The mirror. (Stillwater, Minn.) 1894-1925, 1908-02-06

these matters, we know to be very far !
from the truth.
The "PrOmetheus Unbound" marks
the next step in Shelley's development.
This is poem in which, with unex-
ampled boldness, an attempt is made
to complete the great drama of Es-
chylus. In the Prometheus Vinctus,
however, Prometheus is only uncon-
sciously the hero, while in the later
poem the legendary savior of mankind
is actuated thruout by godlike motives.
A comparison is forced between the
two dramas, and it must be admitted
that in dramatic power, Shelley was at
that time far inferior, while the ele-
mental majesty of EschyIus, which is
apparent even in translation, is only
at times attained by the English poet,
as for instance in the first act, which
deals with the sufferings of Prone
theus chained to his rock aud his de-
fiance of Zeus, and in the conception
of DemOgOrgOn, q mighty spirit who
is the incarnation of the formless void.
The choruses in the poem, however,
show the lyrical genius OF Shelley at
it's best and are comparable with the
exquisite Outbursts of song which
came in the following years.
In "The Cenci," the poet comes
closest to human life and proves him.
self capable of detaching himself from
that somewhat nebuious region in
which he had hitherto dwelt. While
it would be presumptuOus to compare
"The Cencl" with the works of Shake
speare or Goethe, it is not too much to
SAY that had its author lived another
ten years, he would probably have
written drama OH the plane of Lear
and Faust. "The Cenci" is a pure
tragedy, Italian in theme and Greek in
treatment, and it's poetry is as remark
able for its restraint as the lyrics writ
| ten at about that time are for their ex-
uberance.
1t is OH these lyrics, after all, that
the eternal fame of Shelley rests. Sen.
timental rs they often are in theme
rejecting the amatory fashion of by
gone day, at which we glance askance
they are unapproachable in their beau
ty of expression. have hitherto re-
Trained from quoting, and it is diff
cult to choose q poem that is not ia
miliar to every reader, and at the same
time short enough to quote in its en-
tirety. Perhaps the one which is in
scribed "TO " is representative
enough.
"When passions trance is overpast.
If tenderness and truth could last
Or live, while all wild feelings keep
Il Some mortal slumber, dark and deep,
i should not weep, should not weep!
i 1T were enough to feel, to see
i Thy soft eyes gazing tenderly,
And dream the rest-and burn and be
The secret food Of fires unseen,
Couldst thou but be as thou hast been.
AFTER the slumber of the year
The woodland viOlets reappear;
I'll All things revive iu field or grove,
9 And sky and sea, but two. which move,
And for all others, life and love-"
j. In this poem, as in most of Shelley
s works, it is noticeable that the WORD
:. he employs are simple and could all b
used in prose. This quality of sin
+ plicity, SO noticeable in Wordsworth
: is very rare in later poets and const
l. tutes for many readers one of the poet
t surprising merits. In "The Sensitiy
) Plant" on the other hand, the laI
L guage is exotic and the choice of ep
Is thets and metaphors is similar to Il
D. luxuriance of Swinburne. Such e.
'e pressions as "unctious meteors," "maI
4 an antenatal tomb" and "a monstro,
; underground, prickly and pulpous al
blistering and blue, livid and SCARF.
in with lurid dew" occur, and in mo
q, cases are introduced with an extrae
I'd dinary, because unforced, effect.
j. fact, for sheer beauty :, of langual
D. there is no poem in the English la
I'd guage comparable to "The Sensiti
Mt Plant" mystical or banal as its thong
Ill must appear.
g. It is this obscurity OF thought,
rs ctr,k,nU contract ac IL a with tho cla,