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Dean Mullikin ENGL303-01 12/6/11 Hymn to Worshiped Nature In "Hymn to Intellectual Beauty," Percy Bysshe Shelley shows himself as a poet who receives inspiration from the "Spirit of Beauty." This sense of worldly inspiration stands nearly interchangeable with Ralph Waldo Emerson's idea of nature as recognized in The Poet. However, through the lens of Emerson's philosophy, Shelley can be seen as a false poet, as he does not simply allow himself to come upon natural inspiration throughout standard life, but devotes himself to the anticipation of it. Although Shelley sees the Spirit of Beauty from a slightly different perspective, in that he considers vital its grief-bringing state of inconstancy, his recognition of its effects parallel Emerson's idea that nature inspires emotion, which influences work. While Emerson does note the inconstancy of this expression, as he sees each inspiration as something of a divine metamorphosis (upon which Shelley describes a dim vast vale of tears, vacant and desolate (766)), he recognizes the power as conditionally expressive, saying that The paths, or methods, are ideal and eternal, though few men ever see them, not the artist himself for years, or for a lifetime, unless he comes into the conditions (1194). While Shelley says nothing to recognize these conditionsconstantly questioning the uncertain moments lent (767)his experiences as a boy recount an immediate understanding of the Spirit of Beauty which causes a burst of inspiration, to which he seems to quickly dedicate himself. There is no trigger shown besides a deep musing within nature. In the Emersonian natural state of conditions, Shelley's decision to take up a more active, devoted path in seeking inspiration would avoid the natural passivity which lead him to connect with nature in the first place. He even admits, with Let thy power, which like the truth / Of nature on my passive youth / Descended, to my onward life supply / Its

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calmto one who worships thee (768), a juxtaposed stance of his passive childhood to his active later life. He seems to not take notice of this change, nor consider that living life without such obsessive tenancies towards writing may better lead him towards more authentic literature. Emerson gives several examples of how nature provides genius to those who are passive or are unknowing of it post-expression. In his childhood, he meets a youth who had left his work, and gone rambling none knew whither, and had written hundreds of lines, but could not tell whether that which was in him was therein told (1183). This genius child stands testament to Emerson's general philosophy that nature expresses itself in a rather mysterious way through a person, causing the person to be a conduit to a greater public power, even without them knowing. Shelley acknowledges this mystery, but finds it in the Spirit's grace, or rather sees the unidentifiable factor as more of a consideration of its ephemerality as opposed to its origin; instead of wondering about the source of the inspiration itself, he wonders why it is so fleeting. Emerson's idea that nature's influence generally falls upon those who merely maintain their general lifestyles, staying passive in relation to their source of inspiration, is continued in his example of a sculptor. This sculptor, after rising according to habit, sees the morning break and strives to express this tranquility. He was, as I remember, unable to tell directly what made him happy, or unhappy, but by wonderful indirections he could tell (1188). While the sculptor has a general sense of joy from nature, he cannot entirely explain the force acting upon him. This is a key divergence of Emersonian thought from Shelley's; Emerson says, A beauty not explicable, is dearer than a beauty which we can see to the end of (1185). While the motion was described as sudden, Shelley appeared to be immediately and consciously aware of what had befallen him when he was struck by emotion, thus forming his devotion and description of the Spirit of Beauty. According to Emerson, this explanation of the workings of nature hinders it;

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he states that nature has ensured the poet's fidelity... by the beauty of things, which becomes a new, and higher beauty, when expressed (1184). Therefore, to fully regard or explicate this would be to hinder it; the mere beauty of things should be enough to comprehend the power of nature. Shelley offers thirty-six lines begging for the revival and sustenance of the nature he describes as an ephemeral, fleeting messenger of sympathies (767); an explanation which stands as a direct statement against Emersons idea of poetic fidelity. Of course, a sort of irony seems to set in when Emerson proceeds to himself describe nature's powers to a far extent, however his perspective lives through the assumption that nature is the power of the universe and that Nature, through all her kingdoms, insures herself (1188); that he is merely being a voice of nature in its eternality. It does seem somewhat contradictory to explain the nature which he espouses as rather inexplicable in itself, but perhaps he is one of the few men who he describes as coming upon a view of the methods of nature, and sees it fit to offer a description of nature as a symbol. Contradictory to this fatherly sort of description (for who but Emerson is a greater figure as the father of transcendentalist thought?), Shelley maintains active thought about the Spirit of Beauty, worshiping it and wondering why it won't answer his hopes. Beyond mere obliviousness to the workings of nature, the sculptor shows Emerson's belief that living an average, ordinary life provides a more pure being. Just as the sculptor continues with his ordinary schedule of rising, the poets habit of living should be set on a key so low and plain, that the common influences should delight him. His cheerfulness should be the gift of sunlight; the air should suffice for his inspiration (1190). Emerson thus sets the poet upon a meager, more casual, nature-focused lifestyle. Shelley stands as both a positive and negative example of this process. At first, when Shelley was a child, he was struck by emotional and poetic inspiration at that sweet time when winds are wooing (767), yet he later looks

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further, into the soul of nature, studying and eventually begging for it. This avaricious greater want, for the source beyond the nature we can see, would be seen by Emerson as a downfall. It is just as a frugal man would curse the poor man who, upon receiving charity, hungers for more and becomes a beggar. Shelley even goes so far as to say, They know that never joy illumed my brow//Unlinked with hope that thou shouldst free//This world from its dark slavery,//That thou O awful Loveliness,//Wouldst give whate'er these words cannot express (768); he is no longer contented by lesser things and feels joy only linked to the hope for inspiration. This would immediately post Shelley as a false poet to Emerson; he can no longer glean inspiration because he can no longer connect to the simple pleasures of nature. However, one might argue that Emerson says that upon gleaning inspiration, one can no more rest; he says, with the old painter, 'By God, it is in me, and must go forth of me.' He pursues a beauty, half seen, which flies before him (1194). In this bizarre phrase between his recognition of the half-knowing genius and the enthused ascendant, Emerson paints the brief state of euphoria that nature's joy provides the poet, driving them onward in a want for more. While this could be seen in a similar light to Shelley's want of the Spirit's rapture, Shelley undermines his wishes with a lack of a currently-inspired state; that while Emerson's inspired man, in his natural high, gasps for more insight, Shelley grasps for a force he does not currently feel. Emerson establishes a distinct difference between his more passive worship, or reverence, of nature and Shelley's devoted pining towards it. While Emerson says that maintaining a lifestyle which practically heeds no active mind to nature (unless enraptured by its power) creates a strong difference between active and passive wants, Emerson furthers his argument to the internal human being. The poet knows that he speaks adequately, then, only when he speaks wildly, or, with the flower of the mind; not with the intellect, used as an organ, but with the

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intellect released from all service (1189). While this advocates a generally-natural lifestyle, it also extends to the intellectual understanding that having wild or loose thoughts, beyond societal restrictions, allows nature to shape the intellect. This would say that Shelley is not a poet because he thinks so heavily about nature and its origins. However, Emerson further states that those who are inspired maintain a continual feeling of nature: His worship is sympathetic; he has no definitions, but he is commanded in nature, by the living power which he feels there present (1185). With a lack of definitions comes a malleable form of living and thinking; the poet is thus something of an adaptive being who connects to his surroundings. Shelley, on the other hand, sees nature's physical representations, but thinks about the larger power that flows through it. This is seen through his poem's continual use of the Spirit of Beauty as an audience; he addresses the Spirit directly, although he elucidates on the various forms of nature through which it shows itself. Because Shelley does not see natures beauty as it is, he goes against an Emersonian poets nature. A careful eye might counter by noting Emerson's description of the poet's relationship to nature as a symbol: It is nature the symbol, nature certifying the supernatural, body overflowed by life, which he worships, with coarse, but sincere rites (1185). In this, it would seem Emerson recognizes the active worship of nature through rites. However, Emerson classifies this as a far more materialistic thing, explaining more that the poet should worship nature not as a direct source of influence, but in its physical forms, such as its embodiment in the human body. These rites can be seen in the mere reverence of nature's physical and worldly beauty, thus indicating their coarseness. Emerson also says It is a secret which every intellectual man quickly learns... that, beside his privacy of power as an individual man, there is a great public power, on which he can draw, by unlocking, at all risks, his human doors, and suffering the ethereal tides to roll and

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circulate through him: then he caught up into the life of the Universe (1189). It is plausible to say that, throughout Shelley's wishing for the Spirit to influence him, he is truly attempting to free himself from his human doors and usher in the world's ethereal tides. Although difficult in itself to repudiate, Emerson does somewhat explain this in noting the general state of the Poet: The poet does not wait for the hero or the sage, but, as they act and think primarily, so he writes primarily what will and must be spoken (1182). The Poet does not wait for his work to come to him, as he is its origin. To unlock these human doors would, in Emerson's eyes, be to stay openminded whilst traveling through life; not to cast aside normal living and hope for some wandering thought to enter. However, Emerson further agitates this question of extended devotion by saying, As the traveller who has lost his way, throws his reins on his horse's neck, and trusts to the instinct of the animal to find his road, so must we do with the divine animal who carries us through this world (1189). It would appear that, to throw the reins and trust natural instinct would be an active subjugation and reliance on nature, just as Shelley declines towards a need to be inspired. However, another way to interpret this scene would be on a higher scale: that in our wandering through life, we should trust nature to determine our direction, where otherwise we would meander; that, without a sense of nature, we would not merely remain motionless, as Shelley appears to while he waits for natures guidance. Through the eyes of Emersonian philosophy, Shelley's active regard, worship, and waiting for the Spirit of Beauty, or nature, stands upon a fallacious lifestyle which marks him as one who, though once inspired by nature, goes against its general attributes and relationship to a true poet. The true poet is a person who continues on through life in passive reverence of nature, allowing himself to be inspired without thinking too much about why.

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Works Cited Emerson, Ralph Waldo. The Poet. The Norton Anthology of American Literature. Ed. Nina Baym. 7th ed. Vol. B. New York, NY: W. W. Norton & Company, Inc., 2007. 1180-1195. Print. Shelley, Percy Bysshe. Hymn to Intellectual Beauty. The Norton Anthology of English Literature. Ed. Stephen Greenblatt. 8th ed, Vol. D. New York, NY: W. W. Norton & Company, Inc., 2006. 766-768. Print.