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The Last Man, Edited by Steven E. Jones

[P. B. Shelley, fragments in The Keepsake for 1829 (1828), ed. M. W. Shelley]


ON LOVE.

BY PERCY BYSSHE SHELLEY.


What is Love? Ask him who lives what is life; ask him who adores what is God.

I know not the internal constitution of other men, nor even of thine whom I now address. I see that in some external attributes they resemble me, but when, misled by that appearance, I have thought to appeal to something in common and unburthen my inmost soul to them, I have found my language misunderstood, like one in a distant and savage land. The more opportunities they have afforded me for experience, the wider has appeared the interval between us, and to a greater distance have the points of sympathy been withdrawn. With a spirit ill-fitted to sustain such proof, trembling and feeble through its tenderness, I have every where sought, and have found only repulse and disappointment.

Thou demandest what is Love. It is that powerful attraction towards all we conceive, or fear, or hope beyond ourselves, when we find within our own thoughts the chasm of an insufficient void, and seek to awaken in all things that are, a community with what we experience within ourselves. If we reason we would be understood; if we imagine we would that the airy children of our brain were born anew within another's; if we feel we would that another's nerves should vibrate to our own, that the beams of their eyes should kindle at once and mix and melt into our own; that lips of motionless ice should not reply to lips quivering and burning with the heart's best blood:--this is Love. This is the bond and the sanction which connects not only man with man, but with every thing which exists. 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. It is probably in correspondence with this law that the infant drains milk from the bosom of its mother; this propensity develops itself with the development of our nature. We dimly see within our intellectual nature, a miniature as it were of our entire self, yet deprived of all that we condemn or despise, the ideal prototype of every thing excellent and lovely that we are capable of conceiving as belonging to the nature of man. Not only the portrait of our external being, but an assemblage of the minutest particles of which our nature is composed*: a mirror whose surface reflects only the forms of purity and brightness: a soul within our own soul that describes a circle around its proper Paradise, which pain and sorrow and evil dare not overleap. To this we eagerly refer all sensations, thirsting that they should resemble and correspond with it. The discovery of its antitype; the meeting with an understanding capaple of clearly estimating our own; an imagination which should enter into and seize upon the subtle and delicatce peculiarities which we have delighted to cherish and unfold in secret, with a frame, whose nerves, like the chords of two exquisite lyres, strung to the accompaniment of one delightful voice, vibrate with the vibrations of our own; and a combination of all these in such proportion as the type within demands: this is the invisible and unattainable point to which Love tends; and to attain which, it urges forth the powers of man to arrest the faintest shadow of that, without the possession of which, there is no rest nor respite to the heart over which it rules. Hence in solitude, or that deserted state when we are surrounded by human beings and yet they sympathize not with us, we love the flowers, the grass, the waters, and the sky. In the motion of the very leaves of spring, in the blue air, there is then found a secret correspondence with our heart. There is eloquence in the tongueless wind, and a melody in the flowing brooks and the rustling of the reeds beside them, which by their inconceivable relation to something within the soul awaken the spirits to dance of breathless rapture, and bring tears of mysterious tenderness to the eyes, like the enthusiasm of patriotic success, or the voice of one beloved singing to you alone. Sterne says that if he were in a desert he would love some cypress. So soon as this want or power is dead, man becomes a living sepulchre of himself, and what yet survives is the mere husk of what once he was.

* These words are ineffectual and metaphorical. Most words are so,--no help!



FRAGMENTS,

BY PERCY BYSSHE SHELLEY.


I.

SUMMER AND WINTER.


IT was a bright and cheerful afternoon,
Towards the end of the sunny month of June,
When the north wind congregates in crowds
The floating mountains of the silver clouds
From the horizon--and the stainless sky
Opens beyond them like eternity.
All things rejoiced beneath the sun; the weeds,
The river, and the corn-fields, and the reeds;
The willow leaves that glanced in the light breeze,
And the firm foliage of the larger trees.

It was a winter, such as when birds do die
In the deep forests; and the fishes lie
Stiffen'd in the translucent ice, which makes
Even the mud and slime of the warm lakes
A wrinkled clod, as hard as brick; and when,
Among their children, comfortable men
Gather about great fires, and yet feel cold,
Alas! then for the homeless beggar old!

II.

THE TOWER OF FAMINE*.


AMID the desolation of a city,
Which was the cradle, and is now the grave
Of an extinguish'd people; so that pity

Weeps o'er the shipwrecks of oblivion's wave,
There stands the Tower of Famine. It is built
Upon some prison homes, whose dwellers rave

With bread, and gold, and blood: pain, link'd to guilt,
Agitates the light flame of their hours,
Until its vital oil is spent or spilt:

There stands the pile, a tower amid the towers
And sacred domes; each marble-ribbed roof,
The brazen-gated temples, and the bowers

Of solitary wealth; the tempest-proof
Pavilions of the dark Italian air,
Are by its presence dimm'd--they stand aloof,

And are withdrawn--so that the world is bare,
As if a spectre wrapt in shapeless terror
Amid a company of ladies fair

Should glide and glow, till it became a mirror
Of all their beauty, and their hair and hue,
The life of their sweet eyes, with all its error,
Should be absorb'd, till they to marble grew.


* At Pisa there still exists the prison of Ugolino, which goes by the name of "La Torre della Fame:" in the adjoining building the galley slaves are confined. It is situated near the Ponte al Mare on the Arno.

III.

THE AZIOLA.


"Do you not hear the Aziola cry?
Methinks she must be nigh,"
   Said Mary, as we sate
In dusk, ere stars were lit, or candles brought;
   And I, who thought
This Aziola was some tedious woman,
Asked, "Who is Aziola?" how elate
I felt to know that it was nothing human,
No mockery of myself to fear or hate:
   And Mary saw my soul,
And laugh'd, and said, "Disquiet yourself not;
   'Tis nothing but a little downy owl."

Sad Aziola! many an eventide
   Thy music I had heard
By wood and stream, meadow and mountain side,
And fields and marshes wide,
Such as nor voice, nor lute, nor wind, nor bird,
   The soul ever stirr'd;
Unlike, and far sweeter than them all.
Sad Aziola! from that moment I
Loved thee and thy sad cry.

About this Page

Published @ RC

October 1997