Percy Bysshe Shelley (Poet to Poet Book 43)

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Sounds as well as thoughts have relation both between each other and towards that which they represent, and a perception of the order of those relations has always been found connected with a perception of the order of the relations of thoughts. Hence the language of poets has ever affected a certain uniform and harmonious recurrence of sound, without which it were not poetry, and which is scarcely less indispensable to the communication of its influence, than the words themselves, without reference to that peculiar order.

Hence the vanity of translation; it were as wise to cast a violet into a crucible that you might discover the formal principle of its color and odor, as seek to transfuse from one language into another the creations of a poet. The plant must spring again from its seed, or it will bear no flower—and this is the burden of the curse of Babel.

An observation of the regular mode of the recurrence of harmony in the language of poetical minds, together with its relation to music, produced metre, or a certain system of traditional forms of harmony and language. Yet it is by no means essential that a poet should accommodate his language to this traditional form, so that the harmony, which is its spirit, be observed.

The practice is indeed convenient and popular, and to be preferred, especially in such composition as includes much action: but every great poet must inevitably innovate upon the example of his predecessors in the exact structure of his peculiar versification. The distinction between poets and prose writers is a vulgar error.

The distinction between philosophers and poets has been anticipated. Plato was essentially a poet—the truth and splendor of his imagery, and the melody of his language, are the most intense that it is possible to conceive. He rejected the measure of the epic, dramatic, and lyrical forms, because he sought to kindle a harmony in thoughts divested of shape and action, and he forebore to invent any regular plan of rhythm which would include, under determinate forms, the varied pauses of his style. Cicero sought to imitate the cadence of his periods, but with little success.

Lord Bacon was a poet. All the authors of revolutions in opinion are not only necessarily poets as they are inventors, nor even as their words unveil the permanent analogy of things by images which participate in the life of truth; but as their periods are harmonious and rhythmical, and contain in themselves the elements of verse; being the echo of the eternal music. Nor are those supreme poets, who have employed traditional forms of rhythm on account of the form and action of their subjects, less capable of perceiving and teaching the truth of things, than those who have omitted that form.

Shakespeare, Dante, and Milton to confine ourselves to modern writers are philosophers of the very loftiest power. A poem is the very image of life expressed in its eternal truth.

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There is this difference between a story and a poem, that a story is a catalogue of detached facts, which have no other connection than time, place, circumstance, cause and effect; the other is the creation of actions according to the unchangeable forms of human nature, as existing in the mind of the Creator, which is itself the image of all other minds. The one is partial, and applies only to a definite period of time, and a certain combination of events which can never again recur; the other is universal, and contains within itself the germ of a relation to whatever motives or actions have place in the possible varieties of human nature.

Time, which destroys the beauty and the use of the story of particular facts, stripped of the poetry which should invest them, augments that of poetry, and forever develops new and wonderful applications of the eternal truth which it contains. Hence epitomes have been called the moths of just history; they eat out the poetry of it.

A story of particular facts is as a mirror which obscures and distorts that which should be beautiful; poetry is a mirror which makes beautiful that which is distorted. The parts of a composition may be poetical, without the composition as a whole being a poem. A single sentence may be considered as a whole, though it may be found in the midst of a series of unassimilated portions; a single word even may be a spark of inextinguishable thought. And thus all the great historians, Herodotus, Plutarch, Livy, were poets; and although the plan of these writers, especially that of Livy, restrained them from developing this faculty in its highest degree, they made copious and ample amends for their subjection, by filling all the interstices of their subjects with living images.

Having determined what is poetry, and who are poets, let us proceed to estimate its effects upon society. Poetry is ever accompanied with pleasure: all spirits on which it falls open themselves to receive the wisdom which is mingled with its delight. In the infancy of the world, neither poets themselves nor their auditors are fully aware of the excellence of poetry: for it acts in a divine and unapprehended manner, beyond and above consciousness; and it is reserved for future generations to contemplate and measure the mighty cause and effect in all the strength and splendor of their union.

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Even in modern times, no living poet ever arrived at the fulness of his fame; the jury which sits in judgment upon a poet, belonging as he does to all time, must be composed of his peers: it must be impanelled by Time from the selectest of the wise of many generations. A poet is a nightingale, who sits in darkness and sings to cheer its own solitude with sweet sounds; his auditors are as men entranced by the melody of an unseen musician, who feel that they are moved and softened, yet know not whence or why. The poems of Homer and his contemporaries were the delight of infant Greece; they were the elements of that social system which is the column upon which all succeeding civilization has reposed.

Homer embodied the ideal perfection of his age in human character; nor can we doubt that those who read his verses were awakened to an ambition of becoming like to Achilles, Hector, and Ulysses: the truth and beauty of friendship, patriotism, and persevering devotion to an object, were unveiled to the depths in these immortal creations: the sentiments of the auditors must have been refined and enlarged by a sympathy with such great and lovely impersonations, until from admiring they imitated, and from imitation they identified themselves with the objects of their admiration.

Nor let it be objected that these characters are remote from moral perfection, and that they can by no means be considered as edifying patterns for general imitation. Every epoch, under names more or less specious, has deified its peculiar errors; Revenge is the naked idol of the worship of a semi-barbarous age: and Self-deceit is the veiled image of unknown evil, before which luxury and satiety lie prostrate. But a poet considers the vices of his contemporaries as the temporary dress in which his creations must be arrayed, and which cover without concealing the eternal proportions of their beauty.

An epic or dramatic personage is understood to wear them around his soul, as he may the ancient armor or the modern uniform around his body; whilst it is easy to conceive a dress more graceful than either. The beauty of the internal nature cannot be so far concealed by its accidental vesture, but that the spirit of its form shall communicate itself to the very disguise, and indicate the shape it hides from the manner in which it is worn.

A majestic form and graceful motions will express themselves through the most barbarous and tasteless costume. Few poets of the highest class have chosen to exhibit the beauty of their conceptions in its naked truth and splendor; and it is doubtful whether the alloy of costume, habit, etc. The whole objection, however, of the immorality of poetry rests upon a misconception of the manner in which poetry acts to produce the moral improvement of man.

Ethical science arranges the elements which poetry has created, and propounds schemes and proposes examples of civil and domestic life: nor is it for want of admirable doctrines that men hate, and despise, and censure, and deceive, and subjugate one another. But poetry acts in another and diviner manner.

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It awakens and enlarges the mind itself by rendering it the receptacle of a thousand unapprehended combinations of thought. Poetry lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were not familiar; it reproduces all that it represents, and the impersonations clothed in its Elysian light stand thenceforward in the minds of those who have once contemplated them, as memorials of that gentle and exalted content which extends itself over all thoughts and actions with which it coexists.

The great secret of morals is love; or a going out of our nature, and an identification of ourselves with the beautiful which exists in thought, action, or person, not our own. A man, to be greatly good, must imagine intensely and comprehensively; he must put himself in the place of another and of many others; the pains and pleasure of his species must become his own. The great instrument of moral good is the imagination; and poetry administers to the effect by acting upon the cause. Poetry enlarges the circumference of the imagination by replenishing it with thoughts of ever new delight, which have the power of attracting and assimilating to their own nature all other thoughts, and which form new intervals and interstices whose void forever craves fresh food.

Poetry strengthens the faculty which is the organ of the moral nature of man, in the same manner as exercise strengthens a limb. A poet therefore would do ill to embody his own conceptions of right and wrong, which are usually those of his place and time, in his poetical creations, which participate in neither. By this assumption of the inferior office of interpreting the effect, in which perhaps after all he might acquit himself but imperfectly, he would resign a glory in a participation in the cause. There was little danger that Homer, or any of the eternal poets, should have so far misunderstood themselves as to have abdicated this throne of their widest dominion.

Those in whom the poetical faculty, though great, is less intense, as Euripides, Lucan, Tasso, Spenser, have frequently affected a moral aim, and the effect of their poetry is diminished in exact proportion to the degree in which they compel us to advert to this purpose. Homer and the cyclic poets were followed at a certain interval by the dramatic and lyrical poets of Athens, who flourished contemporaneously with all that is most perfect in the kindred expressions of the poetical faculty; architecture, painting, music, the dance, sculpture, philosophy, and, we may add, the forms of civil life.

For although the scheme of Athenian society was deformed by many imperfections which the poetry existing in chivalry and Christianity has erased from the habits and institutions of modern Europe; yet never at any other period has so much energy, beauty, and virtue been developed; never was blind strength and stubborn form so disciplined and rendered subject to the will of man, or that will less repugnant to the dictates of the beautiful and the true, as during the century which preceded the death of Socrates.

Of no other epoch in the history of our species have we records and fragments stamped so visibly with the image of the divinity in man. But it is poetry alone, in form, in action, or in language, which has rendered this epoch memorable above all others, and the store-house of examples to everlasting time. For written poetry existed at that epoch simultaneously with the other arts, and it is an idle inquiry to demand which gave and which received the light, which all, as from a common focus, have scattered over the darkest periods of succeeding time.

We know no more of cause and effect than a constant conjunction of events: poetry is ever found to coexist with whatever other arts contribute to the happiness and perfection of man. I appeal to what has already been established to distinguish between the cause and the effect. It was at the period here adverted to that the drama had its birth; and however a succeeding writer may have equalled or surpassed those few great specimens of the Athenian drama which have been preserved to us, it is indisputable that the art itself never was understood or practised according to the true philosophy of it, as at Athens.

For the Athenians employed language, action, music, painting, the dance, and religious institutions, to produce a common effect in the representation of the highest idealism of passion and of power; each division in the art was made perfect in its kind of artists of the most consummate skill, and was disciplined into a beautiful proportion and unity one towards the other.

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We have tragedy without music and dancing; and music and dancing without the highest impersonations of which they are the fit accompaniment, and both without religion and solemnity. Religious institution has indeed been usually banished from the stage. Calderon, in his religious autos, has attempted to fulfil some of the high conditions of dramatic representation neglected by Shakespeare; such as the establishing a relation between the drama and religion, and the accommodating them to music and dancing; but he omits the observation of conditions still more important, and more is lost than gained by the substitution of the rigidly defined and ever-repeated idealisms of a distorted superstition for the living impersonations of the truth of human passion.

But I digress. The connection of scenic exhibitions with the improvement or corruption of the manners of men has been universally recognized; in other words, the presence or absence of poetry in its most perfect and universal form has been found to be connected with good and evil in conduct or habit. The corruption which has been imputed to the drama as an effect, begins, when the poetry employed in its constitution ends: I appeal to the history of manners whether the periods of the growth of the one and the decline of the other have not corresponded with an exactness equal to any example of moral cause and effect.

The drama at Athens, or wheresoever else it may have approached to its perfection, ever coexisted with the moral and intellectual greatness of the age. The tragedies of the Athenian poets are as mirrors in which the spectator beholds himself, under a thin disguise of circumstance, stripped of all but that ideal perfection and energy which everyone feels to be the internal type of all that he loves, admires, and would become.

The imagination is enlarged by a sympathy with pains and passions so mighty, that they distend in their conception the capacity of that by which they are conceived; the good affections are strengthened by pity, indignation, terror, and sorrow; and an exalted calm is prolonged from the satiety of this high exercise of them into the tumult of familiar life: even crime is disarmed of half its horror and all its contagion by being represented as the fatal consequence of the unfathomable agencies of nature; error is thus divested of its wilfulness; men can no longer cherish it as the creation of their choice.

In a drama of the highest order there is little food for censure or hatred; it teaches rather self-knowledge and self-respect. Neither the eye nor the mind can see itself, unless reflected upon that which it resembles. The drama, so long as it continues to express poetry, is as a prismatic and many-sided mirror, which collects the brightest rays of human nature and divides and reproduces them from the simplicity of these elementary forms, and touches them with majesty and beauty, and multiplies all that it reflects, and endows it with the power of propagating its like wherever it may fall.

But in periods of the decay of social life, the drama sympathizes with that decay. Tragedy becomes a cold imitation of the form of the great masterpieces of antiquity, divested of all harmonious accompaniment of the kindred arts; and often the very form misunderstood, or a weak attempt to teach certain doctrines, which the writer considers as moral truths; and which are usually no more than specious flatteries of some gross vice or weakness, with which the author, in common with his auditors, are infected.

Hence what has been called the classical and domestic drama. To such purposes poetry cannot be made subservient. Poetry is a sword of lightning, ever unsheathed, which consumes the scabbard that would contain it. And thus we observe that all dramatic writings of this nature are unimaginative in a singular degree; they affect sentiment and passion, which, divested of imagination, are other names for caprice and appetite. The period in our own history of the grossest degradation of the drama is the reign of Charles II, when all forms in which poetry had been accustomed to be expressed became hymns to the triumph of kingly power over liberty and virtue.

Milton stood alone illuminating an age unworthy of him. At such periods the calculating principle pervades all the forms of dramatic exhibition, and poetry ceases to be expressed upon them. Comedy loses its ideal universality: wit succeeds to humor; we laugh from self-complacency and triumph, instead of pleasure; malignity, sarcasm, and contempt succeed to sympathetic merriment; we hardly laugh, but we smile.

Obscenity, which is ever blasphemy against the divine beauty in life, becomes, from the very veil which it assumes, more active if less disgusting: it is a monster for which the corruption of society forever brings forth new food, which it devours in secret. The drama being that form under which a greater number of modes of expression of poetry are susceptible of being combined than any other, the connection of poetry and social good is more observable in the drama than in whatever other form.

And it is indisputable that the highest perfection of human society has ever corresponded with the highest dramatic excellence; and that the corruption or the extinction of the drama in a nation where it has once flourished is a mark of a corruption of manners, and an extinction of the energies which sustain the soul of social life. But, as Machiavelli says of political institutions, that life may be preserved and renewed, if men should arise capable of bringing back the drama to its principles. And this is true with respect to poetry in its most extended sense: all language, institution, and form require not only to be produced but to be sustained: the office and character of a poet participate in the divine nature as regards providence, no less than as regards creation.

Civil war, the spoils of Asia, and the fatal predominance first of the Macedonian, and then of the Roman arms, were so many symbols of the extinction or suspension of the creative faculty in Greece. The bucolic writers, who found patronage under the lettered tyrants of Sicily and Egypt, were the latest representatives of its most glorious reign. Their poetry is intensely melodious; like the odor of the tuberose, it overcomes and sickens the spirit with excess of sweetness; whilst the poetry of the preceding age was as a meadow-gale of June, which mingles the fragrance of all the flowers of the field, and adds a quickening and harmonizing spirit of its own which endows the sense with a power of sustaining its extreme delight.

The bucolic and erotic delicacy in written poetry is correlative with that softness in statuary, music, and the kindred arts, and even in manners and institutions, which distinguished the epoch to which I now refer. Nor is it the poetical faculty itself, or any misapplication of it, to which this want of harmony is to be imputed.

An equal sensibility to the influence of the senses and the affections is to be found in the writings of Homer and Sophocles: the former, especially, has clothed sensual and pathetic images with irresistible attractions. Their superiority over these succeeding writers consists in the presence of those thoughts which belong to the inner faculties of our nature, not in the absence of those which are connected with the external; their incomparable perfection consists in a harmony of the union of all. It is not what the erotic poets have, but what they have not, in which their imperfection consists.

It is not inasmuch as they were poets, but inasmuch as they were not poets, that they can be considered with any plausibility as connected with the corruption of their age. Had that corruption availed so as to extinguish in them the sensibility to pleasure, passion, and natural scenery, which is imputed to them as an imperfection, the last triumph of evil would have been achieved. For the end of social corruption is to destroy all sensibility to pleasure; and, therefore, it is corruption. It begins at the imagination and the intellect as at the core, and distributes itself thence as a paralyzing venom, through the affections into the very appetites, until all become a torpid mass in which hardly sense survives.

Poetry ever communicates all the pleasure which men are capable of receiving: it is ever still the light of life; the source of whatever of beautiful or generous or true can have place in an evil time. It will readily be confessed that those among the luxurious citizens of Syracuse and Alexandria, who were delighted with the poems of Theocritus, were less cold, cruel, and sensual than the remnant of their tribe.

But corruption must utterly have destroyed the fabric of human society before poetry can ever cease. The sacred links of that chain have never been entirely disjoined, which descending through the minds of many men is attached to those great minds, whence as from a magnet the invisible effluence is sent forth, which at once connects, animates, and sustains the life of all. It is the faculty which contains within itself the seeds at once of its own and of social renovation.

And let us not circumscribe the effects of the bucolic and erotic poetry within the limits of the sensibility of those to whom it was addressed. They may have perceived the beauty of those immortal compositions, simply as fragments and isolated portions: those who are more finely organized, or born in a happier age, may recognize them as episodes to that great poem, which all poets, like the co-operating thoughts of one great mind, have built up since the beginning of the world.

The same revolutions within a narrower sphere had place in ancient Rome; but the actions and forms of its social life never seem to have been perfectly saturated with the poetical element. The Romans appear to have considered the Greeks as the selectest treasuries of the selectest forms of manners and of nature, and to have abstained from creating in measured language, sculpture, music, or architecture, anything which might bear a particular relation to their own condition, whilst it should bear a general one to the universal constitution of the world. This line demonstrates that every beautiful thing during that season will lose the beauty at some point.

But thy. He is his talking about the changes in nature that always happen, either by natural disaster or human being. In line 9 Shakespeare is begging for his woman beauty to not fade away. As we getting to the end of the poem, Shakespeare goes on to explain that his woman beauty should live eternally. I feel like Shakespeare is losing it a little bit, because we all know as we grow older , our body will changes whether we like it or not and we will died and loses everything we possessed.

He goes on to say that his woman beauty will never goes away as long as human beings live on this planet called earth Line While both poems talk about same themes. However, they have some difference. Both poets wrote a fourteen line poem, which contains a lot of differences devices technique. We can have power one day and lose it the next day.

While Shelly starts her poem by telling us who he met in an antique land, Shakespeare starts his poem by asking a question. It is kind of amazing how Shakespeare starts his poem differently than others, which makes him an amazing poet. Possessions and beauty would be ruined and go away in an instant.

People still remember him. However, as time goes by his statue is becoming more destructive. Some of the pieces of the statue are buried to the ground. The first part of these remarks has related to poetry in its elements and principles: and it has been shown, as well as the narrow limits assigned them would permit, that what is called poetry in a restricted sense, has a common source with all other forms of order and of beauty, according to which the materials of human life are susceptible of being arranged, and which is poetry in an universal sense.

The second part will have for its object an application of these principles to the present state of the cultivation of poetry, and a defence of the attempt to idealise the modern forms of manners and opinions, and compel them into a subordination to the imaginative and creative Edition: current; Page: [ 38 ] faculty. For the literature of England, an energetic development of which has ever preceded or accompanied a great and free development of the national will, has arisen as it were from a new birth. In spite of the low-thoughted envy which would undervalue contemporary merit, our own will be a memorable age in intellectual achievements, and we live among such philosophers and poets as surpass beyond comparison any who have appeared since the last national struggle for civil and religious liberty.

The most unfailing herald, companion, and follower of the awakening of a great people to work a beneficial change in opinion or institution, is poetry. At such periods there is an accumulation of the power of communicating and receiving intense and impassioned conceptions respecting man and nature. The persons in whom this power resides may often, as far as regards many portions of their nature, have little apparent correspondence with that spirit of good of which they are the ministers. But even whilst they deny and abjure, they are yet compelled to serve, the power which is seated on the throne of their own soul.

It is impossible to read the compositions of the most celebrated writers of the present day without being startled with the electric life which burns within their words. They measure the circumference and sound the depths of human nature with a comprehensive and all-penetrating spirit, and they are themselves perhaps the most sincerely astonished at its manifestations; for it is less their spirit than the spirit of the age. Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle and feel not what they inspire; the influence which is moved not, but moves.

Poets are the unacknowledged legislators of the world. THE period which intervened between the birth of Pericles and the death of Aristotle, is undoubtedly, whether considered in itself, or with reference to the effects which it has produced upon the subsequent destinies of civilised man, the most memorable in the history of the world. What was the combination of moral and political circumstances which produced so unparalleled a progress during that period in literature and the arts;—why that progress, so rapid and so sustained, so soon received a check, and became retrograde,—are problems left to the wonder and conjecture of posterity.

The wrecks and fragments of those subtle and profound minds, like the ruins of a fine statue, obscurely suggest to us the grandeur and perfection of the whole. Their very language—a type of the understandings of which it was the creation and the image—in variety, in simplicity, in flexibility, and in copiousness, excels every other language of the western world. Their sculptures are such as we, in our presumption, assume to be the models of ideal truth and beauty, and to which Edition: current; Page: [ 40 ] no artist of modern times can produce forms in any degree comparable. Their paintings, according to Pliny and Pausanias, were full of delicacy and harmony; and some even were powerfully pathetic, so as to awaken, like tender music or tragic poetry, the most overwhelming emotions.

We are accustomed to conceive the painters of the sixteenth century, as those who have brought their art to the highest perfection, probably because none of the ancient paintings have been preserved. For all the inventive arts maintain, as it were, a sympathetic connexion between each other, being no more than various expressions of one internal power, modified by different circumstances, either of an individual, or of society; and the paintings of that period would probably bear the same relation as is confessedly borne by the sculptures to all succeeding ones.

Of their music we know little; but the effects which it is said to have produced, whether they be attributed to the skill of the composer, or the sensibility of his audience, are far more powerful than any which we experience from the music of our own times; and if, indeed, the melody of their compositions were more tender and delicate, and inspiring, than the melodies of some modern European nations, their superiority in this art must have been something wonderful, and wholly beyond conception.

Their poetry seems to maintain a very high, though not so disproportionate a rank, in the comparison. Perhaps Shakespeare, from the variety and comprehension of his genius, is to be considered, on the whole, as the greatest individual mind, of which we have specimens remaining. Perhaps Dante created imaginations of greater loveliness and energy than any that are to be found in the ancient literature of Greece. Perhaps nothing has been discovered in the fragments of the Greek lyric poets equivalent to the sublime and chivalric sensibility of Petrarch.

Nor could Dante, deficient in conduct, plan, nature, variety, and temperance, have been brought into comparison with these men, but for those fortunate isles, laden with golden fruit, which alone could tempt any one to embark in the misty ocean of his dark and extravagant fiction. But, omitting the comparison of individual minds, which can afford no general inference, how superior was the spirit and system of their poetry to that of any other period!

So that, had any other genius equal in other respects to the greatest that ever enlightened the world, arisen in that age, he would have been superior to all, from this circumstance alone—that his conceptions would have assumed a more harmonious and perfect form. For it is worthy of observation, that whatever the poets of that age produced is as harmonious and perfect as possible.

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If a drama, for instance, were the composition of a person of inferior talent, it was still homogeneous and free from inequalities; it was a whole, consistent with itself. The compositions of great minds bore throughout the sustained stamp of their greatness. In the poetry of succeeding ages the expectations are often exalted on Icarian wings, and fall, too much disappointed to give a memory and a name to the oblivious pool in which they fell. In physical knowledge Aristotle and Theophrastus had already—no doubt assisted by the labours of those of their predecessors whom they criticise—made advances worthy of the maturity of science.

The astonishing invention of geometry, that series of discoveries which have enabled man to command the elements and foresee future events, before the subjects of his ignorant wonder, and which have opened as it were the doors of the Edition: current; Page: [ 42 ] mysteries of nature, had already been brought to great perfection.

All our more exact philosophy is built upon the labours of these great men, and many of the words which we employ in metaphysical distinctions were invented by them to give accuracy and system to their reasonings. The science of morals, or the voluntary conduct of men in relation to themselves or others, dates from this epoch. How inexpressibly bolder and more pure were the doctrines of those great men, in comparison with the timid maxims which prevail in the writings of the most esteemed modern moralists!

They were such as Phocion, and Epaminondas, and Timoleon, who formed themselves on their influence, were to the wretched heroes of our own age. Their political and religious institutions are more difficult to bring into comparison with those of other times. A summary idea may be formed of the worth of any political and religious system, by observing the comparative degree of happiness and of intellect produced under its influence.

And whilst many institutions and opinions, which in ancient Greece were obstacles to the improvement of the human race, have been abolished among modern nations, how many pernicious superstitions and new contrivances of misrule, and unheard-of complications of public mischief, have not been invented among them by the ever-watchful spirit of avarice and tyranny!

The modern nations of the civilised world owe the progress which they have made—as well in those physical sciences in which they have already excelled their masters, as in the moral and intellectual inquiries, in which, with all the advantage of the experience of the latter, it can scarcely be said that they have yet Edition: current; Page: [ 43 ] equalled them,—to what is called the revival of learning; that is, the study of the writers of the age which preceded and immediately followed the government of Pericles, or of subsequent writers, who were, so to speak, the rivers flowing from those immortal fountains.

And though there seems to be a principle in the modern world, which, should circumstances analogous to those which modelled the intellectual resources of the age to which we refer, into so harmonious a proportion, again arise, would arrest and perpetuate them, and consign their results to a more equal, extensive, and lasting improvement of the condition of man—though justice and the true meaning of human society are, if not more accurately, more generally understood; though perhaps men know more, and therefore are more, as a mass, yet this principle has never been called into action, and requires indeed a universal and an almost appalling change in the system of existing things.

The study of modern history is the study of kings, financiers, statesmen, and priests. The history of ancient Greece is the study of legislators, philosophers, and poets; it is the history of men, compared with the history of titles. What the Greeks were, was a reality, not a promise. And what we are and hope to be, is derived, as it were, from the influence and inspiration of these glorious generations. Whatever tends to afford a further illustration of the manners and opinions of those to whom we owe so much, and who were perhaps, on the whole, the most perfect specimens of humanity of whom we have authentic record, were infinitely valuable.

Let us see their errors, their weaknesses, their daily actions, their familiar conversation, and catch the tone of their society. When we discover how far the most admirable community ever framed was removed from that perfection to which human society is impelled by some active power within each bosom to aspire, how great ought to Edition: current; Page: [ 44 ] be our hopes, how resolute our struggles! For the Greeks of the Periclean age were widely different from us. It is to be lamented that no modern writer has hitherto dared to show them precisely as they were.

Wieland, in his delightful novels, makes indeed a very tolerable Pagan, but cherishes too many political prejudices, and refrains from diminishing the interest of his romances by painting sentiments in which no European of modern times can possibly sympathise. There is no book which shows the Greeks precisely as they were; they seem all written for children, with the caution that no practice or sentiment, highly inconsistent with our present manners, should be mentioned, lest those manners should receive outrage and violation.

But there are many to whom the Greek language is inaccessible, who ought not to be excluded by this prudery from possessing an exact and comprehensive conception of the history of man; for there is no knowledge concerning what man has been and may be, from partaking of which a person can depart, without becoming in some degree more philosophical, tolerant, and just. One of the chief distinctions between the manners of ancient Greece and modern Europe, consisted in the regulations and the sentiments respecting sexual intercourse.

Whether this difference arises from some imperfect influence of the doctrines of Jesus, who alleges the absolute and unconditional equality of all human beings, or from the institutions of chivalry, or from a certain fundamental difference of physical nature existing in the Celts, or from a combination of all or any of these causes acting on each other, is a question worthy of voluminous investigation. The fact is, that the modern Europeans have in this circumstance, and in the abolition of slavery, made an improvement the Edition: current; Page: [ 45 ] most decisive in the regulation of human society; and all the virtue and the wisdom of the Periclean age arose under other institutions, in spite of the diminution which personal slavery and the inferiority of women, recognised by law and opinion, must have produced in the delicacy, the strength, the comprehensiveness, and the accuracy of their conceptions, in moral, political, and metaphysical science, and perhaps in every other art and science.

The women, thus degraded, became such as it was expected they would become. They possessed, except with extraordinary exceptions, the habits and the qualities of slaves. They were probably not extremely beautiful; at least there was no such disproportion in the attractions of the external form between the female and male sex among the Greeks, as exists among the modern Europeans. They were certainly devoid of that moral and intellectual loveliness with which the acquisition of knowledge and the cultivation of sentiment animates, as with another life of overpowering grace, the lineaments and the gestures of every form which they inhabit.

Their eyes could not have been deep and intricate from the workings of the mind, and could have entangled no heart in soul-enwoven labyrinths. Let it not be imagined that because the Greeks were deprived of its legitimate object, they were incapable of sentimental love; and that this passion is the mere child of chivalry and the literature of modern times. Man is in his wildest state a social being: a certain Edition: current; Page: [ 46 ] degree of civilisation and refinement ever produces the want of sympathies still more intimate and complete; and the gratification of the senses is no longer all that is sought in sexual connexion.

It soon becomes a very small part of that profound and complicated sentiment, which we call love, which is rather the universal thirst for a communion not only of the senses, but of our whole nature, intellectual, imaginative and sensitive, and which, when individualised, becomes an imperious necessity, only to be satisfied by the complete or partial, actual or supposed fulfilment of its claims. This want grows more powerful in proportion to the development which our nature receives from civilisation, for man never ceases to be a social being.

The sexual impulse, which is only one, and often a small part of those claims, serves, from its obvious and external nature, as a kind of type or expression of the rest, a common basis, an acknowledged and visible link. Still it is a claim which even derives a strength not its own from the accessory circumstances which surround it, and one which our nature thirsts to satisfy.

To estimate this, observe the degree of intensity and durability of the love of the male towards the female in animals and savages; and acknowledge all the duration and intensity observable in the love of civilised beings beyond that of savages to be produced from other causes. In the susceptibility of the external senses there is probably no important difference. Among the ancient Greeks the male sex, one half of the human race, received the highest cultivation and refinement: whilst the other, so far as intellect is concerned, were educated as slaves, and were raised but few degrees in all that related to moral or intellectual excellence above the condition of savages.

The gradations in the society of man present us with slow improvement in this respect. The Roman women held a higher Edition: current; Page: [ 47 ] consideration in society, and were esteemed almost as the equal partners with their husbands in the regulation of domestic economy and the education of their children.

The practices and customs of modern Europe are essentially different from and incomparably less pernicious than either, however remote from what an enlightened mind cannot fail to desire as the future destiny of human beings. Plato is eminently the greatest among the Greek philosophers, and from, or, rather, perhaps through him, from his master Socrates, have proceeded those emanations of moral and metaphysical knowledge, on which a long series and an incalculable variety of popular superstitions have sheltered their absurdities Edition: current; Page: [ 49 ] from the slow contempt of mankind.

Plato exhibits the rare union of close and subtle logic with the Pythian enthusiasm of poetry, melted by the splendour and harmony of his periods into one irresistible stream of musical impressions, which hurry the persuasions onward, as in a breathless career. His language is that of an immortal spirit, rather than a man. Bacon is, perhaps, the only writer who, in these particulars, can be compared with him: his imitator, Cicero, sinks in the comparison into an ape mocking the gestures of a man.

His views into the nature of mind and existence are often obscure, only because they are profound; and though his theories respecting the government of the world, and the elementary laws of moral action, are not always correct, yet there is scarcely any of his treatises which do not, however stained by puerile sophisms, contain the most remarkable intuitions into all that can be the subject of the human mind.

His excellence consists especially in intuition, and it is this faculty which raises him far above Aristotle, whose genius, though vivid and various, is obscure in comparison with that of Plato. The account of the debate on this occasion is supposed to have been given by Apollodorus, a pupil of Socrates, many years after it had taken place, to a companion who was curious to hear it. John of the Socratic group. The whole of this introduction affords the most lively conception of refined Athenian manners.

follow url Relate to me, then, I entreat you, all the circumstances. I know you are a faithful reporter of the discussions of your friends; but, first tell me, were you present at the party or not? Do you not know that Agathon has been absent from the city many years? But, since I began to converse with Socrates, and to observe each day all his words and actions, three years are scarcely past.

Before this time I wandered about wherever it might chance, thinking that I did something, but being in truth, a most miserable wretch, not less than you are now, who believe that you ought to do anything rather than practise the love of wisdom.

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But who told you all the circumstances of the discussion? Did you hear them from Socrates himself? He was present at this feast, being, I believe, more than any of his contemporaries, a lover and admirer of Socrates. I have questioned Socrates concerning some of the circumstances of his narration, who confirms all that I have heard from Aristodemus. The road to the city is every way convenient, both for those who listen and those who speak.

Thus as we walked I gave him some account of those discussions concerning Love; since, as I said before, I remember them with sufficient accuracy. If I am required to relate them also to you, that shall willingly be done; for, whensoever either I myself talk of philosophy, or listen to others talking of it, in addition to the improvement which I conceive there arises from such conversation, I am delighted beyond measure; Edition: current; Page: [ 55 ] but whenever I hear your discussions about moneyed men and great proprietors, I am weighed down with grief, and pity you, who, doing nothing, believe that you are doing something.

Perhaps you think that I am a miserable wretch; and, indeed, I believe that you think truly. I do not think, but well know, that you are miserable. You are always the same, Apollodorus—always saying some ill of yourself and others. Indeed, you seem to me to think every one miserable except Socrates, beginning with yourself. My dear friend, it is manifest that I am out of my wits from this alone—that I have such opinion as you describe concerning myself and you.

It is not worth while, Apollodorus, to dispute now about these things; but do what I entreat you, and relate to us what were these discussions. They were such as I will proceed to tell you. But let me attempt to relate them in the order which Aristodemus observed in relating them to me. But you, Aristodemus, what think you of coming uninvited to supper? Homer, indeed, seems not only to destroy, but to outrage the proverb; for, describing Agamemnon as excellent in battle, and Menelaus but a faint-hearted warrior, he represents Menelaus as coming uninvited to the feast of one better and braver than himself.

Will you not, then, make some excuse for me? Thus discoursing, they proceeded. But, as they walked, Socrates, engaged in some deep contemplation, slackened his pace, and, observing Aristodemus waiting for him, he desired him to go on before. I was looking for you yesterday, to invite you to be of our party; I could not find you anywhere. But how is it that you do not bring Socrates with you? Another slave, meanwhile, brought word that Socrates had retired into a neighbouring vestibule, where he stood, and, in spite of his message, refused to come in.

He will come presently, I do not doubt; do not disturb him. Consider me, and these, my friends, as guests, whom you have invited to supper, and serve them so that we may commend you. After this they began supper, but Socrates did not come in. Agathon ordered him to be called, but Aristodemus perpetually forbade it. At last he came in, much about the middle of supper, not having delayed so long as was his custom.

If wisdom had this property, I should esteem myself most fortunate in reclining near to you. I should thus soon be filled, I think, with the most beautiful and various wisdom. Mine, indeed, is something obscure, and doubtful, and dreamlike. But yours is radiant, and has been crowned with amplest reward; for, though you are yet so young, it shone forth from you, and became so manifest yesterday, that more than thirty thousand Greeks can bear testimony to its excellence and loveliness. At present turn to your supper.

After Socrates and the rest had finished supper, and had reclined back on their couches, and the libations had been poured forth, and they had sung hymns to the god, and all other rites which are customary had been performed, they turned to drinking. Then Pausanias made this kind of proposal. I must confess to you that, in reality, I am not very well from the wine we drank last night, and I have need of some intermission. I suspect that most of you are in the same condition, for you were here yesterday. Now, consider how we shall drink most easily and comfortably. I was one of those who were drenched last night.

I ought to except Socrates, for he is capable of drinking everything, or nothing; and whatever we shall determine will equally suit him. Since, then, no one present has any desire to drink much wine, I shall perhaps give less offence if I declare the nature of drunkenness. The science of medicine teaches us that drunkenness is very pernicious: nor would I choose to drink immoderately myself, or counsel another to do so, especially if he had been drunk the night before.

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Let us devote the present occasion to conversation between ourselves, and if you wish, I will propose to you what shall be the subject of our discussion. Nor Edition: current; Page: [ 60 ] any one of those accomplished sophists, who, like the famous Prodicus, have celebrated the praise of Hercules and others, have ever celebrated that of Love; but what is more astonishing, I have lately met with the book of some philosopher, in which salt is extolled on account of its utility, and many other things of the same nature are in like manner celebrated with elaborate praise.

That so much serious thought is expended on such trifles, and that no man has dared to this day to frame a hymn in honour of Love, who being so great a deity, is thus neglected, may well be sufficient to excite my indignation. If you agree to my proposal, an excellent discussion might arise on the subject. Every one ought, according to my plan, to praise Love with as much eloquence as he can.

Or how can Agathon, or Pausanias, or even Aristophanes, whose life is one perpetual ministration to Venus and Bacchus? Or how can any other whom I see here? Though we who sit last are scarcely on an equality with you; for if those who speak before us shall have exhausted the subject with their eloquence and reasonings, our discourses will be superfluous. What each then said on this subject, Aristodemus did not entirely recollect, nor do I recollect all that he related to me; but only the speeches of those who said what was most worthy of remembrance.

For that he is to be honoured as one of the most ancient of the gods, this may serve as a testimony, that Love has no parents, nor is there any poet or other person who has ever affirmed that there are such. Love, therefore, is universally acknowledged to be among the oldest of things. And in addition to this, Love is the author of our greatest advantages; for I cannot imagine a greater happiness and advantage to one who is in the flower of youth than an amiable lover, or to a lover, than an amiable object of his love.

For neither birth, nor wealth, nor honours, can awaken in the minds of men the principles which should guide those who from their youth aspire to an honourable and excellent life, as Love awakens them. I speak of the fear of shame, which deters them from that which is disgraceful; and the love of glory, which incites to honourable deeds.

For it is not possible that a state or private person should accomplish, without these incitements, anything beautiful or great. I assert, then, that should one who loves be discovered in any dishonourable action, or tamely enduring insult through cowardice, he would feel more anguish and shame if observed by the object of his passion, than if he were observed by his father, or Edition: current; Page: [ 62 ] his companions, or any other person.

In like manner, among warmly attached friends, a man is especially grieved to be discovered by his friend in any dishonourable act. If, then, by any contrivance, a state or army could be composed of friends bound by strong attachment, it is beyond calculation how excellently they would administer their affairs, refraining from anything base, contending with each other for the acquirement of fame, and exhibiting such valour in battle as that, though few in numbers, they might subdue all mankind.

A thousand times would he prefer to die, rather than desert the object of his attachment, and not succour him in danger. Not only men, but even women who love, are those alone who willingly expose themselves to die for others. Alcestis, the daughter of Pelias, affords to the Greeks a remarkable example of this opinion; she alone being willing to die for her husband, and so surpassing his parents in the affection with which love inspired her towards him, as to make them appear, in the comparison with her, strangers to their own child, and related to him merely in name; and so lovely and admirable did this action appear, not only to men, but even to the Gods, that, although they conceded the prerogative of bringing back the spirit from death to few among the many who then performed excellent and honourable deeds, yet, delighted with this Edition: current; Page: [ 63 ] action, they redeemed her soul from the infernal regions: so highly do the Gods honour zeal and devotion in love.

For Orpheus seemed to them, not as Alcestis, to have dared die for the sake of her whom he loved, and thus to secure to himself a perpetual intercourse with her in the regions to which she had preceded him, but like a cowardly musician, to have contrived to descend alive into Hell; and, indeed, they appointed as a punishment for his cowardice, that he should be put to death by women. For Achilles, though informed by his mother that his own death would ensue upon his killing Hector, but that if he refrained from it he might return home and die in old age, yet preferred revenging and honouring his beloved Patroclus; not to die for him merely, but to disdain and reject that life which he had ceased to share.

Therefore the Greeks honoured Achilles beyond all other men, because he thus preferred his friend to all things else. Hence do I assert that Love is the most ancient and venerable of deities, and most powerful to endow mortals with the possession of happiness and virtue, both whilst they live and after they die. When they had ceased, Pausanias began thus:—. If Love were Edition: current; Page: [ 64 ] one, it would be well. But since Love is not one, I will endeavour to distinguish which is the Love whom it becomes us to praise, and having thus discriminated one from the other, will attempt to render him who is the subject of our discourse the honour due to his divinity.

We all know that Venus is never without Love; and if Venus were one, Love would be one; but since there are two Venuses, of necessity also must there be two Loves. For assuredly are there two Venuses; one, the eldest, the daughter of Uranus, born without a mother, whom we call the Uranian; the other younger, the daughter of Jupiter and Dione, whom we call the Pandemian;—of necessity must there also be two Loves, the Uranian and Pandemian companions of these goddesses. It is becoming to praise all the Gods, but the attributes which fall to the lot of each may be distinguished and selected.

For any particular action whatever in itself is neither good nor evil; what we are now doing—drinking, singing, talking, none of these things are good in themselves, but the mode in which they are done stamps them with its own nature; and that which is done well, is good, and that which is done ill, is evil. Thus, not all love, nor every mode of love is beautiful, or worthy of commendation, but that alone which excites us to love worthily. The Love, therefore, which attends upon Venus Pandemos is, in truth, common to the vulgar, and presides over transient and fortuitous connexions, and is worshipped by the least excellent of mankind.

The votaries of this deity seek the body rather than the soul, and the ignorant rather than the wise, disdaining all that is honourable and lovely, and considering how they shall best satisfy their sensual necessities. This Love is derived from the younger goddess, who partakes in her nature both of male and female.

But the attendant on the other, the Uranian, whose nature is entirely masculine, is the Love who inspires us with affection, Edition: current; Page: [ 65 ] and exempts us from all wantonness and libertinism.

Those who are inspired by this divinity seek the affections of those who are endowed by nature with greater excellence and vigour both of body and mind.

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Percy Bysshe Shelley (Poet to Poet Book 43) Percy Bysshe Shelley (Poet to Poet Book 43)
Percy Bysshe Shelley (Poet to Poet Book 43) Percy Bysshe Shelley (Poet to Poet Book 43)
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