Shelley Poems Quotes

Our sweetest songs are those of saddest thought.

We look before and after, And pine for what is not; Our sincerest laughter With some pain is fraught; Our sweetest songs are those that tell Of saddest thought.

Music, when soft voices die, vibrates in the memory.

Ozymandias" I met a traveller from an antique land Who said: "Two vast and trunkless legs of stone Stand in the desert. Near them on the sand, Half sunk, a shattered visage lies, whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them and the heart that fed. And on the pedestal these words appear: 'My name is Ozymandias, King of Kings: Look on my works, ye mighty, and despair!' Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare, The lone and level sands stretch far away.

And the Spring arose on the garden fair, Like the Spirit of Love felt everywhere; And each flower and herb on Earth's dark breast Rose from the dreams of its wintry rest.

Music, When Soft Voices Die Music, when soft voices die, Vibrates in the memory; Odours, when sweet violets sicken, Live within the sense they quicken. Rose leaves, when the rose is dead, Are heap'd for the belovèd's bed; And so thy thoughts, when thou art gone, Love itself shall slumber on.

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

Rose leaves, when the rose is dead, Are heaped for the beloved's bed; And so thy thoughts, when thou art gone, Love itself shall slumber on.

We rest; a dream has power to poison sleep. We rise; one wand'ring thought pollutes the day. We feel, conceive, or reason; laugh or weep, Embrace fond woe, or cast our cares away; It is the same: for, be it joy or sorrow, The path of its departure still is free. Man's yesterday may ne'er be like his morrow; Nought may endure but Mutability!

Though we eat little flesh and drink no wine, Yet let's be merry; we'll have tea and toast; Custards for supper, and an endless host Of syllabubs and jellies and mincepies, And other such ladylike luxuries.

And in a mad trance Strike with our spirit's knife Invulnerable nothings We decay Like corpses in a charnel Fear & Grief Convulse is & consume us Day by day And cold hopes swarm Like worms within Our living clay

Poets, the best of them, are a very chameleonic race; they take the colour not only of what they feed on, but of the very leaves under which they pass

In friendships I had been most fortunate Yet never saw I one whom I would call More willingly my friend

Away, away, from men and towns, To the wild wood and the downs— To the silent wilderness Where the soul need not repress Its music lest it should not find An echo in another's mind, While the touch of Nature's art Harmonizes heart to heart.

We look before and after, And pine for what is not: Our sincerest laughter With some pain is fraught; Our sweetest songs are those that tell Of saddest thought. Yet if we could scorn Hate, and pride, and fear; If we were things born Not to shed a tear, I know not how thy joy we ever Should come near.

I could lie down like a tired child, And weep away the life of care Which I have borne, and yet must bear,— Till death like sleep might steal on me And I might feel in the warm air My cheek grow cold, and hear the sea Breathe o'er my dying brain its last monotony.

The Moon And, like a dying lady lean and pale, Who totters forth, wrapp'd in a gauzy veil, Out of her chamber, led by the insane And feeble wanderings of her fading brain, The moon arose up in the murky east A white and shapeless mass. Art thou pale for weariness Of climbing heaven and gazing on the earth, Wandering companionless Among the stars that have a different birth, And ever changing, like a joyless eye That finds no object worth its constancy?

Like one who, on a lonely road, Doth walk in fear and dread, And, having once turned round, walks on, And turns no more his head; Because he knows a frightful fiend Doth close behind him tread. - Coleridge's "Ancient Mariner.

I learned from their subtle relations... that love is a private matter, to be nurtured, and even mourned, between two beings alone. It belongs to them, and no one else, like a secret treasure, like a private poem.

Yet if we could scorn Hate, and pride, and fear; If we were things born Not to shed a tear, I know not how thy joy we ever should come near.

To hearts which near each other move From evening close to morning light, The night is good; because, my love, They never say good-night.

History is a cyclic poem written by Time upon the memories of Man!

Love, hope, and self-esteem, like clouds depart And come, for some uncertain moments lent. Man were immortal and omnipotent, Didst thou, unknown and awful as thou art, Keep with thy glorious train firm state within his heart.

Higher still and higher From the earth thou springest Like a cloud of fire; The blue deep thou wingest, And singing still dost soar, and soaring ever singest.

Death is here and death is there, Death is busy everywhere, All around, within, beneath, Above is death - and we are death. Death has set his mark and seal On all we are and all we feel, On all we know and all we fear, First our pleasures die - and then Our hopes, and then our fears - and when These are dead, the debt is due, Dust claims dust - and we die too. All things that we love and cherish, Like ourselves must fade and perish; Such is our rude mortal lot - Love itself would, did they not.

His conversation was full of imagination, and very often in limitation of ther Persian, and Arabic writers, he invented tales of wonderful fancy and passion. At other times he repeated my fsvorite poems or drew me out into arguments, wich he suported with great ingenuity.

... It seems to me / the the great bards of the 20th century are in Publicity / those Keatses and Shelleys singing the Colgate smile / Cosmic Coca-Cola, the pause the refreshes, / the make of car that will take us to the land of happiness.

A poem is the very image of life expressed in its eternal truth. There

I arise from dreams of thee In the first sweet sleep of night, When the winds are breathing low, And the stars are shining bright. I arise from dreams of thee, And a spirit in my feet Has led me -who knows how? To thy chamber-window, Sweet! The wandering airs they faint On the dark, the silent stream - The champak odours fail Like sweet thoughts in a dream; The nightingale's complaint, It dies upon her heart, As I must die on thine, O beloved as thou art! Oh lift me from the grass! I die! I faint! I fail! Let thy love in kisses rain On my lips and eyelids pale. My cheek is cold and white, alas! My heart beats loud and fast; Oh press it close to thine again, Where it will break at last!

Wealth and dominion fade into the mass Of the great sea of human right and wrong, When once from our possession they must pass; But love, though misdirected, is among The things which are immortal, and surpass All that frail stuff which will be - or which was.

our tragedy begins humid. in a humid classroom. with a humid text book. breaking into us. stealing us from ourselves. one poem. at a time. it begins with shakespeare. the hot wash. the cool acid. of dead white men and women. people. each one a storm. crashing. into our young houses. making us islands. easy isolations. until we are so beleaguered and swollen with a definition of poetry that is white skin and not us. that we tuck our scalding. our soreness. behind ourselves and learn poetry. as trauma. as violence. as erasure. another place we do not exist. another form of exile where we should praise. honor. our own starvation. the little bits of langston. phyllis wheatley. and angelou during black history month. are the crumbs. are the minor boats. that give us slight rest. to be waterdrugged into rejecting the nuances of my own bursting extraordinary self. and to have this be called education. to take my name out of my name. out of where my native poetry lives. in me. and replace it with keats. browning. dickson. wolf. joyce. wilde. wolfe. plath. bronte. hemingway. hughes. byron. frost. cummings. kipling. poe. austen. whitman. blake. longfellow. wordsworth. duffy. twain. emerson. yeats. tennyson. auden. thoreau. chaucer. thomas. raliegh. marlowe. burns. shelley. carroll. elliot… (what is the necessity of a black child being this high off of whiteness.) and so. we are here. brown babies. worshipping. feeding. the glutton that is white literature. even after it dies. (years later. the conclusion: shakespeare is relative. white literature is relative. that we are force fed the meat of an animal that our bodies will not recognize. as inherent nutrition. is not relative. is inert.)

Poet of Nature, thou hast wept to know That things depart which never may return: Childhood and youth, friendship and love's first glow, Have fled like sweet dreams, leaving thee to mourn. These common woes I feel. One loss is mine Which thou too feel'st, yet I alone deplore. Thou wert as a lone star, whose light did shine On some frail bark in winter's midnight roar: Thou hast like to a rock-built refuge stood Above the blind and battling multitude: In honored poverty thy voice did weave Songs consecrate to truth and liberty,-- Deserting these, thou leavest me to grieve, Thus having been, that thou shouldst cease to be

A Lament O world! O life! O time! On whose last steps I climb, Trembling at that where I had stood before; When will return the glory of your prime? No more—Oh, never more! Out of the day and night A joy has taken flight; Fresh spring, and summer, and winter hoar, Move my faint heart with grief, but with delight No more—Oh, never more!

--Seek far from noise and day some western cave, Where woods and streams with soft and pausing winds A lulling murmur weave?— [_30 Ianthe] doth not sleep The dreamless sleep of death:- Shelley, Percy Bysshe (2011-03-24). The Complete Poetical Works of Percy Bysshe Shelley — Complete (Kindle Locations 317-319). . Kindle Edition.

Reading does not occupy me enough: the only relief I find springs from the composition of poetry, which necessitates contemplations that lift me above the stormy mist of sensations which are my habitual place of abode. I have lately been composing a poem on Keats; it is better than anything I have yet written and worthy both of him and of me.

If you read a great poem aloud - for example, "To a Skylark" by Percy Bysshe Shelley - and read it the way he set it up and puncuated it, what you are doing is breathing his inspired breath at the moment he wrote that poem. That breath was so powerful it can still be awakened in us over 150 years later. Taking it on is very exhilarating. That is why it is good to remember: if you want to get high, don't drink whiskey; read Shakespeare, Tennyson, Keats, Neruda, Hopkins, Millay, Whitman, aloud and let your body sing.

Why dost thou pass away and leave our state, This dim vast vale of tears, vacant and desolate?

… that great poem, which all poets, like the co-operating thoughts of one great mind, have built up since the beginning of the world.

that love is a private matter, to be nurtured, and even mourned, between two beings alone. It belongs to them and no one else, like a secret treasure, like a private poem.

A loftier Argo cleaves the main, Fraught with a later prize; Another Orpheus sings again, And loves, and weeps, and dies. A new Ulysses leaves once more Calypso for his native shore.

Alas! this is not what I thought life was. I knew that there were crimes and evil men, Misery and hate; nor did I hope to pass Untouched by suffering, through the rugged glen. In mine own heart I saw as in a glass The hearts of others ... And when I went among my kind, with triple brass Of calm endurance my weak breast I armed, To bear scorn, fear, and hate, a woeful mass!

Sorrow (A Song) To me this world's a dreary blank, All hopes in life are gone and fled, My high strung energies are sank, And all my blissful hopes lie dead.-- The world once smiling to my view, Showed scenes of endless bliss and joy; The world I then but little knew, Ah! little knew how pleasures cloy; All then was jocund, all was gay, No thought beyond the present hour, I danced in pleasure’s fading ray, Fading alas! as drooping flower. Nor do the heedless in the throng, One thought beyond the morrow give, They court the feast, the dance, the song, Nor think how short their time to live. The heart that bears deep sorrow’s trace, What earthly comfort can console, It drags a dull and lengthened pace, 'Till friendly death its woes enroll.-- The sunken cheek, the humid eyes, E’en better than the tongue can tell; In whose sad breast deep sorrow lies, Where memory's rankling traces dwell.-- The rising tear, the stifled sigh, A mind but ill at ease display, Like blackening clouds in stormy sky, Where fiercely vivid lightnings play. Thus when souls' energy is dead, When sorrow dims each earthly view, When every fairy hope is fled, We bid ungrateful world adieu.

Sonnet: Political Greatness Nor happiness, nor majesty, nor fame, Nor peace, nor strength, nor skill in arms or arts, Shepherd those herds whom tyranny makes tame; Verse echoes not one beating of their hearts, History is but the shadow of their shame, Art veils her glass, or from the pageant starts As to oblivion their blind millions fleet, Staining that Heaven with obscene imagery Of their own likeness. What are numbers knit By force or custom? Man who man would be, Must rule the empire of himself; in it Must be supreme, establishing his throne On vanquished will, quelling the anarchy Of hopes and fears, being himself alone.

The Romantic journey was usually a solitary one. Although the Romantic poets were closely connected with one another, and some collaborated in their work, they each had a strong individual vision. Romantic poets could not continue their quests for long or sustain their vision into later life. The power of the imagination and of inspiration did not last. Whereas earlier poets had patrons who financed their writing, the tradition of patronage was not extensive in the Romantic period and poets often lacked financial and other support. Keats, Shelley and Byron all died in solitary exile from England at a young age, their work left incomplete, non-conformists to the end. This coincides with the characteristic Romantic images of the solitary heroic individual, the spiritual outcast 'alone, alone, all, all alone' like Coleridge's Ancient Mariner and John Clare's 'I'; like Shelley's Alastor, Keats's Endymion, or Byron's Manfred, who reached beyond the normal social codes and normal human limits so that 'his aspirations/Have been beyond the dwellers of the earth'. Wordsworth, who lived to be an old man, wrote poems throughout his life in which his poetic vision is stimulated by a single figure or object set against a natural background. Even his projected final masterpiece was entitled The Recluse. The solitary journey of the Romantic poet was taken up by many Victorian and twentieth-century poets, becoming almost an emblem of the individual's search for identity in an ever more confused and confusing world.

Lift Not the Painted Veil Lift not the painted veil which those who live Call Life: though unreal shapes be pictured there, And it but mimic all we would believe With colours idly spread,—behind, lurk Fear And Hope, twin Destinies; who ever weave Their shadows, o'er the chasm, sightless and drear. I knew one who had lifted it—he sought, For his lost heart was tender, things to love, But found them not, alas! nor was there aught The world contains, the which he could approve. Through the unheeding many he did move, A splendour among shadows, a bright blot Upon this gloomy scene, a Spirit that strove For truth, and like the Preacher found it not.

Rarely, rarely comest thou, Spirit of Delight! Wherefore hast thou left me now Many a day and night? Many a weary night and day 'Tis since thou art fled away. How shall ever one like me Win thee back again? With the joyous and the free Thou wilt scoff at pain. Spirit false! thou hast forgot All but those who need thee not. As a lizard with the shade Of a trembling leaf, Thou with sorrow art dismayed; Even the sighs of grief Reproach thee, that thou art not near, And reproach thou wilt not hear. Let me set my mournful ditty To a merry measure;-- Thou wilt never come for pity, Thou wilt come for pleasure; Pity then will cut away Those cruel wings, and thou wilt stay. I love all that thou lovest, Spirit of Delight! The fresh Earth in new leaves dressed, And the starry night; Autumn evening, and the morn When the golden mists are born. I love snow and all the forms Of the radiant frost; I love waves, and winds, and storms, Everything almost Which is Nature's, and may be Untainted by man's misery. I love tranquil solitude, And such society As is quiet, wise, and good; Between thee and me What difference? but thou dost possess The things I seek, not love them less. I love Love--though he has wings, And like light can flee, But above all other things, Spirit, I love thee-- Thou art love and life! O come! Make once more my heart thy home!

SWIFTLY walk o'er the western wave, Spirit of Night! Out of the misty eastern cave,-- Where, all the long and lone daylight, Thou wovest dreams of joy and fear Which make thee terrible and dear,-- Swift be thy flight! Wrap thy form in a mantle grey, Star-inwrought! Blind with thine hair the eyes of Day; Kiss her until she be wearied out. Then wander o'er city and sea and land, Touching all with thine opiate wand-- Come, long-sought! When I arose and saw the dawn, I sigh'd for thee; When light rode high, and the dew was gone, And noon lay heavy on flower and tree, And the weary Day turn'd to his rest, Lingering like an unloved guest, I sigh'd for thee. Thy brother Death came, and cried, 'Wouldst thou me?' Thy sweet child Sleep, the filmy-eyed, Murmur'd like a noontide bee, 'Shall I nestle near thy side? Wouldst thou me?'--And I replied, 'No, not thee!' Death will come when thou art dead, Soon, too soon-- Sleep will come when thou art fled. Of neither would I ask the boon I ask of thee, beloved Night-- Swift be thine approaching flight, Come soon, soon!

poems. (illustration ill.32) On May 12, the whole party came out onto the terrace to watch Shelley’s schooner-rigged ship skim into the bay, heeling sharply and trailed by a dark foamy wake. “She is a most beautiful boat,” Shelley exclaimed with delight. However, Mary

In the infancy of society every author is necessarily a poet, because language itself is poetry; and to be a poet is to apprehend the true and the beautiful, in a word, the good which exists in the relation, subsisting, first between existence and perception, and secondly between perception and expression. Every original language near to its source is in itself the chaos of a cyclic poem: the copiousness of lexicography and the distinctions of grammar are the works of a later age, and are merely the catalogue and the form of the creations of poetry.

To the oblivion whither I and thou, All loving and all lovely, hasten now With steps, ah, too unequal! may we meet In one Elysium or one winding-sheet! If any should be curious to discover Whether to you I am a friend or lover, Let them read Shakespeare's sonnets, taking thence

The life of a man of virtue and talent, who should die in his thirtieth year, is, with regard to his own feelings, longer than that of a miserable Priest-ridden slave, who dreams out a century of dulness. The one has perpetually cultivated his mental faculties, has rendered himself master of his thoughts, can abstract and generalize amid the lethargy of every-day business;--the other can slumber over the brightest moments of his being, and is unable to remember the happiest hour of his life. Perhaps the perishing ephemeron enjoys a longer life than the tortoise.

Pan, Echo, and the Satyr From the Greek of Moschus Published (without title) by Mrs. Shelley, "Posthumous Poems", 1824. There is a draft amongst the Hunt manuscripts. Pan loved his neighbour Echo—but that child Of Earth and Air pined for the Satyr leaping; The Satyr loved with wasting madness wild The bright nymph Lyda,—and so three went weeping. As Pan loved Echo, Echo loved the Satyr, The Satyr, Lyda; and so love consumed them.— And thus to each—which was a woful matter— To bear what they inflicted Justice doomed them; For, inasmuch as each might hate the lover, Each, loving, so was hated.—Ye that love not Be warned—in thought turn this example over, That when ye love, the like return ye prove not. NOTE: _6 so Hunt manuscript; thus 1824. _11 So 1824; This lesson timely in your thoughts turn over, The moral of this song in thought turn over (as alternatives) Hunt manuscript.

There is no true poetry without conscious craft, absorbed attention, absolute concentration. There is no true poetry without unconscious invention. The reader, too, enters into the relationship between the controlled and the uncontrollable aspects of the art. Shelley says that 'Poetry redeems from decay the visitations of the divinity in man.' The poem is a genie that comes out of the bottle to liberate the reader's imagination, the divinity within. The writer and the reader make meaning together. The poet who calls on help from the heavenly muse also does so on behalf of the imaginative reader.

They would carry their books to the woods and read aloud to one another. At picnic lunches near Cooper’s Bluff, they recited their favorite poems. “In the early days,” Fanny recalled, “we all delighted in Longfellow and Mrs. Browning and Owen Meredith.” Later, they turned to Swinburne, Kipling, Shelley, and Shakespeare. The Roosevelts

We rest; a dream has power to poison sleep. We rise; one wand'ring thought pollutes the day. We feel, concieve, or reason; laugh or weep, Embrace fond woe, or cast our cares away; It is the same: for, be it joy or sorrow, The path of its departure still is free. Man's yesterday may ne'er be like his morrow; Nought may endure but mutability!

Cowabunga," said Cassandra, impressed. Daniel grinned. He liked impressing her. "'All my being,'" Emma whispered, "'like him whom the Numidian seps did thaw into a dew with poison, is dissolved, sinking through its foundations.' "That's from a poem," she said with some despair to the crew's stupefied expressions. "Yeah, Shelley," said Moth. "It's just we don't usually do poetry during jobs.

We tried to educate ourselves. I would invite the girls to my rooms, and we took turns reading poetry in English to improve our understanding of the language. One of our favorites was Thomas Hood's "Song of the Shirt," and another . . . Percy Bysshe Shelley's "Mask of Anarchy." . . . "Rise like lions after slumber In unvanquishable number! Which in sleep had fallen on you- Ye are many, they are few!

I bring fresh showers for the thirsting flowers, From the seas and the streams; I bear light shade for the leaves when laid In their noonday dreams. From my wings are shaken the dews that waken The sweet buds every one, When rocked to rest on their mother's breast, As she dances about the sun. I wield the flail of the lashing hail, And whiten the green plains under, And then again I dissolve it in rain, And laugh as I pass in thunder.

Haunting the library as a kid, reading poetry books when I was not reading bird books, I had been astonished at how often birds were mentioned in British poetry. Songsters like nightingales and Sky Larks appeared in literally dozens of works, going back beyond Shakespeare, back beyond Chaucer. Entire poems dedicated to such birds were written by Tennyson, Wordsworth, Shelley, Keats, and many lesser-known poets. I had run across half a dozen British poems just about Sky Larks; Thomas Hardy had even written a poem about Shelley’s poem about the Sky Lark. The love of birds and of the English language were intermingled in British literary history. Somehow we Americans had failed to import this English love of birds along with the language, except in diluted form. But we had imported a few of the English birds themselves — along with birds from practically everywhere else.

Ode to the West Wind I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear! II Thou on whose stream, mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lull’d by the coil of his crystàlline streams, Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem’d a vision; I would ne’er have striven As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chain’d and bow’d One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like wither’d leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguish’d hearth Ashes and sparks, my words among mankind! Be through my lips to unawaken’d earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind?

O Life, Life, let me breathe, --a dug-out rat! Not worse than ours the existences rats lead --Nosing along at night down some safe vat, They find a shell-proof home before they rot. Dead men may envy living mites in cheese, Or good germs even. Microbes have their joys, And subdivide, and never come to death, Certainly flowers have the easiest time on earth. "I shall be one with nature, herb, and stone." Shelley would tell me. Shelley would be stunned; The dullest Tommy hugs that fancy now. "Pushing up daisies," is their creed, you know. To grain, then, go my fat, to buds my sap, For all the usefulness there is in soap. D'you think the Boche will ever stew man-soup?

Milton argued, in 1649, after the execution of Charles I, that a people 'free by nature' had a right to overthrow a tyrant; a subject that recalls vividly the questions examined by Shakespeare in his major tragedies about fifty years before. Milton continued to defend his ideals of freedom and republicanism. But at the Restoration, by which time he was blind, he was arrested. Various powerful contacts allowed him to be released after paying a fine, and his remaining years were devoted to the composition - orally, in the form of dictation to his third wife - of his epic poem on the fall of humanity, Paradise Lost, which was published in 1667. It is interesting that - like Spenser and Malory before him, and like Tennyson two centuries later - Milton was attracted to the Arthurian legends as the subject for his great epic. But the theme of the Fall goes far beyond a national epic, and gave the poet scope to analyse the whole question of freedom, free will, and individual choice. He wished, he said, to 'assert eternal providence,/And justify the ways of God to men'. This has been seen as confirmation of Milton's arrogance, but it also signals the last great attempt to rationalise the spirit of the Renaissance: mankind would not exist outside Paradise if Satan had not engineered the temptation and fall of Adam and Eve. For many critics, including the poets Blake and Shelley, Satan, the figure of the Devil, is the hero of the poem.

Incontrai un viandante di una terra dell'antichità, Che diceva: “Due enormi gambe di pietra stroncate Stanno imponenti nel deserto… Nella sabbia, non lungi di là, Mezzo viso sprofondato e sfranto, e la sua fronte, E le rugose labbra, e il sogghigno di fredda autorità, Tramandano che lo scultore di ben conoscere quelle passioni rivelava, Che ancor sopravvivono, stampate senza vita su queste pietre, Alla mano che le plasmava, e al sentimento che le alimentava: E sul piedistallo, queste parole cesellate: "Il mio nome è Ozymandias, re di tutti i re, Ammirate, Voi Potenti, la mia opera e disperate! Null'altro rimane. Intorno alle rovine Di quel rudere colossale, spoglie e sterminate, Le piatte sabbie solitarie si estendono oltre confine.

In terms of literary history, the publication of Lyrical Ballads in 1798 is seen as a landmark. The volume contains many of the best-known Romantic poems. The second edition in 1800 contained a Preface in which Wordsworth discusses the theories of poetry which were to be so influential on many of his and Coleridge's contemporaries. The Preface represents a poetic manifesto which is very much in the spirit of the age. The movement towards greater freedom and democracy in political and social affairs is paralleled by poetry which sought to overturn the existing regime and establish a new, more 'democratic' poetic order. To do this, the writers used 'the real language of men' (Preface to Lyrical Ballads) and even, in the case of Byron and Shelley, got directly involved in political activities themselves. The Romantic age in literature is often contrasted with the Classical or Augustan age which preceded it. The comparison is valuable, for it is not simply two different attitudes to literature which are being compared but two different ways of seeing and experiencing life. The Classical or Augustan age of the early and mid-eighteenth century stressed the importance of reason and order. Strong feelings and flights of the imagination had to be controlled (although they were obviously found widely, especially in poetry). The swift improvements in medicine, economics, science and engineering, together with rapid developments in both agricultural and industrial technology, suggested human progress on a grand scale. At the centre of these advances towards a perfect society was mankind, and it must have seemed that everything was within man's grasp if his baser, bestial instincts could be controlled. The Classical temperament trusts reason, intellect, and the head. The Romantic temperament prefers feelings, intuition, and the heart.

Robin leaned back and drained the rest of his Madeira. Several seconds passed before he realized that the poem had ended, and his appraisal was required. ‘We have translators working on poetry at Babel,’ he said blandly, for lack of anything better to say. ‘Of course that’s not the same,’ Pendennis said. ‘Translating poetry is for those who haven’t the creative fire themselves. They can only seek residual fame cribbing off the work of others.’ Robin scoffed. ‘I don’t think that’s true.’ ‘You wouldn’t know,’ said Pendennis. ‘You’re not a poet.’ ‘Actually—’ Robin fidgeted with the stem of his glass for a moment, then decided to keep talking. ‘I think translation can be much harder than original composition in many ways. The poet is free to say whatever he likes, you see – he can choose from any number of linguistic tricks in the language he’s composing in. Word choice, word order, sound – they all matter, and without any one of them the whole thing falls apart. That’s why Shelley writes that translating poetry is about as wise as casting a violet into a crucible.* So the translator needs to be translator, literary critic, and poet all at once – he must read the original well enough to understand all the machinery at play, to convey its meaning with as much accuracy as possible, then rearrange the translated meaning into an aesthetically pleasing structure in the target language that, by his judgment, matches the original. The poet runs untrammelled across the meadow. The translator dances in shackles.

Poetry Reading To be a boxer, or not to be there at all. O Muse, where are our teeming crowds? Twelve people in the room, eight seats to spare— it’s time to start this cultural affair. Half came inside because it started raining, the rest are relatives. O Muse. The women here would love to rant and rave, but that’s for boxing. Here they must behave. Dante’s Inferno is ringside nowadays. Likewise his Paradise. O Muse. Oh, not to be a boxer but a poet, one sentenced to hard shelleying for life, for lack of muscles forced to show the world the sonnet that may make the high-school reading lists with luck. O Muse, O bobtailed angel, Pegasus. In the first row, a sweet old man’s soft snore: he dreams his wife’s alive again. What’s more, she’s making him that tart she used to bake. Aflame, but carefully—don’t burn his cake!— we start to read. O Muse.

A few voices, strict and punctilious, like Shelley’s, like Thoreau’s, cry out: Change! Change! But most don’t say that; they simply say: Be what you are, of the earth, but a dreamer too. Teilhard de Chardin was not talking about how to escape anguish, but about how to live with it.

Ma glared at him. It was true, though, that male clothing did nothing to hide her feminine shape. With her sturdy thighs and rounded hips, nobody was ever going to compose a poem comparing her to a slender willow, or a gracefully bending blade of grass.

love is a private matter, to be nurtured, and even mourned, between two beings alone. It belongs to them and no one else, like a secret treasure, like a private poem.

The books of course had shaped his mind in a hundred ways, especially perhaps the poetry. He thought of the master at his school who had awakened him to the glory of Shakespeare, and his own discovery of Shelley. So many of the books, the best-loved ones, had been about England, and of course the poems were England itself. As a child England had seemed much nearer than New York or the cowboy west.

Did you know that Bharatiyar used the pen name “Shelley-dasan”? He admired the poems of Shelley so deeply that he wrote under the name “Shelley’s servant”. Wasn’t that a wonderful gesture of humility by someone who was such a great poet himself? And later, Bharatiyar had his own dasan, the poet Subburathinam, who took the pen name Bharathidasan. Subburathinam’s poetry inspired yet another poet who wrote as Surada, short for Subburathina-dasan. And to think this long chain of inspiration spans centuries, going back to the poets who inspired Wordsworth, who inspired Shelley, who inspired our own Bharati.

As Shelley says in his famous poem, 'To a Skylark': 'We look before and after and pine for what is not Our sincerest laughter with some pain is fraught...' It is human nature to live either in the past or in the future. Such thinking is always the cause of pain and gives stress. Yoga emphasizes being in the moment and not to dwell in the past nor to anticipate the future.

indeed there are soul realities,” with “mein liebster” at a safe distance. “I have never had one at all like it, and I do not read things in the poets or anywhere that more than glance at it.” She could feel James Nathan’s thoughts “growing in my mind . . . your stronger organization has at times almost transfused mine.” There had been “moments when our minds were blended in one,” and this “unison” beat “like a heart within me.” She had given him Shelley to read, but there is “no poem like the poem we can make for ourselves”: “is it not by living such relations that we bring a new religion, establishing nobler freedom for all?” How hard Margaret worked to persuade herself—and James Nathan—of their disembodied “unison.” As she wrote in a Tribune essay that July, titled “Clairvoyance,” on the “wonderful powers” of the mind, “time and space” may yet be “annihilated” so that “lovers may be happy.” In late

At certain times I read a lot of poetry. My favorite poets are Shelley and Keats. Rimbaud is so identifiable, Lord Byron, I don’t know. Lately if I read poems, it’s like I can always hear the guitar. Even with Shakespeare’s sonnets I can hear a melody because its all broken up into timed phrases so I hear it. I always keep thinking, what kind of song would this be?”15

The word nature has many senses; but if we preserve the one which etymology justifies, and which is the most philosophical as well, nature should mean the principle of birth or genesis, the universal mother, the great cause, or system of causes, that brings phenomena to light. If we take the word nature in this sense, it may be said that Lucretius, more than any other man, is the poet of nature. Of course, being an ancient, he is not particularly a poet of landscape. He runs deeper than that; he is a poet of the source of landscape, a poet of matter. A poet of landscape might try to suggest, by well-chosen words, the sensations of light, movement, and form which nature arouses in us; but in this attempt he would encounter the insuperable difficulty which Lessing long ago pointed out, and warned poets of: I mean the unfitness of language to render what is spatial and material; its fitness to render only what, like language itself, is bodiless and flowing,—action, feeling, and thought. It is noticeable, accordingly, that poets who are fascinated by pure sense and seek to write poems about it are called not impressionists, but symbolists; for in trying to render some absolute sensation they render rather the field of association in which that sensation lies, or the emotions and half-thoughts that shoot and play about it in their fancy. They become—against their will, perhaps—psychological poets, ringers of mental chimes, and listeners for the chance overtones of consciousness. Hence we call them symbolists, mixing perhaps some shade of disparagement in the term, as if they were symbolists of an empty, super-subtle, or fatuous sort. For they play with things luxuriously, making them symbols for their thoughts, instead of mending their thoughts intelligently, to render them symbols for things. A poet might be a symbolist in another sense,—if he broke up nature, the object suggested by landscape to the mind, and reverted to the elements of landscape, not in order to associate these sensations lazily together, but in order to build out of them in fancy a different nature, a better world, than that which they reveal to reason. The elements of landscape, chosen, emphasized, and recombined for this purpose, would then be symbols for the ideal world they were made to suggest, and for the ideal life that might be led in that paradise. Shelley is a symbolic landscape poet in this sense. To Shelley, as Francis Thompson has said, nature was a toy-shop; his fancy took the materials of the landscape and wove them into a gossamer world, a bright ethereal habitation for new-born irresponsible spirits. Shelley was the musician of landscape; he traced out its unrealized suggestions; transformed the things he saw into the things he would fain have seen. In this idealization it was spirit that guided him, the bent of his wild and exquisite imagination, and he fancied sometimes that the grosser landscapes of earth were likewise the work of some half-spiritual stress, of some restlessly dreaming power. In this sense, earthly landscape seemed to him the symbol of the earth spirit, as the starlit crystal landscapes of his verse, with their pensive flowers, were symbols in which his own fevered spirit was expressed, images in which his passion rested.

And when I talk about Wordsworth and Coleridge and Shelley and Keats, I’m not talking about things they liked or wanted to bring to us. When I read them, I want to be there with them because I’m deprived of that nature and those things that exist in their world. When they tell me about the trees, the rivers, the clouds, the flowers, they are inviting me to live their experience, which is a very good way for me to travel outside Gaza. So I’m traveling through their poems.

Put in slightly less deathless prose, the poet’s thought might go like this: “Hey, John! This is John speaking. Those doubts you’re experiencing about Endymion? I know you think you’re never going to finish such an epic. I know you’re afraid the work will be savaged in the Times. They’ll say you’re not fit to hold Percy Shelley’s quill pen or Lord Byron’s sheet of parchment. BS, baby! I’m here to tell you, your poem is great! Scholars will be poring over its stanzas for centuries. Lovers will be cadging verses and dispatching them to their beloveds. Buck up, buddy! The tunnel may seem dark right now, but keep plugging. Don’t lose faith. You will emerge from it—I promise—to the sunlit uplands of poetic glory and renown!

The inner qualities of the woman‘s heart, result in an important byproduct, which may be called „charm“. This charm like light, is a force. Intangible, imponderable though it be, the strivings of our intellect may not attain fruition if deprived of its life-giving touch. The nourishment which the tree draws though its root may be classified and measured, - not so the vitality which is the gift of the sunlight, and without which its functioning becomes altogether impossible. This ineffable emanation of woman‘s nature has, from the first, played its part in the creation of man, unobtrusively but inevitably Had man‘s mind not been energised by the inner working of woman‘s vital charm, he would never have attained his successes. Of all the higher achievements of civilization - the devotion of the toiler, the valour of the brave, the creations of the artist – the secret spring is to be found in woman‘s influence. In the clash and battle of primitive civilization, the action of woman‘s shakti is not clearly manifest; but, as civilization becomes spiritual in the course of its development, and the union of man with man is acknowledged to be more important than the differences between them, the charm of woman gets the opportunity to become the predominant factor. Such spiritual civilization can only be upheld if the emotion of woman and the intellect of man are contributed in usual shares for its purposes. Then their respective contributions may combine gloriously in ever-frsh creations, and their difference will no longer make for inequality. Woman, let me repeat, has two aspects, - in one she is the Mother, in the other, the Beloved. I have already spoken of the spiritual endeavour that characterises the first, viz., the striving, not merely for giving birth to her child, but for creating the best possible child – not as an addition to the number of men, but as one of the heroic souls who may win the victory of man‘s eternal fight against evil in his social life and natural surroundings. As the Beloved, it is woman‘s part to infuse life into all aspirations of man; and the spiritual power that enables her to do so I have called charm, and was known in India by the name shakti. There is a poem called Ananda lahari  (The stream of Delight), attributed to Shankaracharya. She who is glorified therein is the Shakti in the heart of the Universe; the Giver of Joy, the Inspirer of Activity. On the one hand, we know and use the world; on the other we are related to it by tie of disinterested joy. We can know the world because it is a manifestation of Truth: we rejoice in it because it is an expression of Joy. „Who would have striven for life“ says the Rishi, „if this ananda had not filled the sky?“ It seems to me that the „Intellectual Beauty“, whose praises Shelley has sung, is identical with this Ananda. And it is this ananda which the poet of Ananda lahari has visualised as the woman; that is to say, in his view, this Universal Shakti is manifest in human society in the nature of Woman. In this manifestation is her charm. Let no one confuse this shakti with mere „sweetness“, for in this charm there is a combination of several qualities – patience, self-abnegation- sensitive intelligence, grace in thought, word and behaviour – the reticent expression of rhythmic life, the tendernes and terribleness of love; at its core, moreover, is that self-radiant Spirit of Delight which ever gives itself up. This shakti, this joy-giving power of woman as the Beloved, has up to now largely been dissipated by the greed of man, who has sought to use it for the purposes of his individual enjoyment, corrupting it, confining it, like his property, within jealously-guarded limits. That has also obstructed for woman herself her inward realization of the full glory of her own shakti. Her personality has been insulted at every turn by being made to display its power of delectation within a circumsribed arena.