Louis Édouard Fournier, The Funeral of Shelley (1889)
INTRODUCTION
Welcome the The Real Percy Bysshe Shelley. This site is managed by me, Graham Henderson. My blog feature reflections on the philosophy, politics and poetry of Percy Bysshe Shelley, a radical thinker who has receded into the shadows. Shelley has the power to enthrall, thrill and inspire. His poetry changed the world and can do so again.
When Shelley famously declared that he was a "lover of humanity, a democrat and an atheist," he deliberately, intentionally and provocatively nailed his colours to the mast knowing full well his words would be widely read and would inflame passions. The words, "lover of humanity", however, deserve particular attention. Shelley did not write these words in English, he wrote them in Greek: 'philanthropos tropos". This was deliberate. The first use of this term appears in Aeschylus’ play “Prometheus Bound”. This was the ancient Greek play which Shelley was “answering” with his own masterpiece, Prometheus Unbound.
Aeschylus used his newly coined word “philanthropos tropos” (humanity loving) to describe Prometheus, the titan who rebelled against the gods of Olympus. The word was picked up by Plato and came to be much commented upon, including by Bacon, one of Shelley’s favourite authors. Bacon considered "philanthropy" to be synonymous with "goodness", which he connected with Aristotle’s idea of “virtue”. Shelley must have known this and I believe this tells us that Shelley identified closely with his own poetic creation, Prometheus. In using the term, Shelley is telling us he is a humanist - a radical concept in his priest-ridden times.
When he wrote these words he was declaring war against the hegemonic power structure of his time. Shelley was in effect saying: I am against god. I am against the king. I am the modern Prometheus. And I will steal the fire of the gods and I will bring down thrones and I will empower the people. Not only did he say these things, he developed a system to deliver on this promise.
As Paul Foot so ably summed it up in his wonderful book, "Red Shelley":
"Shelley was not dull. His poems reverberate with energy and excitement. He decked the grand ideas which inspired him in language which enriches them and sharpen communication with the people who can put them into effect."
It is time to bring him back – we need him; tyrannies, be they of the mind or the world, are phoenix-like and continually threaten to undermine our liberties. Shelley's ideas constitute a tool kit of sorts which have direct applicability to our own times. As did Shelley, we too live in a time when tyrants, theocrats and demagogues are surging into the mainstream.
Please enjoy this website! There are guest contributors, book reviews and much much more.
Please tell me where you discovered this post by writing to me at graham@grahamhenderson.ca
The Flower that Smiles Today
The flower that smiles to-day
To-morrow dies;
All that we wish to stay
Tempts and then flies.
What is this world's delight?
Lightning that mocks the night,
Brief even as bright.
Virtue, how frail it is!
Friendship how rare!
Love, how it sells poor bliss
For proud despair!
But we, though soon they fall,
Survive their joy, and all
Which ours we call.
Whilst skies are blue and bright,
Whilst flowers are gay,
Whilst eyes that change ere night
Make glad the day;
Whilst yet the calm hours creep,
Dream thou—and from thy sleep
Then wake to weep.
Likely written in the final year or so of his life, “The Flower that Smiles Today” captures Shelley’s increasing preoccupation with the transience of life and its joys. The final years of Shelley’s life were marked by increasing difficulties, both personal and political: between 1816 and 1819, Shelley and Mary had lost three children, which brought growing strain to their marriage; at the early 1820s came with a series of critical setbacks to England’s reform movement that, just a few years prior, seemed on the verge of creating real change in the country. These issues hang over Shelley’s mutability poems like this one, which ponders how it is possible to survive particular joys—friendship, love, beauty—once we know we can never experience them again.
Some of you might also notice connections, both stylistic and thematic, with some of Byron’s poetry, which often ponders similar questions. Both the Byronic hero and the speaker of Shelley’s poem capture the zeitgeist of Britain’s revolutionary period as it gradually drew to a close: that is, both reflect upon the disappointed hopes that come to people (and societies) that once seemed destined to achieve great things.
Commentary Jonathan Kerr, who has recently completed his PhD in English with specialization in the Romantics.