We may fittingly conclude a discussion of the poet as lover with the Epipsychidion, not merely because it is the most idealistic of the interpretations of Platonic love given by nineteenth century poets, but because by virtue of the fact that it describes Shelley's personal experience, it should be most valuable in revealing the attitude toward love of one possessing the purest of poetic gifts. [Footnote: Treatment of this theme is foreshadowed in Alastor.]
The prominence given to Shelley's earthly loves in this poem has led J.
A. Symonds to deny that it is truly Platonic. He remarks,
While Shelley's doctrine in Epipsychidion seems Platonic, it will not square with the Symposium…. When a man has formed a just conception of universal beauty, he looks back with a smile on those who find their soul's sphere in the love of some mere mortal object. Tested by this standard, Shelley's identification of Intellectual Beauty with so many daughters of earth, and his worshipping love of Emilia, is spurious Platonism.[Footnote: Shelley, p. 142.]
Perhaps this failure to break altogether with the physical is precisely the distinction between the love of the poet and the love of the philosopher with whom Plato is concerned. I do not believe that the Platonism of this poem is intrinsically spurious; the conception of Emilia seems to be intended simply as a poetic personification of abstract beauty, but it is undeniable that at times this vision does not mean abstract beauty to Shelley at all, but the actual Emilia Viviani. He has protested against this judgment, "The Epipsychidion is a mystery; as to real flesh and blood, you know that I do not deal with those articles." The revulsion of feeling that turned him away from Emilia, however, taught him how much of his feeling for her had entered into the poem, so that, in June, 1822, Shelley wrote,
The Epipsychidion I cannot bear to look at. I think one is always in love with something or other; the error, and I confess it is not easy for spirits cased in flesh and blood to avoid it, consists in seeking in a mortal image the likeness of what is perhaps eternal.
Shelley begins his spiritual autobiography with his early mystical intuition of the existence of spiritual beauty, which is to be the real object of his love throughout life. By Plato, of course, this love is made prenatal. Shelley says,
She met me, robed in such exceeding glory
That I beheld her not.
As this vision was totally disjoined from earthly objects, it won the soul away from all interest in life. Therefore Shelley says,
She met me, Stranger, upon life's rough way
And lured me towards sweet death.
This early vision passed away, however,