Makes such a wound, the knife is lost in it;
A strain too learned for a shallow age,
Too wise for selfish bigots; let his page
Which charms the chosen spirits of the time,
Fold itself up for the serener clime
Of years to come, and find its recompense
In that just expectation. Wit and sense,
Virtue and human knowledge, all that might
Make this dull world a business of delight,
Are all combined in Horace Smith. And these,
With some exceptions, which I need not tease
Your patience by descanting on, are all
You and I know in London.
Captain Medwin, who came late in the autumn of 1820, at his cousin’s invitation, to stay with the Shelleys, has recorded many interesting details of their Pisan life, as well as valuable notes of Shelley’s conversation. “It was nearly seven years since we had parted, but I should have immediately recognized him in a crowd. His figure was emaciated, and somewhat bent, owing to near-sightedness, and his being forced to lean over his books, with his eyes almost touching them; his hair, still profuse, and curling naturally, was partially interspersed with grey; but his appearance was youthful. There was also a freshness and purity in his complexion that he never lost.” Not long after his arrival, Medwin suffered from a severe and tedious illness. “Shelley tended me like a brother. He applied my leeches, administered my medicines, and during six weeks that I was confined to my room, was assiduous and unintermitting in his affectionate care of me.” The poet’s solitude and melancholy at this time impressed his cousin very painfully. Though he was producing a long series of imperishable poems, he did not take much interest in his work. “I am disgusted with writing,” he once said, “and were it not for an irresistible impulse, that predominates my better reason, should discontinue so doing.” The brutal treatment he had lately received from the “Quarterly Review”, the calumnies which pursued him, and the coldness of all but a very few friends, checked his enthusiasm for composition. Of this there is abundant proof in his correspondence. In a letter to Leigh Hunt, dated January 25, 1822, he says: “My faculties are shaken to atoms and torpid. I can write nothing; and if “Adonais” had no success, and excited no interest, what incentive can I have to write?” Again: “I write little now. It is impossible to compose except under the strong excitement of an assurance of finding sympathy in what you write.” Lord Byron’s company proved now, as before, a check rather than an incentive to production: “I do not write; I have lived too long near Lord Byron, and the sun has extinguished the glow-worm; for I cannot hope, with St. John, that THE LIGHT CAME INTO THE WORLD AND THE WORLD KNEW IT NOT.” “I despair of rivalling Lord Byron, as well I may, and there is no other with whom it is worth contending.” To Ollier, in 1820, he wrote: “I doubt whether I shall write more. I could be content either with the hell or the paradise of poetry; but the torments of its purgatory vex me, without exciting my powers sufficiently to put an end to the vexation.” It was not that his spirit was cowed by the Reviews, or that he mistook the sort of audience he had to address. He more than once acknowledged that, while Byron wrote for the many, his poems were intended for the understanding few. Yet the sunetoi, as he called them, gave him but scanty encouragement. The cold phrases of kindly Horace Smith show that he had not comprehended “Prometheus Unbound”; and Shelley whimsically complains that even intelligent and sympathetic critics confounded the ideal passion described in “Epipsychidion” with the love affairs of “a servant-girl and her sweetheart.” This almost incomprehensible obtuseness on the part of men who ought to have known better, combined with the coarse abuse of vulgar scribblers, was enough to make a man so sincerely modest as Shelley doubt his powers, or shrink from the severe labour of developing them. (See Medwin, volume 2 page 172, for Shelley’s comment on the difficulty of the poet’s art.) “The decision of the cause,” he wrote to Mr. Gisborne, “whether or no I am a poet, is removed from the present time to the hour when our posterity shall assemble; but the court is a very severe one, and I fear that the verdict will be, guilty — death.” Deep down in his own heart he had, however, less doubt: “This I know,” he said to Medwin, “that whether in prosing or in versing, there is something in my writings that shall live for ever.” And again, he writes to Hunt: “I am full of thoughts and plans, and should do something, if the feeble and irritable frame which encloses it was willing to obey the spirit. I fancy that then I should do great things.” It seems almost certain that the incompleteness of many longer works designed in the Italian period, the abandonment of the tragedy on Tasso’s story, the unfinished state of “Charles I”, and the failure to execute the cherished plan of a drama suggested by the Book of Job, were due to the depressing effects of ill-health and external discouragement. Poetry with Shelley was no light matter. He composed under the pressure of intense excitement, and he elaborated his first draughts with minute care and severe self-criticism.
These words must not be taken as implying that he followed the Virgilian precedent of polishing and reducing the volume of his verses by an anxious exercise of calm reflection, or that he observed the Horatian maxim of deferring their publication till the ninth year. The contrary was notoriously the case with him. Yet it is none the less proved by the state of his manuscripts that his compositions, even as we now possess them, were no mere improvisations. The passage already quoted from his “Defence of Poetry” shows the high ideal he had conceived of the poet’s duty toward his art; and it may be confidently asserted that his whole literary career was one long struggle to emerge from the incoherence of his earlier efforts, into the clearness of expression and precision of form that are the index of mastery over style. At the same time it was inconsistent with his most firmly rooted aesthetic principles to attempt composition except under an impulse approaching to inspiration. To imperil his life by the fiery taxing of all his faculties, moral, intellectual, and physical, and to undergo the discipline exacted by his own fastidious taste, with no other object in view than the frigid compliments of a few friends, was more than even Shelley’s enthusiasm could endure. He, therefore, at this period required the powerful stimulus of some highly exciting cause from without to determine his activity.
Such external stimulus came to Shelley from three quarters early in the year 1821. Among his Italian acquaintances at Pisa was a clever but disreputable Professor, of whom Medwin draws a very piquant portrait. This man one day related the sad story of a beautiful and noble lady, the Contessina Emilia Viviani, who had been confined by her father in a dismal convent of the suburbs, to await her marriage with a distasteful husband. Shelley, fired as ever by a tale of tyranny, was eager to visit the fair captive. The Professor accompanied him and Medwin to the convent-parlour, where they found her more lovely than even the most glowing descriptions had led them to expect. Nor was she only beautiful. Shelley soon discovered that she had “cultivated her mind beyond what I have ever met in Italian women;” and a rhapsody composed by her upon the subject of Uranian Love — Il Vero Amore — justifies the belief that she possessed an intellect of more than ordinary elevation. He took Mrs. Shelley to see her, and both did all they could to make her convent-prison less irksome, by frequent visits, by letters, and by presents of flowers and books. It was not long before Shelley’s sympathy for this unfortunate lady took the form of love, which, however spiritual and Platonic, was not the less passionate. The result was the composition of “Epipsychidion,” the most unintelligible of all his poems to those who have not assimilated the spirit of Plato’s “Symposium” and Dante’s “Vita Nuova”. In it he apostrophizes Emilia Viviani as the incarnation of ideal beauty, the universal loveliness made visible in mortal flesh: —
Seraph of Heaven! too gentle to be human,
Veiling beneath that radiant form of woman
All that is insupportable in thee
Of light, and love, and immortality!
He tells her that h
e loves her, and describes the troubles and deceptions of his earlier manhood, under allegories veiled in delicate obscurity. The Pandemic and the Uranian Aphrodite have striven for his soul; for though in youth he dedicated himself to the service of ideal beauty, and seemed to find it under many earthly shapes, yet has he ever been deluded. At last Emily appears, and in her he recognizes the truth of the vision veiled from him so many years. She and Mary shall henceforth, like sun and moon, rule the world of love within him. Then he calls on her to fly. They three will escape and live together, far away from men, in an Aegean island. The description of this visionary isle, and of the life to be led there by the fugitives from a dull and undiscerning world, is the most beautiful that has been written this century in the rhymed heroic metre.
It is an isle under Ionian skies,
Beautiful as a wreck of Paradise;
And, for the harbours are not safe and good,
This land would have remained a solitude
But for some pastoral people native there,
Who from the Elysian, clear, and golden air
Draw the last spirit of the age of gold,
Simple and spirited, innocent and bold.
The blue Aegean girds this chosen home,
With ever-changing sound and light and foam
Kissing the sifted sands and caverns hoar;
And all the winds wandering along the shore,
Undulate with the undulating tide.
There are thick woods where sylvan forms abide;
And many a fountain, rivulet, and pond,
As clear as elemental diamond,
Or serene morning air. And far beyond,
The mossy tracks made by the goats and deer,
(Which the rough shepherd treads but once a year,)
Pierce into glades, caverns, and bowers, and halls
Built round with ivy, which the waterfalls
Illumining, with sound that never fails
Accompany the noonday nightingales;
And all the place is peopled with sweet airs.
The light clear element which the isle wears
Is heavy with the scent of lemon-flowers,
Which floats like mist laden with unseen showers,
And falls upon the eyelids like faint sleep;
And from the moss violets and jonquils peep,
And dart the arrowy odour through the brain,
Till you might faint with that delicious pain.
And every motion, odour, beam, and tone,
With that deep music is in unison:
Which is a soul within a soul — they seem
Like echoes of an antenatal dream.
It is an isle ‘twixt heaven, air, earth, and sea,
Cradled, and hung in clear tranquillity;
Bright as that wandering Eden, Lucifer,
Washed by the soft blue oceans of young air.
It is a favoured place. Famine or Blight,
Pestilence, War, and Earthquake, never light
Upon its mountain-peaks; blind vultures, they
Sail onward far upon their fatal way.
The winged storms, chanting their thunder-psalm
To other lands, leave azure chasms of calm
Over this isle, or weep themselves in dew,
From which its fields and woods ever renew
Their green and golden immortality.
And from the sea there rise, and from the sky
There fall, clear exhalations, soft and bright,
Veil after veil, each hiding some delight,
Which sun or moon or zephyr draws aside,
Till the isle’s beauty, like a naked bride
Glowing at once with love and loveliness,
Blushes and trembles at its own excess:
Yet, like a buried lamp, a soul no less
Burns in the heart of this delicious isle,
An atom of the Eternal, whose own smile
Unfolds itself, and may be felt not seen
O’er the grey rocks, blue waves, and forests green,
Filling their bare and void interstices.
Shelley did not publish “Epipsychidion” with his own name. He gave it to the world as a composition of a man who had “died at Florence, as he was preparing for a voyage to one of the Sporades,” and he requested Ollier not to circulate it, except among a few intelligent readers. It may almost be said to have been never published, in such profound silence did it issue from the press. Very shortly after its appearance he described it to Leigh Hunt as “a portion of me already dead,” and added this significant allusion to its subject matter:—”Some of us have in a prior existence been in love with Antigone, and that makes us find no full content in any mortal tie.” In the letter of June 18, 1822, again he says:—”The ‘Epipsychidion’ I cannot look at; the person whom it celebrates was a cloud instead of a Juno; and poor Ixion starts from the Centaur that was the offspring of his own embrace. If you are curious, however, to hear what I am and have been, it will tell you something thereof. It is an idealized history of my life and feelings. I think one is always in love with something or other; the error, and I confess it is not easy for spirits cased in flesh and blood to avoid it, consists in seeking in a mortal image the likeness of what is, perhaps, eternal.” This paragraph contains the essence of a just criticism. Brilliant as the poem is, we cannot read it with unwavering belief either in the author’s sincerity at the time he wrote it, or in the permanence of the emotion it describes. The exordium has a fatal note of rhetorical exaggeration, not because the kind of passion is impossible, but because Shelley does not convince us that in this instance he had really been its subject. His own critique, following so close upon the publication of “Epipsychidion,” confirms the impression made by it, and justifies the conclusion that he had utilized his feeling for Emilia to express a favourite doctrine in impassioned verse.
To students of Shelley’s inner life “Epipsychidion” will always have high value, independently of its beauty of style, as containing his doctrine of love. It is the full expression of the esoteric principle presented to us in “Alastor”, the “Hymn to Intellectual Beauty,” and “Prince Athanase.” But the words just quoted, which may be compared with Mrs. Shelley’s note to “Prince Athanase,” authorize our pointing out what he himself recognized as the defect of his theory. Instead of remaining true to the conception of Beauty expressed in the “Hymn,” Shelley “sought through the world the One whom he may love.” Thus, while his doctrine in “Epipsychidion” seems Platonic, it will not square with the “Symposium.” Plato treats the love of a beautiful person as a mere initiation into divine mysteries, the first step in the ladder that ascends to heaven. When a man has formed a just conception of the universal beauty, he looks back with a smile upon those who find their soul’s sphere in the love of some mere mortal object. Tested by this standard, Shelley’s identification of Intellectual Beauty with so many daughters of earth, and his worshipping love of Emilia, is a spurious Platonism. Plato would have said that to seek the Idea of Beauty in Emilia Viviani was a retrogressive step. All that she could do, would be to quicken the soul’s sense of beauty, to stir it from its lethargy, and to make it divine the eternal reality of beauty in the supersensual world of thought. This Shelley had already acknowledged in the “Hymn;” and this he emphasizes in these words:—”The error consists in seeking in a mortal image the likeness of what is, perhaps, eternal.”
The fragments and cancelled passages published in Forman’s edition do not throw much light upon “Epipsychidion.” The longest, entitled “To his Genius” by its first editor, Mr. Garnett, reads like the induction to a poem conceived and written in a different key, and at a lower level of inspiration. It has, however, this extraordinary interest, that it deals with a love which is both love and friendship, above sex, spiritual, unintelligible to the world at large. Thus the fragment enables the student better to realize the kind of worship so passionately expressed in “Epipsychidion.”
The n
ews of Keats’s death at Rome on the 27th of December, 1820, and the erroneous belief that it had been accelerated, if not caused, by a contemptible review of “Endymion” in the “Quarterly”, stirred Shelley to the composition of “Adonais”. He had it printed at Pisa, and sent copies to Ollier for circulation in London. This poem was a favourite with its author, who hoped not only that it might find acceptance with the public, but also that it would confer lustre upon the memory of a poet whom he sincerely admired. No criticisms upon Shelley’s works are half so good as his own. It is, therefore, interesting to collect the passages in which he speaks of an elegy only equalled in our language by “Lycidas”, and in the point of passionate eloquence even superior to Milton’s youthful lament for his friend. “The ‘Adonais’, in spite of its mysticism,” he writes to Ollier, “is the least imperfect of my compositions.” “I confess I should be surprised if that poem were born to an immortality of oblivion.” “It is a highly wrought PIECE OF ART, and perhaps better, in point of composition, than anything I have written.” “It is absurd in any review to criticize ‘Adonais’, and still more to pretend that the verses are bad.” “I know what to think of ‘Adonais’, but what to think of those who confound it with the many bad poems of the day, I know not.” Again, alluding to the stanzas hurled against the infamous “Quarterly” reviewer, he says:—”I have dipped my pen in consuming fire for his destroyers; otherwise the style is calm and solemn.”
With these estimates the reader of to-day will cordially agree. Although “Adonais” is not so utterly beyond the scope of other poets as “Prometheus” or “Epipsychidion,” it presents Shelley’s qualities in a form of even and sustained beauty, brought within the sphere of the dullest apprehensions. Shelley, we may notice, dwells upon the ART of the poem; and this perhaps, is what at first sight will strike the student most. He chose as a foundation for his work those laments of Bion for Adonis, and of Moschus for Bion, which are the most pathetic products of Greek idyllic poetry; and the transmutation of their material into the substance of highly spiritualized modern thought, reveals the potency of a Prospero’s wand. It is a metamorphosis whereby the art of excellent but positive poets has been translated into the sphere of metaphysical imagination. Urania takes the place of Aphrodite; the thoughts and fancies and desires of the dead singer are substituted for Bion’s cupids; and instead of mountain shepherds, the living bards of England are summoned to lament around the poet’s bier. Yet it is only when Shelley frees himself from the influence of his models, that he soars aloft on mighty wing. This point, too, is the point of transition from death, sorrow, and the past to immortality, joy, and the rapture of the things that cannot pass away. The first and second portions of the poem are, at the same time, thoroughly concordant, and the passage from the one to the other is natural. Two quotations from “Adonais” will suffice to show the power and sweetness of its verse.
Percy Bysshe Shelley - Delphi Poets Series Page 199