No More Learning

C. D.
Locock's "Examination of the Shelley Manuscripts at the Bodleian
Library". Oxford: Clarendon Press, 1903. Two manuscript fragments from
the Hunt papers are also extant: one (twenty-four lines) in the
possession of Mr. W. M. Rossetti, another (9 23 9 to 29 6) in that of
Mr. H. Buxton Forman, C. B. See "The Shelley Library", pages 83-86, for
an account of the copy of "Laon" upon which Shelley worked in revising
for publication. ]

AUTHOR'S PREFACE.

The Poem which I now present to the world is an attempt from which I
scarcely dare to expect success, and in which a writer of established
fame might fail without disgrace. It is an experiment on the temper of
the public mind, as to how far a thirst for a happier condition of
moral and political society survives, among the enlightened and
refined, the tempests which have shaken the age in which we live.
I
have sought to enlist the harmony of metrical language, the ethereal
combinations of the fancy, the rapid and subtle transitions of human
passion, all those elements which essentially compose a Poem, in the
cause of a liberal and comprehensive morality; and in the view of
kindling within the bosoms of my readers a virtuous enthusiasm for
those doctrines of liberty and justice, that faith and hope in
something good, which neither violence nor misrepresentation nor
prejudice can ever totally extinguish among mankind.

For this purpose I have chosen a story of human passion in its most
universal character, diversified with moving and romantic adventures,
and appealing, in contempt of all artificial opinions or institutions,
to the common sympathies of every human breast. I have made no attempt
to recommend the motives which I would substitute for those at present
governing mankind, by methodical and systematic argument. I would only
awaken the feelings, so that the reader should see the beauty of true
virtue, and be incited to those inquiries which have led to my moral
and political creed, and that of some of the sublimest intellects in
the world. The Poem therefore (with the exception of the first canto,
which is purely introductory) is narrative, not didactic. It is a
succession of pictures illustrating the growth and progress of
individual mind aspiring after excellence, and devoted to the love of
mankind; its influence in refining and making pure the most daring and
uncommon impulses of the imagination, the understanding, and the
senses; its impatience at 'all the oppressions which are done under
the sun;' its tendency to awaken public hope, and to enlighten and
improve mankind; the rapid effects of the application of that
tendency; the awakening of an immense nation from their slavery and
degradation to a true sense of moral dignity and freedom; the
bloodless dethronement of their oppressors, and the unveiling of the
religious frauds by which they had been deluded into submission; the
tranquillity of successful patriotism, and the universal toleration
and benevolence of true philanthropy; the treachery and barbarity of
hired soldiers; vice not the object of punishment and hatred, but
kindness and pity; the faithlessness of tyrants; the confederacy of
the Rulers of the World and the restoration of the expelled Dynasty by
foreign arms; the massacre and extermination of the Patriots, and the
victory of established power; the consequences of legitimate
despotism,--civil war, famine, plague, superstition, and an utter
extinction of the domestic affections; the judicial murder of the
advocates of Liberty; the temporary triumph of oppression, that secure
earnest of its final and inevitable fall; the transient nature of
ignorance and error and the eternity of genius and virtue. Such is the
series of delineations of which the Poem consists. And, if the lofty
passions with which it has been my scope to distinguish this story
shall not excite in the reader a generous impulse, an ardent thirst
for excellence, an interest profound and strong such as belongs to no
meaner desires, let not the failure be imputed to a natural unfitness
for human sympathy in these sublime and animating themes. It is the
business of the Poet to communicate to others the pleasure and the
enthusiasm arising out of those images and feelings in the vivid
presence of which within his own mind consists at once his inspiration
and his reward.

The panic which, like an epidemic transport, seized upon all classes
of men during the excesses consequent upon the French Revolution, is
gradually giving place to sanity. It has ceased to be believed that
whole generations of mankind ought to consign themselves to a hopeless
inheritance of ignorance and misery, because a nation of men who had
been dupes and slaves for centuries were incapable of conducting
themselves with the wisdom and tranquillity of freemen so soon as some
of their fetters were partially loosened. That their conduct could not
have been marked by any other characters than ferocity and
thoughtlessness is the historical fact from which liberty derives all
its recommendations, and falsehood the worst features of its
deformity. There is a reflux in the tide of human things which bears
the shipwrecked hopes of men into a secure haven after the storms are
past. Methinks, those who now live have survived an age of despair.

The French Revolution may be considered as one of those manifestations
of a general state of feeling among civilised mankind produced by a
defect of correspondence between the knowledge existing in society and
the improvement or gradual abolition of political institutions. The
year 1788 may be assumed as the epoch of one of the most important
crises produced by this feeling.