P.B.

Shelley’s Romanticism
A World of Sheer Ecstasy

Ms. Rakhshinda Jabeen1, Dr. Najmus Sarifa2

1
King Khalid University, College of Languages and Translation, Department of English, Abha, Saudi Arabia
ORCID NO: 0000-0002-6994-948X
2
King Khalid University, College of Languages and Translation, Department of English, Abha, Saudi Arabia
ORCID NO: 0000-0003-4040-1311
rwahla7@gmail.com
Abstract:

Romanticism is a peculiar trait in the poetry of 18th-century poets. The poets of this age have common
themes, styles, and diction. Their unique approach towards life and their rebellion towards the
ornamented and structured language of their predecessors make them prominent in the history of poetry.
Shelley, like his contemporaries, showed a tendency to draw the readers to his world of imagination. P. B.
Shelley is among the young Romantics and belongs to the third generation of romantic poets. This
exploratory article is developed on a unique poetic quality of Shelley, i.e., ecstatic pleasure. The focus is
on ecstatic elements in Shelley’s Romanticism and some prominent romantic traits in his poetry. Ecstasy
is a feeling that most of his readers experience and get ultimate pleasure. The writers of this article have
added some examples from a compilation of Shelley’s poetry, to prove that ecstatic delight is part and
parcel of Shelley’s romantic poetry. First, romanticism is defined generally, and Shelley’s romanticism is
discussed specifically. The views of his critics, his contemporaries, and his followers are also quoted.
These views prove the idea that Shelley is a true romantic genius, and his poetry possesses such a
wonderful quality to which we call ecstasy. Later, by citing Shelley’s verses, it is proved that the world of
ecstasy is not alien to the readers of Shelley. He not only travels himself in that ecstatic world of
supernatural pleasure but also takes his readers to that world. For Shelley, pain, loneliness, spiritual
delight, political upheavals, and love for a soul mate are felt extraordinarily and describing which
provides pure ecstatic pleasure to the poet as well as to the reader. The only ladder to travel to that
ecstatic world is his romantic poetry.

Key words: Romanticism, ecstasy, romantic traits, ecstatic delight,

Introduction

Romanticism is not merely a writing style or a revolutionary trend; it is a philosophy through which
Romanticism and its characteristic features are understood. Romanticism is an age that is famous for
sublime, simple but profound poetic works. It deals with inner or spiritual world of man. It is dreaming of
the ideal and imaginative world, in contrast to the real harsh world. We may say that Romantics have
used the language and experience of a common man in the background of their own imaginative world
(Nilay, 2017).

Romantic period started with the publication of Lyrical Ballads by William Wordsworth and Samuel
Taylor Coleridge. It was a revolution against the poetry of Neo-classical period (structured, intellectual,
and reasoned). The British romantic writers were William Blake, William Wordsworth, Samuel Taylor
Coleridge, Lord Byron, Percy Bysshe Shelley, and John Keats. M. H Abram (1971) has defined
Romanticism as:

A work of Art is essentially the internal made eternal, resulting from a creative process operating under
the impulse of feeling, and embodying the combined product of the poet’s perceptions, thoughts, and
feelings.
We are concerned chiefly with, Shelley’s Romanticism, so we are choosing themes and features of
Shelley’s poetry. Shelley’s Romantic poetry is concerned with beauty, passion, nature, political liberty,
creativity, and imagination. “And we also notice meditative poems, love poems, and those visionary,
which express his emotions, feelings, love, his spiritual pain, and joy” (Fatbardha, 2014).

This article will cover major romantic traits in Shelley’s poetry and discover the ecstatic elements in all
the approaches adopted by Shelley. Before discussion of Shelley’s Romanticism, it is important to discuss
the criticism of Shelley’s contemporaries and the descendants.

1. Critics on Shelley, as a Romantic Genius:

Romanticism is usually described as escapism and seeking consolation in the lap of mother nature.
Shelley’s time was a time of utter disappointment, there was no optimism. England was in a deadlock
condition politically in the fight with Napoleon (O’Neil, 1989). Yet he wrote holding the hands of nature
about freedom of the individual.

Shelley, on one hand is haunted by nature and on the other hand he projects the state of his soul. For this
purpose, his imagination joins hands and creates marvelous pieces of poetry. Like Blake, Shelley believed
that the mind is alive and active enough to create.

The good Shelley did in this way was very great. At a time when England, still influenced by its
abhorrence of the Reign of Terror, by its fear of France and Napoleon, was almost dead to the political
ideas that had taken form in 1789, Shelley gave voice, through art, to these ideas, and encouraged that
hope of a golden age which, however vague, does so much for human progress. He threw around these
things’ imaginative emotion and added all its power to the struggle for freedom (Brooke, 1880, as cited in
Bloom, H., 2009, pp. 124- 135).

His playfulness along with the melancholic company of nature is very well- identified by his critics.

He was happier in the woods, at the seaside, in contemplation of grand landscapes. The rocks, clouds, and
meadows, which to ordinary eyes seem dull and insensible, are to a wide sympathy, living and divine
existences, which are an agreeable change from men (Laun, 1871, as cited in Bloom, H., 2009).

His belief and his trust in man have been discussed by many of his critics. They find that he thinks the
poetry as a solace to humankind. “Shelley was one of few persons who can literally be said to love their
kind. He held most strongly, too, that poetry does benefit man, and benefits them morally” (Bradley,
1904, as cited in Bloom, H., 2009, pp. 151-174).

His revolutionary spirit is also acknowledged by his contemporaries as well as his major critics.

Mary Shelley (1839) as cited in Bloom, H., (2009) wrote in her “Preface”, has made it clear.

It cannot be wonderful that a nature as sensitive, as impetuous, and as generous as his should put its
whole force into the attempt to alleviate for others the evils of those systems from which he had himself
suffered.

His poems like “Ode to Liberty” prove him a true revolutionist and many of his critics acknowledge it.
“In Shelley we see a certain type of revolutionist, born out of due time, and directed to the bloodless field
of literature” (Rosetti, 1880-81, as cited in Bloom, H., 2009). Again Mary Shelley (1839) as cited in
Bloom, H., (2009) in her “Preface” describes his intensity of emotions in a very reverent and exalted
manner.
No poet was ever warmed by a more genuine and unforced inspiration. His extreme sensibility gave the
intensity of passion to his intellectual pursuits; and rendered his mind keenly alive to every perception of
outward objects, as well as to his internal sensations.

Many of his critics have appreciated his simple yet profound style. “If some casual and interesting idea
touched his feelings or struck his fancy, he expressed it in pleasing and unaffected verse”. (Hazlitt, 1824,
as cited in Bloom, H., 2009, pp. 494-498).

2. Shelley’s Romanticism Leading to Ecstasy:

Shelley’s profound poetry, full of romance and depth of emotions, puts readers in a state of ecstasy,
where one forgets the surrounding world and starts floating in that world of ecstatic emotions. What is
that world of ecstasy?

The literal meaning of ecstasy is a bliss of immense sensation and passion that gives a euphoric charm.

This delight is never felt alone by the poet. It is also shared by the reader. The poet gently holds the hand
of the reader and jumps into that world of ecstasy. In this world, miseries, pains, loneliness, grieves, and
deprivations are forgotten temporarily. Instead, both reader and the poet enjoy these. Now we may easily
find this meaning of ecstasy in Shelley’s romantic poetry.

2.1. Love for Nature

First of all, the first major trait that we find in his poetry is love for nature. In many of his poems he hides
in the lap of nature. A long and elaborate discussion of the natural scenes doesn’t let us exhaust. Either it
is a garden near Eiffel Tower, Italy or a simple moonlit night outside his window; he never fails to create
an emotional trance. In his poem “The Death-Bell Beats” he portrays nature with a rich melancholic tone.
No cloud along the spangled air
Is borne upon the evening breeze,
How solemn is the scene, how fair
The moonbeams rest upon the trees.
Yon dark grey turret glimmers white,
Upon it sits the mournful owl;
Along the stillness of the night
Her melancholy shriekings roll.
But not alone on Irvyne’s tower
The moonbeam pours its silver ray;
It gleams upon the ivied bower,
It dances in the cascade’s spray.
(Shelley, 1820, as cited in Hutchinson, M., A., T., 2003, p. 114)

His desire to float with the wind is not just a desire to get pleasure but it’s a wish to get healed of his
internal and external miseries. In his famous poem “Ode to The West Wind”, he wants to be as light as a
cloud to float in the sky and forget the harsh world.
Oh, lift me as a wave, a leaf, a cloud!
I fall upon the thorns of life! I bleed!
A heavy weight of hours has chained and bowed
One too like thee: tameless, and swift, and proud.
(Shelley, 1820, as cited in Hutchinson, M., A., T., 2003, p.77)
 A pure ecstatic pleasure, yet full of simplicity for the beloved, is worth mentioning. No poet can adopt
such a portrayal of the natural objects with pure and phenomenal delight. He writes such passion in “To
Sophia [Ms. Stacey]”. The depth of these emotions can be felt inside heart.
As dew beneath the wind of morning,
As the sea which whirlwinds waken,
As the birds at thunder's warning,
As aught mute yet deeply shaken,
As one who feels an unseen spirit
Is my heart when thine is near it.
(Shelley, 1870, as cited in Hutchinson, M., A., T., 2003, p. 81)
For the souls like Shelley, the great consolation is nature.

2.2. Strong imagination

Shelley’s imaginative flight is the part and parcel of his romantic poetry, and every romantic has adopted
an imaginative trait that makes him unique in his era. Similarly, Shelley is par excellence in his
imaginative poetry. His imagination takes him to the world of ecstatic enjoyment, and he finds solace
there. This ecstatic pleasure may be short-lived but fills the heart with such a delight that nothing seems
troublesome or sorrowful. His famous poem “The World’s Wanderers” is rich in imaginative beauty.
Tell me, thou Star, whose wings of light
Speed thee in thy fiery flight,
In what cavern of the night
Will thy pinions close now?

Tell me, Moon, thou pale and gray

Pilgrim of Heaven's homeless way,
In what depth of night or day
Seekest thou repose now?

Weary Wind, who wanderest

Like the world's rejected guest,
Hast thou still some secret nest
On the tree or billow?
(Shelley, 1824, as cited in Hutchinson, M., A., T., 2003, p.129)

Shelley’s imagination is not just a flight to a supernatural or platonic world; it’s loaded with deep emotions.
His height of emotions accompanied to his imaginative delight, prove him a poet of the ecstatic world.
Again, the feminine beauty is highlighted with such graceful imagery in “To Sophia [Ms. Stacey]”.
Thy deep eyes, a double Planet,
Gaze the wisest into madness
With soft clear fire,--the winds that fan it
Are those thoughts of tender gladness
Which, like zephyrs on the billow,
Make thy gentle soul their pillow.
(Shelley, 1870, as cited in Hutchinson, M., A., T., 2003, p.81)

When Shelley writes to a singing sound in his poem “To One Singing”, we find the height of imagination
full of romanticism and awe.
My spirit like a charmed bark doth swim
Upon the liquid waves of thy sweet singing,
Far far away into the regions dim
Of rapture--as a boat, with swift sails winging
Its way adown some many-winding river,
Speeds through dark forests o'er the waters swinging...
(Shelley, 1839, as cited in Hutchinson, M., A., T., 2003, p. 32)

2.3. Belief in common man

Shelley’s revolutionary spirit didn’t stop him from loving humanity, especially the miseries of common
man attracted him, and he has portrayed these in a very eloquent manner. In his poem, “The Tower Of
Famine” he expresses his feelings for the common man.
Amid the desolation of a city,
Which was the cradle, and is now the grave
Of an extinguished people,--so that Pity

Weeps o'er the shipwrecks of Oblivion's wave,

There stands the Tower of Famine. It is built
Upon some prison-homes, whose dwellers rave

For bread, and gold, and blood: Pain, linked to Guilt,

Agitates the light flame of their hours,
Until its vital oil is spent or spilt.
(Shelley, 1829, as cited in Hutchinson, M., A., T., 2003, p.128)

In his famous poem, “Song to the Men of England”, he appreciates the laborious work of farmers and
feels bad that they don’t get the due worth of their labour from the tyrants of society. These lines reflect
his belief in the common man and an underlying love for him.
Men of England, wherefore plough
For the lords who lay ye low?
Wherefore weave with toil and care
The rich robes your tyrants wear?

Wherefore feed, and clothe, and save,

From the cradle to the grave,
Those ungrateful drones who would
Drain your sweat--nay, drink your blood?
(Shelley, as cited in Hutchinson, M., A., T., 2003, p.70)

His sorrow at the very thought of a beggar who could not find anything to eat in the extreme winter,
reflects his love and care for humanity. He never ignores the distressed humanity along with his own
miseries. His poem “Summer And Winter” is excellent example of his humane emotions.
It was a winter such as when birds die
In the deep forests; and the fishes lie
Stiffened in the translucent ice, which makes
Even the mud and slime of the warm lakes
A wrinkled clod as hard as brick; and when,
Among their children, comfortable men
Gather about great fires, and yet feel cold:
Alas, then, for the homeless beggar old!
(Shelley, 1829, as cited in Hutchinson, M., A., T., 2003, p.127)

2.4. Revolutionary Zeal

Another important trait of romantic poetry that is found in abundance in Shelley’s poetry is: his
revolutionary zeal and a spirit to bring change in the society. In “An Ode” he speaks up in a motivational
tone.
Arise, arise, arise!
There is blood on the earth that denies ye bread;
Be your wounds like eyes
To weep for the dead, the dead, the dead.
What other grief were it just to pay?
Your sons, your wives, your brethren, were they;
Who said they were slain on the battle day?
(Shelley, 1820, as cited in Hutchinson, M., A., T., 2003, p.74)

Shelley’s revolutionary zeal is prominent in many of his poems. He advises the farmers that along with
hard work, they should also learn to protect their rights in society. He teaches them a lesson of dignity and
grace. His poem “Songs to the Men of England” is an apt example of his revolutionary spirit.
The seed ye sow, another reaps;
The wealth ye find, another keeps;
The robes ye weave, another wears;
The arms ye forge; another bears.

Sow seed,--but let no tyrant reap;

Find wealth,--let no impostor heap;
Weave robes,--let not the idle wear;
Forge arms,--in your defence to bear.
(Shelley, as cited in Hutchinson, M., A., T., 2003, p. 71)

2.5. Simple Style but depth of emotions

A style so simple carrying deep thoughts is common in Shelley. He treats the toughest subjects, complex
thoughts in very easy and straightforward manner. A flow and serenity are underlying his romantic
poetry. The world that everyone yearns to visit, that ecstasy that everyone desires to experience, is feasted
by Shelley’s simple verses and day-to-day imagery. His love for the moon, sky, clouds, skylark, water,
breeze, darkness, snow and even for his beloved, all appear in a dignified style. The poem “Good-Night”
is such an innocent description of the late-night hours with a heavy heart.
Good-night? ah! no; the hour is ill
Which severs those it should unite;
Let us remain together still,
Then it will be GOOD night.

How can I call the lone night good,

Though thy sweet wishes wing its flight?
Be it not said, thought, understood--
Then it will be--GOOD night.

To hearts which near each other move

From evening close to morning light,
The night is good; because, my love,
They never SAY good-night.
(Shelley, 1822, as cited in Hutchinson, M., A., T., 2003, pp. 131-132)
His love poems are the best example of his simple yet dignified style. He never fails in conveying intense
emotions of love by just using simple imagery and few words. The beautiful lines of “To_” reflect his
sublime style.
Music, when soft voices die,
Vibrates in the memory--
Odours, when sweet violets sicken,
Live within the sense they quicken.

Rose leaves, when the rose is dead,

Are heaped for the beloved's bed;
And so thy thoughts, when thou art gone,
Love itself shall slumber on.
(Shelley, 1824, as cited in Hutchinson, M., A., T., 2003, p.147)

It is surprising that by using this simplicity of language and technique, he takes the reader to that level of
ecstasy, from where no one wants to return. His innocence drags the reader to emotional heights and
leaves him amazed and lost. His poem “A Lament” truly expresses his pain in a very modest and simple
style.
O world! O life! O time!
On whose last steps I climb,
Trembling at that where I had stood before;
When will return the glory of your prime?
No more--Oh, never more!

Out of the day and night

A joy has taken flight;
Fresh spring, and summer, and winter hoar,
Move my faint heart with grief, but with delight
No more--Oh, never more!
(Shelley, 1824, as cited in Hutchinson, M., A., T., 2003, p.151)

2.6. Strong emotions with ecstatic pleasure

Shelley, like his contemporaries, has succeeded in creating such emotions which are identified by the
readers of all ages. The pain of isolation is described and then the solace is found in the natural objects.
This ecstatic pleasure is common in Romantics. Shelley is unique in the sense that the reader finds
strongest feelings of love and emotional pain written in simple words. His famous poem, “The Indian
Serenade” gracefully describes his gloom in simple words.
Oh lift me from the grass!
I die! I faint! I fail!
Let thy love in kisses rain
On my lips and eyelids pale.
My cheek is cold and white, alas!
My heart beats loud and fast;--
Oh! press it to thine own again,
Where it will break at last.
(Shelley, as cited in Hutchinson, M., A., T., 2003, p. 80)

His love for Mary made him compose one of the loveliest lines, which can never be ignored by the reader.
He misses his wife and addresses her in “To Mary” in a lovely manner.
Mary dear, come to me soon,
I am not well whilst thou art far;
As sunset to the sphered moon,
As twilight to the western star,
Thou, beloved, art to me.
(Shelley, 1824, as cited in Hutchinson, M., A., T., 2003, p.46)

The emotions lurking in the breast of a young man, the romance coated in the words of a young poet,
provides ecstatic pleasure to the minds and souls of the reader. Following lines are the best example of
Shelley’s depth of emotions in his poetry. What a sweet expression of ecstatic emotions we see in “To
Constantia, Singing”!
Her voice is hovering o'er my soul--it lingers
O'ershadowing it with soft and lulling wings,
The blood and life within those snowy fingers
Teach witchcraft to the instrumental strings.
My brain is wild, my breath comes quick--
The blood is listening in my frame,
And thronging shadows, fast and thick,
Fall on my overflowing eyes;
My heart is quivering like a flame;
As morning dew, that in the sunbeam dies,
I am dissolved in these consuming ecstasies.
(Shelley, 1824, as cited in Hutchinson, M., A., T., 2003, pp.30-31)

In his” Love’s Philosophy”, all the images of nature combine to convey the feelings of a person. Love for
him is not only a passion but also a heavenly pleasure felt deep inside the heart.

His idea of pure love in “Love’s Philosophy” takes the reader to another utopian world that seems real.
The fountains mingle with the river
And the rivers with the ocean,
The winds of heaven mix for ever
With a sweet emotion;
Nothing in the world is single;
All things by a law divine
In one spirit meet and mingle.
Why not I with thine? —
(Shelley, as cited in Hutchinson, M., A., T., 2003, p.84)

Shelley’s genius allowed him not to write only for himself, but everyone can identify his/her emotions
somewhere in his poetry. It’s for all generations, ranging from diverse religious and political views to
intimate deep-rooted emotions of heart. His critics also appreciate his poetry based on these ecstatic
feelings that most of the readers experience. “For Shelley, the soul is ecstasy, a monadic spasm of the
brain” (Cervo, as cited in Bloom, H., 1993, p.45).

Conclusion

It is impossible to cover all the feelings and emotions created in the mind of the reader after reading
Shelley- a great romantic poet of his age. A feeling that seems supernatural, elevated, and platonic is
ecstasy. Almost every poetic work of Shelley is rich in such imagery, which makes the readers feel
exalted and in harmony with the theme and scenery discussed in the lines. His Romanticism is just
different in this sense that he takes the readers to that world of ecstatic pleasure, gently holding their
hands. This world of ecstasy makes the readers forgetful of the real world, although, for the time being,
but the readers start feeling poet’s pains, and pleasures. There is one condition to experience this feeling,
read the romantic genius (P.B Shelley) with concentration. He will not disappoint his readers. Mary
Shelley, his wife, has tried to draw the attention of his critics towards that eternal message of humanity
and love that Shelley wished to convey but unfortunately, life didn’t give him enough time.

For who, except those who were acquainted with him, can imagine his unwearied benevolence, his
generosity, his systematic forbearance? And still less is his vast superiority in intellectual attainments
sufficiently understood—his sagacity, his clear understanding, his learning, his prodigious memory. All
these as displayed in conversation, were known to few while he lived, and are now silent in the tomb:
(Mrs. Shelley, 1818, as cited in Hutchinson., A., T., 2003, p.69)
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