Shelley adapted the
catastrophe
of this story to his peculiar views.
Shelley
It was not till several
months after, when at Florence, that he conceived that a fourth act, a
sort of hymn of rejoicing in the fulfilment of the prophecies with
regard to Prometheus, ought to be added to complete the composition.
The prominent feature of Shelley's theory of the destiny of the human
species was that evil is not inherent in the system of the creation,
but an accident that might be expelled. This also forms a portion of
Christianity: God made earth and man perfect, till he, by his fall,
'Brought death into the world and all our woe. '
Shelley believed that mankind had only to will that there should be no
evil, and there would be none. It is not my part in these Notes to
notice the arguments that have been urged against this opinion, but to
mention the fact that he entertained it, and was indeed attached to it
with fervent enthusiasm. That man could be so perfectionized as to be
able to expel evil from his own nature, and from the greater part of
the creation, was the cardinal point of his system. And the subject he
loved best to dwell on was the image of One warring with the Evil
Principle, oppressed not only by it, but by all--even the good, who
were deluded into considering evil a necessary portion of humanity; a
victim full of fortitude and hope and the spirit of triumph emanating
from a reliance in the ultimate omnipotence of Good. Such he had
depicted in his last poem, when he made Laon the enemy and the victim
of tyrants. He now took a more idealized image of the same subject. He
followed certain classical authorities in figuring Saturn as the good
principle, Jupiter the usurping evil one, and Prometheus as the
regenerator, who, unable to bring mankind back to primitive innocence,
used knowledge as a weapon to defeat evil, by leading mankind, beyond
the state wherein they are sinless through ignorance, to that in which
they are virtuous through wisdom. Jupiter punished the temerity of the
Titan by chaining him to a rock of Caucasus, and causing a vulture to
devour his still-renewed heart. There was a prophecy afloat in heaven
portending the fall of Jove, the secret of averting which was known
only to Prometheus; and the god offered freedom from torture on
condition of its being communicated to him. According to the
mythological story, this referred to the offspring of Thetis, who was
destined to be greater than his father. Prometheus at last bought
pardon for his crime of enriching mankind with his gifts, by revealing
the prophecy. Hercules killed the vulture, and set him free; and
Thetis was married to Peleus, the father of Achilles.
Shelley adapted the catastrophe of this story to his peculiar views.
The son greater than his father, born of the nuptials of Jupiter and
Thetis, was to dethrone Evil, and bring back a happier reign than that
of Saturn. Prometheus defies the power of his enemy, and endures
centuries of torture; till the hour arrives when Jove, blind to the
real event, but darkly guessing that some great good to himself will
flow, espouses Thetis. At the moment, the Primal Power of the world
drives him from his usurped throne, and Strength, in the person of
Hercules, liberates Humanity, typified in Prometheus, from the
tortures generated by evil done or suffered. Asia, one of the
Oceanides, is the wife of Prometheus--she was, according to other
mythological interpretations, the same as Venus and Nature. When the
benefactor of mankind is liberated, Nature resumes the beauty of her
prime, and is united to her husband, the emblem of the human race, in
perfect and happy union. In the Fourth Act, the Poet gives further
scope to his imagination, and idealizes the forms of creation--such as
we know them, instead of such as they appeared to the Greeks. Maternal
Earth, the mighty parent, is superseded by the Spirit of the Earth,
the guide of our planet through the realms of sky; while his fair and
weaker companion and attendant, the Spirit of the Moon, receives bliss
from the annihilation of Evil in the superior sphere.
Shelley develops, more particularly in the lyrics of this drama, his
abstruse and imaginative theories with regard to the Creation. It
requires a mind as subtle and penetrating as his own to understand the
mystic meanings scattered throughout the poem. They elude the ordinary
reader by their abstraction and delicacy of distinction, but they are
far from vague. It was his design to write prose metaphysical essays
on the nature of Man, which would have served to explain much of what
is obscure in his poetry; a few scattered fragments of observations
and remarks alone remain. He considered these philosophical views of
Mind and Nature to be instinct with the intensest spirit of poetry.
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.
months after, when at Florence, that he conceived that a fourth act, a
sort of hymn of rejoicing in the fulfilment of the prophecies with
regard to Prometheus, ought to be added to complete the composition.
The prominent feature of Shelley's theory of the destiny of the human
species was that evil is not inherent in the system of the creation,
but an accident that might be expelled. This also forms a portion of
Christianity: God made earth and man perfect, till he, by his fall,
'Brought death into the world and all our woe. '
Shelley believed that mankind had only to will that there should be no
evil, and there would be none. It is not my part in these Notes to
notice the arguments that have been urged against this opinion, but to
mention the fact that he entertained it, and was indeed attached to it
with fervent enthusiasm. That man could be so perfectionized as to be
able to expel evil from his own nature, and from the greater part of
the creation, was the cardinal point of his system. And the subject he
loved best to dwell on was the image of One warring with the Evil
Principle, oppressed not only by it, but by all--even the good, who
were deluded into considering evil a necessary portion of humanity; a
victim full of fortitude and hope and the spirit of triumph emanating
from a reliance in the ultimate omnipotence of Good. Such he had
depicted in his last poem, when he made Laon the enemy and the victim
of tyrants. He now took a more idealized image of the same subject. He
followed certain classical authorities in figuring Saturn as the good
principle, Jupiter the usurping evil one, and Prometheus as the
regenerator, who, unable to bring mankind back to primitive innocence,
used knowledge as a weapon to defeat evil, by leading mankind, beyond
the state wherein they are sinless through ignorance, to that in which
they are virtuous through wisdom. Jupiter punished the temerity of the
Titan by chaining him to a rock of Caucasus, and causing a vulture to
devour his still-renewed heart. There was a prophecy afloat in heaven
portending the fall of Jove, the secret of averting which was known
only to Prometheus; and the god offered freedom from torture on
condition of its being communicated to him. According to the
mythological story, this referred to the offspring of Thetis, who was
destined to be greater than his father. Prometheus at last bought
pardon for his crime of enriching mankind with his gifts, by revealing
the prophecy. Hercules killed the vulture, and set him free; and
Thetis was married to Peleus, the father of Achilles.
Shelley adapted the catastrophe of this story to his peculiar views.
The son greater than his father, born of the nuptials of Jupiter and
Thetis, was to dethrone Evil, and bring back a happier reign than that
of Saturn. Prometheus defies the power of his enemy, and endures
centuries of torture; till the hour arrives when Jove, blind to the
real event, but darkly guessing that some great good to himself will
flow, espouses Thetis. At the moment, the Primal Power of the world
drives him from his usurped throne, and Strength, in the person of
Hercules, liberates Humanity, typified in Prometheus, from the
tortures generated by evil done or suffered. Asia, one of the
Oceanides, is the wife of Prometheus--she was, according to other
mythological interpretations, the same as Venus and Nature. When the
benefactor of mankind is liberated, Nature resumes the beauty of her
prime, and is united to her husband, the emblem of the human race, in
perfect and happy union. In the Fourth Act, the Poet gives further
scope to his imagination, and idealizes the forms of creation--such as
we know them, instead of such as they appeared to the Greeks. Maternal
Earth, the mighty parent, is superseded by the Spirit of the Earth,
the guide of our planet through the realms of sky; while his fair and
weaker companion and attendant, the Spirit of the Moon, receives bliss
from the annihilation of Evil in the superior sphere.
Shelley develops, more particularly in the lyrics of this drama, his
abstruse and imaginative theories with regard to the Creation. It
requires a mind as subtle and penetrating as his own to understand the
mystic meanings scattered throughout the poem. They elude the ordinary
reader by their abstraction and delicacy of distinction, but they are
far from vague. It was his design to write prose metaphysical essays
on the nature of Man, which would have served to explain much of what
is obscure in his poetry; a few scattered fragments of observations
and remarks alone remain. He considered these philosophical views of
Mind and Nature to be instinct with the intensest spirit of poetry.
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.
