Shelley’s Poetry Percy Bysshe Shelley Percy Bysshe Shelley ( /ˈpɜrsi ˈbɪʃ ˈʃɛli/;[2] 4 August 1792 – 8 July 1822

) was one of the major English Romantic poets and is critically regarded as among the finest lyric poets in the English language. Shelley was famous for his association with John Keats and Lord Byron. The novelist Mary Shelley was his second wife. He is most famous for such classic anthology verse works as Ozymandias, Ode to the West Wind, To a Skylark, Music, When Soft Voices Die, The Cloud and The Masque of Anarchy, which are among the most popular and critically acclaimed poems in the English language. His major works, however, are long visionary poems which included Queen Mab (later reworked as The Daemon of the World), Alastor, The Revolt of Islam, Adonaïs and the unfinished work The Triumph of Life. The Cenci (1819) and Prometheus Unbound (1820) were dramatic plays in five and four acts respectively. Although he has typically been figured as a "reluctant dramatist", he was passionate about the theatre, and his plays continue to be performed today. He wrote the Gothic novels Zastrozzi (1810) and St. Irvyne (1811) and the short prose works "The Assassins" (1814), "The Coliseum" (1817) and "Una Favola" (1819). In 2008, he was credited as the co-author of the novel Frankenstein (1818) in a new edition by the Bodleian Library in Oxford and Random House in the U.S. entitled The Original Frankenstein, edited by Charles E. Robinson.[3][4][5] Shelley's unconventional life and uncompromising idealism[6][7], combined with his strong disapproving voice, made him an authoritative and much-denigrated figure during his life and afterward. Mark Twain took particular aim at Shelley in In Defense of Harriet Shelley, where he lambasted Shelley for abandoning his pregnant wife and child to run off with the 16-year-old Mary Godwin.[8] Shelley never lived to see the extent of his success and influence; although some of his works were published, they were often suppressed upon publication. He became an idol of the next three or four generations of poets, including important Victorian and PreRaphaelite poets. He was admired by Karl Marx, Oscar Wilde, Thomas Hardy, George Bernard Shaw, Bertrand Russell, William Butler Yeats, Upton Sinclair and Isadora Duncan.[9] Henry David Thoreau's civil disobedience and Mohandas Karamchand Gandhi's passive resistance were apparently influenced and inspired by Shelley's non-violence in protest and political action, although Gandhi does not include him in his list of mentors.[10]

Context Percy Bysshe Shelley was born in 1792, into a wealthy Sussex family which eventually attained minor noble rank—the poet‘s grandfather, a wealthy businessman, received a baronetcy in 1806. Timothy Shelley, the poet‘s father, was a member of Parliament and a country gentleman. The young Shelley entered Eton, a prestigious school for boys, at the age of twelve. While he was there, he discovered the works of a philosopher named William Godwin, which he consumed passionately and in which he became a fervent believer; the young man wholeheartedly embraced the ideals of liberty and equality espoused by the French Revolution, and devoted his considerable passion and persuasive power to convincing others of the rightness of his beliefs. Entering Oxford in 1810, Shelley was expelled the following spring for his part in authoring a pamphlet entitled The Necessity of Atheism—atheism being an outrageous idea in religiously conservative nineteenth-century England. At the age of nineteen, Shelley eloped with Harriet Westbrook, the sixteen-year-old daughter of a tavern keeper, whom he married despite his inherent dislike for the tavern. Not long after, he made the personal acquaintance of William Godwin in London, and promptly fell in love with Godwin‘s daughter Mary

in which he argues that poetry brings about moral good. they have attained iconic status as the representative tragic Romantic artists. Shelley drowned while sailing in a storm off the Italian coast. which have the power of attracting and assimilating to their own nature all other thoughts. Poetry enlarges the circumference of the imagination by replenishing it with thoughts of ever new delight. and the sanctity of the imagination. the poets of the younger generation (which also included John Keats and the infamous Lord Byron) came to be known for their sensuous aestheticism. must imagine intensely and comprehensively. and poetry administers to the effect by acting upon the cause. love. he must put himself in the place of another and of many others. To an extent. whom he was eventually able to marry. and their tragically short lives. The pains and pleasures of his species must become his own. and because Byron. After a time. exercises and expands the imagination. political liberty. the generation that came to prominence while William Wordsworth and Samuel Taylor Coleridge were settling into middle age. his magnanimity. The great instrument of moral good is the imagination. celebrated. Shelley argues. A man. Analysis The central thematic concerns of Shelley‘s poetry are largely the same themes that defined Romanticism. his expression of those feelings makes him one of the early nineteenth century‘s most significant writers in English. Shelley died when he was twenty-nine. nature. and hope. and love. Shelley‘s joy. Shelley‘s intense feelings about beauty and expression are documented in poems such as ―Ode to the West Wind‖ and ―To a Skylark. creativity. they formed a circle of English expatriates in Pisa.‖ In 1822. traveling throughout Italy. In 1816. the intensity of feeling emphasized by Romanticism meant that the movement was always associated with youth. and which form new intervals and interstices whose void forever craves fresh food. Where the older generation was marked by simple ideals and a reverence for nature. which was extraordinarily sensitive and responsive even for a Romantic poet. to be greatly good. their political radicalism. the two men became close friends. He was not yet thirty years old. compassion.‖ in which he invokes metaphors from nature to characterize his relationship to his art. Shelley belongs to the younger generation of English Romantic poets. which rest on the ability to project oneself into the position of another person. the Shelleys traveled to Switzerland to meet Lord Byron. particularly in booklength poems such as the monumental Queen Mab) almost always stem from his disappointment at seeing that ideal sacrificed to human weakness. in the same manner as exercise strengthens a limb. and who is now remembered primarily as the author of Frankenstein. including the immortal ―Ode to the West Wind‖ and ―To a Skylark. What makes Shelley‘s treatment of these themes unique is his philosophical relationship to his subject matter—which was better developed and articulated than that of any other Romantic poet with the possible exception of Wordsworth—and his temperament. 2 . and which possessed an extraordinary capacity for joy. Poetry. during this time Shelley wrote most of his finest lyric poetry. Shelley fervently believed in the possibility of realizing an ideal of human happiness as based on beauty. The center of his aesthetic philosophy can be found in his important essay A Defence of Poetry. the most famous. their explorations of intense passions. especially among the younger English poets of Shelley‘s era: beauty. and his moments of darkness and despair (he had many. and the imagination is the source of sympathy. He writes. and controversial poet of the era. the passions. Poetry strengthens the faculty which is the organ of the moral nature of man. and Shelley died young (and never had the opportunity to sink into conservatism and complacency as Wordsworth did). Shelley‘s life and his poetry certainly support such an understanding.Wollstonecraft. but it is important not to indulge in stereotypes to the extent that they obscure a poet‘s individual character. Byron when he was thirty-six. and Keats when he was only twentysix years old. Keats. and his optimism are unique among the Romantics. his faith in humanity.

But Shelley was able to believe that poetry makes people and society better. Motifs & Symbols Themes The Heroic. He has the power—and the duty—to translate these truths. his poetry becomes a kind of prophecy. Shelley demonstrates a great reverence for the beauty of nature. describing it as the ―spirit of beauty‖ in ―Hymn to Intellectual Beauty‖ and identifying it with Mont Blanc and the Arve River in ―Mont Blanc. as in ―Alastor. Byron‘s pose was one of amoral sensuousness. unifying spirit. In such poems as ―The Mask of Anarchy Written on the Occasion of the Massacre at Manchester‖ (1819) and ―Ode to the West Wind. The Power of the Human Mind Shelley uses nature as his primary source of poetic inspiration. the poet triumphs because his art is immortal. Nature destroys as often as it inspires or creates. more mystical place than simply his appreciation for nature‘s beauty or grandeur. social. but only a kind of poetry that the public can understand. the figure of Shelley himself) i s not simply a talented entertainer or even a perceptive moralist but a grand. the figure of the poet (and. a poet has the ability to change the world for the better and to bring about political. he feels that his imagination has creative power over nature. prophetic hero. The poet has a deep. This power seems to come from a stranger. and spiritual change. although nature has creative power over Shelley because it provides inspiration. religion. tragic. because they are persecuted by a tyrannical government. and he feels closely connected to nature‘s power. through the use of his imagination. and it destroys cruelly and indiscriminately. However. Like Prometheus and Christ. The Power of Nature Like many of the romantic poets. Shelley‘s poet is a near-divine savior. It is the imagination—or our ability to form sensory perceptions—that allows us to describe nature in different. runs through everything in the universe. Shelley simultaneously recognizes that nature‘s power is not wholly positive. In the end. Thus. figures of the poets in Shelley‘s work are often doomed to suffer: because their visionary power isolates them from other men. which help to shape how nature appears and. and to Christ. which he hoped would affect his readers sensuously. Visionary Role of the Poet In Shelley‘s poetry. who stole divine fire and gave it to humans in Greek mythology. Keats believed in beauty and aesthetics for their own sake. goodness. especially William Wordsworth. how it exists. the power of the human mind becomes equal to the power of nature. faith. therefore. or of controversial rebelliousness. The Spirit of Solitude‖ (1816).‖ This force is the cause of all human joy. and society and living on to inspire new generations. as in the poem ―To Wordsworth‖ (1816).No other English poet of the early nineteenth century so emphasized the connection between beauty and goodness. or believed so avidly in the power of art‘s sensual pleasures to improve society. and the experience of beauty in the natural world becomes a kind of collaboration between the 3 . At the same time. original ways. and pleasure. Shelley asserts several times that this force can influence people to change the world for the better. spiritually. his poetry is suffused with this kind of inspired moral optimism. and morally. Themes. and through his words. He refers to this unifying natural force in many poems. because they are misunderstood by critics. all at the same time.‖ Shelley suggests that the natural world holds a sublime power over his imagination. or a divine. and this intense connection with the natural world gives him access to profound cosmic truths. Thus. and it is also the source of poetic inspiration and divine truth. Shelley‘s delight in nature is mitigated by an awareness of its dark side. For this reason. or because they are suffocated by conventional religion and middle-class values. into poetry. comparable to Prometheus. however. or. to some extent. outlasting the tyranny of government. In his early poetry. Shelley shares the romantic interest in pantheism—the belief that God. mystic appreciation for nature.

but its coldness and inaccessibility are terrifying. intense nature of the poet. a favorite Shelley theme.‖ While Mont Blanc is immobile. As a time of change.‖ The mountain fills the poet with inspiration. Motifs Autumn Shelley sets many of his poems in autumn. he often represents the poet as a Christ-like figure and thus sets the poet up as a secular replacement for Christ. autumn is a fitting backdrop for Shelley‘s vision of political and social revolution. the Christ figure is resurrected by the power of nature and his own imagination and spreads his prophetic visions over the earth. In ―Hymn to Intellectual Beauty. like romantic poets and like himself. the wind encourages new life on earth and social progress among humanity. the West Wind is active and dynamic in poems. The West Wind Shelley uses the West Wind to symbolize the power of nature and of the imagination inspired by nature. though. Yet. while the decay and death inherent in the season suggest the sacrifice and martyrdom of the Christ-like poet. a discovery that emphasizes the elusiveness and mystery of supernatural forces. Unlike Mont Blanc. as well as Cain. Christ and Cain are both outcasts and rebels. and so it shows both the creative and destructive powers of nature.perceiver and the perceived. Shelley felt deeply doubtful about organized religion. Mont Blanc has existed forever.‖ Ghosts are inadequate in both poems: the speaker finds no ghosts in ―Hymn to Intellectual Beauty. however.‖ autumn‘s brilliant colors and violent winds emphasize the passionate. in his poetry. The speaker of ―Mont Blanc‖ encounters ghosts and shadows of real natural objects in the cave of ―Poesy.‖ and the ghosts of Poesy in ―Mont Blanc‖ are not the real thing. the West Wind is an agent for change. The ghosts and spirits in his poems suggest the possibility of glimpsing a world beyond the one in which we live. Shelley wonders if the mountain‘s power might be meaningless. In ―Ode to the West Wind.‖ Fall is a time of beauty and death. Ghosts and Spirits Shelley‘s interest in the supernatural repeatedly appears in his work. including ―Hymn to Intellectual Beauty‖ and ―Ode to the West Wind. Symbols Mont Blanc For Shelley. For Shelley. Even as it destroys. such as ―Ode to the West Wind. an invention of the more powerful human imagination. an idea he explores in ―Mont Blanc. Because Shelley cannot be sure that the sublime powers he senses in nature are only the result of his gifted imagination. 4 . in which he compares the same character to Christ. Shelley further separates his Christ figures from traditional Christian values in Adonais.‖ the speaker searches for ghosts and explains that ghosts are one of the ways men have tried to interpret the world beyond. Ultimately. Mont Blanc—the highest peak in the Alps—represents the eternal power of nature. he finds it difficult to attribute nature‘s power to G od: the human role in shaping nature damages Shelley‘s ability to believe that nature‘s beauty comes solely from a divine source. whom the Bible portrays as t he world‘s first murderer. Martyred by society and conventional values. and it will last forever. Christ From his days at Oxford. particularly Christianity.

as Shakespeare does in the sonnets. we hear about it from someone who heard about it from someone who has seen it. king of kings: / Look on my works. ye Mighty. his civilization is gone. Two vast legs of stone stand without a body.‖ who told him a story about the ruins of a statue in the desert of his native country. Form ―Ozymandias‖ is a sonnet. indiscriminate. with its arrogant. and now it —and its creator—have been destroyed. a human construction. which suggests that tyranny is temporary and also that no political leader. The traveler told the speaker that the frown and ―sneer of cold command‖ on the statue‘s face indicate that the sculptor understood well the emotions (or "passions") of the statue‘s subject. passionate face and monomaniacal inscription (―Look on my works. even though both the sculptor and his subject are both now dead. or Ozymandias. ye Mighty. a fourteen-line poem metered in iambic pentameter.‖ (1817) the statue is broken into pieces and stranded in an empty desert. and that it touches little upon the most important themes in his oeuvre at large (beauty. and a powerful statement about the insignificance of human beings to the passage of time. considering that it is in many ways an atypical poem for Shelley. Essentially it is devoted to a single metaphor: the shattered. The ruined statue is now merely a monument to one man‘s hubris. can hope to have lasting power or real influence. “Ozymandias” Summary The speaker recalls having met a traveler ―from an antique land. it is Shelley‘s brilliant poetic rendering of the story. a piece of art made by a creator. The broken monument also represents the decay of civilization and culture: the statue is. Of course. The memory of those emotions survives "stamped" on the lifeless statue. and near them a massive. ―My name is Ozymandias. and not the subject of the story itself. Thus the ancient king is rendered even less commanding. The once-great king‘s proud boast has been ironically disproved. only the ―lone and level sands. after all. destructive power of history. as all living things are eventually destroyed. nothing remains. Ozymandias‘s works have crumbled and disappeared. ruined statue in the desert wasteland. which makes the poem so memorable. Still. The rhyme scheme is somewhat unusual for a sonnet of this era. and despair!‖ But around the decaying ruin of the statue. Framing the sonnet as a story told to the speaker by ―a traveller from an antique land‖ enables Shelley to add another level of obscurity to Ozymandias‘s position with regard to the reader—rather than seeing the statue with our own eyes. imagination). it does not fit a conventional Petrarchan pattern. ―Ozymandias‖ is a masterful sonnet. so to speak. but instead interlinks the octave (a term for the first eight lines of a sonnet) with the sestet (a term for the last six lines). But Ozymandias symbolizes not only political power—the statue can be a metaphor for the pride and hubris of all of humanity. crumbling stone head lies ―half sunk‖ in the sand. the statue of the ancient Egyptian pharaoh Ramses II. and in that sense the poem is Shelley‘s most outstanding political sonnet. Commentary This sonnet from 1817 is probably Shelley‘s most famous and most anthologized poem—which is somewhat strange. all has been turned to dust by the impersonal.‖ which stretch out around it.The Statue of Ozymandias In Shelley‘s work. symbolizes political tyranny. expression. the 5 . trading the specific rage of a poem like ―England in 1819‖ for the crushing impersonal metaphor of the statue. by gradually replacing old rhymes with new ones in the form ABABACDCEDEFEF. On the pedestal of the statue appear the words. Ozymandias is first and foremost a metaphor for the ephemeral nature of political power. and despair!‖). Shelley demonstrates that art and language long outlast the other legacies of power. particularly an unjust one. in any of its manifestations. love. It is significant that all that remains of Ozymandias is a work of art and a group of words. In ―Ozymandias.

―the hand that mocked them and the heart that fed. The final couplet rhymes with the middle line of the last three-line stanza. making the ―sapless foliage‖ of the ocean tremble. whose face wore the expression of the passions now inferable. and interposes centuries of ruin between it and us: ― ‗Look on my works. the speaker asks: ―If winter comes.distancing of the narrative serves to undermine his power over us just as completely as has the passage of time. a leaf. and to drive his thoughts across the universe. which scatters the dead leaves and spreads seeds so that they may be nurtured by the spring. then we are introduced to the figure of the sculptor. He pleads with the wi nd to lift him ―as a wave. boundless and bare. and despair!‖ With that. with its ―frown / And wrinkled lip and sneer of cold command‖. then the end sound of that middle line is employed as the rhyme for the first and third lines in the next stanza.‖ and cleaves the Atlantic into choppy chasms. and we are introduced to the extraordinary. prideful boast of the king: ―Look on my works. or even if he were.‖ and asks the wind to sweep him out of his torpor ―as a wave. The speaker asks the wind to ―make me thy lyre. The rhyme scheme in each part follows a pattern known as terza rima. ―like withered leaves. or a wave it could push. the three-line rhyme scheme employed by Dante in his Divine Comedy. the first and third lines rhyme.‖ He asks the wind.‖ The kingdom is now imaginatively complete.‖ then he would never have needed to pray to the wind and invoke its powers. The speaker says that the wind stirs the Mediterranean from ―his summer dreams. In the three-line terza rima stanza. The speaker says that if he were a dead leaf that the wind could bear. Shelley invokes the wind magically. untamable and proud—he is now chained and bowed with the weight of his hours upon the earth.‖ Speaking both in regard to the season and in regard to the effect upon mankind that he hopes his words to have.‖ hear him. a cloud!‖ In the fifth section. all metered in iambic pentameter. the poet demolishes our imaginary picture of the king. to quicken a new birth. to be the ―trumpet of a prophecy. the poet then takes a remarkable turn.‖ and describes how it stirs up violent storms. can spring be far behind?‖ Form Each of the seven parts of ―Ode to the West Wind‖ contains five stanzas—four three-line stanzas and a twoline couplet. describing its power and its role as both ―destroyer and preserver. and are able to imagine the living man sculpting the living king.‖ then the face itself. Round the decay / Of that colossal wreck. ye Mighty. a ―destroyer and preserver. fluid terza rima of ―Ode to the West Wind‖ finds Shelley taking a long thematic leap beyond the scope of ―Hymn to Intellectual Beauty. the figure of the ―king of kings‖: first we see merely the ―shattered visage.‖ “Ode to the West Wind” Summary The speaker invokes the ―wild West Wind‖ of autumn. a cloud!‖—for though he is like the wind at heart. and asks for a third time that it hear him.‖ and incorporating his own art into his meditation o n beauty and the natural world. gradually. or a cloud it could carry. transforming the wind into a metaphor for his own art. to scatter his words among mankind. the expressive capacity that drives ―dead thoughts‖ like ―withered leaves‖ over the universe. The speaker calls the wind the ―dirge / Of the dying year. and the middle line does not. by the incantation of this verse. a leaf. / The lone and level sands stretch far away. Shelley‘s description of the statue works to reconstruct. then we are introduced to the king‘s people in the line.‖ to be his own Spirit. and asks that the wind. as a boy. Commentary The wispy. and again implores it to hear him. to ―quicken a new birth‖—that 6 . ―the comrade‖ of the wind‘s ―wandering over heaven. ye Mighty. and despair!‘ / Nothing beside remains. Thus each of the seven parts of ―Ode to the West Wind‖ follows this scheme: ABA BCB CDC DED EE.

‘mid the steep sky‘s commotion. imagination. O Wild West Wind. Yellow. Shelley explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power. O! lift me as a wave. And saw in sleep old palaces and towers Quivering within the wave‘s intenser day. and in the same movement he makes it his metaphorical spirit. As then. Thou. and black. which will play him like a musical instrument. only less free Than thou. thou breath of Autumn‘s being. In this poem. and ultimate effect of aesthetic expression. from whose unseen presence the leaves dead Are driven. A wave to pant beneath thy power. The locks of the approaching storm. and hail will burst: hear! III. like ghosts from an enchanter fleeing. and fire. The thematic implication is significant: whereas the older generation of Romantic poets viewed nature as a source of truth and authentic experience. until Thine azure sister of the Spring shall blow Her clarion o‘er the dreaming earth. the younger generation largely viewed nature as a source of beauty and aesthetic experience. and pale. Pestilence-stricken multitudes! O thou. a cloud! . where they lie cold and low. Loose clouds like earth‘s decaying leaves are shed. while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean. Shelley asks the wind to be his spirit. Lulled by the coil of his cristàlline streams. know Thy voice. and hectic red. and could be The comrade of thy wanderings over Heaven. 7 Vaulted with all thy congregated might Of Thou who didst waken from his summer dreams The blue Mediterranean. Who chariotest to their dark wintry bed The wingèd seeds. Here the spring season is a metaphor for a ―spring‖ of human consciousness. the way the wind strums the leaves of the trees. Beside a pumice isle in Baiae‘s bay. And tremble and despoil themselves: O hear! IV. Thou on whose stream. a leaf. or morality—all the things Shelley hoped his art could help to bring about in the human mind. when to outstrip thy skiey speed Scarce seemed a vision – I would ne‘er have striven As thus with thee in prayer in my sore need. O hear! II. quality. and suddenly grow gray with fear. to quicken the coming of the spring. Thou dirge Of the dying year. Like the bright hair uplifted from the head Of some fierce Maenad. and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill. Angels of rain and lightning: there are spread On the blue surface of thine aery surge. Destroyer and preserver. Each like a corpse within its grave. If I were a dead leaf thou mightest bear. from whose solid atmosphere Black rain. even from the dim verge Of the horizon to the zenith‘s height. hear. which art moving everywhere. O uncontrollable! if even I were as in my boyhood. Wild Spirit. his poetic faculty. to which this closing night Will be the dome of a vast sepulchre. If I were a swift cloud to fly with thee. and share The impulse of thy strength. liberty. import. where he lay. Shook form the tangled boughs of Heaven and Ocean. All overgrown with azure moss and flowers So sweet. Ode to the West Wind I. the sense faints picturing them! Thou For whose path the Atlantic‘s level powers Cleave themselves into chasms.

szabad. oly szép. ki zengsz. Make me thy lyre. élő mozgalom! ki rontasz és óvsz! halld. óh ég vándora! – midőn társad valék s hivém: elér a lélek s túlröpül. hogy festve sem szebb. by the incantation of this verse. Baiae öbliben s álmában agg kastélyok tornya ring a hab sűrűbb napfényén égve lenn Óda a Nyugati Szélhez I. kinek – míg az ég reng. melytől remeg s széthull. Sweet though in sadness. vad! Te láthatatlan! jössz és mintha mord varázsló űzne szellemrajt. szárnyaid közt lengeni. mely sírba dőlt. mint a test. vagy felhő. Ha lomb lehetnék s vinnél. even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep. míg azur húgod. Be thou. can Spring be far behind? Te.I fall upon the thorns of life! I bleed! A heavy weight of hours has chained and bowed One too like thee – tameless. as from an unextinguished hearth Ashes and sparks. and swift. hűs sötétbe le. My spirit! Be thou me. mely. vad Szellem! szálló. s kibomlik már kék útad tág legén mint vad menád-haj s szikrázik s lobog az ég aljától. míg rest tető gyanánt az Éj. hol kihúnyt a fény az ég ormáig a közelgető vihar sörénye! – Óh. If Winter comes. Nyugati nyers Szél. impetuous one! Drive my dead thoughts over the universe Like withered leaves to quicken a new birth! And. aludni. szalad a sárga s éjszín s lázpiros csoport: a pestises lombok holt népe. – óh. vagy hullám. – áramán omló felhő. majdnem miként Te s adsz neki erőt. – óh tán soha . te Szél. halld dalom! IV. my words among mankind! Be through my lips to unawakened earth The trumpet of a prophecy! O. mely lustán pihen kristályos habverés közt fekve rég habkő fokoknál. bús angyalok. Te. bár zúgasd és kavard. mely zöldelni fél. óh halld dalom! II. – óh. Spirit fierce. Scatter. and proud. halld dalom! III. a Tavasz szele megint kürtjébe fú s riad a föld s édes bimbónyáj legel a napon s völgyet-hegyet szín s illat lelke tölt. erős úr! – vagy ha csak kora kamaszidőmnek térne gyermeki víg lelke vissza. hullatja busa ág: Menny s Oceán s zápor zuhan s villám. e roppant sírhalom borúl körül s bús boltját reszkető páráid terhelik s a hűs falon vak víz s tűz s jég tör át! – óh. 8 s azúr moszat s virág veti be mind. ki jössz s Atlant vad vízrónája ing s fenékig nyílik s látszik lent a mély tenger-virág s mit az iszap bevon: a vízi vak lomb. – Te. Wind. a szegény év gyászdala. andalog. Ősz sóhajja. V. kinek szekere téli sutba hord sok szárnyas magvat. bús avart. Ki felvered nyár-álmából a kék Földközi Tengert. mert hangod csupa sápadt borzalom. mint hullt lomb. autumnal tone.

whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read Which yet survive. felhő. mely most esdve kér ragadj el hab. melytől sarjad ujra más! s dalom égő zenéjét messzi hordd. The hand that mocked them and the heart that fed. hulló lomb vagyok én is." Más semmi jel. mely édes. Near them on the sand. késhet a Tavasz. hol csak ember él! Ajkam szavából prófétás varázs kürtöljön az alvóknak! Óh. ki ős romok Felől regélt: A pusztán szörnyü két Nagy csonka láb áll. King of Kings: Look on my works. bár fáj. ye mighty. Homloka setét. lelked szabad. mert tövisekre buktam s hull a vér s zord órák súlya húz s lánccal fon át. boundless and bare. urak ura. S vad szenvedélye még kivésve ég A hűs kövön. And on the pedestal these words appear: `My name is Ozymandias. – óh te zord lélek. ne kimélj! Ha vad zenéd felzúdul szabadon. mely véste. temetve rég. Ozymandiás Egy messzi vándor jött. The lone and level sands stretch far away".nem zengne jajszóm. tört lombként. büszke rokonát! V. Legyek hárfád. óh szórd szét. mély dallal. Arrább lágy homok Lep egy kőarcot. vad. stamped on these lifeless things. Round the decay Of that colossal wreck. a kéz. vagy lomb gyanánt. én s te: egy személy! Holt szellemem a Tér ölén sodord. A talpkövön kevély igék sora: "Király légy bár. ha már itt a Tél? Tóth Árpád Ozymandias I met a traveller from an antique land Who said: "Two vast and trunkless legs of stone Stand in the desert. 9 A vont ajk vén parancsszóktól konok. mint hárfád a vadon. and despair!' Nothing beside remains. hol dúlt e dölyf. légy lelkem. S a szív. Tóth Árpád . bár. jöjj és reszketve nézz: Nevem Ozymandiás. lomb s lélek hadd kisérje őszi. mint oltatlan tűzhelyről a parázs röpűl. a shattered visage lies. te Szél. A roppant rom körül Határtalan szélesre s hosszura A holt homoksík némán szétterül. Half sunk.

Sign up to vote on this title
UsefulNot useful