"What storms then shook the ocean of my sleep,
Blotting that Moon whose pale and waning lips
Then shrank as in the sickness of eclipse!"
The whole passage is worth perusing; and again wrong interpretation has been given to this portion of his writing. I am still more firmly convinced that in the other case, when he says, "The planet of that hour was quenched," he alludes to nothing more than the partial failure of his own ideal requirements. At length into the obscure forest came
"The vision I had sought through grief and shame.
* * * * *
I stood and felt the dawn of my long night
Was penetrating me with living light:
I knew it was the vision veiled from me
So many years,—that it was Emily."
To grasp the entire meaning of this autobiographical episode, we must remember the extent to which Shelley idealizes. "More popular poets clothe the ideal with familiar and sensible imagery; Shelley loved to idealize the real,—to gift the mechanism of the material universe with a soul and a voice, and to bestow such also on the most delicate and abstract emotions and thoughts of the mind. Sophocles was his great master in this species of imagery." The heroine of the "Epipsychidion" is an imagination; a creature, like Raphael's Galatea, copied from no living model, but from "una certa idea"; a thing originally created by himself, and suggested only by the living portrait, as each one of the admired had previously suggested its ideal counterpart. Emilia, then, was the bride of a dream, and, in the indulgence of disappointed longing for a fuller satisfaction of his soul, Shelley mournfully contrasts this vision, who had so eloquently responded to his idealizing through her convent-bars, with Mary, whose stubborn, independent realism had checked and daunted him.
But the last year of Shelley's life had involved a very considerable progress in the formation of his intellectual character. The "Prometheus Unbound," perhaps at once the most characteristic and the most perfect of all his works, is identical in spirit and tendency even with the earliest, "Queen Mab"; but a re-perusal of it in comparison with the other writings, even the "Revolt of Islam," will show a more distinct presentment of the original ideas, coupled with a much more measured suggestion for acting on them, and a far less bitter allusion to the obstacles; while the charity and love are more all-embracing and apparent than ever. Imperfect as it is for dramatic representation, shortcoming even in the power to trace the working of emotions and ideas in utterly diverse characters, the "Cenci" does indicate a stronger aptitude for sympathy with other creatures on their own terms than any other of the poet's writings. He had, therefore, sobered in judgment, without declining in his inborn genius; but, on the contrary, with a clearer sense of the limits placed upon individual action, he had gained strength; and I feel certain that a corresponding change had taken place in his perception of the true import and value of characters unlike his own. The last few months of his life at Lerici had very materially contributed to this change. Although I cannot recall any distinct statement to that effect by Mary Shelley, her conversation had left that impression on me; it is also suggested by the way in which he himself spoke of it, and is fully confirmed by the tone of the letters addressed to her from Pisa.
All who have attempted to portray Shelley, either intellectually or physically, have done so from some appreciable, almost personal point of view. When many eyes see one object, it presents itself in as many different aspects, and the description given by each bears often a slight resemblance to that of others. So it has been with Shelley. The artistic portraits of him have happened to be particularly imperfect. I remember seeing a miniature by an amateur friend which actually suggested a form broad and square. The ordinarily received miniature is like almost all of its tribe, and resembles Shelley about as much as a lady in a book of fashions resembles real women; and it constitutes evidence all the more detrimental and misleading, since it appears to give as well as to receive a color of verisimilitude from the usual written description, which represents Shelley as "feminine," "almost girlish," "ideal," "angelic," and so forth. The accounts of him by firmer hands are still cramped by the individuality of the authorship.
His school-friend, Hogg, is a gentleman of independent property; Shelley detected the sensitiveness of his nature; and I know that the man has been capable of truly generous conduct. How is it, then, that he has written such utterly unintelligible stuff, and has descended to such evasions as to insert initials, lest people should detect amongst Shelley's correspondents a most admirable friend, who happened, it is supposed, to be of plebeian origin? Mr. Thomas Jefferson Hogg, I surmise, was conscious, somewhat early in life, that his better qualities were not fully appreciated; and his love of ease, his wit, his perception of the ludicrous, made him take refuge in cynicism until he learned almost to forget the origin of the real meaning of the things he talked about. His account of Shelley is like a figure seen through fantastically distorting panes of glass.
Thomas Love Peacock, again, is a man to whose extraordinary powers Shelley did full justice. He has worked through a long official career without losing his very peculiar dry wit; but a dry wit was not the man exactly to discern the form of Shelley's mind, or to portray it with accuracy and distinctness.