The Prose Works of Percy Bysshe Shelley, Vol. 2 [of 2]

by Percy Bysshe Shelley

Socrates. Nor, do I think, that you ever met with a man professing himself a judge of poetry and rhapsody, and competent to criticise either Olympus, Thamyris, Orpheus, or Phemius of Ithaca, the rhapsodist, who, the moment he came to Ion the Ephesian, felt himself quite at a loss, and utterly incompetent to judge whether he rhapsodised well or ill.

Ion. I cannot refute you, Socrates, but of this I am conscious to myself: that I excel all men in the copiousness and beauty of my illustrations of Homer, as all who have heard me will confess, and with respect to other poets, I am deserted of this power. It is for you to consider what may be the cause of this distinction.

Socrates. I will tell you, O Ion, what appears to me to be the cause of this inequality of power. It is that you are not master of any art for the illustration of Homer, but it is a divine influence which moves you, like that which resides in the stone called magnet by Euripides, and Heraclea by the people. For not only does this stone possess the power of attracting iron rings, but it can communicate to them the power of attracting other rings; so that you may see sometimes a long chain of rings, and other iron substances, attached and suspended one to the other by this influence. And as the power of the stone circulates through all the links of this series, and attaches each to each, so the Muse, communicating through those whom she has first inspired, to all others capable of sharing in the inspiration, the influence of that first enthusiasm, creates a chain and a succession. For the authors of those great poems which we admire, do not attain to excellence through the rules of any art, but they utter their beautiful melodies of verse in a state of inspiration, and, as it were, possessed by a spirit not their own. Thus the composers of lyrical poetry create those admired songs of theirs in a state of divine insanity, like the Corybantes, who lose all control over their reason in the enthusiasm of the sacred dance; and, during this supernatural possession, are excited to the rhythm and harmony which they communicate to men. Like the Bacchantes, who, when possessed by the God, draw honey and milk from the rivers, in which, when they come to their senses, they find nothing but simple water. For the souls of the poets, as poets tell us, have this peculiar ministration in the world. They tell us that these souls, flying like bees from flower to flower, and wandering over the gardens and the meadows, and the honey-flowing fountains of the Muses, return to us laden with the sweetness of melody; and arrayed as they are in the plumes of rapid imagination, they speak truth. For a Poet is indeed a thing ethereally light, winged, and sacred, nor can he compose anything worth calling poetry until he becomes inspired, and, as it were, mad, or whilst any reason remains in him. For whilst a man retains any portion of the thing called reason, he is utterly incompetent to produce poetry or to vaticinate. Thus, those who declaim various and beautiful poetry upon any subject, as for instance upon Homer, are not enabled to do so by art or study; but every rhapsodist or poet, whether dithyrambic, encomiastic, choral, epic, or iambic, is excellent in proportion to the extent of his participation in the divine influence, and the degree in which the Muse itself has descended on him. In other respects, poets may be sufficiently ignorant and incapable. For they do not compose according to any art which they have acquired, but from the impulse of the divinity within them; for did they know any rules of criticism according to which they could compose beautiful verses upon one subject, they would be able to exert the same faculty with respect to all or any other. The God seems purposely to have deprived all poets, prophets, and soothsayers of every particle of reason and understanding, the better to adapt them to their employment as his ministers and interpreters; and that we, their auditors, may acknowledge that those who write so beautifully, are possessed, and address us, inspired by the God. Tynnicus the Chalcidean, is a manifest proof of this, for he never before composed any poem worthy to be remembered; and yet, was the author of that Pæan which everybody sings, and which excels almost every other hymn, and which he himself acknowledges to have been inspired by the Muse. And, thus, it appears to me that the God proves beyond a doubt, that these transcendent poems are not human as the work of men, but divine as coming from the God. Poets then are the interpreters of the divinities—each being possessed by some one deity; and to make this apparent, the God designedly inspires the worst poets with the sublimest verse. Does it seem to you that I am in the right, O Ion?

Ion. Yes, by Jupiter! My mind is enlightened by your words, O Socrates, and it appears to me that great poets interpret to us through some divine election of the God.

Socrates. And do not you rhapsodists interpret poets?

Ion. We do.

Socrates. Thus you interpret the interpreters?

Ion. Evidently.

Socrates. Remember this, and tell me; and do not conceal that which I ask. When you declaim well, and strike your audience with admiration; whether you sing of Ulysses rushing upon the threshold of his palace, discovering himself to the suitors, and pouring his shafts out at his feet; or of Achilles assailing Hector; or those affecting passages concerning Andromache, or Hecuba, or Priam, are you then self-possessed? or, rather, are you not rapt and filled with such enthusiasm by the deeds you recite, that you fancy yourself in Ithaca or Troy, or wherever else the poem transports you?

Ion. You speak most truly, Socrates, nor will I deny it; for, when I recite of sorrow my eyes fill with tears; and, when of fearful or terrible deeds, my hair stands on end, and my heart beats fast.