similarly recognize that within our actual experience the factors we distinguish are more massively intangible, more mutually incompatible and more insistent than they can appear as translated into reflective speech. Take, for example, the sense of sin imaginatively revived as we respond to Milton's presentation of Satan, or to the condemnation, suggested by Aeschylus' drama, of the rebellion of Prometheus in effecting the 'progress' of man. What in our analysis we might express as the thought that progress is evil or sinful, would, in the mind of Aeschylus, Abercromer comments, 'more likely be a shadowy relic of loyalty to the tribe' – a vague fear of anything that might weaken social solidarity. Not in the mind of Aeschylus only but in the mind of the reader of to-day. If the reader sympathises with Prometheus or Satan, he views Jupiter and God as omnipotent and unchallengeable beings that rely on their might to stay in power. Furthermore, Æschylus's Jupiter is a representation of Destiny, and it is a force that is constantly at odds with the individual's free will. In Milton, God is able to easily overthrow Satan. Although both divine beings represent something that is opposed to the human will, both represent something inside of the human mind that seeks to limit uncontrolled free will: reason and conscience. However, Shelley's version of Jupiter is unable to overwhelm the will of Prometheus, and Shelley gives the power of reason and conscience to his God: the Unseen Power of "Hymn to Intellectual Beauty". The character Demogorgon represents, according to Bodkin, the Unconscious. It is "the unknown force within the soul that, after extreme conflict and utter surrender of the conscious will, by virtue of the imaginative, creative element drawn down into the depths, can arise and shake the whole accustomed attitude of a man, changing its established tensions and oppressions." The Demogorgon is the opposite of Jupiter who, "within the myth, is felt as such a tension, a tyranny established in the far past by the spirit of a man upon himself and his world, a tyranny that, till it can be overthrown, holds him straightened and tormented, disunited from his own creative energies." Apocalyptic In his Prometheus, Shelley seeks to create a perfect revolutionary in an ideal, abstract sense (thus the difficulty of the poem). Shelley's Prometheus could be loosely based upon the Jesus of the Bible and Christian orthodox tradition,