قراءة كتاب Percy Bysshe Shelley as a Philosopher and Reformer
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Percy Bysshe Shelley as a Philosopher and Reformer
of a dying madman, "Defender of the Faith, by Law Established," and by us despised as the self-willed tyrant, who lost America and poured out human blood like water to gratify his lust of power. By that Lord Chancellor whose cold, impassive statue has a place in Westminster Abbey, where Byron's was refused admittance, and whose memory, when that stone has crumbled into dust, will live as one who furnished an example for execrable tyranny over the parental tie, and that Lord Eldon whom an outraged father curses in imperishable verse:
By all the grief, the madness and the guilt
Of thine impostures, which must be their errors,
That sand on which thy crumbling power is built;
By all the scorn which kills a father's care;
By those most impious hands that dared remove
Nature's high bounds—by thee, and by despair.
And cry, 'my children are no longer mine.
The blood within those veins may be mine own,
But, tyrant, their polluted souls are thine.'
If thou could'st quench the earth consuming hell
Of which thou art a demon, on thy grave
This curse should be a blessing. Fare thee well."
Sad as it is to contemplate any human being in his agony making use of such language to another; and however much we may sympathize with the poet, yet we cannot but have inwardly a feeling of rejoicing; for, if it had not been for this unheard of villainy, we should probably never have had the other magnificent poetry and prose of Percy Bysshe Shelley composed during his self-imposed ostracism, and which furnish such glorious thoughts for the philosopher, and keen trenchant weapons for the reformer.
Have any of my hearers ever stood, in the calm of a summer evening, in Shelley's native land, listening to the lovely warble of the nightingale, making earth joyful with its unpremeditated strains, and the woods re-echo with its melody? Or gazed upwards with anxious ken towards the skylark careering in the "blue ether," far above this sublunary sphere of gross, sensual earth, there straining after immortality, and
In the light of thought,
Singing hymns unbidden,
Till the world is wrought
To sympathy with hopes and fears, it heeded not,"
pouring out such bursts of song as to make one almost worship and credit the fables, taught in childhood at our mothers' knees, of the angelic symphonies of heavenly choirs. Such was the poetry of Shelley; and as the music of the nightingale or the skylark is far exceeding in excellence that of the other members of the feathered kingdom, so does Shelley rank as a poet far above all other poets, making even the poet of nature, the great Wordsworth himself, confess that Shelley was indeed the master of harmonious verse in our modern literature. It is broadly laid down in the Marvinian theory that all poets are insane. I would much like to break a lance with the learned Professor of Psychology and Medical Jurisprudence; but as the overthrow of this dogma does not come within the scope of my essay, I would suggest to those who may have been influenced by that paper to read Shelley's "Defence of Poetry." I shall quote two extracts therefrom, each pertinent to my subject. The first describes the function of the poet:
"But poets, or those who imagine and express this indestructible order, are not only the authors of language and of music, of the dance, and architecture, and statuary, and painting; they are the institutors of laws, and the founders of civil society, and the inventors of the arts of life, and the teachers, who draw into a certain propinquity with the beautiful and the true, that partial apprehension of the agencies of the invisible world, which is called religion."
The other is in extension of the same idea, and concludes the essay:
"Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world."
I have no hesitation in saying that for treating Shelley as a philosopher, I shall be attacked with great "positivism" by the disciples[A] of manufacturers of bran-new Brummagen philosophies dug out of Aristotelian and other depths to which are added new thoughts, not their own. The reason which David Masson offers in his "Recent British Philosophy" for placing Alfred Tennyson among the same class is equally applicable now:
[A] If Diogenes or Socrates, leaving High Olympus and sweet converse with the immortals, were to condescend to visit New York some Friday evening. I am sadly afraid they would be astounded at many of their would-be brothers in philosophy. On seeing the travestie of ancient academies and groves where the schools used to congregate, the dialogues consisting of bald atheism under sheep's clothing to trap the unwary, and termed "The Religion of Humanity," of abuse and personality in lieu of argument, of buffoonery called wit, of airing pet hobbies alien to the subject instead of disputating, of shouting vulgar claptrap instead of rhetoric, etc.—I sadly fear these stout old Greeks, having power for the nonce, would, throwing philosophy to the dogs in a moment of paroxysmal indignation, despite physiognomies trained to resemble their own, have these fellows casked up in tubs without lanterns, but with the appropriate "snuffers," fit emblems of their faiths, and dropped far outside Sandy Hook. A proper finale to the vapid utterance made by one of these gentry that all "Reformers should be annihilated," Imagine Plato or Epicurus offering such a suggestion. O tempora! O mores!
"To those who are too strongly possessed with our common habit of classifying writers into kinds, as historians, poets, scientific and speculative writers, and so on, it may seem strange to include Mr. Tennyson in this list. But as I have advisedly referred to Wordsworth as one of the representatives and powers of British philosophy in the age immediately past, so I advisedly named Tennyson as succeeding him in the same character. Though it is not power of speculative reason alone that constitutes a poet, is it not felt that the worth of a poet essentially is measured by the depth and amount of his speculative reason? Even popularly, do we not speak of every great poet as the exponent of the spirit of his age? What else can this mean