Poems List

To Jane

To Jane
The keen stars were twinkling
And the fair moon was rising among them,
Dear Jane:
The guitar was tinkling,
But the notes were not sweet till you sung them
Again.
As the moon's soft splendor
O'er the faint cold starlight of heaven
Is thrown,
So your voice most tender
To the strings without soul had then given
Its own.
The stars will awaken,
Though the moon sleep a full hour later,
Tonight;
No leaf will be shaken
Whilst the dews of your melody scatter
Delight.
Though the sound overpowers,
Sing again, with your dear voice revealing
A tone
Of some world far from ours
Where music and moonlight and feeling
Are one.
478

To The Men Of England

To The Men Of England
Men of England, wherefore plough
For the lords who lay ye low?
Wherefore weave with toil and care
The rich robes your tyrants wear?
Wherefore feed and clothe and save,
From the cradle to the grave,
Those ungrateful drones who would
Drain your sweat -- nay, drink your blood?
Wherefore, Bees of England, forge
Many a weapon, chain, and scourge,
That these stingless drones may spoil
The forced produce of your toil?
Have ye leisure, comfort, calm,
Shelter, food, love's gentle balm?
Or what is it ye buy so dear
With your pain and with your fear?
The seed ye sow another reaps;
The wealth ye find another keeps;
The robes ye weave another wears;
The arms ye forge another bears.
Sow seed, -- but let no tyrant reap;
Find wealth, -- let no imposter heap;
Weave robes, -- let not the idle wear;
Forge arms, in your defence to bear.
Shrink to your cellars, holes, and cells;
In halls ye deck another dwells.
Why shake the chains ye wrought? Ye see
The steel ye tempered glance on ye.
With plough and spade and hoe and loom,
Trace your grave, and build your tomb,
And weave your winding-sheet, till fair
England be your sepulchre!
411

To ----

To ----
ONE word is too often profaned
For me to profane it;
One feeling too falsely disdain'd
For thee to disdain it;
One hope is too like despair
For prudence to smother;
And pity from thee more dear
Than that from another.
I can give not what men call love:
But wilt thou accept not
The worship the heart lifts above
And the heavens reject not,
The desire of the moth for the star,
Of the night for the morrow,
The devotion to something afar
From the sphere of our sorrow?
443

To A Skylark

To A Skylark
Hail to thee, blithe Spirit!
Bird thou never wert,
That from Heaven, or near it,
Pourest thy full heart
In profuse strains of unpremeditated art.
Higher still and higher
From the earth thou springest
Like a cloud of fire;
The blue deep thou wingest,
And singing still dost soar, and soaring ever singest.
In the golden lightning
Of the sunken sun
O'er which clouds are bright'ning,
Thou dost float and run,
Like an unbodied joy whose race is just begun.
The pale purple even
Melts around thy flight;
Like a star of Heaven
In the broad daylight
Thou art unseen, but yet I hear thy shrill delight:
Keen as are the arrows
Of that silver sphere,
Whose intense lamp narrows
In the white dawn clear
Until we hardly see--we feel that it is there.
All the earth and air
With thy voice is loud.
As, when night is bare,
From one lonely cloud
The moon rains out her beams, and heaven is overflowed.
What thou art we know not;
What is most like thee?
From rainbow clouds there flow not
Drops so bright to see
As from thy presence showers a rain of melody.
Like a poet hidden
In the light of thought,
Singing hymns unbidden,
Till the world is wrought
To sympathy with hopes and fears it heeded not:
Like a high-born maiden
In a palace tower,
Soothing her love-laden
Soul in secret hour


With music sweet as love, which overflows her bower:
Like a glow-worm golden
In a dell of dew,
Scattering unbeholden
Its aerial hue
Among the flowers and grass, which screen it from the view:
Like a rose embowered
In its own green leaves,
By warm winds deflowered,
Till the scent it gives
Makes faint with too much sweet these heavy-winged thieves.
Sound of vernal showers
On the twinkling grass,
Rain-awakened flowers,
All that ever was
Joyous, and clear, and fresh, thy music doth surpass.
Teach us, sprite or bird,
What sweet thoughts are thine:
I have never heard
Praise of love or wine
That panted forth a flood of rapture so divine.
Chorus hymeneal
Or triumphal chaunt
Matched with thine, would be all
But an empty vaunt--
A thing wherein we feel there is some hidden want.
What objects are the fountains
Of thy happy strain?
What fields, or waves, or mountains?
What shapes of sky or plain?
What love of thine own kind? what ignorance of pain?
With thy clear keen joyance
Languor cannot be:
Shadow of annoyance
Never came near thee:
Thou lovest, but ne'er knew love's sad satiety.
Waking or asleep,
Thou of death must deem
Things more true and deep
Than we mortals dream,
Or how could thy notes flow in such a crystal stream?
We look before and after,
And pine for what is not:


Our sincerest laughter
With some pain is fraught;
Our sweetest songs are those that tell of saddest thought.
Yet if we could scorn
Hate, and pride, and fear;
If we were things born
Not to shed a tear,
I know not how thy joy we ever should come near.
Better than all measures
Of delightful sound,
Better than all treasures
That in books are found,
Thy skill to poet were, thou scorner of the ground!
Teach me half the gladness
That thy brain must know,
Such harmonious madness
From my lips would flow
The world should listen then, as I am listening now!
697

The Witch Of Atlas

The Witch Of Atlas
Before those cruel twins whom at one birth
Incestuous Change bore to her father Time,
Error and Truth, had hunted from the earth
All those bright natures which adorned its prime,
And left us nothing to believe in, worth
The pains of putting into learn?d rhyme,
A Lady Witch there lived on Atlas mountain
Within a cavern by a secret fountain.
Her mother was one of the Atlantides.
The all-beholding Sun had ne'er beholden
In his wide voyage o'er continents and seas
So fair a creature, as she lay enfolden
In the warm shadow of her loveliness;
He kissed her with his beams, and made all golden
The chamber of gray rock in which she lay.
She, in that dream of joy, dissolved away.
'Tis said she first was changed into a vapor;
And then into a cloud,--such clouds as flit
(Like splendor-winged moths about a taper)
Round the red west when the Sun dies in it;
And then into a meteor, such as caper
On hill-tops when the Moon is in a fit;
Then into one of those mysterious stars
Which hide themselves between the Earth and Mars.
Ten times the Mother of the Months had ben
Her bow beside the folding-star, and bidden
With that bright sign the billows to indent
The sea-deserted sand--(like children chidden,
At her command they ever came and went)--
Since in that cave a dewy splendor hidden
Took shape and motion. With the living form
Of this embodied Power the cave grew warm.
A lovely Lady garmented in light
From her own beauty: deep her eyes as are
Two openings of unfathomable night
Seen through a temple's cloven roof; her hair
Dark; the dim brain whirls dizzy with delight,
Picturing her form. Her soft smiles shone afar;
And her low voice was heard like love, and drew
All living things towards this wonder new.
And first the spotted cameleopard came;
And then the wise and fearless elephant;
Then the sly serpent, in the golden flame
Of his own volumes intervolved. All gaunt
And sanguine beasts her gentle looks made tame,--
They drank before her at her sacred fount;
And every beast of beating heart grew bold,


Such gentleness and power even to behold.
The brinded lioness led forth her young,
That she might teach them how they should forego
Their inborn thirst of death; the pard unstrung
His sinews at her feet, and sought to know,
With looks whose motions spoke without a tongue,
How he might be as gentle as the doe.
The magic circle of her voice and eyes
All savage natures did imparadise.
And old Silenus, shaking a green stick
Of lilies, and the Wood-gods in a crew,
Came blithe as in the olive-copses thick
Cicade are, drunk with the noonday dew;
And Dryope and Faunus followed quick,
Teazing the God to sing them something new;
Till in this cave they found the Lady lone,
Sitting upon a seat of emerald stone.
And universal Pan, 'tis said, was there.
And, though none saw him,--through the adamant
Of the deep mountains, through the trackless air,
And through those living spirits like a want,--
He passed out of his everlasting lair
Where the quick heart of the great world doth pant,
And felt that wondrous Lady all alone,--
And she felt him upon her emerald throne.
And every Nymph of stream and spreading tree,
And every Shepherdess of Ocean's flocks
Who drives her white waves over the green sea,
And Ocean with the brine on his grey locks,
And quaint Priapus with his company,--
All came, much wondering how the enwombed rocks
Could have brought forth so beautiful a birth:
Her love subdued their wonder and their mirth.
The herdsmen and the mountain-maidens came,
And the rude kings of pastoral Garamant--
Their spirits shook within them, as a flame
Stirred by the air under a cavern gaunt:
Pygmies and Polyphemes, by many a name,
Centaurs and Satyrs, and such shapes as haunt
Wet clefts,--and lumps neither alive nor dead,
Dog-headed, bosom-eyed, and bird-footed.
For she was beautiful. Her beauty made
The bright world dim, and everything beside
Seemed like the fleeting image of a shade.
No thought of living spirit could abide
(Which to her looks had ever been betrayed)


On any object in the world so wide,
On any hope within the circling skies,--
But on her form, and in her inmost eyes.
Which when the Lady knew; she took her spindle,
And twined three threads of fleecy mist, and three
Long lines of light, such as the dawn may kindle
The clouds and waves and mountains with, and she
As many starbeams, ere their lamps could dwindle
In the belated moon, wound skilfully;
And with these threads a subtle veil she wove--
A shadow for the splendour of her love.
The deep recesses of her odorous dwelling
Were stored with magic treasures:--sounds of air
Which had the power all spirits of compelling,
Folded in cells of crystal silence there;
Such as we hear in youth, and think the feeling
will never die--yet, ere we are aware,
The feeling and the sound are fled and gone
And the regret they leave remains alone.
And there lay Visions swift and sweet and quaint,
Each in its thin sheath like a chrysalis;--
Some eager to burst forth; some weak and faint
With the soft burden of intensest bliss
It is their work to bear to many a saint
Whose heart adores the shrine which holiest is,
Even Love's; and others, white, green, grey, and black,
And of all shapes:--and each was at her beck.
And odours in a kind of aviary
Of ever-blooming Eden-trees she kept,
Clipped in a floating net a love-sick Fairy
Had woven from dew-beams while the moon yet slept.
As bats at the wired window of a dairy,
They beat their vans; and each was an adept--
When loosed and missioned, making wings of winds--
To stir sweet thoughts or sad in destined minds.
And liquors clear and sweet, whose healthful might
Could medicine the sick soul to happy sleep,
And change eternal death into a night
Of glorious dreams--or, if eyes needs must weep,
Could make their tears all wonder and delight--
She in her crystal phials did closely keep:
If men could drink of those clear phials, 'tis said
The living were not envied of the dead.
Her cave was stored with scrolls of strange device,
The works of some Saturnian Archimage,
Which taught the expiations at whose price


Men from the Gods might win that happy age
Too lightly lost, redeeming native vice,--
And which might quench the earth-consuming rage
Of gold and blood, till men should live and move
Harmonious as the sacred stars above:--
And how all things that seem untameable,
Not to be checked and not to be confined,
Obey the spells of Wisdom's wizard skill;
Time, earth, and fire, the ocean and the wind,
And all their shapes, and man's imperial will;--
And other scrolls whose writings did unbind
The inmost lore of love--let the profane
Tremble to ask what secrets they contain.
And wondrous works of substances unknown,
To which the enchantment of her Father's power
Had changed those ragged blocks of savage stone,
Were heaped in the recesses of her bower;
Carved lamps and chalices, and phials which shone
In their own golden beams--each like a flower
Out of whose depth a firefly shakes his light
Under a cypress in a starless night.
At first she lived alone in this wild home,
And her own thoughts were each a minister,
Clothing themselves or with the ocean-foam,
Or with the wind, or with the speed of fire,
To work whatever purposes might come
Into her mind: such power her mighty Sire
Had girt them with, whether to fly or run
Through all the regions which he shines upon.
The Ocean-nymphs and Hamadryades,
Oreads, and Naiads with long weedy locks,
Offered to do her bidding through the seas,
Under the earth, and in the hollow rocks,
And far beneath the matted roots of trees,
And in the gnarled heart of stubborn oaks;
So they might live for ever in the light
Of her sweet presence--each a satellite.
"This may not be," the Wizard Maid replied.
"The fountains where the Naiades bedew
Their shining hair at length are drained and dried;
The solid oaks forget their strength, and strew
Their latest leaf upon the mountains wide;
The boundless ocean like a drop of dew
Will be consumed; the stubborn centre must
Be scattered like a cloud of summer dust.
"And ye, with them, will perish one by one.


If I must sigh to think that this shall be,
If I must weep when the surviving Sun
Shall smile on your decay--oh ask not me
To love you till your little race is run;
I cannot die as ye must.--Over me
Your leaves shall glance--the streams in which ye dwell
Shall be my paths henceforth; and so farewell."
She spoke and wept. The dark and azure well
Sparkled beneath the shower of her bright tears,
And every little circlet where they fell
Flung to the cavern-roof inconstant spheres
And intertangled lines of light. A knell
Of sobbing voices came upon her ears
From those departing forms, o'er the serene
Of the white streams and of the forest green.
All day the Wizard Lady sat aloof;
Spelling out scrolls of dread antiquity
Under the cavern's fountain-lighted roof;
Or broidering the pictured poesy
Of some high tale upon her growing woof,
Which the sweet splendor of her smiles could dye
In hues outshining heaven--and ever she
Added some grace to the wrought poesy:--
While on her hearth lay blazing many a piece
Of sandal-wood, rare gums, and cinnamon.
Men scarcely know how beautiful fire is;
Each flame of it is as a precious stone
Dissolved in ever-moving light, and this
Belongs to each and all who gaze thereon.'
The Witch beheld it not, for in her hand
She held a woof that dimmed the burning brand.
This Lady never slept, but lay in trance
All night within the fountain--as in sleep.
Its emerald crags glowed in her beauty's glance:
Through the green splendour of the water deep
She saw the constellations reel and dance
Like fireflies--and withal did ever keep
The tenor of her contemplations calm,
With open eyes, closed feet, and folded palm.
And, when the whirlwinds and the clouds descended
From the white pinnacles of that cold hill,
She passed at dewfall to a space extended,
Where, in a lawn of flowering asphodel
Amid a wood of pines and cedars blended,
There yawned an inextinguishable well
Of crimson fire, full even to the brim,
And overflowing all the margin trim:--


Within the which she lay when the fierce war
Of wintry winds shook that innocuous liquor,
In many a mimic moon and bearded star,
O'er woods and lawns. The serpent heard it flicker
In sleep, and, dreaming still, he crept afar.
And, when the windless snow descended thicker
Than autumn-leaves, she watched it as it came
Melt on the surface of the level flame.
She had a boat which some say Vulcan wrought
For Venus, as the chariot of her star;
But it was found too feeble to be fraught
With all the ardours in that sphere which are,
And so she sold it, and Apollo bought
And gave it to this daughter: from a car,
Changed to the fairest and the lightest boat
Which ever upon mortal stream did float.
And others say that, when but three hours old,
The firstborn Love out of his cradle leapt,
And clove dun chaos with his wings of gold,
And, like a horticultural adept,
Stole a strange seed, and wrapped it up in mould,
And sowed it in his mother's star, and kept
Watering it all the summer with sweet dew,
And with his wings fanning it as it grew.
The plant grew strong and green--the snowy flower
Fell, and the long and gourd-like fruit began
To turn the light and dew by inward power
To its own substance: woven tracery ran
Of light firm texture, ribbed and branching, o'er
The solid rind, like a leaf's veined fan,--
Of which Love scooped this boat, and with soft motion
Piloted it round the circumfluous ocean.
This boat she moored upon her fount, and lit
A living spirit within all its frame,
Breathing the soul of swiftness into it.
Couched on the fountain--like a panther tame
(One of the twain at Evan's feet that sit,
Or as on Vesta's sceptre a swift flame,
Or on blind Homer's heart a winged thought--
In joyous expectation lay the boat.
Then by strange art she kneaded fire and snow
Together, tempering the repugnant mass
With liquid love--all things together grow
Through which the harmony of love can pass;
And a fair Shape out of her hands did flow--
A living image which did far surpass


In beauty that bright shape of vital stone
Which drew the heart out of Pygmalion.
A sexless thing it was, and in its growth
It seemed to have developed no defect
Of either sex, yet all the grace of both.
In gentleness and strength its limbs were decked;
The bosom lightly swelled with its full youth;
The countenance was such as might select
Some artist that his skill should never die,
lmaging forth such perfect purity.
From its smooth shoulders hung two rapid wings
Fit to have borne it to the seventh sphere,
Tipped with the speed of liquid lightenings,
Dyed in the ardours of the atmosphere.
She led her creature to the boiling springs
Where the light boat was moored, and said "Sit here,"
And pointed to the prow, and took her seat
Beside the rudder with opposing feet.
And down the streams which clove those mountains vast,
Around their inland islets, and amid
The panther-peopled forests (whose shade cast
Darkness and odors, and a pleasure hid
In melancholy gloom) the pinnace passed;
By many a star-surrounded pyramid
Of icy crag cleaving the purple sky,
And caverns yawning round unfathomably.
The silver noon into that winding dell,
With slanted gleam athwart the forest-tops,
Tempered like golden evening, feebly fell;
A green and glowing light, like that which drops
From folded lilies in which glow-worms dwell
When Earth over her face Night's mantle wraps;
Between the severed mountains lay on high,
Over the stream, a narrow rift of sky.
And, ever as she went, the Image lay
With folded wings and unawakened eyes;
And o'er its gentle countenance did play
The busy dreams, as thick as summer flies,
Chasing the rapid smiles that would not stay,
And drinking the warm tears, and the sweet sighs
Inhaling, which with busy murmur vain
They has aroused from that full heart and brain.
And ever down the prone vale, like a cloud
Upon a stream of wind, the pinnace went:
Now lingering on the pools, in which abode
The calm and darkness of the deep content


In which they paused; now o'er the shallow road
Of white and dancing waters, all besprent
With sand and polished pebbles:--mortal boat
In such a shallow rapid could not float.
And down the earthquaking cataracts, which shivcr
Their snow-like waters into golden air,
Or under chasms unfathomable ever
Sepulchre them, till in their rage they tear
A subterranean portal for the river,
It fled. The circling sunbows did upbear
Its fall down the hoar precipice of spray,
Lighting it far upon its lampless way.
And, when the Wizard Lady would ascend
The labyrinths of some many-winding vale
Which to the inmost mountain upward tend,
She called "Hermaphroditus!"--and the pale
And heavy hue which slumber could extend
Over its lips and eyes, as on the gale
A rapid shadow from a slope of grass,
Into the darkness of the stream did pass
And it unfurled its heaven-coloured pinions;
With stars of fire spotting the stream below,
And from above into the Sun's dominions
Flinging a glory like the golden glow
In which Spring clothes her emerald-winged minions,
All interwoven with fine feathery snow,
And moonlight splendour of intensest rime
With which frost paints the pines in winter-time.
And then it winnowed the elysian air
Which ever hung about that Lady bright,
With its etherial vans: and, speeding there,
Like a star up the torrent of the night,
Or a swift eagle in the morning glare
Breasting the whirlwind with impetuous flight,
The pinnace, oared by those enchanted wings,
Clove the fierce streams towards their upper springs.
The water flashed,--like sunlight, by the prow
Of a noon-wandering meteor flung to heaven;
The still air seemed as if its waves did flow
In tempest down the mountains; loosely driven,
The Lady's radiant hair streamed to and fro;
Beneath, the billows, having vainly striven
Indignant and impetuous, roared to feel
The swift and steady motion of the keel.
Or, when the weary moon was in the wane,
Or in the noon of interlunar night,


The Lady Witch in visions could not chain
Her spirit; but sailed forth under the light
Of shooting stars, and bade extend amain
Its storm-outspeeding wings the Hermaphrodite;
She to the austral waters took her way,
Beyond the fabulous Thamondocana.
Where, like a meadow which no scythe has shaven,
Which rain could never bend or whirlblast shake,
With the antarctic constellations paven,
Canopus and his crew, lay the austral lake--
There she would build herself a windless haven
Out of the clouds whose moving turrets make
The bastions of the storm, when through the sky
The spirits of the tempest thundered by:--
A haven beneath whose translucent floor
The tremulous stars sparkled unfathomably;
And around which the solid vapours hoar,
Based on the level waters, to the sky
Lifted their dreadful crags, and, like a shore
Of wintry mountains, inaccessibly
Hemmed-in with rifts and precipices grey,
And hanging crags, many a cove and bay.
And, whilst the outer lake beneath the lash
Of the wind's scourge foamed like a wounded thing
And the incessant hail with stony clash
Ploughed up the waters, and the flagging wing
Of the roused cormorant in the lightningflash
Looked like the wreck of some wind-wandering
Fragment of inky thunder-smoke--this haven
Was as a gem to copy heaven engraven.
On which that Lady played her many pranks,
Circling the image of a shooting star
(Even as a tiger on Hydaspes' banks
Outspeeds the antelopes which speediest are)
In her light boat; and many quips and cranks
She played upon the water; till the car
Of the late moon, like a sick matron wan,
To journey from the misty east began.
And then she called out of the hollow turrets
Of those high clouds, white, golden, and vermilion,
The armies of her ministering spirits.
In mighty legions million after million
They came, each troop emblazoning its merits
On meteor flags; and many a proud pavilion
Of the intertexture of the atmosphere
They pitched upon the plain of the calm mere.


They framed the imperial tent of their great Queen
Of woven exhalations, underlaid
With lambent lightning-fire, as may be seen
A dome of thin and open ivory inlaid
With crimson silk. Cressets from the serene
Hung there, and on the water for her tread
A tapestry of fleece-like mist was strewn,
Dyed in the beams of the ascending moon.
And on a throne o'erlaid with starlight, caught
Upon those wandering isles of aery dew
Which highest shoals of mountain shipwreck not,
She sate, and heard all that had happened new
Between the earth and moon since they had brought
The last intelligence: and now she grew
Pale as that moon lost in the watery night,
And now she wept, and now she laughed outright.
These were tame pleasures.--She would often climb
The steepest ladder of the crudded rack
Up to some beaked cape of cloud sublime,
And like Arion on the dolphin's back
Ride singing through the shoreless air. Oft-time,
Following the serpent lightning's winding track,
She ran upon the platforms of the wind,
And laughed to hear the fireballs roar behid.
And sometimes to those streams of upper air
Which whirl the earth in its diurnal round
She would ascend, and win the Spirits there
To let her join their chorus. Mortals found
That on those days the sky was calm and fair,
And mystic snatches of harmonious sound
Wandered upon the earth where'er she passed,
And happy thoughts of hope, too sweet to last.
But her choice sport was, in the hours of sleep,
To glide adown old Nilus, where he threads
Egypt and Ethiopia from the steep
Of utmost Axume until he spreads,
Like a calm flock of silver-fleeced sheep,
His waters on the plain,--and crested heads
Of cities and proud temples gleam amid,
And many a vapour-belted pyramid:--
By MÏris and the Mareotid lakes,
Strewn with faint blooms like bridal-chamber floors,
Where naked boys bridling tame water-snakes,
Or charioteering ghastly alligators,
Had left on the sweet waters mighty wakes
Of those huge forms;--within the brazen doors
Of the Great Labyrinth slept both boy and beast,


Tired with the pomp of their Osirian feast.
And where within the surface of the river
The shadows of the massy temples lie,
And never are erased, but tremble ever
Like things which every cloud can doom to die,--
Through lotus-paven canals, and wheresoever
The works of man pierced that serenest sky
With tombs and towers and fanes,--'twas her delight
To wander in the shadow of the night.
With motion like the spirit of that wind
Whose soft step deepens slumber, her light feet
Passed through the peopled haunts of humankind,
Scattering sweet visions from her presence sweet,--
Through fane and palace-court, and labyrinth mined
With many a dark and subterranean street
Under the Nile; through chambers high and deep
She passed, observing mortals in their sleep.
A pleasure sweet doubtless it was to see
Mortals subdued in all the shapes of sleep.
Here lay two sister-twins in infancy;
There a lone youth who in his dreams did weep;
Within, two lovers linked innocently
In their loose locks which over both did creep
Like ivy from one stem; and there lay calm
Old age with snow-bright hair and folded palm.
But other troubled forms of sleep she saw,
Not to be mirrored in a holy song,--
Distortions foul of supernatural awe,
And pale imaginings of visioned wrong,
And all the code of Custom's lawless law
Written upon the brows of old and young.
"This," said the Wizard Maiden, "is the strife
Which stirs the liquid surface of man's life."
And little did the sight disturb her soul.
We, the weak mariners of that wide lake,
Where'er its shores extend or billows roll,
Our course unpiloted and starless make
O'er its wild surface to an unknown goal;
But she in the calm depths her way could take,
Where in bright bowers immortal forms abide
Beneath the weltering of the restless tide.
And she saw princes couched under the glow
Of sunlike gems; and round each temple-court
In dormitories ranged, row after row,
She saw the priests asleep,--all of one sort,
For all were educated to be so.


The peasants in their huts, and in the port
The sailors she saw cradled on the waves,
And the dead lulled within their dreamless graves.
And all the forms in which those spirits lay
Were to her sight like the diaphanous
Veils in which those sweet ladies oft array
Their delicate limbs who would conceal from us
Only their scorn of all concealment: they
Move in the light of their own beauty thus.
But these and all now lay with sleep upon them,
And little thought a Witch was looking on them.
She all those human figures breathing there
Beheld as living spirits. To her eyes
The naked beauty of the soul lay bare,
And often through a rude and worn disguise
She saw the inner form most bright and fair:
And then she had a charm of strange device,
Which, murmured on mute lips with tender tone,
Could make that spirit mingle with her own.
Alas! Aurora, what wouldst thou have given
For such a charm, when Tithon became grey--
Or how much, Venus, of thy silver heaven
Wouldst thou have yielded, ere Proserpina
Had half (oh why not all?) the debt forgiven
Which dear Adonis had been doomed to pay--
To any witch who would have taught you it
The Heliad doth not know its value yet.
'Tis said in after times her spirit free
Knew what love was, and felt itself alone.
But holy Dian could not chaster be
Before she stooped to kiss Endymion
Than now this Lady,--like a sexless bee,
Tasting all blossoms and confined to none:
Among those mortal forms the Wizard Maiden
Passed with an eye serene and heart unladen.
To those she saw most beautiful she gave
Strange panacea in a crystal bowl.
They drank in their deep sleep of that sweet wave,
And lived thenceforward as if some control,
Mightier than life, were in them; and the grave
Of such, when death oppressed the weary soul,
Was as a green and overarching bower
Lit by the gems of many a starry flower.
For, on the night when they were buried, she
Restored the embalmer's ruining, and shook
The light out of the funeral-lamps, to be


A mimic day within that deathy nook;
And she unwound the woven imagery
Of second childhood's swaddling-bands, and took
The coffin, its last cradle, from its niche,
And threw it with contempt into a ditch,
And there the body lay, age after age,
Mute, breathing, beating, warm, and undecaying,
Like one asleep in a green hermitage,--
With gentle smiles about its eyelids playing,
And living in its dreams beyond the rage
Of death or life; while they were still arraying
In liveries ever new the rapid, blind,
And fleeting generations of mankind.
And she would write strange dreams upon the brain
Of those who were less beautiful, and make
All harsh and crooked purposes more vain
Than in the desert is the serpent's wake
Which the sand covers. All his evil gain
The miser, in such dreams, would rise and shake
Into a beggar's lap; the lying scribe
Would his own lies betray without a bribe.
The priests would write an explanation full,
Translating hieroglyphics into Greek,
How the God Apis really was a bull,
And nothing more; and bid the herald stick
The same against the temple-doors, and pull
The old cant down: they licensed all to speak
Whate'er they thought of hawks and cats and geese,
By pastoral letters to each diocese.
The king would dress an ape up in his crown
And robes, and seat him on his glorious seat,
And on the right hand of the sunlike throne
Would place a gaudy mock-bird to repeat
The chatterings of the monkey. Every one
Of the prone courtiers crawled to kiss the feet
Of their great emperor when the morning came;
And kissed--alas, how many kiss the same!
The soldiers dreamed that they were blacksmiths, and
Walked out of quarters in somnambulism;
Round the red anvils you might see them stand
Like Cyclopses in Vulcan's sooty abysm,
Beating their swords to ploughshares:--in a band
The jailors sent those of the liberal schism
Free through the streets of Memphis--much, I wis,
To the annoyance of king Amasis.
And timid lovers, who had been so coy


They hardly knew whether they loved or not,
Would rise out of their rest, and take sweet joy,
To the fulfilment of their inmost thought;
And, when next day the maiden and the boy
Met one another, both, like sinners caught,
Blushed at the thing which each believed was done
Only in fancy--till the tenth moon shone;
And then the Witch would let them take no ill;
Of many thousand schemes which lovers find,
The Witch found one,--and so they took their fill
Of happiness in marriage warm and kind.
Friends who, by practice of some envious skill,
Were torn apart (a wide wound, mind from mind)
She did unite again with visions clear
Of deep affection and of truth sincere.
These were the pranks she played among the cities
Of mortal men. And what she did to Sprites
And Gods, entangling them in her sweet ditties,
To do her will, and show their subtle sleights,
I will declare another time; for it is
A tale more fit for the weird winter-nights
Than for these garish summer-days, when we
Scarcely believe much more than we can see.
547

Time Long Past

Time Long Past
Like the ghost of a dear friend dead
Is Time long past.
A tone which is now forever fled,
A hope which is now forever past,
A love so sweet it could not last,
Was Time long past.
There were sweet dreams in the night
Of Time long past:
And, was it sadness or delight,
Each day a shadow onward cast
Which made us wish it yet might last--
That Time long past.
There is regret, almost remorse,
For Time long past.
'Tis like a child's belovèd corse
A father watches, till at last
Beauty is like remembrance, cast
From Time long past.
378

The Question

The Question
I dreamed that, as I wandered by the way,
Bare Winter suddenly was changed to Spring,
And gentle odours led my steps astray,
Mixed with a sound of waters murmuring
Along a shelving bank of turf, which lay
Under a copse, and hardly dared to fling
Its green arms round the bosom of the stream,
But kissed it and then fled, as thou mightest in dream.
There grew pied wind-flowers and violets,
Daisies, those pearled Arcturi of the earth,
The constellated flower that never sets;
Faint oxlips; tender bluebells, at whose birth
The sod scarce heaved; and that tall flower that wets--
Like a child, half in tenderness and mirth--
Its mother's face with Heaven's collected tears,
When the low wind, its playmate's voice, it hears.
And in the warm hedge grew lush eglantine,
Green cowbind and the moonlight-coloured may,
And cherry-blossoms, and white cups, whose wine
Was the bright dew, yet drained not by the day;
And wild roses, and ivy serpentine,
With its dark buds and leaves, wandering astray;
And flowers azure, black, and streaked with gold,
Fairer than any wakened eyes behold.
And nearer to the river's trembling edge
There grew broad flag-flowers, purple pranked with white,
And starry river buds among the sedge,
And floating water-lilies, broad and bright,
Which lit the oak that overhung the hedge
With moonlight beams of their own watery light;
And bulrushes, and reeds of such deep green
As soothed the dazzled eye with sober sheen.
Methought that of these visionary flowers
I made a nosegay, bound in such a way
That the same hues, which in their natural bowers
Were mingled or opposed, the like array
Kept these imprisoned children of the Hours
Within my hand,--and then, elate and gay,
I hastened to the spot whence I had come,
That I might there present it!--Oh! to whom?
444

The Two Spirits: An Allegory

The Two Spirits: An Allegory
FIRST SPIRIT
O thou, who plum'd with strong desire
Wouldst float above the earth, beware!
A Shadow tracks thy flight of fire--
Night is coming!
Bright are the regions of the air,
And among the winds and beams
It were delight to wander there--
Night is coming!SECOND SPIRIT
The deathless stars are bright above;
If I would cross the shade of night,
Within my heart is the lamp of love,
And that is day!
And the moon will smile with gentle light
On my golden plumes where'er they move;
The meteors will linger round my flight,
And make night day.FIRST SPIRIT
But if the whirlwinds of darkness waken
Hail, and lightning, and stormy rain;
See, the bounds of the air are shaken--
Night is coming!
The red swift clouds of the hurricane
Yon declining sun have overtaken,
The clash of the hail sweeps over the plain--
Night is coming!SECOND SPIRIT
I see the light, and I hear the sound;
I'll sail on the flood of the tempest dark,
With the calm within and the light around
Which makes night day:
And thou, when the gloom is deep and stark,
Look from thy dull earth, slumber-bound,
My moon-like flight thou then mayst mark
On high, far away.----
Some say there is a precipice
Where one vast pine is frozen to ruin
O'er piles of snow and chasms of ice
Mid Alpine mountains;
And that the languid storm pursuing
That winged shape, for ever flies
Round those hoar branches, aye renewing
Its aëry fountains.
Some say when nights are dry and dear,
And the death-dews sleep on the morass,
Sweet whispers are heard by the traveller,
Which make night day:
And a silver shape like his early love doth pass
Upborne by her wild and glittering hair,
And when he awakes on the fragrant grass,


He finds night day.
429

The Fitful Alternations of the Rain

The Fitful Alternations of the Rain
The fitful alternations of the rain,
When the chill wind, languid as with pain
Of its own heavy moisture, here and there
Drives through the gray and beamless atmosphere
404

The Invitation

The Invitation
BEST and brightest, come away!
Fairer far than this fair Day,
Which, like thee to those in sorrow,
Comes to bid a sweet good-morrow
To the rough Year just awake
In its cradle on the brake.
The brightest hour of unborn Spring,
Through the winter wandering,
Found, it seems, the halcyon Morn
To hoar February born.
Bending from heaven, in azure mirth,
It kiss'd the forehead of the Earth;
And smiled upon the silent sea;
And bade the frozen streams be free;
And waked to music all their fountains;
And breathed upon the frozen mountains;
And like a prophetess of May
Strew'd flowers upon the barren way,
Making the wintry world appear
Like one on whom thou smilest, dear.
Away, away, from men and towns,
To the wild wood and the downs--
To the silent wilderness
Where the soul need not repress
Its music lest it should not find
An echo in another's mind,
While the touch of Nature's art
Harmonizes heart to heart.
I leave this notice on my door
For each accustom'd visitor:--
'I am gone into the fields
To take what this sweet hour yields.
Reflection, you may come to-morrow;
Sit by the fireside with Sorrow.
You with the unpaid bill, Despair,--
You, tiresome verse-reciter, Care,--
I will pay you in the grave,--
Death will listen to your stave.
Expectation too, be off!
To-day is for itself enough.
Hope, in pity mock not Woe
With smiles, nor follow where I go;
Long having lived on your sweet food,
At length I find one moment's good
After long pain: with all your love,
This you never told me of.'
Radiant Sister of the Day,
Awake! arise! and come away!
To the wild woods and the plains;
And the pools where winter rains


Image all their roof of leaves;
Where the pine its garland weaves
Of sapless green and ivy dun
Round stems that never kiss the sun;
Where the lawns and pastures be,
And the sandhills of the sea;
Where the melting hoar-frost wets
The daisy-star that never sets,
And wind-flowers, and violets
Which yet join not scent to hue,
Crown the pale year weak and new;
When the night is left behind
In the deep east, dun and blind,
And the blue noon is over us,
And the multitudinous
Billows murmur at our feet
Where the earth and ocean meet,
And all things seem only one
In the universal sun.
397

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Identification and basic context

Full name: Percy Bysshe Shelley. Date and place of birth: Born August 4, 1792, in Horsham, Sussex, England. Died July 8, 1822, off the coast of Viareggio, Italy. Family background, social class, and cultural context of origin: Born into a wealthy Whig family; his father, Timothy Shelley, was a Member of Parliament. Shelley was born into an era of significant social and political ferment in Britain, marked by the French Revolution and its aftermath, and the early stages of the Industrial Revolution. Nationality and language(s) of writing: English. Historical context in which they lived: Shelley lived during a period of intense political upheaval in Europe, including the Napoleonic Wars, widespread social unrest in Britain (e.g., the Peterloo Massacre), and the burgeoning Romantic movement in literature and the arts. His radical political and atheistic views put him at odds with the establishment.

Childhood and education

Family background and social environment: He grew up in a rural environment but was a sensitive and intellectual child. His father's conservative and conventional values clashed with Shelley's developing radicalism. Formal education and self-education: He was educated at Syon House Academy and then at University College, Oxford, from which he was expelled in 1811 for co-authoring the pamphlet "The Necessity of Atheism." Early influences (readings, culture, religion, politics): Influenced by Enlightenment thinkers like William Godwin and Mary Wollstonecraft, as well as radical political ideas. His readings included philosophical tracts, poetry, and works on mythology and natural philosophy. Literary, philosophical, or artistic movements absorbed: Shelley was a quintessential Romantic poet, embracing the movement's emphasis on emotion, individualism, nature, and the sublime. He was also deeply influenced by the radical philosophical and political ideas of his time. Significant events in youth: His expulsion from Oxford was a defining moment, marking his break with conventional society and institutions. His elopement with Harriet Westbrook at 19 and his subsequent philosophical and political radicalism were also significant.

Literary trajectory

Beginning of writing (when and how it started): Shelley began writing poetry at a young age, producing Gothic novels and political tracts before turning to his major lyrical works. His expulsion from Oxford spurred him to publish his first major poem, "Queen Mab." Development over time (phases, changes in style): His early works were more overtly political and polemical. His mature poetry, such as "Alastor," "The Revolt of Islam," "Prometheus Unbound," and his shorter lyrics, developed a more sophisticated lyrical style, blending philosophical inquiry with sublime natural imagery and profound emotional expression. Chronological evolution of the work: From the youthful radicalism of "Queen Mab" to the complex allegorical narratives of "The Revolt of Islam" and "Prometheus Unbound," culminating in the exquisite shorter lyrics of his final years, his trajectory showed increasing technical mastery and philosophical depth. Contributions to magazines, newspapers, and anthologies: He contributed to various journals and was involved in editing. His radicalism often made publication difficult. Activity as a critic, translator, or editor: He wrote critical essays, notably "A Defence of Poetry," and translated works from Greek and Italian literature.

Works, style, and literary characteristics

Major works with dates and context of production: - "Queen Mab" (1813): An early, ambitious philosophical poem. - "Alastor, or The Spirit of Solitude" (1816): Explores the quest for an ideal. - "The Revolt of Islam" (1818): An epic poem advocating for political and social reform. - "Prometheus Unbound" (1820): His masterpiece, a lyrical drama in four acts, a radical reimagining of Aeschylus's play, celebrating the overthrow of tyranny and the triumph of love and intellect. - "Adonais" (1821): An elegy on the death of John Keats. - Shorter lyrics: "Ode to the West Wind," "To a Skylark," "The Cloud," "Ozymandias," "Hymn to Intellectual Beauty." Dominant themes — love, death, time, nature, identity, homeland, spirituality, etc.: Central themes include political liberty, social justice, revolution, the power of the imagination, the beauty and sublimity of nature, the transience of life, the corrupting influence of power, and the pursuit of an ideal of intellectual and spiritual beauty. Form and structure — use of the sonnet, free verse, fixed forms, metrical experimentation: Shelley employed various forms, including blank verse, lyrical stanzas, and the sonnet. His "Ode to the West Wind" is a notable example of complex stanzaic structure. Poetic devices (metaphor, rhythm, musicality): Known for his soaring imagination, powerful metaphors (often drawn from nature), and extraordinary musicality. His verse is characterized by its fluidity, rhythmic intensity, and evocative imagery. Tone and poetic voice — lyrical, satirical, elegiac, epic, ironic, confessional: His tone ranges from the deeply lyrical and impassioned to the elegiac and prophetic. The poetic voice is often visionary, idealistic, and fiercely committed to justice and beauty. Poetic voice (personal, universal, fragmented, etc.): The voice is often personal in its expression of intense feeling, but it also seeks a universal resonance, speaking for oppressed humanity and the aspirations of the human spirit. Language and style — vocabulary, imagery density, preferred rhetorical devices: His language is elevated, rich in metaphor, personification, and apostrophe. He favored grand, sweeping imagery, often drawing from natural phenomena (wind, clouds, storms) and classical mythology. Formal or thematic innovations introduced into literature: Shelley pushed the boundaries of poetic expression with his radical themes and philosophical depth. His "Prometheus Unbound" is a highly original work that reimagined classical myth to address contemporary political and social issues. His prose "A Defence of Poetry" is a foundational text of Romantic literary theory. Relationship with tradition and modernity: He engaged with classical tradition (particularly Greek drama) and the Renaissance (Shakespeare, Milton) but infused these forms and ideas with modern radical thought and a distinct Romantic sensibility. Associated literary movements (e.g., symbolism, modernism): Primarily associated with the second generation of English Romanticism. Lesser-known or unpublished works: His early Gothic novels and "Queen Mab" are less frequently read now, though important for understanding his development.

Cultural and historical context

Relationship with historical events (wars, revolutions, regimes): Shelley was deeply affected by the French Revolution, the Napoleonic Wars, and the subsequent period of political repression in Britain. His radicalism was a direct response to perceived injustices and tyrannies. Relationship with other writers or literary circles: He was friends with Lord Byron and Leigh Hunt. His life was also marked by relationships with prominent intellectuals and radical thinkers of his time. Generation or movement to which they belong (e.g., Romanticism, Modernism, Surrealism): Second generation of English Romanticism. Political or philosophical stance: A fervent radical, atheist, and advocate for liberty, equality, and social justice. He was a critic of monarchy, organized religion, and all forms of oppression. Influence of society and culture on the work: The prevailing political climate of repression in Britain and the idealistic fervor inspired by revolutionary ideals significantly shaped his political and poetic output. Dialogues and tensions with contemporaries: His radicalism and atheism often led to ostracism and controversy, both within literary circles and society at large. Critical reception during life vs. posthumous recognition: During his life, Shelley was often viewed with suspicion and hostility due to his radical views and atheism. His poetry was often condemned or ignored. Posthumously, his reputation grew immensely, and he is now recognized as one of the greatest English poets.

Personal life

Significant emotional and family relationships and how they shaped the work: His relationships with his wives, Harriet Westbrook and Mary Wollstonecraft Shelley, and his complicated family life influenced his writings on love, marriage, and domesticity. His intellectual and emotional connection with Mary Shelley was profound. Friendships and literary rivalries: He maintained close friendships with Lord Byron, Leigh Hunt, and others. While not characterized by intense rivalries, his unconventional lifestyle and beliefs sometimes led to social friction. Personal experiences and crises, illnesses, or conflicts: He faced considerable personal crises, including his expulsion from Oxford, financial difficulties, the deaths of his children, and the suicide of his first wife. These experiences undoubtedly contributed to the melancholic and elegiac strains in his poetry. Parallel professions (if they did not live solely from poetry): He was a writer, philosopher, and political activist. Like many poets of his era, he did not live solely from his literary work and often relied on family wealth or support from friends. Religious, spiritual, or philosophical beliefs: An avowed atheist and materialist in his youth, his later work suggests a more pantheistic or Neoplatonic view of a universal spirit pervading nature and humanity. Political positions and civic engagement: He was deeply committed to political reform and the advancement of human liberty. He actively wrote and spoke out against injustice and tyranny.

Recognition and reception

Place in national and international literature: Shelley is universally recognized as a central figure of English Romanticism and a major poet in world literature. Awards, distinctions, and institutional recognition: He received virtually no formal recognition or awards during his lifetime. His legacy is one of profound literary influence rather than institutional accolades. Popularity vs. academic recognition: During his life, he was more notorious than popular. Posthumously, his academic and critical standing grew exponentially, securing his place among the greatest poets.

Influences and legacy

Authors who influenced them: William Godwin, Mary Wollstonecraft, Edmund Burke, Wordsworth, Coleridge, Milton, and the Greek tragedians. Poets and movements they influenced: Shelley's poetry, with its idealism, revolutionary spirit, and lyrical power, heavily influenced later poets, including Aestheticism, Symbolism, and various socialist and radical literary movements. Impact on national and world literature and on later generations of poets: His vision of liberty, his critique of power, and his transcendent lyrical style have left an indelible mark on poetry. He inspired generations to challenge injustice and to seek a higher form of beauty and truth. Inclusion in the literary canon: Shelley is a cornerstone of the English literary canon. Translations and international dissemination: His works are widely translated and studied internationally, particularly "Prometheus Unbound" and his major lyrics. Adaptations (music, theater, film): His poems have been set to music by numerous composers. Academic studies dedicated to the work: An extensive body of critical scholarship exists, exploring his philosophical ideas, political views, and artistic achievements.

Interpretation and critical analysis

Possible readings of the work: His work can be read as intensely personal, as a philosophical manifesto, as a testament to the power of the imagination, or as a critique of social and political institutions. The tension between idealism and the harsh realities of the world is a recurring critical focus. Philosophical and existential themes: Shelley grappled with themes of freedom, necessity, the nature of good and evil, the corrupting influence of power, and the potential for human perfectibility. Controversies or critical debates: Debates have often centered on his radicalism, his atheism, and the perceived difficulty or obscurity of some of his more philosophical poems.

Curiosities and lesser-known aspects

Lesser-known aspects of personality: Despite his radical political beliefs, Shelley could be quite timid and introspective in his personal interactions. Contradictions between life and work: The tension between his advocacy for free love and his sometimes conventional behavior within his relationships has been a subject of discussion. Significant or anecdotal episodes that illuminate the author’s profile: His famous drowning off the coast of Italy while sailing in a storm is a tragic and romanticized end, echoing the themes of nature's power and human fragility in his poetry. Objects, places, or rituals associated with poetic creation: He wrote many of his most famous poems during his time in Italy, often inspired by the dramatic landscapes and the intense intellectual atmosphere among the expatriate community. Writing habits: He was a prolific writer, often composing his poems in a flurry of inspiration, sometimes by dictation. Curious episodes: His body was cremated on the beach at Viareggio, with only his heart reportedly refusing to burn completely. Manuscripts, diaries, or correspondence: His letters and manuscripts reveal a passionate, intellectual, and often troubled man, deeply engaged with the ideas and events of his time.

Death and memory

Circumstances of death: Drowned at sea in a storm while sailing near Livorno, Italy, shortly after his 29th birthday. Posthumous publications: "Prometheus Unbound" and "Adonais" were among his later works, published shortly before his death. His most significant poems gained wider recognition and publication after his death, cementing his place in literary history.