The Complete Poetical Works of Percy Bysshe Shelley Part 58

'The object of the present letter us to ask a favour of you. I have written a tragedy on a story well known in Italy, and, in my conception, eminently dramatic. I have taken some pains to make my play fit for representation, and those who have already seen it judge favourably. It is written without any of the peculiar feelings and opinions which characterize my other compositions; I have attended simply to the impartial development of such characters as it is probable the persons represented really were, together with the greatest degree of popular effect to be produced by such a development. I send you a translation of the Italian ma.n.u.script on which my play is founded; the chief circ.u.mstance of which I have touched very delicately; for my princ.i.p.al doubt as to whether it would succeed as an acting play hangs entirely on the question as to whether any such a thing as incest in this shape, however treated, would be admitted on the stage. I think, however, it will form no objection; considering, first, that the facts are matter of history, and, secondly, the peculiar delicacy with which I have treated it. (In speaking of his mode of treating this main incident, Sh.e.l.ley said that it might be remarked that, in the course of the play, he had never mentioned expressly Cenci's worst crime. Every one knew what it must be, but it was never imaged in words--the nearest allusion to it being that portion of Cenci's curse beginning--

"That, if she have a child," etc.)

'I am exceedingly interested in the question of whether this attempt of mine will succeed or not. I am strongly inclined to the affirmative at present; founding my hopes on this--that, as a composition, it is certainly not inferior to any of the modern plays that have been acted, with the exception of "Remorse"; that the interest of the plot is incredibly greater and more real; and that there is nothing beyond what the mult.i.tude are contented to believe that they can understand, either in imagery, opinion, or sentiment. I wish to preserve a complete incognito, and can trust to you that, whatever else you do, you will at least favour me on this point. Indeed, this is essential, deeply essential, to its success. After it had been acted, and successfully (could I hope for such a thing), I would own it if I pleased, and use the celebrity it might acquire to my own purposes.

'What I want you to do is to procure for me its presentation at Covent Garden. The princ.i.p.al character, Beatrice, is precisely fitted for Miss O'Neil, and it might even seem to have been written for her (G.o.d forbid that I should see her play it--it would tear my nerves to pieces); and in all respects it is fitted only for Covent Garden. The chief male character I confess I should be very unwilling that any one but Kean should play. That is impossible, and I must be contented with an inferior actor.'

The play was accordingly sent to Mr. Harris. He p.r.o.nounced the subject to be so objectionable that he could not even submit the part to Miss O'Neil for perusal, but expressed his desire that the author would write a tragedy on some other subject, which he would gladly accept.

Sh.e.l.ley printed a small edition at Leghorn, to ensure its correctness; as he was much annoyed by the many mistakes that crept into his text when distance prevented him from correcting the press.

Universal approbation soon stamped "The Cenci" as the best tragedy of modern times. Writing concerning it, Sh.e.l.ley said: 'I have been cautious to avoid the introducing faults of youthful composition; diffuseness, a profusion of inapplicable imagery, vagueness, generality, and, as Hamlet says, "words, words".' There is nothing that is not purely dramatic throughout; and the character of Beatrice, proceeding, from vehement struggle, to horror, to deadly resolution, and lastly to the elevated dignity of calm suffering, joined to pa.s.sionate tenderness and pathos, is touched with hues so vivid and so beautiful that the poet seems to have read intimately the secrets of the n.o.ble heart imaged in the lovely countenance of the unfortunate girl. The Fifth Act is a masterpiece. It is the finest thing he ever wrote, and may claim proud comparison not only with any contemporary, but preceding, poet. The varying feelings of Beatrice are expressed with pa.s.sionate, heart-reaching eloquence. Every character has a voice that echoes truth in its tones. It is curious, to one acquainted with the written story, to mark the success with which the poet has inwoven the real incidents of the tragedy into his scenes, and yet, through the power of poetry, has obliterated all that would otherwise have shown too harsh or too hideous in the picture. His success was a double triumph; and often after he was earnestly entreated to write again in a style that commanded popular favour, while it was not less instinct with truth and genius. But the bent of his mind went the other way; and, even when employed on subjects whose interest depended on character and incident, he would start off in another direction, and leave the delineations of human pa.s.sion, which he could depict in so able a manner, for fantastic creations of his fancy, or the expression of those opinions and sentiments, with regard to human nature and its destiny, a desire to diffuse which was the master pa.s.sion of his soul.

THE MASK OF ANARCHY.

WRITTEN ON THE OCCASION OF THE Ma.s.sACRE AT MANCHESTER.

[Composed at the Villa Valsovano near Leghorn--or possibly later, during Sh.e.l.ley's sojourn at Florence--in the autumn of 1819, shortly after the Peterloo riot at Manchester, August 16; edited with Preface by Leigh Hunt, and published under the poet's name by Edward Moxon, 1832 (Bradbury & Evans, printers). Two ma.n.u.scripts are extant: a transcript by Mrs. Sh.e.l.ley with Sh.e.l.ley's autograph corrections, known as the 'Hunt ma.n.u.script'; and an earlier draft, not quite complete, in the poet's handwriting, presented by Mrs. Sh.e.l.ley to (Sir) John Bowring in 1826, and now in the possession of Mr. Thomas J. Wise (the 'Wise ma.n.u.script'). Mrs. Sh.e.l.ley's copy was sent to Leigh Hunt in 1819 with view to its publication in "The Examiner"; hence the name 'Hunt ma.n.u.script.' A facsimile of the Wise ma.n.u.script was published by the Sh.e.l.ley Society in 1887. Sources of the text are (1) the Hunt ma.n.u.script; (2) the Wise ma.n.u.script; (3) the editio princeps, editor Leigh Hunt, 1832; (4) Mrs. Sh.e.l.ley's two editions ("Poetical Works") of 1839. Of the two ma.n.u.scripts Mrs. Sh.e.l.ley's transcript is the later and more authoritative.]

1.

As I lay asleep in Italy There came a voice from over the Sea, And with great power it forth led me To walk in the visions of Poesy.

2.

I met Murder on the way-- _5 He had a mask like Castlereagh-- Very smooth he looked, yet grim; Seven blood-hounds followed him:

3.

All were fat; and well they might Be in admirable plight, _10 For one by one, and two by two, He tossed them human hearts to chew Which from his wide cloak he drew.

4.

Next came Fraud, and he had on, Like Eldon, an ermined gown; _15 His big tears, for he wept well, Turned to mill-stones as they fell.

5.

And the little children, who Round his feet played to and fro, Thinking every tear a gem, _20 Had their brains knocked out by them.

6.

Clothed with the Bible, as with light, And the shadows of the night, Like Sidmouth, next, Hypocrisy On a crocodile rode by. _25

7.

And many more Destructions played In this ghastly masquerade, All disguised, even to the eyes, Like Bishops, lawyers, peers, or spies.

8.

Last came Anarchy: he rode _30 On a white horse, splashed with blood; He was pale even to the lips, Like Death in the Apocalypse.

9.

And he wore a kingly crown; And in his grasp a sceptre shone; _35 On his brow this mark I saw-- 'I AM G.o.d, AND KING, AND LAW!'

10.

With a pace stately and fast, Over English land he pa.s.sed, Trampling to a mire of blood _40 The adoring mult.i.tude.

11.

And a mighty troop around, With their trampling shook the ground, Waving each a b.l.o.o.d.y sword, For the service of their Lord. _45

12.

And with glorious triumph, they Rode through England proud and gay, Drunk as with intoxication Of the wine of desolation.

13.

O'er fields and towns, from sea to sea, _50 Pa.s.sed the Pageant swift and free, Tearing up, and trampling down; Till they came to London town.

14.

And each dweller, panic-stricken, Felt his heart with terror sicken _55 Hearing the tempestuous cry Of the triumph of Anarchy.

15.

For with pomp to meet him came, Clothed in arms like blood and flame, The hired murderers, who did sing _60 'Thou art G.o.d, and Law, and King.

16.

'We have waited, weak and lone For thy coming, Mighty One!

Our purses are empty, our swords are cold, Give us glory, and blood, and gold.' _65

17.

Lawyers and priests, a motley crowd, To the earth their pale brows bowed; Like a bad prayer not over loud, Whispering--'Thou art Law and G.o.d.'--

18.

Then all cried with one accord, _70 'Thou art King, and G.o.d, and Lord; Anarchy, to thee we bow, Be thy name made holy now!'

19.

And Anarchy, the Skeleton, Bowed and grinned to every one, _75 As well as if his education Had cost ten millions to the nation.

20.

For he knew the Palaces Of our Kings were rightly his; His the sceptre, crown, and globe, _80 And the gold-inwoven robe.

21.

So he sent his slaves before To seize upon the Bank and Tower, And was proceeding with intent To meet his pensioned Parliament _85

22.

When one fled past, a maniac maid, And her name was Hope, she said: But she looked more like Despair, And she cried out in the air:

23.

'My father Time is weak and gray _90 With waiting for a better day; See how idiot-like he stands, Fumbling with his palsied hands!

24.

'He has had child after child, And the dust of death is piled _95 Over every one but me-- Misery, oh, Misery!'

25.

Then she lay down in the street, Right before the horses' feet, Expecting, with a patient eye, _100 Murder, Fraud, and Anarchy.

26.

When between her and her foes A mist, a light, an image rose, Small at first, and weak, and frail Like the vapour of a vale: _105