In Prometheus Unbound, written in 1818-1819, Shelley attempted to make one great poem

of the world. It is the most ambitious poem of the Romantic Movement, and one of the most
ambitious that was ever written. Both the epic and the dramatic form were extinct when the
Romantic Movement began. Moreover, they were not adequate to express all the romantic
ideas and emotions in a complete and coherent manner. Shelley wrote this piece in the form
of a lyrical drama, because all other forms were clearly impossible. His purpose was to
express his sense of the present evil conditions of the universe, to represent a sudden
change in that condition, and finally to sing the glory of the universe thus transformed.

Prometheus unbound is a lyrical drama. Its sensuous imagery is symbolic of mental

processes. The poem's claim to lasting fame rests upon the soaring, idealistic lyricism,
specially in the stanzaic tributes to the free creative spirit of man. Shelley employs a wide
variety of stanzas with easy grace. It shows Shelley's soaring aspiration for the liberation of
mankind from the tyranny of institutions. Prometheus is the incarnation of liberated mankind
and Zeus is the symbol of cruel institution. Asia is love. Reign of love ultimately prevails and
"thrones, altars, judgement seats and prisons" are things of the past. It is a combination of
the lyrics and the drama. Series of lyrics both sustain and embellish the action. The poem
has a sweep and a sore that sometimes staggers the imagination. In its theme and
treatment, it is romantic and testifies to Shelley's revolutionary idealism.

In Act I, Prometheus is found bound to a precipice. Mercury is sent to Prometheus to extract

the secret out of him. In spite of Mercury's harassment and tortures, he remains firm and
does not yield himself to his enemies. Then come the healing Spirits who abide in "the dim
caves of human thoughts" and sing songs of the good that is in human life to comfort
Prometheus. In Act II, there is even less action. In the first scene of Act III is the crisis; but
there is no action. Most of the action takes place in Act III—the fall of Jupiter, the rescue of
Prometheus by Hercules, and the wonderful change that has taken place in the world. Act IV
is nothing but a series of magnificent songs. The drama in fact finishes with Act III, yet Act IV
is necessary to Shelley's design for expressing the rapture of the delivered universe. In spite
of less action in the piece, there is enough movement in it. The characters are constantly
moving about in chariots led by voices and echoes. The drama again is studded with songs,
but they cannot make a drama unless they are held together.

In Shelley's treatment, Prometheus represents, not a superhuman helper of mankind, but

Mankind itself—heroic, just, gentle, secretly thirsting after liberty and spiritual gladness but
chained and tortured by the ruler of Heaven.