Percy Bysshe Shelley

“ Life, like a dome of many-coloured glass, Stains the white radiance of eternity, Until Death tramples it to fragments. Perhaps a more daring metaphorical symbol than this has never been employed by any poet, nor one that has a deeper or a more spacious meaning. Eternity is figured as white light—light in its quintessence. Life, mundane life, is as a dome of glass, which becomes many-coloured by its prismatic diffraction of the white light: its various prisms reflect eternity at different angles. Death ultimately tramples the glass dome into fragments ”

“ To see the sun shining on its bright grass, fresh, when we visited it, with the autumnal dews, and hear the whispering of the wind among the leaves of the trees which have overgrown the tomb of Cestius, and the soil which is stirring in the sun-warm earth, and to mark the tombs, mostly of women and young people who were buried there, one might, if one were to die, desire the sleep they seem to sleep. ”

“ A modern work, it is said, must have a purpose; which may be the God. An artist must serve Mammon: he must have "self-concentration"—selfishness perhaps. You, I am sure, will forgive me for sincerely remarking that you might curb your magnanimity, and be more of an artist, and load every rift of your subject with ore. The thought of such discipline must fall like cold chains upon you, who perhaps never sat with your wings furled for six months together. And is not this extraordinary talk for the writer of Endymion, whose mind was like a pack of scattered cards? ”

“ Nought we know dies. This affirmation springs directly out of the consideration just presented to us—that even the leprous corpse does not, through various stages of decay, pass into absolute nothingness: on the contrary, its constituents take new forms, and subserve a re-growth of life, as in the flowers which bedeck the grave. From this single and impressive instance the poet passes to the general and unfailing law—No material object of which we have cognizance really dies: all such objects are in a perpetual cycle of change. ”

“ The splendours of the firmament of time
May be eclipsed, but are extinguished 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 5
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. ”

“ Man is a being of high aspirations, "looking both before and after," whose "thoughts wander through eternity," disclaiming alliance with transcience and decay; incapable of imagining to himself annihilation; existing but in the future and the past; being, not what he is, but what he has been and shall be. Whatever may be his true and final destination, there is a spirit within him at enmity with nothingness and dissolution. ”

“ So far as the broad current of sentiment is concerned, this is the turning-point of Shelley's Elegy. Hitherto the tone has been continuously, and through a variety of phases, one of mourning for the fact that Keats, the great poetical genius, is untimely dead. But now the writer pauses, checks himself, and recognises that mourning is not the only possible feeling, nor indeed the most appropriate one. As his thought expands and his rapture rises, he soon acknowledges that, so far from grieving for Keats who is dead, it were far more relevant to grieve for himself who is not dead. ”

“ Till darkness and the law Of change shall o'er his sleep the mortal curtain draw. Until the darkness of the grave and the universal law of change and dissolution shall draw the curtain of death over his sleep—shall prove his apparent sleep to be veritable death. ”

“ Shelley here describes himself under a profusion of characteristics, briefly defined: it may be interesting to summarize them, apart from the other details with which they are interspersed. He is a frail form; a phantom among men; companionless; one who had gazed Actaeon-like on Nature's naked loveliness, and who now fled with feeble steps, hounded by his own thoughts; a pard-like spirit beautiful and swift; a love masked in desolation; a power begirt with weakness, scarcely capable of lifting the weight of the hour ”

“ In saying that his spirit's bark is driven far from the shore, Shelley apparently means that his mind, in speculation and aspiration, ranges far beyond those mundane and material interests with which the mass of men are ordinarily concerned. 'The trembling throng' is, I think, a throng of men: though it might be a throng of barks, contrasted with 'my spirit's bark.' Their sails 'were never to the tempest given,' in the sense that they never set forth on a bold ideal or spiritual adventure, abandoning themselves to the stress and sway of a spiritual storm. ”

“ After he shall have realised this to himself, and after the tension of his soul in ranging through the universe and through space shall have kindled hope after hope, wonderment and aspiration after aspiration and wonderment, then indeed will he need to keep his heart light, lest it make him sink at the contemplation of his own nullity. ”

“ In Shelley's Elegy the Uranian Aphrodite does not speak of herself under any designation of immortality or eternity, but as 'chained to Time,' and incapable of departing from Time. As long as Time lives and operates, Urania must do the same. The dead have escaped from the dominion of Time: this Urania, cannot do. There is a somewhat similar train of thought in Prometheus Unbound,—where Prometheus the Titan, after enduring the torture of the Furies (Act 1) , says—
'Peace is in the grave:
The grave holds all things beautiful and good,
I am a God, and cannot find it there.'
Stanza 27, 11. ”

“ 'In the firm expectation that, when London shall be an habitation of bitterns;... when the piers of Waterloo Bridge shall become the nuclei of islets of reeds and osiers, and cast the jagged shadows of their broken arches on the solitary stream; some Transatlantic commentator will be weighing, in the scales of some new and unimagined system of criticism, the respective merits of the Bells and the Fudges, and their historians, I remain,' &c. ”

“ Keats, and others such as he, derive no adventitious honour from being buried in Rome, amid the wreck of ages, empires, and religions: rather they confer honour. He is among his peers, the kings of thought, who, so far from being dragged down in the ruin of institutions, contended against that ruin, and are alone immortal while all the rest of the past has come to nought. This consideration may be said to qualify, but not to reverse, that which is presented in stanza 7, that Keats 'bought, with price of purest breath, a grave among the eternal' ”

“ Pleasure, heart-struck at the death of Adonais, has abrogated her own nature, and has become blinded with tears; her eyes can therefore serve no longer to guide her steps. Her smile too is dying, but not yet dead ”

“ I think you would do well to pass the winter in Italy, and avoid so tremendous an accident; and, if you think it as necessary as I do, so long as you continue to find Pisa or its neighbourhood agreeable to you, Mrs. Shelley unites with myself in urging the request that you would take up your residence with us. You might come by sea to Leghorn (France is not worth seeing, and the sea is particularly good for weak lungs) —which is within a few miles of us. You ought, at all events, to see Italy; and your health, which I suggest as a motive, may be an excuse to you. ”

“ And one upon his shafts, another on his bow, is treading, and one hath loosed the sandal of Adonis, and another hath broken his own feathered quiver, and one in a golden vessel bears water, and another laves the wound, and another, from behind him, with his wings is fanning Adonis.... Thou must again bewail him, again must weep for him another year.... He does not heed them [the Muses] ; not that he is doth to hear, but that the Maiden of Hades doth not let him go.'
The next-ensuing passages come from the Elegy of Moschus for Bion:—
'Ye flowers, now in sad clusters breathe yourselves away. ”

“ That there is a true solution of the riddle, and that in our present state that solution is unattainable by us, are propositions which may be regarded as equally certain: meanwhile, as it is the province of the poet to attach himself to those ideas which exalt and ennoble humanity, let him be permitted to have conjectured the condition of that futurity towards which we are all impelled by an inextinguishable thirst for immortality. ”

“ That a human soul is a portion of the Universal Soul, subjected, during its connexion with the body, to all the illusions, the dreams and nightmares, of sense; and that, after the death of the body, it continues to be a portion of the Universal Soul, liberated, from those illusions, and subsisting in some condition which the human reason is not capable of defining as a state either of personal consciousness or of absorption. ”

“ If I understand myself, I have written neither for profit nor for fame: I have employed my poetical compositions and publications simply as the instruments of that sympathy between myself and others which the ardent and unbounded love I cherished for my kind incited me to acquire. ”

“ Peace, peace! he is not dead, he doth not sleep!
He hath awakened from the dream of life. ”

“ In terming these two defensive weapons, wisdom and scorn, a mirrored shield and a spear, Shelley was, I apprehend, thinking of the Orlando Furioso of Ariosto. In that poem we read of a magic shield which casts a supernatural and intolerable splendour, whereby every gazer is cast into a trance; and of a spear whose lightest touch overthrows every opponent. A sea-monster—not a dragon, so far as I recollect—becomes one of the victims of the 'mirrored shield.'
11. ”

“ Here Apollo's fire produces a pyre—a silvery pyre—of clouds, wherein a spirit might win oblivion, and melt his essence fine; and scented eglantine gives sweets to the sun, and cold springs had run into the grass ”

“ As a bankrupt thief turns thief-taker in despair, so an unsuccessful author turns critic. But a young spirit panting for fame, doubtful of its powers, and certain only of its aspirations, is ill-qualified to assign its true value to the sneer of this world. ”

“ As if to stem A greater loss with one which was more weak. 'To stem a loss' is a very lax phrase—and more especially 'to stem a loss with another loss.' 'To stem a torrent—or, the current of a river,' is a well-known expression, indicating one sort of material force in opposition to another. Hence we come to the figurative expression, 'to stem the torrent of his grief,' &c. Shelley seems to have yielded to a certain analogy in the sentiment, and also to the convenience of a rhyme, and thus to have permitted himself a phrase which is neither English nor consistent with sense. ”

“ Who is Urania? Why is she represented as the mother of Adonais (Keats) , and the chief mourner for his untimely death?
In mythology the name Urania is assigned to two divinities wholly distinct. The first is one of the nine Muses, the Muse of Astronomy: the second is Aphrodite (Venus) . We may without any hesitation assume that Shelley meant one of these two: but a decision, as to which of the two becomes on reflection by no means so obvious as one might at first suppose. We will first examine the question as to the Muse Urania. ”

“ All he had loved, 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, 5
Dimmed the aerial eyes that kindle day;
Afar the melancholy Thunder moaned,
Pale Ocean in unquiet slumber lay,
And the wild Winds flew round, sobbing in their dismay. ”

“ It cannot be denied that some of the blemishes which it points out in Endymion are real blemishes, and very serious ones. The grounds on which one can fairly object to the criticism are that its tone is purposely ill-natured; its recognition of merits scanty out of all proportion to its censure of defects; and its spirit that of prepense disparagement founded not so much on the poetical errors of Keats as on the fact that he was a friend of Leigh Hunt, the literary and also the political antagonist of the Quarterly Review. ”

“ He steadily resisted the fagging-system, learned more as he chose than as his masters dictated, and was known as 'Mad Shelley,' and 'Shelley the Atheist.' It has sometimes been said that an Eton boy, if rebellious, was termed 'Atheist,' and that the designation, as applied to Shelley, meant no more than that. I do not feel satisfied that this is true at all; at any rate it seems to me probable that Shelley, who constantly called himself an atheist in after-life, received the epithet at Eton for some cause more apposite than disaffection to school-authority. ”

“ This very daring hyperbole will hardly bear—nor does it want—manipulation into prose. Briefly, the nature of Death is to be pallid: therefore Death, in blushing, abnegates his very nature, and almost ceases to be Death. ”

“ As inventor of the personage Childe Harold, the hero and so-called 'Pilgrim' of the poem Childe Harold's Pilgrimage, and as being himself to a great extent identical with his hero, Byron was frequently termed 'the Pilgrim.' Shelley adopts this designation, which he magnifies into 'the Pilgrim of Eternity,' He admired Byron most enthusiastically as a poet, and was generally on easy—sometimes on cordial—terms with him as a man. ”

“ If we have not existed before birth; if, at the period when the parts of our nature on which thought and life depend seem to be woven together, they are woven together; if there are no reasons to suppose that we have existed before that period at which our existence apparently commences ”

“ Life and thought differ indeed from everything else: but that it survives that period beyond which we have no experience of its existence such distinction and dissimilarity affords no shadow of proof, and nothing but our own desires could have led us to conjecture or imagine. ”

“ The transition from one emotion to another in this passage, and also in the preceding stanza, 'Nor let us weep,' &c., resembles the transition towards the close of Lycidas— 'Weep no more, woful shepherds, weep no more,
For Lycidas, your sorrow, is not dead,' &c.
The general view has considerable affinity to that which is expounded in a portion of Plato's dialogue Phaedo, and which has been thus summarised. 'Death is merely the separation of soul and body. And this is the very consummation at which Philosophy aims: the body hinders thought,—the mind attains to truth by retiring into herself. ”

“ This murderer, a 'nameless worm,' was alone callous to the prelude of the forthcoming song. (37) Let him live on in remorse and self-contempt. (38) Neither should we weep that Adonais has 'fled far from these carrion-kites that scream below.' His spirit flows back to its fountain, a portion of the Eternal. (39) Indeed, he is not dead nor sleeping, but 'has awakened from the dream of life.' Not he decays, but we. (41) Let not us, nor the powers of Nature, mourn for Adonais. (42) He is made one with Nature. ”

“ It would not however be safe to infer that Shelley, at the precise time when he wrote Adonais, was really in a more definite frame of mind on this theme than at other periods of his life, or of a radically different conviction. As a fact, his feelings on the great problems of immortality were acute, his opinions regarding them vague and unsettled. He certainly was not an adherent of the typical belief on this subject; the belief that a man on this earth is a combination of body and soul, in a state—his sole state—of 'probation' ”

“ The spirit of Adonais came as a flame from the 'burning fountain' of the Eternal, and has now reverted thither, he being one of the 'enduring dead.' But the 'deaf and viperous murderer' must not hope for a like destiny. His spirit, after death, will be merely like 'cold embers,' cumbering the 'hearth of shame.' As a rhetorical antithesis, this serves its purpose well: no doubt Shelley would not have pretended that it is a strictly reasoned antithesis as well, or furnishes a full account of the post-mortem fate of the Quarterly reviewer. ”

“ The ruined paradise is the mind, now torpid in death, of Adonais. The 'Dream' which has been speaking is a lost angel of this paradise, in the sense of being a messenger or denizen of the mind of Adonais, incapacitated for exercising any further action: indeed, the Dream forthwith fades, and is for ever extinct. ”

“ Shelley here appears to say that the minor poets have left works which survive, while some of the works of the very greatest poets have disappeared: as, for instance, his own lyrical models in Adonais, Bion and Moschus, are still known by their writings, while many of the master-pieces of Aeschylus and Sophocles are lost. Some tapers continue to burn; while some suns have perished. ”