Part 3

Dimmed the aerial eyes that kindle day,

to the Dreams that were the flock of the dead shepherd, the Dreams

Whom near the living streams Of his young spirit he fed; and whom he taught The love that was its music;

of whom one sees, as she hangs mourning over him,

Upon the silken fringe of his faint eyes, Like dew upon a sleeping flower, there lies A tear some dream has loosened from his brain! Lost angel of a ruined Paradise! She knew not 'twas her own; as with no stain She faded like a cloud which hath outwept its rain.

In the solar spectrum, beyond the extreme red and extreme violet rays, are whole series of colours, demonstrable, but imperceptible to gross human vision. Such writing as this we have quoted renders visible the invisibilities of imaginative colour.

One thing prevents Adonais from being ideally perfect: its lack of Christian hope. Yet we remember well the writer of a popular memoir on Keats proposing as "the best consolation for the mind pained by this sad record" Shelley's inexpressibly sad exposition of Pantheistic immortality:

He is a portion of the loveliness Which once he made more lovely, etc.

What desolation can it be that discerns comfort in this hope, whose wan countenance is as the countenance of a despair? What deepest depth of agony is it that finds consolation in this immortality: an immortality which thrusts you into death, the maw of Nature, that your dissolved elements may circulate through her veins?

Yet such, the poet tells me, is my sole balm for the hurts of life. I am as the vocal breath floating from an organ. I too shall fade on the winds, a cadence soon forgotten. So I dissolve and die, and am lost in the ears of men: the particles of my being twine in newer melodies, and from my one death arise a hundred lives. Why, through the thin partition of this consolation Pantheism can hear the groans of its neighbour, Pessimism. Better almost the black resignation which the fatalist draws from his own hopelessness, from the fierce kisses of misery that hiss against his tears.

With some gleams, it is true, of more than mock solace, Adonais is lighted; but they are obtained by implicitly assuming the personal immortality which the poem explicitly denies; as when, for instance, to greet the dead youth,

The inheritors of unfulfilled renown Rose from their thrones, built beyond mortal thought Far in the unapparent.

And again the final stanza of the poem:

The breath whose might I have invoked in song Descends on me; my spirit's bark is driven Far from the shore, far from the trembling throng Whose sails were never to the tempest riven; The massy earth, the sphered skies are given: I am borne darkly, fearfully afar; Whilst, burning through the inmost veil of heaven, The soul of Adonais like a star Beacons from the abode where the eternal are.

The Soul of Adonais?--Adonais, who is but

A portion of the loveliness Which once he made more lovely.

After all, to finish where we began, perhaps the poems on which the lover of Shelley leans most lovingly, which he has oftenest in his mind, which best represent Shelley to him and which he instinctively reverts to when Shelley's name is mentioned are some of the shorter poems and detached lyrics. Here Shelley forgets for a while all that ever makes his verse turbid; forgets that he is anything but a poet, forgets sometimes that he is anything but a child; lies back in his skiff, and looks at the clouds. He plays truant from earth, slips through the wicket of fancy into heaven's meadow, and goes gathering stars. Here we have that absolute virgin-gold of song which is the scarcest among human products, and for which we can go to but three poets--Coleridge, Shelley, Chopin, {8} and perhaps we should add Keats. Christabel and Kubla-Khan; The Skylark, The Cloud, and The Sensitive Plant (in its first two parts). The Eve of Saint Agnes and The Nightingale; certain of the Nocturnes;--these things make very quintessentialised loveliness. It is attar of poetry.

Remark, as a thing worth remarking, that, although Shelley's diction is at other times singularly rich, it ceases in these poems to be rich, or to obtrude itself at all; it is imperceptible; his Muse has become a veritable Echo, whose body has dissolved from about her voice. Indeed, when his diction is richest, nevertheless the poetry so dominates the expression that we feel the latter only as an atmosphere until we are satiated with the former; then we discover with surprise to how imperial a vesture we had been blinded by gazing on the face of his song. A lesson, this, deserving to be conned by a generation so opposite in tendency as our own: a lesson that in poetry, as in the Kingdom of God, we should not take thought too greatly wherewith we shall be clothed, but seek first {9} the spirit, and all these things will be added unto us.

On the marvellous music of Shelley's verse we need not dwell, except to note that he avoids that metronomic beat of rhythm which Edgar Poe introduced into modern lyric measures, as Pope introduced it into the rhyming heroics of his day. Our varied metres are becoming as painfully over-polished as Pope's one metre. Shelley could at need sacrifice smoothness to fitness. He could write an anapaest that would send Mr. Swinburne into strong shudders (e.g., "stream did glide") when he instinctively felt that by so forgoing the more obvious music of melody he would better secure the higher music of harmony. If we have to add that in other ways he was far from escaping the defects of his merits, and would sometimes have to acknowledge that his Nilotic flood too often overflowed its banks, what is this but saying that he died young?

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It may be thought that in our casual comments on Shelley's life we have been blind to its evil side. That, however, is not the case. We see clearly that he committed grave sins, and one cruel crime; but we remember also that he was an Atheist from his boyhood; we reflect how gross must have been the moral neglect in the training of a child who could be an Atheist from his boyhood: and we decline to judge so unhappy a being by the rules which we should apply to a Catholic. It seems to us that Shelley was struggling--blindly, weakly, stumblingly, but still struggling--towards higher things. His Pantheism is an indication of it. Pantheism is a half-way house, and marks ascent or descent according to the direction from which it is approached. Now Shelley came to it from absolute Atheism; therefore in his case it meant rise. Again, his poetry alone would lead us to the same conclusion, for we do not believe that a truly corrupted spirit can write consistently ethereal poetry. We should believe in nothing, if we believed that, for it would be the consecration of a lie. Poetry is a thermometer: by taking its average height you can estimate the normal temperature of its writer's mind. The devil can do many things. But the devil cannot write poetry. He may mar a poet, but he cannot make a poet. Among all the temptations wherewith he tempted St. Anthony, though we have often seen it stated that he howled, we have never seen it stated that he sang.

Shelley's anarchic principles were as a rule held by him with some misdirected view to truth. He disbelieved in kings. And is it not a mere fact--regret it if you will--that in all European countries, except two, monarchs are a mere survival, the obsolete buttons on the coat-tails of rule, which serve no purpose but to be continually coming off? It is a miserable thing to note how every little Balkan State, having obtained liberty (save the mark!) by Act of Congress, straightway proceeds to secure the service of a professional king. These gentlemen are plentiful in Europe. They are the "noble Chairmen" who lend their names for a consideration to any enterprising company which may be speculating in Liberty. When we see these things, we revert to the old lines in which Persius tells how you cannot turn Dama into a freeman by twirling him round your finger and calling him Marcus Dama.

Again, Shelley desired a religion of humanity, and that meant, to him, a religion for humanity, a religion which, unlike the spectral Christianity about him, should permeate and regulate the whole organisation of men. And the feeling is one with which a Catholic must sympathise, in an age when--if we may say so without irreverence--the Almighty has been made a constitutional Deity, with certain state-grants of worship, but no influence over political affairs. In these matters his aims were generous, if his methods were perniciously mistaken. In his theory of Free Love alone, borrowed like the rest from the Revolution, his aim was as mischievous as his method. At the same time he was at least logical. His theory was repulsive, but comprehensible. Whereas from our present via media--facilitation of divorce--can only result the era when the young lady in reduced circumstances will no longer turn governess but will be open to engagement as wife at a reasonable stipend.

We spoke of the purity of Shelley's poetry. We know of but three passages to which exception can be taken. One is happily hidden under a heap of Shelleian rubbish. Another is offensive, because it presents his theory of Free Love in its most odious form. The third is very much a matter, we think, for the individual conscience. Compare with this the genuinely corrupt Byron, through the cracks and fissures of whose heaving versification steam up perpetually the sulphurous vapours from his central iniquity. We cannot credit that any Christian ever had his faith shaken through reading Shelley, unless his faith were shaken before he read Shelley. Is any safely havened bark likely to slip its cable, and make for a flag planted on the very reef where the planter himself was wrecked?

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Why indeed (one is tempted to ask in concluding) should it be that the poets who have written for us the poetry richest in skiey grain, most free from admixture with the duller things of earth--the Shelleys, the Coleridges, the Keats--are the very poets whose lives are among the saddest records in literature? Is it that (by some subtile mystery of analogy) sorrow, passion, and fantasy are indissolubly connected, like water, fire, and cloud; that as from sun and dew are born the vapours, so from fire and tears ascend the "visions of aerial joy"; that the harvest waves richest over the battlefields of the soul; that the heart, like the earth, smells sweetest after rain; that the spell on which depend such necromantic castles is some spirit of pain charm-poisoned at their base? {10} Such a poet, it may be, mists with sighs the window of his life until the tears run down it; then some air of searching poetry, like an air of searching frost, turns it to a crystal wonder. The god of golden song is the god, too, of the golden sun; so peradventure song-light is like sunlight, and darkens the countenance of the soul. Perhaps the rays are to the stars what thorns are to the flowers; and so the poet, after wandering over heaven, returns with bleeding feet. Less tragic in its merely temporal aspect than the life of Keats or Coleridge, the life of Shelley in its moral aspect is, perhaps, more tragical than that of either; his dying seems a myth, a figure of his living; the material shipwreck a figure of the immaterial.

Enchanted child, born into a world unchildlike; spoiled darling of Nature, playmate of her elemental daughters; "pard-like spirit, beautiful and swift," laired amidst the burning fastnesses of his own fervid mind; bold foot along the verges of precipitous dream; light leaper from crag to crag of inaccessible fancies; towering Genius, whose soul rose like a ladder between heaven and earth with the angels of song ascending and descending it;--he is shrunken into the little vessel of death, and sealed with the unshatterable seal of doom, and cast down deep below the rolling tides of Time. Mighty meat for little guests, when the heart of Shelley was laid in the cemetery of Caius Cestius! Beauty, music, sweetness, tears--the mouth of the worm has fed of them all. Into that sacred bridal-gloom of death where he holds his nuptials with eternity let not our rash speculations follow him. Let us hope rather that as, amidst material nature, where our dull eyes see only ruin, the finer eye of science has discovered life in putridity and vigour in decay,--seeing dissolution even and disintegration, which in the mouth of man symbolise disorder, to be in the works of God undeviating order, and the manner of our corruption to be no less wonderful than the manner of our health,--so, amidst the supernatural universe, some tender undreamed surprise of life in doom awaited that wild nature, which, worn by warfare with itself, its Maker, and all the world, now

Sleeps, and never palates more the dug, The beggar's nurse, and Caesar's.