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The passages to which Shelley refers begin thus: 'And then the forest told it in a dream; 'The rosy veils mantling the East; 'Upon a weeded rock this old man sat. I do not find in Shelley's writings anything which distinctly modifies this opinion.
They were always a little like planetary melodies, to which earthly words had been fitted. And now they carry us, not only beyond words, but beyond thought, "as doth Eternity." There is, indeed, a sadness such as one cannot bear long "and live" about Shelley's poetry. It troubles our peace. It passes over the sterility of our poor comfort like a lost child's cry. It beats upon the door.
I suspect that these qualities came out in their greatest force after her calamity; for many things which she said in her regret, and passages in Shelley's own poetry, make me doubt whether little habits of temper, and possibly of a refined and exacting coquettishness, had not prevented him from acquiring so full a knowledge of her as she had of him.
In reading Shelley's longer poems one must remember that there are in this poet two distinct men: one, the wanderer, seeking ideal beauty and forever unsatisfied; the other, the unbalanced reformer, seeking the overthrow of present institutions and the establishment of universal happiness. Alastor, or the Spirit of Solitude is by far the best expression of Shelley's greater mood.
This is weakness, but I cannot help it." Neither does Mary consider that the time has come to write Shelley's life, though she her-self hopes to do so some day.
The English gentleman who rents the Casa Magni has known it uninterruptedly since Shelley's death, and has used it for villeggiatura during the last thirty years. We found him in the central sitting-room, which readers of Trelawny's Recollections have so often pictured to themselves. The large oval table, the settees round the walls, and some of the pictures are still unchanged.
The complicated money transactions carried on with the aid of lawyers were clearly a reminiscence of Shelley's troubles, and of her own incapacity to feel all the distress contingent so long as she was with him, and there was evidently money somewhere in the family, and it would come some time. In this novel we also perceive that Mary works off her pent-up feelings with regard to Emilia Viviani.
Hutton's Literary Landmarks in London. Lucas's A Wanderer in London. Shelley's Literary By-Paths in Old England. Baildon's Homes and Haunts of Famous Authors. Bates's From Gretna Green to Land's End. Masson's In the Footsteps of the Poets. Wolfe's A Literary Pilgrimage among the Haunts of Famous British Authors. Salmon's Literary Rambles in the West of England. Winter's Shakespeare's England.
He could tell you whether you were right or wrong; whether Substance and the Thing-in-itself were the same thing or different. "Die If thou wouldst be with that which thou dost seek." He wrote that. He wrote all Shelley's poems except the bad ones. He wrote Swinburne's Atalanta in Calydon. He could understand your wanting to know what the Thing-in-itself was.
As Wordsworth's work is too often marred by the moralizer, and Byron's by the demagogue, and Shelley's by the reformer, so Keats's work suffers by the opposite extreme of aloofness from every human interest; so much so, that he is often accused of being indifferent to humanity. His work is also criticised as being too effeminate for ordinary readers.
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