifaint！Ifail！"
Moreoftenheexhalespuremelancholy：
"SeethemountainskisshighheavenAndthewavesclasponeanother；
Nosister-flowerwouldbeforgivenIfitdisdaineditsbrother。
Andthesunlightclaspstheearth，Andthemoonbeamskissthesea：
WhatisallthissweetworkworthIfthoukissnotme？"
Herethefailureisforeseen；heknowsshewillnotkisshim。
Sometimeshissadnessisfaintandrestrained：
"Ifearthykisses，gentlemaiden，Thouneedestnotfearmine；
MyspiritistoodeeplyladenEvertoburthenthine。"
Atothertimesitflowswiththefulnessofdespair，asin"Icangivenotwhatmencalllove，ButwiltthouacceptnotTheworshiptheheartliftsaboveAndtheHeavensrejectnot，Thedesireofthemothforthestar，Ofthenightforthemorrow，ThedevotiontosomethingafarFromthesphereofoursorrow？"
orin"WhenthelampisshatteredThelightinthedustliesdead——
WhenthecloudisscatteredTherainbow’sgloryisshed。
Whentheluteisbroken，Sweettonesarerememberednot；
Whenthelipshavespoken，Lovedaccentsaresoonforgot。"
Theveryraptureoftheskylarkopens，ashelistens，thewoundathisheart：
"Welookbeforeandafter，Andpineforwhatisnot：
OursincerestlaughterWithsomepainisfraughtOursweetestsongsarethosethattellofsaddestthought。"
Istheassertioncontainedinthislastlineuniversallytrue？
Perhaps。AtanyrateitistrueofShelley。Hissaddestsongsarethesweetest，andthereasonisthatinthem，ratherthaninthoseverseswherehemerelyuttersecstaticdelight，orcalmpleasure，orbitterindignation，heconveysineffablesuggestionsbeyondwhatthebarewordsexpress。
Itremainstopointoutthatthereisonemeansofconveyingsuchsuggestionswhichwasoutsidethescopeofhisgenius。
Oneofthemethodswhichpoetrymostoftenusestosuggesttheineffableisbytheartfulchoiceandarrangementofwords。A
word，simplybybeingcunninglyplacedandgivenacertaincolour，can，inthehandsofagoodcraftsman，openupindescribablevistas。ButKeats，when，inreplytoaletterofcriticism，hewrotetohim，"Youmightcurbyourmagnanimity，andbemoreofanartist，andloadeveryriftofyoursubjectwithore，"wasgivinghimadvicewhich，thoughadmirable，itwasimpossiblethatheshouldfollow。Shelleywasnotmerelynotacraftsmanbynature，hewasnottheleastinterestedinthosematterswhicharecoveredbytheclumsynameof"technique。"Itischaracteristicofhimthat，whilemostgreatpoetshavebeenfertilecoinersofnewwords，hisonlyadditiontothelanguageistheugly"idealism"inthesenseof"idealobject。"Heseemstohavestrayedfromthecurrentvocabularyonlyintwoothercases，bothinfelicitous——"glode"
for"glided，"and"blosmy"for"blossomy。"Hedidnot，likeKeats，lookonfinephraseswiththeeyeofalover。Histastewastheconventionaltasteofthetime。ThushesaidofByron’s’Cain’，"Itisapocalyptic，itisarevelationnotbeforecommunicatedtoman"；andhethoughtByronandTomMoorebetterpoetsthanhimself。Asregardsart，hecheapenedMichaelAngelo，andtheonlythingsaboutwhichhewasenthusiasticinItaly，exceptthefragmentsofantiquitywhichhelovedfortheirassociations，werethepaintingsofRaphaelandGuidoReni。Nordowefindinhimanyofthosenewmetricaleffects，thosesublimeinventionsinprosody，withwhichthegreatmastersastonishus。Blankverseisatestofpoetsinthisrespect，andShelley’sblankverseislimpandcharacterless。
Thosetriumphs，again，whichconsistinthebeautyofcomplicatedwholes，wereneverhis。Heissupreme，indeed，insimpleoutburstswherethereisnoquestionofform，butineffortsoflongerbreath，wherearchitectureisrequired，hetoooftensprawlsandfumblesbeforetheinspirationcomes。
Yethisversehasmeritswhichseemtomakesuchcriticismsvain。Wemaytraceinitallkindsof’arrierespensees’，philosophicalandsociological，thatanartistoughtnottohave，andwemayevendislikeitsdominatingconceptionofavaguespiritthatpervadestheuniverse；butwemustadmitthatwhenhewroteitwasasifseizedandsweptawaybysome"unseenpower"thatfelluponhimunpremeditated。Hisemotionswereofthatfatalviolencewhichdistinguishessomanyillustriousbutunhappysoulsfromthemassofpeaceablemankind。IntheearlypartoflastcenturyasetofillustrationstoFaustbyRetzchusedtobegreatlyadmired；
aboutoneofthem，apictureofFaustandMargaretinthearbour，Shelleysaysinalettertoafriend："Theartistmakesoneenvyhishappinessthathecansketchsuchthingswithcalmness，whichIonlydaredlookupononce，andwhichmademybrainswimroundonlytotouchtheleafontheoppositesideofwhichIknewthatitwasfigured。"Soslightweretheoccasionsthatcouldaffecthimeventovertigo。When，fromwhatevercause，thefrenzytookhim，hewouldwritehastily，leavinggaps，notcaringaboutthesense。Afterwardshewouldworkconscientiouslyoverwhathehadwritten，buttherewasnothingleftforhimtodobuttocorrectincoldblood，makeplainthemeaning，andreducealltosuchorderashecould。
Oneresultofthismethodwasthathisversepreservedanunparallelledrushandspontaneity，whichisperhapsasgreataqualityasanythingattainedbythemorebee-liketoilofbetterartists。
BIBLIOGRAPHICALNOTE
TheliteraturedealingwithShelley’sworkandlifeisimmense，andnoattemptwillbemadeeventosummariseithere。A
convenientone-volumeeditionofthepoemsisthateditedbyProfessorEdwardDowdenforMessrs。Macmillan（1896）；itincludesMaryShelley’svaluablenotes。Thereisagoodselectionofthepoemsinthe"GoldenTreasurySeries，"
compiledbyA。StopfordBrooke。TheProseWorkshavebeencollectedandeditedbyMr。H。BuxtonFormaninfourvolumes（1876-1880）。OfthelettersthereisaneditionbyMr。RogerIngpen（2vols。，1909）。AnumberofletterstoElizabethHitchenerwerepublishedbyMr。BertramDobellin1909。
Forafirst-handknowledgeofapoet’slifeandcharacterthestudentmustalwaysgototheaccountsofcontemporaries。InShelley’scasethesearecopious。ThereareT。L。Peacock，s’Memoirs’（editedbyE。F。B。Brett-Smith，1909）；Peacock’s’NightmareAbbey’containsanamusingcaricatureofShelleyinthepersonofScythrops；andinatleasttwoofhernovelsMaryShelleyhasleftdescriptionsofherhusband：AdrianEarlofWindsor，in’TheLastMan’，isaportraitofShelley，and’Lodore’containsanaccountofhisestrangementfromHarriet。
HiscousinTomMedwin’s’Life’（1847）isabadbook，fullofinaccuracies。ButShelleyhadoneuniquepieceofgoodfortune：twofriendswrotebooksabouthimthataremasterpieces。T。J。Hogg’s’Life’isespeciallyvaluablefortheearlierperiod，andE。J。Trelawny’s’RecordsofShelley，Byron，andtheAuthor’，describeshiminthelastyearbeforehisdeath。Hogg’s’Life’hasbeenrepublishedinacheapeditionbyMessrs。Routledge，andthereisacheapeditionofTrelawny’s’Records’inMessrs。Routledge’s"NewUniversalLibrary。"Butboththesebooks，whiletheygiveincomparablyvividpicturesofthepoet，areramblingandunconventional，andshouldbesupplementedbyProfessorDowden’s’LifeofShelley’（2vols。，1886），whichwillalwaysremainthestandardbiography。Ofotherrecentlives，Mr。A。Clutton-Brock’s’Shelley：theManandthePoet’（1910）mayberecommended。
OftheinnumerablecriticalestimatesofShelleyandhisplaceinliterature，themostnoteworthyareperhapsMatthewArnold’sEssayinhis’EssaysinCriticism’，andFrancisThompson’s’Shelley’（1909）。Vol。iv。"NaturalisminEngland，"ofDr。
GeorgeBrandes’’MainCurrentsinNineteenthCenturyLiterature’（1905），maybereadwithinterest，thoughitisnotveryreliable；andProf。OliverElton’s’ASurveyofEnglishLiterature’，1780-1830（1912），shouldbeconsulted。
Whoeverwishestofollowthefortunes，afterthefireoftheirliveswasextinguishedbyShelley’sdeath，ofMaryShelley，ClaireClairmont，andtherest，shouldread，besidesTrelawny’s’Records’alreadymentioned，’TheLifeandLettersofMaryWollstonecraftShelley’，byMrs。JulianMarshall（2vols。，1889），and’TheLettersofE。J。Trelawny_，editedbyMr。H。
BuxtonForman（1910）。