But, in truth, I was
averse from a catastrophe so feeble as that of reconciling the
Champion with the Oppressor of mankind.
averse from a catastrophe so feeble as that of reconciling the
Champion with the Oppressor of mankind.
Shelley
Our text is that of 1820,
modified by edition 1839, and by the Bodleian fair copy. In the
following notes B = the Bodleian manuscript; 1820 = the editio
princeps, printed by Marchant for C. and J. Ollier, London; and 1839 =
the text as edited by Mrs. Shelley in the "Poetical Works", 1st and
2nd editions, 1839. The reader should consult the notes on the Play at
the end of the volume. ]
PREFACE.
The Greek tragic writers, in selecting as their subject any portion of
their national history or mythology, employed in their treatment of it
a certain arbitrary discretion. They by no means conceived themselves
bound to adhere to the common interpretation or to imitate in story as
in title their rivals and predecessors. Such a system would have
amounted to a resignation of those claims to preference over their
competitors which incited the composition. The Agamemnonian story was
exhibited on the Athenian theatre with as many variations as dramas.
I have presumed to employ a similar license. The "Prometheus Unbound"
of Aeschylus supposed the reconciliation of Jupiter with his victim as
the price of the disclosure of the danger threatened to his empire by
the consummation of his marriage with Thetis. Thetis, according to
this view of the subject, was given in marriage to Peleus, and
Prometheus, by the permission of Jupiter, delivered from his captivity
by Hercules. Had I framed my story on this model, I should have done
no more than have attempted to restore the lost drama of Aeschylus; an
ambition which, if my preference to this mode of treating the subject
had incited me to cherish, the recollection of the high comparison
such an attempt would challenge might well abate.
But, in truth, I was
averse from a catastrophe so feeble as that of reconciling the
Champion with the Oppressor of mankind. The moral interest of the
fable, which is so powerfully sustained by the sufferings and
endurance of Prometheus, would be annihilated if we could conceive of
him as unsaying his high language and quailing before his successful
and perfidious adversary. The only imaginary being resembling in any
degree Prometheus, is Satan; and Prometheus is, in my judgement, a
more poetical character than Satan, because, in addition to courage,
and majesty, and firm and patient opposition to omnipotent force, he
is susceptible of being described as exempt from the taints of
ambition, envy, revenge, and a desire for personal aggrandisement,
which, in the Hero of "Paradise Lost", interfere with the interest.
The character of Satan engenders in the mind a pernicious casuistry
which leads us to weigh his faults with his wrongs, and to excuse the
former because the latter exceed all measure. In the minds of those
who consider that magnificent fiction with a religious feeling it
engenders something worse. But Prometheus is, as it were, the type of
the highest perfection of moral and intellectual nature, impelled by
the purest and the truest motives to the best and noblest ends.
This Poem was chiefly written upon the mountainous ruins of the Baths
of Caracalla, among the flowery glades, and thickets of odoriferous
blossoming trees, which are extended in ever winding labyrinths upon
its immense platforms and dizzy arches suspended in the air. The
bright blue sky of Rome, and the effect of the vigorous awakening
spring in that divinest climate, and the new life with which it
drenches the spirits even to intoxication, were the inspiration of
this drama.
The imagery which I have employed will be found, in many instances, to
have been drawn from the operations of the human mind, or from those
external actions by which they are expressed. This is unusual in
modern poetry, although Dante and Shakespeare are full of instances of
the same kind: Dante indeed more than any other poet, and with greater
success. But the Greek poets, as writers to whom no resource of
awakening the sympathy of their contemporaries was unknown, were in
the habitual use of this power; and it is the study of their works
(since a higher merit would probably be denied me) to which I am
willing that my readers should impute this singularity.
One word is due in candour to the degree in which the study of
contemporary writings may have tinged my composition, for such has
been a topic of censure with regard to poems far more popular, and
indeed more deservedly popular, than mine. It is impossible that any
one who inhabits the same age with such writers as those who stand in
the foremost ranks of our own, can conscientiously assure himself that
his language and tone of thought may not have been modified by the
study of the productions of those extraordinary intellects. It is
true, that, not the spirit of their genius, but the forms in which it
has manifested itself, are due less to the peculiarities of their own
minds than to the peculiarity of the moral and intellectual condition
of the minds among which they have been produced. Thus a number of
writers possess the form, whilst they want the spirit of those whom,
it is alleged, they imitate; because the former is the endowment of
the age in which they live, and the latter must be the uncommunicated
lightning of their own mind.
The peculiar style of intense and comprehensive imagery which
distinguishes the modern literature of England has not been, as a
general power, the product of the imitation of any particular writer.
modified by edition 1839, and by the Bodleian fair copy. In the
following notes B = the Bodleian manuscript; 1820 = the editio
princeps, printed by Marchant for C. and J. Ollier, London; and 1839 =
the text as edited by Mrs. Shelley in the "Poetical Works", 1st and
2nd editions, 1839. The reader should consult the notes on the Play at
the end of the volume. ]
PREFACE.
The Greek tragic writers, in selecting as their subject any portion of
their national history or mythology, employed in their treatment of it
a certain arbitrary discretion. They by no means conceived themselves
bound to adhere to the common interpretation or to imitate in story as
in title their rivals and predecessors. Such a system would have
amounted to a resignation of those claims to preference over their
competitors which incited the composition. The Agamemnonian story was
exhibited on the Athenian theatre with as many variations as dramas.
I have presumed to employ a similar license. The "Prometheus Unbound"
of Aeschylus supposed the reconciliation of Jupiter with his victim as
the price of the disclosure of the danger threatened to his empire by
the consummation of his marriage with Thetis. Thetis, according to
this view of the subject, was given in marriage to Peleus, and
Prometheus, by the permission of Jupiter, delivered from his captivity
by Hercules. Had I framed my story on this model, I should have done
no more than have attempted to restore the lost drama of Aeschylus; an
ambition which, if my preference to this mode of treating the subject
had incited me to cherish, the recollection of the high comparison
such an attempt would challenge might well abate.
But, in truth, I was
averse from a catastrophe so feeble as that of reconciling the
Champion with the Oppressor of mankind. The moral interest of the
fable, which is so powerfully sustained by the sufferings and
endurance of Prometheus, would be annihilated if we could conceive of
him as unsaying his high language and quailing before his successful
and perfidious adversary. The only imaginary being resembling in any
degree Prometheus, is Satan; and Prometheus is, in my judgement, a
more poetical character than Satan, because, in addition to courage,
and majesty, and firm and patient opposition to omnipotent force, he
is susceptible of being described as exempt from the taints of
ambition, envy, revenge, and a desire for personal aggrandisement,
which, in the Hero of "Paradise Lost", interfere with the interest.
The character of Satan engenders in the mind a pernicious casuistry
which leads us to weigh his faults with his wrongs, and to excuse the
former because the latter exceed all measure. In the minds of those
who consider that magnificent fiction with a religious feeling it
engenders something worse. But Prometheus is, as it were, the type of
the highest perfection of moral and intellectual nature, impelled by
the purest and the truest motives to the best and noblest ends.
This Poem was chiefly written upon the mountainous ruins of the Baths
of Caracalla, among the flowery glades, and thickets of odoriferous
blossoming trees, which are extended in ever winding labyrinths upon
its immense platforms and dizzy arches suspended in the air. The
bright blue sky of Rome, and the effect of the vigorous awakening
spring in that divinest climate, and the new life with which it
drenches the spirits even to intoxication, were the inspiration of
this drama.
The imagery which I have employed will be found, in many instances, to
have been drawn from the operations of the human mind, or from those
external actions by which they are expressed. This is unusual in
modern poetry, although Dante and Shakespeare are full of instances of
the same kind: Dante indeed more than any other poet, and with greater
success. But the Greek poets, as writers to whom no resource of
awakening the sympathy of their contemporaries was unknown, were in
the habitual use of this power; and it is the study of their works
(since a higher merit would probably be denied me) to which I am
willing that my readers should impute this singularity.
One word is due in candour to the degree in which the study of
contemporary writings may have tinged my composition, for such has
been a topic of censure with regard to poems far more popular, and
indeed more deservedly popular, than mine. It is impossible that any
one who inhabits the same age with such writers as those who stand in
the foremost ranks of our own, can conscientiously assure himself that
his language and tone of thought may not have been modified by the
study of the productions of those extraordinary intellects. It is
true, that, not the spirit of their genius, but the forms in which it
has manifested itself, are due less to the peculiarities of their own
minds than to the peculiarity of the moral and intellectual condition
of the minds among which they have been produced. Thus a number of
writers possess the form, whilst they want the spirit of those whom,
it is alleged, they imitate; because the former is the endowment of
the age in which they live, and the latter must be the uncommunicated
lightning of their own mind.
The peculiar style of intense and comprehensive imagery which
distinguishes the modern literature of England has not been, as a
general power, the product of the imitation of any particular writer.
