'The Witch Of Atlas' by Percy Bysshe Shelley
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Before those cruel twins whom at one birth
Incestuous Change bore to her father Time,
Error and Truth, had hunted from the earth
All those bright natures which adorned its prime,
And left us nothing to believe in, worth
The pains of putting into learnŽd rhyme,
A Lady Witch there lived on Atlas mountain
Within a cavern by a secret fountain.
Her mother was one of the Atlantides.
The all-beholding Sun had ne'er beholden
In his wide voyage o'er continents and seas
So fair a creature, as she lay enfolden
In the warm shadow of her loveliness;
He kissed her with his beams, and made all golden
The chamber of gray rock in which she lay.
She, in that dream of joy, dissolved away.
'Tis said she first was changed into a vapor;
And then into a cloud,--such clouds as flit
(Like splendor-winged moths about a taper)
Round the red west when the Sun dies in it;
And then into a meteor, such as caper
On hill-tops when the Moon is in a fit;
Then into one of those mysterious stars
Which hide themselves between the Earth and Mars.
Ten times the Mother of the Months had ben
Her bow beside the folding-star, and bidden
With that bright sign the billows to indent
The sea-deserted sand--(like children chidden,
At her command they ever came and went)--
Since in that cave a dewy splendor hidden
Took shape and motion.With the living form
Of this embodied Power the cave grew warm.
A lovely Lady garmented in light
From her own beauty: deep her eyes as are
Two openings of unfathomable night
Seen through a temple's cloven roof; her hair
Dark; the dim brain whirls dizzy with delight,
Picturing her form. Her soft smiles shone afar;
And her low voice was heard like love, and drew
All living things towards this wonder new.
And first the spotted cameleopard came;
And then the wise and fearless elephant;
Then the sly serpent, in the golden flame
Of his own volumes intervolved. All gaunt
And sanguine beasts her gentle looks made tame,--
They drank before her at her sacred fount;
And every beast of beating heart grew bold,
Such gentleness and power even to behold.
The brinded lioness led forth her young,
That she might teach them how they should forego
Their inborn thirst of death; the pard unstrung
His sinews at her feet, and sought to know,
With looks whose motions spoke without a tongue,
How he might be as gentle as the doe.
The magic circle of her voice and eyes
All savage natures did imparadise.
And old Silenus, shaking a green stick
Of lilies, and the Wood-gods in a crew,
Came blithe as in the olive-copses thick
Cicade are, drunk with the noonday dew;
And Dryope and Faunus followed quick,
Teazing the God to sing them something new;
Till in this cave they found the Lady lone,
Sitting upon a seat of emerald stone.
And universal Pan, 'tis said, was there.
And, though none saw him,--through the adamant
Of the deep mountains, through the trackless air,
And through those living spirits like a want,--
He passed out of his everlasting lair
Where the quick heart of the great world doth pant,
And felt that wondrous Lady all alone,--
And she felt him upon her emerald throne.
And every Nymph of stream and spreading tree,
And every Shepherdess of Ocean's flocks
Who drives her white waves over the green sea,
And Ocean with the brine on his grey locks,
And quaint Priapus with his company,--
All came, much wondering how the enwombed rocks
Could have brought forth so beautiful a birth:
Her love subdued their wonder and their mirth.
The herdsmen and the mountain-maidens came,
And the rude kings of pastoral Garamant--
Their spirits shook within them, as a flame
Stirred by the air under a cavern gaunt:
Pygmies and Polyphemes, by many a name,
Centaurs and Satyrs, and such shapes as haunt
Wet clefts,--and lumps neither alive nor dead,
Dog-headed, bosom-eyed, and bird-footed.
For she was beautiful. Her beauty made
The bright world dim, and everything beside
Seemed like the fleeting image of a shade.
No thought of living spirit could abide
(Which to her looks had ever been betrayed)
On any object in the world so wide,
On any hope within the circling skies,--
But on her form, and in her inmost eyes.
Which when the Lady knew; she took her spindle,
And twined three threads of fleecy mist, and three
Long lines of light, such as the dawn may kindle
The clouds and waves and mountains with, and she
As many starbeams, ere their lamps could dwindle
In the belated moon, wound skilfully;
And with these threads a subtle veil she wove--
A shadow for the splendour of her love.
The deep recesses of her odorous dwelling
Were stored with magic treasures:--sounds of air
Which had the power all spirits of compelling,
Folded in cells of crystal silence there;
Such as we hear in youth, and think the feeling
will never die--yet, ere we are aware,
The feeling and the sound are fled and gone
And the regret they leave remains alone.
And there lay Visions swift and sweet and quaint,
Each in its thin sheath like a chrysalis;--
Some eager to burst forth; some weak and faint
With the soft burden of intensest bliss
It is their work to bear to many a saint
Whose heart adores the shrine which holiest is,
Even Love's; and others, white, green, grey, and black,
And of all shapes:--and each was at her beck.
And odours in a kind of aviary
Of ever-blooming Eden-trees she kept,
Clipped in a floating net a love-sick Fairy
Had woven from dew-beams while the moon yet slept.
As bats at the wired window of a dairy,
They beat their vans; and each was an adept--
When loosed and missioned, making wings of winds--
To stir sweet thoughts or sad in destined minds.
And liquors clear and sweet, whose healthful might
Could medicine the sick soul to happy sleep,
And change eternal death into a night
Of glorious dreams--or, if eyes needs must weep,
Could make their tears all wonder and delight--
She in her crystal phials did closely keep:
If men could drink of those clear phials, 'tis said
The living were not envied of the dead.
Her cave was stored with scrolls of strange device,
The works of some Saturnian Archimage,
Which taught the expiations at whose price
Men from the Gods might win that happy age
Too lightly lost, redeeming native vice,--
And which might quench the earth-consuming rage
Of gold and blood, till men should live and move
Harmonious as the sacred stars above:--
And how all things that seem untameable,
Not to be checked and not to be confined,
Obey the spells of Wisdom's wizard skill;
Time, earth, and fire, the ocean and the wind,
And all their shapes, and man's imperial will;--
And other scrolls whose writings did unbind
The inmost lore of love--let the profane
Tremble to ask what secrets they contain.
And wondrous works of substances unknown,
To which the enchantment of her Father's power
Had changed those ragged blocks of savage stone,
Were heaped in the recesses of her bower;
Carved lamps and chalices, and phials which shone
In their own golden beams--each like a flower
Out of whose depth a firefly shakes his light
Under a cypress in a starless night.
At first she lived alone in this wild home,
And her own thoughts were each a minister,
Clothing themselves or with the ocean-foam,
Or with the wind, or with the speed of fire,
To work whatever purposes might come
Into her mind: such power her mighty Sire
Had girt them with, whether to fly or run
Through all the regions which he shines upon.
The Ocean-nymphs and Hamadryades,
Oreads, and Naiads with long weedy locks,
Offered to do her bidding through the seas,
Under the earth, and in the hollow rocks,
And far beneath the matted roots of trees,
And in the gnarled heart of stubborn oaks;
So they might live for ever in the light
Of her sweet presence--each a satellite.
"This may not be," the Wizard Maid replied.
"The fountains where the Naiades bedew
Their shining hair at length are drained and dried;
The solid oaks forget their strength, and strew
Their latest leaf upon the mountains wide;
The boundless ocean like a drop of dew
Will be consumed; the stubborn centre must
Be scattered like a cloud of summer dust.
"And ye, with them, will perish one by one.
If I must sigh to think that this shall be,
If I must weep when the surviving Sun
Shall smile on your decay--oh ask not me
To love you till your little race is run;
I cannot die as ye must.--Over me
Your leaves shall glance--the streams in which ye dwell
Shall be my paths henceforth; and so farewell."
She spoke and wept. The dark and azure well
Sparkled beneath the shower of her bright tears,
And every little circlet where they fell
Flung to the cavern-roof inconstant spheres
And intertangled lines of light. A knell
Of sobbing voices came upon her ears
From those departing forms, o'er the serene
Of the white streams and of the forest green.
All day the Wizard Lady sat aloof;
Spelling out scrolls of dread antiquity
Under the cavern's fountain-lighted roof;
Or broidering the pictured poesy
Of some high tale upon her growing woof,
Which the sweet splendor of her smiles could dye
In hues outshining heaven--and ever she
Added some grace to the wrought poesy:--
While on her hearth lay blazing many a piece
Of sandal-wood, rare gums, and cinnamon.
Men scarcely know how beautiful fire is;
Each flame of it is as a precious stone
Dissolved in ever-moving light, and this
Belongs to each and all who gaze thereon.'
The Witch beheld it not, for in her hand
She held a woof that dimmed the burning brand.
This Lady never slept, but lay in trance
All night within the fountain--as in sleep.
Its emerald crags glowed in her beauty's glance:
Through the green splendour of the water deep
She saw the constellations reel and dance
Like fireflies--and withal did ever keep
The tenor of her contemplations calm,
With open eyes, closed feet, and folded palm.
And, when the whirlwinds and the clouds descended
From the white pinnacles of that cold hill,
She passed at dewfall to a space extended,
Where, in a lawn of flowering asphodel
Amid a wood of pines and cedars blended,
There yawned an inextinguishable well
Of crimson fire, full even to the brim,
And overflowing all the margin trim:--
Within the which she lay when the fierce war
Of wintry winds shook that innocuous liquor,
In many a mimic moon and bearded star,
O'er woods and lawns. The serpent heard it flicker
In sleep, and, dreaming still, he crept afar.
And, when the windless snow descended thicker
Than autumn-leaves, she watched it as it came
Melt on the surface of the level flame.
She had a boat which some say Vulcan wrought
For Venus, as the chariot of her star;
But it was found too feeble to be fraught
With all the ardours in that sphere which are,
And so she sold it, and Apollo bought
And gave it to this daughter: from a car,
Changed to the fairest and the lightest boat
Which ever upon mortal stream did float.
And others say that, when but three hours old,
The firstborn Love out of his cradle leapt,
And clove dun chaos with his wings of gold,
And, like a horticultural adept,
Stole a strange seed, and wrapped it up in mould,
And sowed it in his mother's star, and kept
Watering it all the summer with sweet dew,
And with his wings fanning it as it grew.
The plant grew strong and green--the snowy flower
Fell, and the long and gourd-like fruit began
To turn the light and dew by inward power
To its own substance: woven tracery ran
Of light firm texture, ribbed and branching, o'er
The solid rind, like a leaf's veined fan,--
Of which Love scooped this boat, and with soft motion
Piloted it round the circumfluous ocean.
This boat she moored upon her fount, and lit
A living spirit within all its frame,
Breathing the soul of swiftness into it.
Couched on the fountain--like a panther tame
(One of the twain at Evan's feet that sit,
Or as on Vesta's sceptre a swift flame,
Or on blind Homer's heart a winged thought--
In joyous expectation lay the boat.
Then by strange art she kneaded fire and snow
Together, tempering the repugnant mass
With liquid love--all things together grow
Through which the harmony of love can pass;
And a fair Shape out of her hands did flow--
A living image which did far surpass
In beauty that bright shape of vital stone
Which drew the heart out of Pygmalion.
A sexless thing it was, and in its growth
It seemed to have developed no defect
Of either sex, yet all the grace of both.
In gentleness and strength its limbs were decked;
The bosom lightly swelled with its full youth;
The countenance was such as might select
Some artist that his skill should never die,
lmaging forth such perfect purity.
From its smooth shoulders hung two rapid wings
Fit to have borne it to the seventh sphere,
Tipped with the speed of liquid lightenings,
Dyed in the ardours of the atmosphere.
She led her creature to the boiling springs
Where the light boat was moored, and said "Sit here,"
And pointed to the prow, and took her seat
Beside the rudder with opposing feet.
And down the streams which clove those mountains vast,
Around their inland islets, and amid
The panther-peopled forests (whose shade cast
Darkness and odors, and a pleasure hid
In melancholy gloom) the pinnace passed;
By many a star-surrounded pyramid
Of icy crag cleaving the purple sky,
And caverns yawning round unfathomably.
The silver noon into that winding dell,
With slanted gleam athwart the forest-tops,
Tempered like golden evening, feebly fell;
A green and glowing light, like that which drops
From folded lilies in which glow-worms dwell
When Earth over her face Night's mantle wraps;
Between the severed mountains lay on high,
Over the stream, a narrow rift of sky.
And, ever as she went, the Image lay
With folded wings and unawakened eyes;
And o'er its gentle countenance did play
The busy dreams, as thick as summer flies,
Chasing the rapid smiles that would not stay,
And drinking the warm tears, and the sweet sighs
Inhaling, which with busy murmur vain
They has aroused from that full heart and brain.
And ever down the prone vale, like a cloud
Upon a stream of wind, the pinnace went:
Now lingering on the pools, in which abode
The calm and darkness of the deep content
In which they paused; now o'er the shallow road
Of white and dancing waters, all besprent
With sand and polished pebbles:--mortal boat
In such a shallow rapid could not float.
And down the earthquaking cataracts, which shivcr
Their snow-like waters into golden air,
Or under chasms unfathomable ever
Sepulchre them, till in their rage they tear
A subterranean portal for the river,
It fled. The circling sunbows did upbear
Its fall down the hoar precipice of spray,
Lighting it far upon its lampless way.
And, when the Wizard Lady would ascend
The labyrinths of some many-winding vale
Which to the inmost mountain upward tend,
She called "Hermaphroditus!"--and the pale
And heavy hue which slumber could extend
Over its lips and eyes, as on the gale
A rapid shadow from a slope of grass,
Into the darkness of the stream did pass
And it unfurled its heaven-coloured pinions;
With stars of fire spotting the stream below,
And from above into the Sun's dominions
Flinging a glory like the golden glow
In which Spring clothes her emerald-winged minions,
All interwoven with fine feathery snow,
And moonlight splendour of intensest rime
With which frost paints the pines in winter-time.
And then it winnowed the elysian air
Which ever hung about that Lady bright,
With its etherial vans: and, speeding there,
Like a star up the torrent of the night,
Or a swift eagle in the morning glare
Breasting the whirlwind with impetuous flight,
The pinnace, oared by those enchanted wings,
Clove the fierce streams towards their upper springs.
The water flashed,--like sunlight, by the prow
Of a noon-wandering meteor flung to heaven;
The still air seemed as if its waves did flow
In tempest down the mountains; loosely driven,
The Lady's radiant hair streamed to and fro;
Beneath, the billows, having vainly striven
Indignant and impetuous, roared to feel
The swift and steady motion of the keel.
Or, when the weary moon was in the wane,
Or in the noon of interlunar night,
The Lady Witch in visions could not chain
Her spirit; but sailed forth under the light
Of shooting stars, and bade extend amain
Its storm-outspeeding wings the Hermaphrodite;
She to the austral waters took her way,
Beyond the fabulous Thamondocana.
Where, like a meadow which no scythe has shaven,
Which rain could never bend or whirlblast shake,
With the antarctic constellations paven,
Canopus and his crew, lay the austral lake--
There she would build herself a windless haven
Out of the clouds whose moving turrets make
The bastions of the storm, when through the sky
The spirits of the tempest thundered by:--
A haven beneath whose translucent floor
The tremulous stars sparkled unfathomably;
And around which the solid vapours hoar,
Based on the level waters, to the sky
Lifted their dreadful crags, and, like a shore
Of wintry mountains, inaccessibly
Hemmed-in with rifts and precipices grey,
And hanging crags, many a cove and bay.
And, whilst the outer lake beneath the lash
Of the wind's scourge foamed like a wounded thing
And the incessant hail with stony clash
Ploughed up the waters, and the flagging wing
Of the roused cormorant in the lightningflash
Looked like the wreck of some wind-wandering
Fragment of inky thunder-smoke--this haven
Was as a gem to copy heaven engraven.
On which that Lady played her many pranks,
Circling the image of a shooting star
(Even as a tiger on Hydaspes' banks
Outspeeds the antelopes which speediest are)
In her light boat; and many quips and cranks
She played upon the water; till the car
Of the late moon, like a sick matron wan,
To journey from the misty east began.
And then she called out of the hollow turrets
Of those high clouds, white, golden, and vermilion,
The armies of her ministering spirits.
In mighty legions million after million
They came, each troop emblazoning its merits
On meteor flags; and many a proud pavilion
Of the intertexture of the atmosphere
They pitched upon the plain of the calm mere.
They framed the imperial tent of their great Queen
Of woven exhalations, underlaid
With lambent lightning-fire, as may be seen
A dome of thin and open ivory inlaid
With crimson silk. Cressets from the serene
Hung there, and on the water for her tread
A tapestry of fleece-like mist was strewn,
Dyed in the beams of the ascending moon.
And on a throne o'erlaid with starlight, caught
Upon those wandering isles of aery dew
Which highest shoals of mountain shipwreck not,
She sate, and heard all that had happened new
Between the earth and moon since they had brought
The last intelligence: and now she grew
Pale as that moon lost in the watery night,
And now she wept, and now she laughed outright.
These were tame pleasures.--She would often climb
The steepest ladder of the crudded rack
Up to some beaked cape of cloud sublime,
And like Arion on the dolphin's back
Ride singing through the shoreless air. Oft-time,
Following the serpent lightning's winding track,
She ran upon the platforms of the wind,
And laughed to hear the fireballs roar behid.
And sometimes to those streams of upper air
Which whirl the earth in its diurnal round
She would ascend, and win the Spirits there
To let her join their chorus. Mortals found
That on those days the sky was calm and fair,
And mystic snatches of harmonious sound
Wandered upon the earth where'er she passed,
And happy thoughts of hope, too sweet to last.
But her choice sport was, in the hours of sleep,
To glide adown old Nilus, where he threads
Egypt and Ethiopia from the steep
Of utmost Axume until he spreads,
Like a calm flock of silver-fleeced sheep,
His waters on the plain,--and crested heads
Of cities and proud temples gleam amid,
And many a vapour-belted pyramid:--
By MÏris and the Mareotid lakes,
Strewn with faint blooms like bridal-chamber floors,
Where naked boys bridling tame water-snakes,
Or charioteering ghastly alligators,
Had left on the sweet waters mighty wakes
Of those huge forms;--within the brazen doors
Of the Great Labyrinth slept both boy and beast,
Tired with the pomp of their Osirian feast.
And where within the surface of the river
The shadows of the massy temples lie,
And never are erased, but tremble ever
Like things which every cloud can doom to die,--
Through lotus-paven canals, and wheresoever
The works of man pierced that serenest sky
With tombs and towers and fanes,--'twas her delight
To wander in the shadow of the night.
With motion like the spirit of that wind
Whose soft step deepens slumber, her light feet
Passed through the peopled haunts of humankind,
Scattering sweet visions from her presence sweet,--
Through fane and palace-court, and labyrinth mined
With many a dark and subterranean street
Under the Nile; through chambers high and deep
She passed, observing mortals in their sleep.
A pleasure sweet doubtless it was to see
Mortals subdued in all the shapes of sleep.
Here lay two sister-twins in infancy;
There a lone youth who in his dreams did weep;
Within, two lovers linked innocently
In their loose locks which over both did creep
Like ivy from one stem; and there lay calm
Old age with snow-bright hair and folded palm.
But other troubled forms of sleep she saw,
Not to be mirrored in a holy song,--
Distortions foul of supernatural awe,
And pale imaginings of visioned wrong,
And all the code of Custom's lawless law
Written upon the brows of old and young.
"This," said the Wizard Maiden, "is the strife
Which stirs the liquid surface of man's life."
And little did the sight disturb her soul.
We, the weak mariners of that wide lake,
Where'er its shores extend or billows roll,
Our course unpiloted and starless make
O'er its wild surface to an unknown goal;
But she in the calm depths her way could take,
Where in bright bowers immortal forms abide
Beneath the weltering of the restless tide.
And she saw princes couched under the glow
Of sunlike gems; and round each temple-court
In dormitories ranged, row after row,
She saw the priests asleep,--all of one sort,
For all were educated to be so.
The peasants in their huts, and in the port
The sailors she saw cradled on the waves,
And the dead lulled within their dreamless graves.
And all the forms in which those spirits lay
Were to her sight like the diaphanous
Veils in which those sweet ladies oft array
Their delicate limbs who would conceal from us
Only their scorn of all concealment: they
Move in the light of their own beauty thus.
But these and all now lay with sleep upon them,
And little thought a Witch was looking on them.
She all those human figures breathing there
Beheld as living spirits. To her eyes
The naked beauty of the soul lay bare,
And often through a rude and worn disguise
She saw the inner form most bright and fair:
And then she had a charm of strange device,
Which, murmured on mute lips with tender tone,
Could make that spirit mingle with her own.
Alas! Aurora, what wouldst thou have given
For such a charm, when Tithon became grey--
Or how much, Venus, of thy silver heaven
Wouldst thou have yielded, ere Proserpina
Had half (oh why not all?) the debt forgiven
Which dear Adonis had been doomed to pay--
To any witch who would have taught you it
The Heliad doth not know its value yet.
'Tis said in after times her spirit free
Knew what love was, and felt itself alone.
But holy Dian could not chaster be
Before she stooped to kiss Endymion
Than now this Lady,--like a sexless bee,
Tasting all blossoms and confined to none:
Among those mortal forms the Wizard Maiden
Passed with an eye serene and heart unladen.
To those she saw most beautiful she gave
Strange panacea in a crystal bowl.
They drank in their deep sleep of that sweet wave,
And lived thenceforward as if some control,
Mightier than life, were in them; and the grave
Of such, when death oppressed the weary soul,
Was as a green and overarching bower
Lit by the gems of many a starry flower.
For, on the night when they were buried, she
Restored the embalmer's ruining, and shook
The light out of the funeral-lamps, to be
A mimic day within that deathy nook;
And she unwound the woven imagery
Of second childhood's swaddling-bands, and took
The coffin, its last cradle, from its niche,
And threw it with contempt into a ditch,
And there the body lay, age after age,
Mute, breathing, beating, warm, and undecaying,
Like one asleep in a green hermitage,--
With gentle smiles about its eyelids playing,
And living in its dreams beyond the rage
Of death or life; while they were still arraying
In liveries ever new the rapid, blind,
And fleeting generations of mankind.
And she would write strange dreams upon the brain
Of those who were less beautiful, and make
All harsh and crooked purposes more vain
Than in the desert is the serpent's wake
Which the sand covers. All his evil gain
The miser, in such dreams, would rise and shake
Into a beggar's lap; the lying scribe
Would his own lies betray without a bribe.
The priests would write an explanation full,
Translating hieroglyphics into Greek,
How the God Apis really was a bull,
And nothing more; and bid the herald stick
The same against the temple-doors, and pull
The old cant down: they licensed all to speak
Whate'er they thought of hawks and cats and geese,
By pastoral letters to each diocese.
The king would dress an ape up in his crown
And robes, and seat him on his glorious seat,
And on the right hand of the sunlike throne
Would place a gaudy mock-bird to repeat
The chatterings of the monkey. Every one
Of the prone courtiers crawled to kiss the feet
Of their great emperor when the morning came;
And kissed--alas, how many kiss the same!
The soldiers dreamed that they were blacksmiths, and
Walked out of quarters in somnambulism;
Round the red anvils you might see them stand
Like Cyclopses in Vulcan's sooty abysm,
Beating their swords to ploughshares:--in a band
The jailors sent those of the liberal schism
Free through the streets of Memphis--much, I wis,
To the annoyance of king Amasis.
And timid lovers, who had been so coy
They hardly knew whether they loved or not,
Would rise out of their rest, and take sweet joy,
To the fulfilment of their inmost thought;
And, when next day the maiden and the boy
Met one another, both, like sinners caught,
Blushed at the thing which each believed was done
Only in fancy--till the tenth moon shone;
And then the Witch would let them take no ill;
Of many thousand schemes which lovers find,
The Witch found one,--and so they took their fill
Of happiness in marriage warm and kind.
Friends who, by practice of some envious skill,
Were torn apart (a wide wound, mind from mind)
She did unite again with visions clear
Of deep affection and of truth sincere.
These were the pranks she played among the cities
Of mortal men. And what she did to Sprites
And Gods, entangling them in her sweet ditties,
To do her will, and show their subtle sleights,
I will declare another time; for it is
A tale more fit for the weird winter-nights
Than for these garish summer-days, when we
Scarcely believe much more than we can see.
Editor 1 Interpretation
The Witch Of Atlas: A Masterful Work of Romantic Poetry
As a literature enthusiast, I have always been fascinated by the works of Percy Bysshe Shelley, one of the most celebrated poets of the Romantic era. His poetry is known for its beauty, complexity and vivid imagery that captures the essence of the human experience. Among his many works, The Witch of Atlas stands out as a masterpiece of romantic poetry that encapsulates the themes of imagination, wonder, and the power of the human mind.
Overview of The Witch of Atlas
The Witch of Atlas is a long narrative poem written by Percy Bysshe Shelley in 1820. The poem tells the story of a beautiful witch who lives on a remote island, ruled by her powers of magic and enchantment. The witch is a symbol of creativity and imagination, and her island is a representation of the human mind, where imagination reigns supreme. The poem is divided into four cantos, each of which explores different aspects of the witch's power and her relationship with the world around her.
At its core, The Witch of Atlas is a poetic exploration of the human imagination and its potential to create and shape reality. Shelley's use of vivid imagery and rich descriptive language creates a fantastical world that engages the reader's imagination and invites them to explore the limits of their own creativity.
Analysis of The Witch of Atlas
The Witch of Atlas is a complex and multi-layered poem that requires careful analysis to fully appreciate its many nuances and themes. The following sections will explore some of the most significant aspects of the poem and their broader implications.
The Witch as a Symbol of Imagination
One of the most important themes of The Witch of Atlas is the power of the human imagination. The witch is a symbol of creativity, and her island represents the limitless potential of the human mind. The poem explores the idea that imagination is not merely a passive faculty, but an active force that can shape and transform reality.
This theme is evident throughout the poem, but is perhaps most striking in the first canto, where the witch is first introduced. Shelley describes the witch as a being who can "create / Whate'er she would" (line 23-24), and who "could make A thought a substance, and an image wake / To painted life" (line 27-29). This description highlights the witch's power to bring her imagination to life, and suggests that the imagination has the potential to create a new reality.
The Island as a Microcosm of the Mind
In The Witch of Atlas, the island on which the witch resides serves as a microcosm of the human mind. The island is a place where the witch's imagination is free to roam, and where she can create and shape reality according to her will. This idea is explored in the second canto, where Shelley describes the island in detail:
And round about the throne our ranks are set, Like all the ranged stars that gird the sky. Noting nor hoping aught which men discuss; We breathe and live but to keep fresh the flowers That deck the circuit of our lady's bowers; And, in perplexed loveliness, still grow The purpled forest and the golden woe.
Here, the island is depicted as a place of beauty and wonder, where nature and imagination exist in perfect harmony. The witch is the ruler of this microcosm, and her power is absolute within its bounds.
The Relationship between the Witch and the World
Another important theme of The Witch of Atlas is the relationship between the witch and the world around her. The poem explores the idea that the witch's imagination is not disconnected from reality, but rather has the power to shape and transform it.
This theme is most evident in the third canto, where the witch creates a mirror that reflects the world around her. Shelley describes the mirror as follows:
But, in the mirror of the glassy spring, Beneath her own wan shadow glimmering, She saw, like spirits in a vague unrest, All that her entranced vision would suggest, And heard war, speech, and music, and saw all That might the sad or glad heart's range befall.
Here, the mirror acts as a window into the world, and the witch's imagination is able to shape the images that appear within it. This underscores the idea that the human mind has the power to shape reality, and that the boundaries between inner and outer worlds are not as clear-cut as they may seem.
The Poetic Language of The Witch of Atlas
One of the most striking aspects of The Witch of Atlas is its use of poetic language. Shelley's writing is rich and vivid, and his descriptions of the witch and her island are often breathtakingly beautiful. The following lines, from the first canto, are a particularly striking example:
Her hair was blacker than the raven's wing; Her lips more red than doves' or roses' hue; Dark was her robe, like that fantastic thing That oft in antique hermitages is seen, Save that its points were fastened with a gem On her white brow; bright lustre did there swim, Not like a living flame, but intense, refined, Like one of Heaven's or Ocean's glories shrined.
Here, Shelley's use of descriptive language creates a vivid image of the witch, and evokes a sense of wonder and enchantment. This is a hallmark of romantic poetry, which often seeks to capture the beauty and complexity of the natural world through language.
Conclusion
In conclusion, The Witch of Atlas is a masterful work of romantic poetry that explores the themes of imagination, wonder, and the power of the human mind. Shelley's use of vivid imagery and rich poetic language creates a fantastical world that engages the reader's imagination and invites them to explore the limits of their own creativity. The witch is a symbol of the creative potential of the human mind, and her island serves as a microcosm of the human imagination. The poem also explores the relationship between the imagination and reality, suggesting that the two are not as separate as they may seem. Overall, The Witch of Atlas is a testament to Shelley's skill as a poet, and a testament to the power and beauty of romantic poetry as a genre.
Editor 2 Analysis and Explanation
The Witch of Atlas: A Masterpiece of Romantic Poetry
Percy Bysshe Shelley, one of the greatest poets of the Romantic era, wrote The Witch of Atlas in 1820. This poem is a masterpiece of Romantic poetry, filled with vivid imagery, complex symbolism, and a deep exploration of the human psyche. In this article, we will analyze and explain the various elements of this poem, and explore the themes and ideas that Shelley was trying to convey.
The Witch of Atlas is a long narrative poem, consisting of 324 lines divided into 12 cantos. The poem tells the story of a witch who lives on an island in the middle of the ocean. The witch possesses magical powers, and she uses them to create a beautiful palace filled with wonders and treasures. The palace is inhabited by various creatures, including nymphs, satyrs, and other mythical beings.
The poem begins with a description of the witch's island, which is surrounded by a vast ocean. The island is described as a place of beauty and wonder, filled with exotic plants and animals. The witch herself is described as a beautiful and mysterious figure, with long hair and a flowing robe. She is portrayed as a powerful and enigmatic figure, with the ability to control the elements and bend them to her will.
As the poem progresses, we learn more about the witch's powers and her palace. The palace is described in great detail, with its walls made of precious stones and its floors covered in gold. The palace is filled with treasures and wonders, including a fountain that spouts diamonds and a tree that bears fruit made of precious stones. The creatures that inhabit the palace are also described in great detail, with their various quirks and personalities.
However, the poem is not just a simple description of a magical palace. It is also a deep exploration of the human psyche, and the various desires and motivations that drive us. The witch herself is a complex character, with a mix of good and evil within her. She is portrayed as a powerful and benevolent figure, using her powers to create a beautiful palace and bring joy to those around her. However, she is also portrayed as a lonely and isolated figure, with a deep longing for companionship and love.
The poem also explores the themes of power and control. The witch's powers allow her to control the elements and bend them to her will. However, this power comes at a cost, as she is isolated from the rest of the world and unable to form meaningful connections with others. The poem suggests that power and control can be both a blessing and a curse, and that true happiness and fulfillment come from a balance between the two.
Another important theme of the poem is the idea of imagination and creativity. The witch's palace is a product of her imagination, and it is filled with wonders and treasures that could only exist in the realm of the imagination. The poem suggests that the human imagination is a powerful force, capable of creating worlds and realities that are beyond the limitations of the physical world.
The Witch of Atlas is also notable for its use of complex symbolism and imagery. The various creatures that inhabit the palace are all symbolic of different aspects of the human psyche. The nymphs, for example, represent beauty and grace, while the satyrs represent lust and desire. The tree that bears fruit made of precious stones is symbolic of the power of the imagination, while the fountain that spouts diamonds represents the abundance and wealth that can come from creativity.
In conclusion, The Witch of Atlas is a masterpiece of Romantic poetry, filled with vivid imagery, complex symbolism, and a deep exploration of the human psyche. Shelley's use of language and imagery is masterful, and the poem is a testament to the power of the human imagination. The themes and ideas explored in the poem are timeless and universal, and the poem remains a powerful and relevant work of literature to this day.
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