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Shelley's "spirituality" is a living, growing, creative thing. In its intrinsic nature it is not egoistic at all, but profoundly altruistic. It uses Sex to leave Sex behind. In its higher levels it is absolutely Sexless. It may transcend humanity, but it springs from humanity. It is, in fact, humanity's dream of its own transmutation.
The flight from Tanyrallt closes the first important period of Shelley's life; and his settlement in London marks the beginning of another, fruitful of the gravest consequences and decisive of his future. Early in May the Shelleys arrived in London, where they were soon joined by Eliza, from whose increasingly irksome companionship the poet had recently enjoyed a few weeks' respite.
'Till darkness and the law Of mortal change shall fill the grave which is her maw. This is comparatively poor and rude. The change to the present reading was introduced by Mrs. Shelley in her edition of Shelley's Poems in 1839. She gives no information as to her authority: but there can be no doubt that at some time or other Shelley himself made the improvement. See p. 33. +Stanza 9,+ 1. i.
And after all, few will dare assert that "The Vanity of Human Wishes" is greater as a poem than Shelley's "Ode to the West Wind," or Keats's "Ode to a Nightingale," because no line in either of these poems is half so often quoted as "To point a moral or adorn a tale." We cannot do better than begin our consideration of Emerson's poetry with Emerson's own self-estimate.
Shelley's boat, when opened, completely puzzled Solomon, and he took counsel of his assistants, who having walked over it twice, first with their toes pointed out, and then with their toes pointed in, decided that it came from some greedy person who wanted five. They thought this because there was a large five printed on it.
As when some great painter dips His pencil in the gloom of earthquake and eclipse. SHELLEY'S Revolt of Islam. Reader, who have thus far accompanied me, I must request your attention to a brief explanatory note on three points: 1. For several reasons I have not been able to compose the notes for this part of my narrative into any regular and connected shape.
Doubtless Byron has helped to its formation; but only in as far as his poems possess, or rather seem to possess, elements in common with Shelley's. For that conscious struggle against law, by which law is discovered, may easily enough be confounded with the utter repudiation of it.
The poet must have strong passions, or how can he sing of them: he must be tossed and whirled in the stress of things, like Shelley's autumn leaves; "Ghosts from an enchanter fleeing."
I can hardly help sympathizing with the critic, for indeed Shelley's proceedings rather test the patience of ordinary mortals, who do not think that poetic or rather artistic ability licenses its possessor to behave like a scoundrel.
Sometimes the walls of the house are transparent, like a frog's foot, and you see the prisoner throbbing and quivering inside. This is rare. Shelley's house must have been a filmy tenement of the kind. With children if you catch them young enough it is more common.
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