Rossetti in one of his letters numbers his favourite colours in the order of his favour, and throughout his work one feels that he loved form and colour for themselves and apart from what they represent. One feels sometimes that he desired a world of essences, of unmixed powers, of impossible purities. It is as though the last judgment had already begun in his mind and that the essences and powers, which the divine hand had mixed into one another to make the loam of life, fell asunder at his touch. If he painted a flame or a blue distance, he painted as though he had seen the flame out of whose heart all flames had been taken, or the blue of the abyss that was before all life; and if he painted a woman's face he painted it in some moment of intensity when the ecstasy of the lover and of the saint are alike, and desire becomes wisdom without ceasing to be desire. He listens to the cry of the flesh till it becomes proud and passes beyond the world where some immense desire that the intellect cannot understand mixes with the desire of a body's warmth and softness. His genius like Shelley's can hardly stir but to the rejection of nature, whose delight is profusion, but never intensity, and like Shelley's it follows the Star of the Magi, the Morning and Evening Star, the mother of impossible hope, although it follows through deep woods, where the Star glimmers among dew-drenched boughs and not through 'a wind-swept valley of the Apennine.' Men like him cannot be happy as we understand happiness, for to be happy one must delight like nature in mere profusion, in mere abundance, in making and doing things, and if one sets an image of the perfect before one it must be the image that draws her perpetually, the image of a perfect fulness of natural life, of an Earthly Paradise. One's emotion must never break the bonds of life, one's hands must never labour to loosen the silver cord, one's ears must never strain to catch the sound of Michael's trumpet. That is to say, one must not be among those that would have prayed in old times in some chapel of the Star, but among those who would have prayed under the shadow of the Green Tree, and on the wet stones of the Well, among the worshippers of natural abundance.
II
I do not think it was accident, so subtle are the threads that lead the soul, that made William Morris, who seems to me the one perfectly happy and fortunate poet of modern times, celebrate the Green Tree and the goddess Habundia, and wells and enchanted waters in so many books. In _The Well at the World's End_ green trees and enchanted waters are shown to us, as they were understood by old writers, who thought that the generation of all things was through water; for when the water that gives a long and a fortunate life and that can be found by none but such a one as all women love is found at last, the Dry Tree, the image of the ruined land, becomes green. To him indeed as to older writers Well and Tree are all but images of the one thing, of an 'energy' that is not the less 'eternal delight'
because it is half of the body. He never wrote, and could not have written, of a man or woman who was not of the kin of Well or Tree. Long before he had named either he had made his 'Wanderers' follow a dream indeed, but a dream of natural happiness, and all the people of all his poems and stories from the confused beginning of his art in _The Hollow Land_ to its end in _The Sundering Flood_, are full of the heavy sweetness of this dream. He wrote indeed of nothing but of the quest of the Grail, but it was the Heathen Grail that gave every man his chosen food, and not the Grail of Malory or Wagner; and he came at last to praise, as other men have praised the martyrs of religion or of passion, men with lucky eyes and men whom all women love.
We know so little of man and of the world that we cannot be certain that the same invisible hands, that gave him an imagination preoccupied with good fortune, gave him also health and wealth, and the power to create beautiful things without labour, that he might honour the Green Tree. It pleases me to imagine the copper mine which brought, as Mr. Mackail has told, so much unforeseen wealth and in so astonishing a way, as no less miraculous than the three arrows in _The Sundering Flood_. No mighty poet in his misery dead could have delighted enough to make us delight in men 'who knew no vain desire of foolish fame,' but who thought the dance upon 'the stubble field' and 'the battle with the earth' better than 'the bitter war' 'where right and wrong are mixed together.' 'Oh the trees, the trees!' he wrote in one of his early letters, and it was his work to make us, who had been taught to sympathize with the unhappy till we had grown morbid, to sympathize with men and women who turned everything into happiness because they had in them something of the abundance of the beechen boughs or of the bursting wheat-ear. He alone, I think, has told the story of Alcestis with perfect sympathy for Admetus, with so perfect a sympathy that he cannot persuade himself that one so happy died at all; and he, unlike all other poets, has delighted to tell us that the men after his own heart, the men of his _News from Nowhere_, sorrowed but a little while over unhappy love. He cannot even think of nobility and happiness apart, for all his people are like his men of Burg Dale who lived 'in much plenty and ease of life, though not delicately or desiring things out of measure. They wrought with their hands and wearied themselves; and they rested from their toil and feasted and were merry; to-morrow was not a burden to them, nor yesterday a thing which they would fain forget; life shamed them not nor did death make them afraid. As for the Dale wherein they dwelt, it was indeed most fair and lovely and they deemed it the Blessing of the earth, and they trod the flowery grass beside its rippled stream amidst the green tree-boughs proudly and joyfully with goodly bodies and merry hearts.'
III
I think of his men as with broad brows and golden beards and mild eyes and tranquil speech, and of his good women as like 'The Bride' in whose face Rossetti saw and painted for once the abundance of earth and not the half-hidden light of his star. They are not in love with love for its own sake, with a love that is apart from the world or at enmity with it, as Swinburne imagines Mary Stuart and as all men have imagined Helen. They do not seek in love that ecstasy, which Shelley's nightingale called death, that extremity of life in which life seems to pass away like the Phoenix in flame of its own lighting, but rather a gentle self-surrender that would lose more than half its sweetness if it lost the savour of coming days. They are good house-wives; they sit often at the embroidery frame, and they have wisdom in flocks and herds and they are before all fruitful mothers. It seems at times as if their love was less a passion for one man out of the world than submission to the hazard of destiny, and the hope of motherhood and the innocent desire of the body. They accept changes and chances of life as gladly as they accept spring and summer and autumn and winter, and because they have sat under the shadow of the Green Tree and drunk the Waters of Abundance out of their hollow hands, the barren blossoms do not seem to them the most beautiful. When Habundia takes the shape of Birdalone she comes first as a young naked girl standing among great trees, and then as an old carline, Birdalone in stately old age. And when she praises Birdalone's naked body, and speaks of the desire it shall awaken, praise and desire are innocent because they would not break the links that chain the days to one another. The desire seems not other than the desire of the bird for its mate in the heart of the wood, and we listen to that joyous praise as though a bird watching its plumage in still water had begun to sing in its joy, or as if we heard hawk praising hawk in the middle air, and because it is the praise of one made for all noble life and not for pleasure only, it seems, though it is the praise of the body, that it is the noblest praise.
Birdalone has never seen her image but in 'a broad latten-dish,' so the wood woman must tell her of her body and praise it.
'Thus it is with thee; thou standest before me a tall and slim maiden, somewhat thin as befitteth thy seventeen summers; where thy flesh is bare of wont, as thy throat and thine arms and thy legs from the middle down, it is tanned a beauteous colour, but otherwhere it is even as fair a white, wholesome and clean as if the golden sunlight which fulfilleth the promise of the earth were playing therein.... Delicate and clean-made is the little trench that goeth from thy mouth to thy lips, and sweet it is, and there is more might in it than in sweet words spoken. Thy lips they are of the finest fashion, yet rather thin than full; and some would not have it so; but I would, whereas I see therein a sign of thy valiancy and friendliness. Surely he who did thy carven chin had a mind to a master work and did no less. Great was the deftness of thine imaginer, and he would have all folk who see thee wonder at thy deep thinking and thy carefulness and thy kindness. Ah, maiden! is it so that thy thoughts are ever deep and solemn? Yet at least I know it of thee that they be hale and true and sweet.
'My friend, when thou hast a mirror, some of all this shalt thou see, but not all; and when thou hast a lover some deal wilt thou hear, but not all.
But now thy she-friend may tell it thee all, if she have eyes to see it, as have I; whereas no man could say so much of thee before the mere love should overtake him, and turn his speech into the folly of love and the madness of desire.'
All his good women, whether it is Danae in her tower, or that woman in _The Wood beyond the World_ who can make the withered flowers in her girdle grow young again by the touch of her hand, are of the kin of the wood woman. All his bad women too and his half-bad women are of her kin.
The evils their enchantments make are a disordered abundance like that of weedy places and they are cruel as wild creatures are cruel and they have unbridled desires. One finds these evils in their typical shape in that isle of the Wondrous Isles, where the wicked witch has her pleasure-house and her prison, and in that 'isle of the old and the young,' where until her enchantment is broken second childhood watches over children who never grow old and who seem to the bystander who knows their story 'like images'
or like 'the rabbits on the grass.' It is as though Nature spoke through him at all times in the mood that is upon her when she is opening the apple-blossom or reddening the apple or thickening the shadow of the boughs, and that the men and women of his verse and of his stories are all the ministers of her mood.
IV
When I was a child I often heard my elders talking of an old turreted house where an old great-uncle of mine lived, and of its gardens and its long pond where there was an island with tame eagles; and one day somebody read me some verses and said they made him think of that old house where he had been very happy. The verses ran in my head for years and became to me the best description of happiness in the world, and I am not certain that I know a better even now. They were those first dozen verses of _Golden Wings_ that begin--
'Midways of a walled garden In the happy poplar land Did an ancient castle stand, With an old knight for a warden.
Many scarlet bricks there were In its walls, and old grey stone; Over which red apples shone At the right time of the year.
On the bricks the green moss grew, Yellow lichen on the stone, Over which red apples shone; Little war that castle knew.'
When William Morris describes a house of any kind, and makes his description poetical, it is always, I think, some house that he would have liked to have lived in, and I remember him saying about the time when he was writing of that great house of the Wolfings, 'I decorate modern houses for people, but the house that would please me would be some great room where one talked to one's friends in one corner and eat in another and slept in another and worked in another.' Indeed all he writes seems to me like the make-believe of a child who is remaking the world, not always in the same way, but always after its own heart; and so unlike all other modern writers he makes his poetry out of unending pictures of a happiness that is often what a child might imagine, and always a happiness that sets mind and body at ease. Now it is a picture of some great room full of merriment, now of the wine-press, now of the golden threshing-floor, now of an old mill among apple-trees, now of cool water after the heat of the sun, now of some well-sheltered, well-tilled place among woods or mountains, where men and women live happily, knowing of nothing that is too far off or too great for the affections. He has but one story to tell us, how some man or woman lost and found again the happiness that is always half of the body; and even when they are wandering from it, leaves must fall over them, and flowers make fragrances about them, and warm winds fan them, and birds sing to them, for being of Habundia's kin they must not forget the shadow of her Green Tree even for a moment, and the waters of her Well must be always wet upon their sandals. His poetry often wearies us as the unbroken green of July wearies us, for there is something in us, some bitterness because of the Fall it may be, that takes a little from the sweetness of Eve's apple after the first mouthful; but he who did all things gladly and easily, who never knew the curse of labour, found it always as sweet as it was in Eve's mouth. All kinds of associations have gathered about the pleasant things of the world and half taken the pleasure out of them for the greater number of men, but he saw them as when they came from the Divine Hand. I often see him in my mind as I saw him once at Hammersmith holding up a glass of claret towards the light and saying, 'Why do people say it is prosaic to get inspiration out of wine? Is it not the sunlight and the sap in the leaves? Are not grapes made by the sunlight and the sap?'
V
In one of his little socialist pamphlets he tells how he sat under an elm-tree and watched the starlings and thought of an old horse and an old labourer that had passed him by, and of the men and women he had seen in towns; and he wondered how all these had come to be as they were. He saw that the starlings were beautiful and merry and that men and the old horse they had subdued to their service were ugly and miserable, and yet the starlings, he thought, were of one kind whether there or in the south of England, and the ugly men and women were of one kind with those whose nobility and beauty had moved the ancient sculptors and poets to imagine the gods and the heroes after the images of men. Then he began, he tells us, to meditate how this great difference might be ended and a new life, which would permit men to have beauty in common among them as the starlings have, be built on the wrecks of the old life. In other words, his mind was illuminated from within and lifted into prophecy in the full right sense of the word, and he saw the natural things he was alone gifted to see in their perfect form; and having that faith which is alone worth having, for it includes all others, a sure knowledge established in the constitution of his mind that perfect things are final things, he announced that all he had seen would come to pass. I do not think he troubled to understand books of economics, and Mr. Mackail says, I think, that they vexed him and wearied him. He found it enough to hold up, as it were, life as it is to-day beside his visions, and to show how faded its colours were and how sapless it was. And if we had not enough artistic feeling, enough feeling for the perfect that is, to admit the authority of the vision; or enough faith to understand that all that is imperfect passes away, he would not, as I think, have argued with us in a serious spirit. Though I think that he never used the kinds of words I use in writing of him, though I think he would even have disliked a word like faith with its theological associations, I am certain that he understood thoroughly, as all artists understand a little, that the important things, the things we must believe in or perish, are beyond argument. We can no more reason about them than can the pigeon, come but lately from the egg, about the hawk whose shadow makes it cower among the grass. His vision is true because it is poetical, because we are a little happier when we are looking at it; and he knew as Shelley knew by an act of faith that the economists should take their measurements not from life as it is, but from the vision of men like him, from the vision of the world made perfect that is buried under all minds. The early Christians were of the kin of the Wilderness and of the Dry Tree, and they saw an unearthly Paradise, but he was of the kin of the Well and of the Green Tree and he saw an Earthly Paradise.
He obeyed his vision when he tried to make first his own house, for he was in this matter also like a child playing with the world, and then houses of other people, places where one could live happily; and he obeyed it when he wrote essays about the nature of happy work, and when he spoke at street corners about the coming changes.
He knew clearly what he was doing towards the end, for he lived at a time when poets and artists have begun again to carry the burdens that priests and theologians took from them angrily some few hundred years ago. His art was not more essentially religious than Rossetti's art, but it was different, for Rossetti, drunken with natural beauty, saw the supernatural beauty, the impossible beauty, in his frenzy, while he being less intense and more tranquil would show us a beauty that would wither if it did not set us at peace with natural things, and if we did not believe that it existed always a little, and would some day exist in its fulness. He may not have been, indeed he was not, among the very greatest of the poets, but he was among the greatest of those who prepare the last reconciliation when the Cross shall blossom with roses.
1902.
THE PHILOSOPHY OF SHELLEY'S POETRY
I. HIS RULING IDEAS
When I was a boy in Dublin I was one of a group who rented a room in a mean street to discuss philosophy. My fellow-students got more and more interested in certain modern schools of mystical belief, and I never found anybody to share my one unshakable belief. I thought that whatever of philosophy has been made poetry is alone permanent, and that one should begin to arrange it in some regular order, rejecting nothing as the make-believe of the poets. I thought, so far as I can recollect my thoughts after so many years, that if a powerful and benevolent spirit has shaped the destiny of this world, we can better discover that destiny from the words that have gathered up the heart's desire of the world, than from historical records, or from speculation, wherein the heart withers. Since then I have observed dreams and visions very carefully, and am now certain that the imagination has some way of lighting on the truth that the reason has not, and that its commandments, delivered when the body is still and the reason silent, are the most binding we can ever know. I have re-read _Prometheus Unbound_, which I had hoped my fellow-students would have studied as a sacred book, and it seems to me to have an even more certain place than I had thought, among the sacred books of the world. I remember going to a learned scholar to ask about its deep meanings, which I felt more than understood, and his telling me that it was Godwin's _Political Justice_ put into rhyme, and that Shelley was a crude revolutionist, and believed that the overturning of kings and priests would regenerate mankind. I quoted the lines which tell how the halcyons ceased to prey on fish, and how poisonous leaves became good for food, to show that he foresaw more than any political regeneration, but was too timid to push the argument. I still believe that one cannot help believing him, as this scholar I know believes him, a vague thinker, who mixed occasional great poetry with a phantastic rhetoric, unless one compares such passages, and above all such passages as describe the liberty he praised, till one has discovered the system of belief that lay behind them. It should seem natural to find his thought full of subtlety, for Mrs. Shelley has told how he hesitated whether he should be a metaphysician or a poet, and has spoken of his 'huntings after the obscure' with regret, and said of that _Prometheus Unbound_, which so many for three generations have thought _Political Justice_ put into rhyme, '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 observation and remarks alone remain. He considered these philosophical views of mind and nature to be instinct with the intensest spirit of poetry.' From these scattered fragments and observations, and from many passages read in their light, one soon comes to understand that his liberty was so much more than the liberty of _Political Justice_ that it was one with Intellectual Beauty, and that the regeneration he foresaw was so much more than the regeneration many political dreamers have foreseen, that it could not come in its perfection till the hours bore 'Time to his grave in eternity.' In _A Defence of Poetry_, the profoundest essay on the foundation of poetry in English, he shows that the poet and the lawgiver hold their station by the right of the same faculty, the one uttering in words and the other in the forms of society, his vision of the divine order, the Intellectual Beauty. 'Poets, according to the circumstances of the age and nation in which they appeared, were called in the earliest epoch of the world legislators or prophets, and a poet essentially comprises and unites both these characters. For he not only beholds intensely the present as it is, and discovers those laws according to which present things are to be ordained, but he beholds the future in the present, and his thoughts are the germs of the flowers and the fruit of latest time.' 'Language, colour, form, and religious and civil habits of action, are all the instruments and materials of poetry.' Poetry is 'the creation of actions according to the unchangeable process of human nature as existing in the mind of the creator, which is itself the image of all other minds.' 'Poets have been challenged to resign the civic crown to reasoners and merchants.... It is admitted that the exercise of the imagination is the most delightful, but it is alleged that that of reason is the more useful.... Whilst the mechanist abridges and the political economist combines labour, let them be sure that their speculations, for want of correspondence with those first principles which belong to the imagination, do not tend, as they have in modern England, to exasperate at once the extremes of luxury and want.... The rich have become richer, the poor have become poorer,...
such are the effects which must ever flow from an unmitigated exercise of the calculating faculty.' The speaker of these things might almost be Blake, who held that the Reason not only created Ugliness, but all other evils. The books of all wisdom are hidden in the cave of the Witch of Atlas, who is one of his personifications of beauty, and when she moves over the enchanted river that is an image of all life, the priests cast aside their deceits, and the king crowns an ape to mock his own sovereignty, and the soldiers gather about the anvils to beat their swords to ploughshares, and lovers cast away their timidity, and friends are united; while the power, which in _Laon and Cythna_, awakens the mind of the reformer to contend, and itself contends, against the tyrannies of the world, is first seen, as the star of love or beauty. And at the end of _The Ode to Naples_, he cries out to 'the spirit of beauty' to overturn the tyrannies of the world, or to fill them with its 'harmonizing ardours.' He calls the spirit of beauty liberty, because despotism, and perhaps, as 'the man of virtuous soul commands not nor obeys,' all authority, pluck virtue from her path towards beauty, and because it leads us by that love whose service is perfect freedom. It leads all things by love, for he cries again and again that love is the perception of beauty in thought and things, and it orders all things by love, for it is love that impels the soul to its expressions in thought and in action, by making us 'seek to awaken in all things that are, a community with what we experience within ourselves.' 'We are born into the world, and there is something within us which, from the instant that we live, more and more thirsts after its likeness.' We have 'a soul within our soul that describes a circle around its proper paradise which pain and sorrow and evil dare not overleap,' and we labour to see this soul in many mirrors, that we may possess it the more abundantly. He would hardly seek the progress of the world by any less gentle labour, and would hardly have us resist evil itself. He bids the reformers in _The Philosophical Review of Reform_ receive 'the onset of the cavalry,' if it be sent to disperse their meetings, 'with folded arms,' and 'not because active resistance is not justifiable, but because temperance and courage would produce greater advantages than the most decisive victory;' and he gives them like advice in _The Masque of Anarchy_, for liberty, the poem cries, 'is love,' and can make the rich man kiss its feet, and, like those who followed Christ, give away his goods and follow it throughout the world.
He does not believe that the reformation of society can bring this beauty, this divine order, among men without the regeneration of the hearts of men. Even in _Queen Mab_, which was written before he had found his deepest thought, or rather perhaps before he had found words to utter it, for I do not think men change much in their deepest thought, he is less anxious to change men's beliefs, as I think, than to cry out against that serpent more subtle than any beast of the field, 'the cause and the effect of tyranny.' He affirms again and again that the virtuous, those who have 'pure desire and universal love,' are happy in the midst of tyranny, and he foresees a day when 'the spirit of nature,' the spirit of beauty of his later poems, who has her 'throne of power unappealable in every human heart,' shall have made men so virtuous that 'kingly glare will lose its power to dazzle and silently pass by,' and as it seems even commerce, 'the venal interchange of all that human art or nature yields, which wealth should purchase not,' come as silently to an end.
He was always, indeed in chief, a witness for that 'power unappealable.'
Maddalo, in _Julian and Maddalo_, says that the soul is powerless, and can only, like a 'dreary bell hung in a heaven-illumined tower, toll our thoughts and our desires to meet round the rent heart and pray'; but Julian, who is Shelley himself, replies, as the makers of all religions have replied--
'Where is the beauty, love and truth we seek But in our minds? And if we were not weak, Should we be less in deed than in desire?'
while _Mont Blanc_ is an intricate analogy to affirm that the soul has its sources in 'the secret strength of things,' 'which governs thought and to the infinite heavens is a law.' He even thought that men might be immortal were they sinless, and his Cythna bids the sailors be without remorse, for all that live are stained as they are. It is thus, she says, that time marks men and their thoughts for the tomb. And the 'Red Comet,' the image of evil in _Laon and Cythna_, when it began its war with the star of beauty, brought not only 'Fear, Hatred, Fraud, and Tyranny,' but 'Death, Decay, Earthquake, and Blight and Madness pale.'
When the Red Comet is conquered, when Jupiter is overthrown by Demogorgon, when the prophecy of Queen Mab is fulfilled, visible nature will put on perfection again. He declares, in one of the notes to _Queen Mab_, that 'there is no great extravagance in presuming ... that there should be a perfect identity between the moral and physical improvement of the human species,' and thinks it 'certain that wisdom is not compatible with disease, and that, in the present state of the climates of the earth, health in the true and comprehensive sense of the word is out of the reach of civilized man.' In _Prometheus Unbound_ he sees, as in the ecstasy of a saint, the ships moving among the seas of the world without fear of danger
'by the light Of wave-reflected flowers, and floating odours, And music soft,'
and poison dying out of the green things, and cruelty out of all living things, and even the toads and efts becoming beautiful, and at last Time being borne 'to his tomb in eternity.'
This beauty, this divine order, whereof all things shall become a part in a kind of resurrection of the body, is already visible to the dead and to souls in ecstasy, for ecstasy is a kind of death. The dying Lionel hears the song of the nightingale, and cries--
'Heardst thou not sweet words among That heaven-resounding minstrelsy?
Heardst thou not that those who die Awake in a world of ecstasy?
How love, when limbs are interwoven, And sleep, when the night of life is cloven, And thought to the world's dim boundaries clinging, And music when one beloved is singing, Is death? Let us drain right joyously The cup which the sweet bird fills for me.'
And in the most famous passage in all his poetry he sings of Death as of a mistress. 'Life, like a dome of many-coloured glass, stains the white radiance of eternity.' 'Die, if thou wouldst be with that which thou wouldst seek;' and he sees his own soon-coming death in a rapture of prophecy, for 'the fire for which all thirst' beams upon him, 'consuming the last clouds of cold mortality.' When he is dead he will still influence the living, for though Adonais has fled 'to the burning fountains whence he came,' and 'is a portion of the eternal which must glow through time and change unquenchably the same,' and has 'awaked from the dream of life,' he has not gone from 'the young dawn,' or the 'caverns in the forests,' or 'the faint flowers and the fountains.' He has been 'made one with nature,' and his voice is 'heard in all her music,' and his presence is felt wherever 'that power may move which has withdrawn his being to its own,' and he bears 'his part' when it is compelling mortal things to their appointed forms, and he overshadows men's minds at their supreme moments, for
'when lofty thought Lifts a young heart above its mortal lair, And love and life contend in it for what Shall be its earthly doom, the dead live there, And move like winds of light on dark and stormy air.'
'Of his speculations as to what will befall this inestimable spirit when we appear to die,' Mrs. Shelley has written, 'a mystic ideality tinged these speculations in Shelley's mind; certain stanzas in the poem of _The Sensitive Plant_ express, in some degree, the almost inexpressible idea, not that we die into another state, when this state is no longer, from some reason, unapparent as well as apparent, accordant with our being--but that those who rise above the ordinary nature of man, fade from before our imperfect organs; they remain in their "love, beauty, and delight," in a world congenial to them, and we, clogged by "error, ignorance, and strife," see them not till we are fitted by purification and improvement to their higher state.' Not merely happy souls, but all beautiful places and movements and gestures and events, when we think they have ceased to be, have become portions of the eternal.
'In this life Of error, ignorance, and strife, Where nothing is, but all things seem, And we the shadows of the dream,
It is a modest creed, and yet Pleasant, if one considers it, To own that death itself must be, Like all the rest, a mockery.
This garden sweet, that lady fair, And all sweet shapes and odours there, In truth have never passed away; 'Tis we, 'tis ours are changed, not they.
For love and beauty and delight There is no death, nor change; their might Exceeds our organs, which endure No light, being themselves obscure.'
He seems in his speculations to have lit on that memory of nature the visionaries claim for the foundation of their knowledge; but I do not know whether he thought, as they do, that all things good and evil remain for ever, 'thinking the thought and doing the deed,' though not, it may be, self-conscious; or only thought that 'love and beauty and delight' remain for ever. The passage where Queen Mab awakes 'all knowledge of the past,'
and the good and evil 'events of old and wondrous times,' was no more doubtless than a part of the machinery of the poem, but all the machineries of poetry are parts of the convictions of antiquity, and readily become again convictions in minds that dwell upon them in a spirit of intense idealism.