Pollas d' odous elthonta phrontidos planois:
a line of almost unfathomable depth of poetry; yet how simple are the images in which it is arrayed!
"Coming to many ways in the wanderings of careful thought."
If the words odous and planois had not been used, the line might have been explained in a metaphorical instead of an absolute sense, as we say "WAYS and means," and "wanderings" for error and confusion. But they meant literally paths or roads, such as we tread with our feet; and wanderings, such as a man makes when he loses himself in a desert, or roams from city to city—as Oedipus, the speaker of this verse, was destined to wander, blind and asking charity. What a picture does this line suggest of the mind as a wilderness of intricate paths, wide as the universe, which is here made its symbol; a world within a world which he who seeks some knowledge with respect to what he ought to do searches throughout, as he would search the external universe for some valued thing which was hidden from him upon its surface.'
In reading Shelley's poetry, we often find similar verses, resembling, but not imitating the Greek in this species of imagery; for, though he adopted the style, he gifted it with that originality of form and colouring which sprung from his own genius.
In the "Prometheus Unbound", Shelley fulfils the promise quoted from a letter in the Note on the "Revolt of Islam". (While correcting the proof-sheets of that poem, it struck me that the poet had indulged in an exaggerated view of the evils of restored despotism; which, however injurious and degrading, were less openly sanguinary than the triumph of anarchy, such as it appeared in France at the close of the last century. But at this time a book, "Scenes of Spanish Life", translated by Lieutenant Crawford from the German of Dr. Huber, of Rostock, fell into my hands. The account of the triumph of the priests and the serviles, after the French invasion of Spain in 1823, bears a strong and frightful resemblance to some of the descriptions of the massacre of the patriots in the "Revolt of Islam".) The tone of the composition is calmer and more majestic, the poetry more perfect as a whole, and the imagination displayed at once more pleasingly beautiful and more varied and daring. The description of the Hours, as they are seen in the cave of Demogorgon, is an instance of this—it fills the mind as the most charming picture—we long to see an artist at work to bring to our view the
'cars drawn by rainbow-winged steeds
Which trample the dim winds: in each there stands
A wild-eyed charioteer urging their flight.
Some look behind, as fiends pursued them there,
And yet I see no shapes but the keen stars:
Others, with burning eyes, lean forth, and drink
With eager lips the wind of their own speed,
As if the thing they loved fled on before,
And now, even now, they clasped it. Their bright locks
Stream like a comet's flashing hair: they all
Sweep onward.'
Through the whole poem there reigns a sort of calm and holy spirit of love; it soothes the tortured, and is hope to the expectant, till the prophecy is fulfilled, and Love, untainted by any evil, becomes the law of the world.
England had been rendered a painful residence to Shelley, as much by the sort of persecution with which in those days all men of liberal opinions were visited, and by the injustice he had lately endured in the Court of Chancery, as by the symptoms of disease which made him regard a visit to Italy as necessary to prolong his life. An exile, and strongly impressed with the feeling that the majority of his countrymen regarded him with sentiments of aversion such as his own heart could experience towards none, he sheltered himself from such disgusting and painful thoughts in the calm retreats of poetry, and built up a world of his own—with the more pleasure, since he hoped to induce some one or two to believe that the earth might become such, did mankind themselves consent. The charm of the Roman climate helped to clothe his thoughts in greater beauty than they had ever worn before. And, as he wandered among the ruins made one with Nature in their decay, or gazed on the Praxitelean shapes that throng the Vatican, the Capitol, and the palaces of Rome, his soul imbibed forms of loveliness which became a portion of itself. There are many passages in the "Prometheus" which show the intense delight he received from such studies, and give back the impression with a beauty of poetical description peculiarly his own. He felt this, as a poet must feel when he satisfies himself by the result of his labours; and he wrote from Rome, 'My "Prometheus Unbound" is just finished, and in a month or two I shall send it. It is a drama, with characters and mechanism of a kind yet unattempted; and I think the execution is better than any of my former attempts.'
I may mention, for the information of the more critical reader, that the verbal alterations in this edition of "Prometheus" are made from a list of errata written by Shelley himself.