Conversion: 5 Nov 2011
Wiki: Prometheus Unbound (Shelley)
Prometheus is a Titan, who in Greek mythology is credited with the creation of man from clay and the theft of fire for human use, an act that enabled progress and civilization. He is known for his intelligence, and as a champion of mankind.
Prometheus was punished for this theft by Zeus, king of the Olympian gods, who sentenced the Titan to eternal torment for his transgression.
In some stories, Prometheus is freed at last by the hero Heracles (Hercules).
The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton’s Paradise Lost, and the divinely inspired poet or artist.
Prometheus Unbound best combines the various elements of Shelley’s genius in their most complete expression, and unites harmoniously his lyrically creative power of imagination and his ‘passion for reforming the world.’ It is the fruit of an outburst of poetic energy under the double stimulus of his enthusiastic Greek studies, begun under Peacock’s influence, and of his delight in the beauty of Italy, whither he had removed for health and rest. It marks his full mastery of his powers. It is, not less than Queen Mab and The Revolt of Islam, a poem of the moral perfection of man; and, not less than Alastor and Epipsychidion, a poem of spiritual ideality. He was himself in love with it: ‘a poem of a higher character than anything I have yet attempted and perhaps less an imitation of anything that has gone before it,’ he writes to Ollier; and again, ‘a poem in my best style, whatever that may amount to,… the most perfect of my productions,’ and ‘the best thing I ever wrote;’ and finally he says, ‘Prometheus Unbound, I must tell you, is my favorite poem; I charge you, therefore, especially to pet him and feed him with fine ink and good paper…. I think, if I can judge by its merits, the Prometheus cannot sell beyond twenty copies.’ Nor did he lose his affection for it. Trelawny records him as saying, ‘If that is not durable poetry, tried by the severest test, I do not know what is. It is a lofty subject, not inadequately treated, and should not perish with me.’… ‘My friends say my Prometheus is too wild, ideal, and perplexed with imagery. It may be so. It has no resemblance to the Greek drama. It is original; and cost me severe mental labor. Authors, like mothers, prefer the children who have given them most trouble.’
The drama was begun in the summer-house of his garden at Este about September, 1818, and the first Act had been finished as early as October 8; it was apparently laid aside, and again taken up at Rome in the spring of 1819, where, under the circumstances described in the preface, the second and third Acts were added, and the work, in its first form, was thus completed by April 6. The fourth Act was an afterthought, and was composed at Florence toward the end of the year. The whole was published, with other poems, in the summer of 1820.
The following extracts from Mrs. Shelley’s long and admirable note show the progress of the poem during its composition, the atmosphere of its creation, and its general scheme:
‘The first aspect of Italy enchanted Shelley; it seemed a garden of delight placed beneath a clearer and brighter heaven than any he had lived under before. He wrote long descriptive letters during the first year of his residence in Italy, which, as compositions, are the most beautiful in the world, and show how truly he appreciated and studied the wonders of nature and art in that divine land.
‘The poetical spirit within him speedily revived with all the power and with more than all the beauty of his first attempts. He meditated three subjects as the groundwork for lyrical Dramas. One was the story of Tasso: of this a slight fragment of a song of Tasso remains. The other was one founded on the book of Job, which he never abandoned in idea, but of which no trace remains among his papers. The third was the Prometheus Unbound. The Greek tragedians were now his most familiar companions in his wanderings, and the sublime majesty of Æschylus filled him with wonder and delight. The father of Greek tragedy does not possess the pathos of Sophocles, nor the variety and tenderness of Euripides; the interest on which he founds his dramas is often elevated above human vicissitudes into the mighty passions and throes of gods and demigods–such fascinated the abstract imagination of Shelley.
‘We spent a month at Milan, visiting the Lake of Como during that interval. Thence we passed in succession to Pisa, Leghorn, the Baths of Lucca, Venice, Este, Rome, Naples, and back again to Rome, whither we returned early in March, 1819. During all this time Shelley meditated the subject of his drama, and wrote portions of it. Other poems were composed during this interval, and while at the Bogni di Lucca he translated Plato’s Symposium. But though he diversified his studies, his thoughts centred in the Prometheus. At last, when at Rome, during a bright and beautiful spring, he gave up his whole time to the composition. The spot selected for his study was, as he mentions in his preface, the mountainous ruins of the Baths of Caracalla. These are little known to the ordinary visitor at Rome. He describes them in a letter, with that poetry, and delicacy, and truth of description, which rendered his narrated impressions of scenery of unequalled beauty and interest.
‘At first he completed the drama in three acts. 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….
‘Through the whole Poem there reigns a sort of calm and holy spirit of love; it soothes the tortured, and is hope to the expectant, till the prophecy is fulfilled, and Love, untainted by any evil, becomes the law of the world….
‘The charm of the Roman climate helped to clothe his thoughts in greater beauty than they had ever worn before; and as he wandered among the ruins, made one with nature in their decay, or gazed on the Praxitelean shapes that throng the Vatican, the Capitol, and the palaces of Rome, his soul imbibed forms of loveliness which became a portion of itself. There are many passages in the Prometheus which show the intense delight he received from such studies, and give back the impression with a beauty of poetical description peculiarly his own.’