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Amid the torturing distractions of the Chancery suit about his children, and the still more poignant anguish of his own heart, and with the cloud of what he thought swift-coming death above his head, Shelley worked steadily, during the summer of 1817, upon his poem of Laon and Cythna. Six months were spent in this task. "The poem," to borrow Mrs. Shelley's words, "was written in his boat, as it floated under the beech-groves of Bisham, or during wanderings in the neighbouring country, which is distinguished for peculiar beauty." Whenever Shelley could, he composed in the open air. The terraces of the Villa Cappuccini at Este, and the Baths of Caracalla were the birthplace of Prometheus. The Cenci was written on the roof of the Villa Valsovano at Leghorn. The Cascine of Florence, the pine-woods near Pisa, the lawns above San Giuliano, and the summits of the Euganean Hills, witnessed the creation of his loveliest lyrics; and his last great poem, the Triumph of Life, was transferred to paper in his boat upon the Bay of Spezia.
If Alastor had expressed one side of Shelley's nature, his devotion to Ideal Beauty, Laon and Cythna was in a far profounder sense representative of its author. All his previous experiences and all his aspirations — his passionate belief in friendship, his principle of the equality of women with men, his demand for bloodless revolution, his confidence in eloquence and reason to move nations, his doctrine of free love, his vegetarianism, his hatred of religious intolerance and tyranny — are blent together and concentrated in the glowing cantos of this wonderful romance. The hero, Laon, is himself idealized, the self which he imagined when he undertook his Irish campaign. The heroine, Cythna, is the helpmate he had always dreamed, the woman exquisitely feminine, yet capable of being fired with male enthusiasms, and of grappling the real problems of our nature with a man's firm grasp. In the first edition of the poem he made Laon and Cythna brother and sister, not because he believed in the desirability of incest, but because he wished to throw a glove down to society, and to attack the intolerance of custom in its stronghold. In the preface, he tells us that it was his purpose to kindle in the bosoms of his readers "a virtuous enthusiasm for those doctrines of liberty and justice, that faith and hope in something good, which neither violence, nor misrepresentation, nor prejudice, can ever wholly extinguish among mankind;" to illustrate "the growth and progress of individual mind aspiring after excellence, and devoted to the love of mankind;" and to celebrate Love "as the sole law which should govern the moral world." The wild romantic treatment of this didactic motive makes the poem highly characteristic of its author. It is written in Spenserian stanzas, with a rapidity of movement and a dazzling brilliance that are Shelley's own. The story relates the kindling of a nation to freedom at the cry of a young poet-prophet, the temporary triumph of the good cause, the final victory of despotic force, and the martyrdom of the hero, together with whom the heroine falls a willing victim. It is full of thrilling incidents and lovely pictures; yet the tale is the least part of the poem; and few readers have probably been able either to sympathize with its visionary characters, or to follow the narrative without weariness. As in the case of other poems by Shelley — especially those in which he attempted to tell a story, for which kind of art his genius was not well suited — the central motive of Laon and Cythna is surrounded by so radiant a photosphere of imagery and eloquence that it is difficult to fix our gaze upon it, blinded as we are by the excess of splendour. Yet no one now can read the terrible tenth canto, or the lovely fifth, without feeling that a young eagle of poetry had here tried the full strength of his pinions in their flight. This truth was by no means recognized when Laon and Cythna first appeared before the public. Hooted down, derided, stigmatized, and howled at, it only served to intensify the prejudice with which the author of Queen Mab had come to be regarded.
I have spoken of this poem under its first name of Laon and Cythna. A certain number of copies were issued with this title;17 but the publisher, Ollier, not without reason dreaded the effect the book would make; he therefore induced Shelley to alter the relationship between the hero and his bride, and issued the old sheets with certain cancelled pages under the title of Revolt of Islam. It was published in January, 1818. While still resident at Marlow, Shelley began two autobiographical poems — the one Prince Athanase, which he abandoned as too introspective and morbidly self-analytical, the other Rosalind and Helen, which he finished afterwards in Italy. Of the second of these compositions he entertained a poor opinion; nor will it bear comparison with his best work. To his biographer its chief interest consists in the character of Lionel, drawn less perhaps exactly from himself than as an ideal of the man he would have wished to be. The poet in Alastor, Laon in the Revolt of Islam, Lionel in Rosalind and Helen, and Prince Athanase, are in fact a remarkable row of self-portraits, varying in the tone and scale of idealistic treatment bestowed upon them. Later on in life, Shelley outgrew this preoccupation with his idealized self, and directed his genius to more objective themes. Yet the autobiographic tendency, as befitted a poet of the highest lyric type, remained to the end a powerful characteristic.
Before quitting the first period of Shelley's development, it may be well to set before the reader a specimen of that self-delineative poetry which characterized it; and since it is difficult to detach a single passage from the continuous stanzas of Laon and Cythna, I have chosen the lines in Rosalind and Helen which describe young Lionel:
To Lionel,
Though of great wealth and lineage high,
Yet through those dungeon walls there came
Thy thrilling light, O Liberty!
And as the meteor's midnight flame
Startles the dreamer, sun-like truth
Flashed on his visionary youth,
And filled him, not with love, but faith,
And hope, and courage mute in death;
For love and life in him were twins,
Born at one birth: in every other
First life, then love its course begins,
Though they be children of one mother;
And so through this dark world they fleet
Divided, till in death they meet:
But he loved all things ever. Then
He past amid the strife of men,
And stood at the throne of arméd power
Pleading for a world of woe:
Secure as one on a rock-built tower
O'er the wrecks which the surge trails to and fro,
'Mid the passions wild of human kind
He stood, like a spirit calming them;
For, it was said, his words could find
Like music the lulled crowd, and stem
That torrent of unquiet dream,
Which mortals truth and reason deem,
But is revenge and fear and pride.
Joyous he was; and hope and peace
On all who heard him did abide,
Raining like dew from his sweet talk,
As where the evening star may walk
Along the brink of the gloomy seas,
Liquid mists of splendour quiver.
His very gestures touch'd to tears
The unpersuaded tyrant, never
So moved before: his presence stung
The torturers with their victim's pain,
And none knew how; and through their ears,
The subtle witchcraft of his tongue
Unlocked the hearts of those who keep
Gold, the world's bond of slavery.
Men wondered, and some sneer'd to see
One sow what he could never reap:
For he is rich, they said, and young,
And might drink from the depths of luxury.
If he seeks Fame, Fame never crown'd
The champion of a trampled creed:
If he seeks Power, Power is enthroned
'Mid ancient rights and wrongs, to feed
Which hungry wolves with praise and spoil,
Those who would sit near Power must toil;
And such, there sitting, all may see
During the year he spent at Marlow, Shelley was a frequent visitor at Leigh Hunt's Hampstead house, where he made acquaintance with Keats, and the brothers Smith, authors of Rejected Addresses. Hunt's recollections supply some interesting details, which, since Hogg and Peacock fail us at this period, may be profitably used. Describing the manner of his life at Marlow, Hunt writes as follows: "He rose early in the morning, walked and read before breakfast, took that meal sparingly, wrote and studied the greater part of the morning, walked and read again, dined on vegetables (for he took neither meat nor wine), conversed with his friends (to whom his house was ever open), again walked out, and usually finished with reading to his wife till ten o'clock, when he went to bed. This was his daily existence. His book was generally Plato, or Homer, or one of the Greek tragedians, or the Bible, in which last he took a great, though peculiar, and often admiring interest. One of his favourite parts was the book of Job." Mrs. Shelley in her note on the Revolt of Islam, confirms this account of his Bible studies; and indeed the influence of the Old Testament upon his style may be traced in several of his poems. In the same paragraph from which I have just quoted, Leigh Hunt gives a just notion of his relation to Christianity, pointing out that he drew a distinction between the Pauline presentation of the Christian creeds, and the spirit of the Gospels. "His want of faith in the letter, and his exceeding faith in the spirit of Christianity, formed a comment, the one on the other, very formidable to those who chose to forget what Scripture itself observes on that point." We have only to read Shelley's Essay on Christianity, in order to perceive what reverent admiration he felt for Jesus, and how profoundly he understood the true character of his teaching. That work, brief as it is, forms one of the most valuable extant contributions to a sound theology, and is morally far in advance of the opinions expressed by many who regard themselves as specially qualified to speak on the subject. It is certain that, as Christianity passes beyond its mediæval phase, and casts aside the husk of out-worn dogmas, it will more and more approximate to Shelley's exposition. Here and here only is a vital faith, adapted to the conditions of modern thought, indestructible because essential, and fitted to unite instead of separating minds of divers quality. It may sound paradoxical to claim for Shelley of all men a clear insight into the enduring element of the Christian creed; but it was precisely his detachment from all its accidents which enabled him to discern its spiritual purity, and placed him in a true relation to its Founder. For those who would neither on the one hand relinquish what is permanent in religion, nor yet on the other deny the inevitable conclusions of modern thought, his teaching is indubitably valuable. His fierce tirades against historic Christianity must be taken as directed against an ecclesiastical system of spiritual tyranny, hypocrisy, and superstition, which in his opinion had retarded the growth of free institutions, and fettered the human intellect. Like Campanella, he distinguished between Christ, who sealed the gospel of charity with his blood, and those Christians, who would be the first to crucify their Lord if he returned to earth.
That Shelley lived up to his religious creed is amply proved. To help the needy and to relieve the sick, seemed to him a simple duty, which he cheerfully discharged. "His charity, though liberal, was not weak. He inquired personally into the circumstances of his petitioners, visited the sick in their beds, . . . and kept a regular list of industrious poor, whom he assisted with small sums to make up their accounts." At Marlow, the miserable condition of the lace-makers called forth all his energies; and Mrs. Shelley tells us that an acute ophthalmia, from which he twice suffered, was contracted in a visit to their cottages. A story told by Leigh Hunt about his finding a woman ill on Hampstead Heath, and carrying her from door to door in the vain hopes of meeting with a man as charitable as himself, until he had to house the poor creature with his friends the Hunts, reads like a practical illustration of Christ's parable about the Good Samaritan. Nor was it merely to the so-called poor that Shelley showed his generosity. His purse was always open to his friends. Peacock received from him an annual allowance of 100l. He gave Leigh Hunt, on one occasion, 1000l.; and he discharged debts of Godwin, amounting, it is said, to about 6000l. In his pamphlet on Putting Reform to the Vote, he offered to subscribe 100l. for the purpose of founding an association; and we have already seen that he headed the Tremadoc subscription with a sum of 100l. These instances of his generosity might be easily multiplied; and when we remember that his present income was 1000l., out of which 200l. went to the support of his children, it will be understood not only that he could not live luxuriously, but also that he was in frequent money difficulties through the necessity of raising funds upon his expectations. His self-denial in all minor matters of expenditure was conspicuous. Without a murmur, without ostentation, this heir of the richest baronet in Sussex illustrated by his own conduct those principles of democratic simplicity and of fraternal charity which formed his political and social creed.
A glimpse into the cottage at Great Marlow is afforded by a careless sentence of Leigh Hunt's. "He used to sit in a study adorned with casts, as large as life, of the Vatican Apollo and the celestial Venus." Fancy Shelley with his bright eyes and elf-locks in a large, low-roofed room, correcting proofs of Laon and Cythna, between the Apollo of the Belvedere and the Venus de' Medici, life-sized, and as crude as casts by Shout could make them! In this house, Miss Clairmont, with her brother and Allegra, lived as Shelley's guests; and here Clara Shelley was born on the 3rd of September, 1817. In the same autumn, Shelley suffered from a severe pulmonary attack. The critical state of his health and the apprehension, vouched for by Mrs. Shelley, that the Chancellor might lay his vulture's talons on the children of his second marriage, were the motives which induced him to leave England for Italy in the spring of 1818.18 He never returned. Four years only of life were left to him — years filled with music that will sound as long as English lasts.
It was on the 11th of March that the Shelleys took their departure with Miss Clairmont and the child Allegra. They went straight to Milan, and after visiting the Lake of Como, Pisa, the Bagni di Lucca, Venice, and Rome, they settled early in the following December at Naples. Shelley's letters to Peacock form the invaluable record of this period of his existence. Taken altogether, they are the most perfect specimens of descriptive prose in the English language; never over-charged with colour, vibrating with emotions excited by the stimulating scenes of Italy, frank in criticism, and exquisitely delicate in observation. Their transparent sincerity and unpremeditated grace, combined with natural finish of expression, make them masterpieces of a style at once familiar and elevated. That Shelley's sensibility to art was not so highly cultivated as his feeling for nature, is clear enough in many passages: but there is no trace of admiring to order in his comments upon pictures or statues. Familiarity with the great works of antique and Italian art would doubtless have altered some of the opinions he at first expressed; just as longer residence among the people made him modify his views about their character. Meanwhile, the spirit of modest and unprejudiced attention in which he began his studies of sculpture and painting, might well be imitated in the present day by travellers who think that to pin their faith to some famous critic's verdict is the acme of good taste. If there were space for a long quotation from these letters, I should choose the description of Pompeii (Jan. 26, 1819), or that of the Baths of Caracalla (March 23, 1819). As it is, I must content myself with a short but eminently characteristic passage, written from Ferrara, Nov. 7, 1818:—
The handwriting of Ariosto is a small, firm, and pointed character, expressing, as I should say, a strong and keen, but circumscribed energy of mind; that of Tasso is large, free, and flowing, except that there is a checked expression in the midst of its flow, which brings the letters into a smaller compass than one expected from the beginning of the word. It is the symbol of an intense and earnest mind, exceeding at times its own depth, and admonished to return by the chillness of the waters of oblivion striking upon its adventurous feet. You know I always seek in what I see the manifestation of something beyond the present and tangible object; and as we do not agree in physiognomy, so we may not agree now. But my business is to relate my own sensations, and not to attempt to inspire others with them.
In the middle of August, Shelley left his wife at the Bagni di Lucca, and paid a visit to Lord Byron at Venice. He arrived at midnight in a thunderstorm. Julian and Maddalo was the literary fruit of this excursion — a poem which has rightly been characterized by Mr. Rossetti as the most perfect specimen in our language of the "poetical treatment of ordinary things." The description of a Venetian sunset, touched to sadness amid all its splendour by the gloomy presence of the madhouse, ranks among Shelley's finest word-paintings; while the glimpse of Byron's life is interesting on a lower level. Here is the picture of the sunset and the island of San Lazzaro:—
How beautiful is sunset, when the glow
Of heaven descends upon a land like thee,
Thou paradise of exiles, Italy,
Thy mountains, seas, and vineyards, and the towers,
Of cities they encircle! — It was ours
To stand on thee, beholding it: and then,
Just where we had dismounted, the Count's men
Were waiting for us with the gondola.
As those who pause on some delightful way,
Though bent on pleasant pilgrimage, we stood
Looking upon the evening, and the flood
Which lay between the city and the shore,
Paved with the image of the sky. The hoar
And airy Alps, towards the north, appeared,
Thro' mist, a heaven-sustaining bulwark, reared
Between the east and west; and half the sky
Was roofed with clouds of rich emblazonry,
Dark purple at the zenith, which still grew
Down the steep west into a wondrous hue
Brighter than burning gold, even to the rent
Where the swift sun yet paused in his descent
Among the many-folded hills. They were
Those famous Euganean hills, which bear,
As seen from Lido through the harbour piles,
The likeness of a clump of peaked isles —
And then, as if the earth and sea had been
Dissolved into one lake of fire, were seen
Those mountains towering, as from waves of flame,
Around the vaporous sun, from which there came
The inmost purple spirit of light, and made
Their very peaks transparent. "Ere it fade,"
Said my companion, "I will show you soon
A better station." So, o'er the lagune
We glided; and from that funereal bark
I leaned, and saw the city, and could mark
How from their many isles, in evening's gleam,
Its temples and its palaces did seem
Like fabrics of enchantment piled to heaven.
I was about to speak, when —"We are even
Now at the point I meant," said Maddalo,
And bade the gondolieri cease to row.
"Look, Julian, on the west, and listen well
If you hear not a deep and heavy bell."
I looked, and saw between us and the sun
A building on an island, such a one
As age to age might add, for uses vile —
A windowless, deformed, and dreary pile;
And on the top an open tower, where hung
A bell, which in the radiance swayed and swung —
We could just hear its coarse and iron tongue:
The broad sun sank behind it, and it tolled
In strong and black relief —"What we behold
Shall be the madhouse and its belfry tower,"—
Said Maddalo; "and ever at this hour,
Those who may cross the water hear that bell,
Which calls the maniacs, each one from his cell,
To vespers."
It may be parenthetically observed that one of the few familiar quotations from Shelley's poems occurs in Julian and Maddalo:—
Most wretched men
Are cradled into poetry by wrong:
They learn in suffering what they teach in song.
Byron lent the Shelleys his villa of the Cappuccini near Este, where they spent some weeks in the autumn. Here Prometheus Unbound was begun, and the Lines written among Euganean Hills were composed; and here Clara became so ill that her parents thought it necessary to rush for medical assistance to Venice. They had forgotten their passport; but Shelley's irresistible energy overcame all difficulties, and they entered Venice — only in time, however, for the child to die.
Nearly the whole of the winter was spent at Naples, where Shelley suffered from depression of more than ordinary depth. Mrs. Shelley attributed this gloom to the state of his health; but Medwin tells a strange story, which, if it is not wholly a romance, may better account for the poet's melancholy. He says that so far back as the year 1816, on the night before his departure from London, "a married lady, young, handsome, and of noble connexions," came to him, avowed the passionate love she had conceived for him, and proposed that they should fly together.19 He explained to her that his hand and heart had both been given irrevocably to another, and, after the expression of the most exalted sentiments on both sides, they parted. She followed him, however, from place to place; and without intruding herself upon his notice, found some consolation in remaining near him. Now she arrived at Naples; and at Naples she died. The web of Shelley's life was a wide one, and included more destinies than his own. [Godwin, as we have reason to believe, attributed the suicide of Fanny Imlay to her hopeless love for Shelley; and the tale of Harriet has been already told.] Therefore there is nothing absolutely improbable in Medwin's story, especially when we remember what Hogg half-humorously tells us about Shelley's attraction for women in London. At any rate, the excessive wretchedness of the lyrics written at Naples can hardly be accounted for by the "constant and poignant physical sufferings" of which Mrs. Shelley speaks, since these were habitual to him. She was herself, moreover, under the impression that he was concealing something from her, and we know from her own words in another place that his "fear to wound the feelings of others" often impelled him to keep his deepest sorrows to himself.20
All this while his health was steadily improving. The menace of consumption was removed; and though he suffered from severe attacks of pain in the side, the cause of this persistent malady does not seem to have been ascertained. At Naples he was under treatment for disease of the liver. Afterwards, his symptoms were ascribed to nephritis; and it is certain that his greater or less freedom from uneasiness varied with the quality of the water he drank. He was, for instance, forced to eschew the drinking water of Ravenna, because it aggravated his symptoms; while Florence, for a similar reason, proved an unsuitable residence. The final settlement of the Shelleys at Pisa seems to have been determined by the fact that the water of that place agreed with him. That the spasms which from time to time attacked him were extremely serious, is abundantly proved by the testimony of those who lived with him at this period, and by his own letters. Some relief was obtained by mesmerism, a remedy suggested by Medwin; but the obstinacy of the torment preyed upon his spirits to such an extent, that even during the last months of his life we find him begging Trelawny to procure him prussic acid as a final and effectual remedy for all the ills that flesh is heir to. It may be added that mental application increased the mischief, for he told Leigh Hunt that the composition of The Cenci had cost him a fresh seizure. Yet though his sufferings were indubitably real, the eminent physician, Vaccà, could discover no organic disease; and possibly Trelawny came near the truth when he attributed Shelley's spasms to insufficient and irregular diet, and to a continual over-taxing of his nervous system.
Mrs. Shelley states that the change from England to Italy was in all respects beneficial to her husband. She was inclined to refer the depression from which he occasionally suffered, to his solitary habits; and there are several passages in his own letters which connect his melancholy with solitude. It is obvious that when he found himself in the congenial company of Trelawny, Williams, Medwin, or the Gisbornes, he was simply happy; and nothing could be further from the truth than to paint him as habitually sunk in gloom. On the contrary, we hear quite as much about his high spirits, his "Homeric laughter," his playfulness with children, his readiness to join in the amusements of his chosen circle, and his incomparable conversation, as we do about his solitary broodings, and the seasons when pain or bitter memories over-cast his heaven. Byron, who had some right to express a judgment in such a matter, described him as the most companionable man under the age of thirty he had ever met with. Shelley rode and practised pistol-shooting with his brother bard, sat up late to talk with him, enjoyed his jokes, and even betted with him on one occasion marked by questionable taste. All this is quite incompatible with that martyrdom to persecution, remorse, or physical suffering, with which it has pleased some romantic persons to invest the poet. Society of the ordinary kind he hated. The voice of a stranger, or a ring at the house-bell, heard from afar with Shelley's almost inconceivable quickness of perception, was enough to make him leave the house; and one of his prettiest poems is written on his mistaking his wife's mention of the Aziola, a little owl common enough in Tuscany, for an allusion to a tiresome visitor. This dislike for intercourse with commonplace people was the source of some disagreement between him and Mrs. Shelley, and kept him further apart from Byron than he might otherwise have been. In a valuable letter recently published by Mr. Garnett, he writes:—"I detest all society — almost all, at least — and Lord Byron is the nucleus of all that is hateful and tiresome in it." And again, speaking about his wife to Trelawny, he said:—"She can't bear solitude, nor I society — the quick coupled with the dead."
In the year 1818-19 the Shelleys had no friends at all in Italy, except Lord Byron at Venice, and Mr. and Mrs. John Gisborne at Leghorn. Mrs. Gisborne had been a friend of Mary Wollstonecraft and Godwin. She was a woman of much cultivation, devoid of prejudice, and, though less enthusiastic than Shelley liked, quite capable of appreciating the inestimable privilege of his acquaintance. Her husband, to use a now almost obsolete phrase, was a scholar and a gentleman. He shared his wife's enlightened opinions, and remained stanch through good and ill report to his new friends. At Rome and Naples they knew almost no one. Shelley's time was therefore passed in study and composition. In the previous summer he had translated the Symposium of Plato, and begun an essay on the Ethics of the Greeks, which remains unluckily a fragment. Together with Mary he read much Italian literature, and his observations on the chief Italian poets form a valuable contribution to their criticism. While he admired the splendour and invention of Ariosto, he could not tolerate his moral tone. Tasso struck him as cold and artificial, in spite of his "delicate moral sensibility." Boccaccio he preferred to both; and his remarks on this prose-poet are extremely characteristic. "How much do I admire Boccaccio! What descriptions of nature are those in his little introductions to every new day! It is the morning of life stripped of that mist of familiarity which makes it obscure to us. Boccaccio seems to me to have possessed a deep sense of the fair ideal of human life, considered in its social relations. His more serious theories of love agree especially with mine. He often expresses things lightly too, which have serious meanings of a very beautiful kind. He is a moral casuist, the opposite of the Christian, stoical, ready-made, and worldly system of morals. Do you remember one little remark, or rather maxim of his, which might do some good to the common, narrow-minded conceptions of love — 'Bocca baciata non perde ventura; anzi rinnuova, come fa la luna'?" Dante and Petrarch remained the objects of his lasting admiration, though the cruel Christianity of the Inferno seemed to him an ineradicable blot upon the greatest of Italian poems. Of Petrarch's "tender and solemn enthusiasm," he speaks with the sympathy of one who understood the inner mysteries of idealizing love.
It will be gathered from the foregoing quotations that Shelley, notwithstanding his profound study of style and his exquisite perception of beauty in form and rhythm, required more than merely artistic excellences in poetry. He judged poems by their content and spirit; and while he plainly expressed his abhorrence of the didactic manner, he held that art must be moralized in order to be truly great. The distinction he drew between Theocritus and the earlier Greek singers in the Defence of Poetry, his severe strictures on The Two Noble Kinsmen in a letter to Mary (Aug. 20, 1818), and his phrase about Ariosto, "who is entertaining and graceful, and sometimes a poet," illustrate the application of critical canons wholly at variance with the "art for art" doctrine.
While studying Italian, he continued faithful to Greek. Plato was often in his hands, and the dramatists formed his almost inseparable companions. How deeply he felt the art of the Homeric poems, may be gathered from the following extract:—"I congratulate you on your conquest of the Iliad. You must have been astonished at the perpetually increasing magnificence of the last seven books. Homer there truly begins to be himself. The battle of the Scamander, the funeral of Patroclus, and the high and solemn close of the whole bloody tale in tenderness and inexpiable sorrow, are wrought in a manner incomparable with anything of the same kind. The Odyssey is sweet, but there is nothing like this." About this time, prompted by Mrs. Gisborne, he began the study of Spanish, and conceived an ardent admiration for Calderon, whose splendid and supernatural fancy tallied with his own. "I am bathing myself in the light and odour of the starry Autos," he writes to Mr. Gisborne in the autumn of 1820. Faust, too, was a favourite. "I have been reading over and over again Faust, and always with sensations which no other composition excites. It deepens the gloom and augments the rapidity of ideas, and would therefore seem to me an unfit study for any person who is a prey to the reproaches of memory, and the delusions of an imagination not to be restrained." The profound impression made upon him by Margaret's story is expressed in two letters about Retzsch's illustrations:—"The artist makes one envy his happiness that he can sketch such things with calmness, which I only dared look upon once, and which made my brain swim round only to touch the leaf on the opposite side of which I knew that it was figured."
The fruits of this occupation with Greek, Italian, Spanish, and German were Shelley's translations from Homer and Euripides, from Dante, from Calderon's Magico Prodigioso, and from Faust, translations which have never been surpassed for beauty of form and complete transfusion of the spirit of one literature into the language of another. On translation, however, he set but little store, asserting that he only undertook it when he "could do absolutely nothing else," and writing earnestly to dissuade Leigh Hunt from devoting time which might be better spent, to work of subordinate importance.21 The following version of a Greek epigram on Plato's spirit will illustrate his own method of translation:—
Eagle! why soarest thou above that tomb?
To what sublime and star-y-paven home
Floatest thou?
I am the image of swift Plato's spirit,
Ascending heaven:— Athens does inherit
His corpse below.
Some time in the year 1820-21, he composed the Defence of Poetry, stimulated to this undertaking by his friend Peacock's article on poetry, published in the Literary Miscellany.22 This essay not only sets forth his theory of his own art, but it also contains some of his finest prose writing, of which the following passage, valuable alike for matter and style, may be cited as a specimen:—
The functions of the poetical faculty are two-fold; by one it creates new materials of knowledge, and power, and pleasure; by the other it engenders in the mind a desire to reproduce and arrange them according to a certain rhythm and order which may be called the beautiful and the good. The cultivation of poetry is never more to be desired than at periods when, from an excess of the selfish and calculating principle, the accumulation of the materials of external life exceed the quantity of the power of assimilating them to the internal laws of human nature. The body has then become too unwieldy for that which animates it.
Poetry is indeed something divine. It is at once the centre and circumference of knowledge; it is that which comprehends all science, and that to which all science must be referred. It is at the same time the root and blossom of all other systems of thought; it is that from which all spring, and that which adorns all; and that which, if blighted, denies the fruit and the seed, and withholds from the barren world the nourishment and the succession of the scions of the tree of life. It is the perfect and consummate surface and bloom of all things; it is as the odour and the colour of the rose to the texture of the elements which compose it, as the form and splendour of unfaded beauty to the secrets of anatomy and corruption. What were virtue, love, patriotism, friendship — what were the scenery of this beautiful universe which we inhabit; what were our consolations on this side of the grave — and what were our aspirations beyond it, if poetry did not ascend to bring light and fire from those eternal regions where the owl-winged faculty of calculation dare not ever soar? Poetry is not like reasoning, a power to be exerted according to the determination of the will. A man cannot say, "I will compose poetry." The greatest poet even cannot say it; for the mind in creation is as a fading coal which some invisible influence, like an inconstant wind, awakens to transitory brightness; this power arises from within, like the colour of a flower which fades and changes as it is developed, and the conscious portions of our natures are unprophetic either of its approach or its departure. Could this influence be durable in its original purity and force, it is impossible to predict the greatness of the results; but when composition begins, inspiration is already on the decline, and the most glorious poetry that has ever been communicated to the world is probably a feeble shadow of the original conceptions of the poet. I appeal to the greatest poets of the present day, whether it is not an error to assert that the finest passages of poetry are produced by labour and study. The toil and the delay recommended by critics, can be justly interpreted to mean no more than a careful observation of the inspired moments, and an artificial connexion of the spaces between their suggestions by the intertexture of conventional expressions; a necessity only imposed by the limitedness of the poetical faculty itself; for Milton conceived the "Paradise Lost" as a whole before he executed it in portions. We have his own authority also for the muse having "dictated" to him the "unpremeditated song." And let this be an answer to those who would allege the fifty-six various readings of the first line of the "Orlando Furioso." Compositions so produced are to poetry what mosaic is to painting. This instinct and intuition of the poetical faculty is still more observable in the plastic and pictorial arts; a great statue or picture grows under the power of the artist as a child in the mother's womb; and the very mind which directs the hands in formation is incapable of accounting to itself for the origin, the gradations, or the media of the process.
Poetry is the record of the best and happiest moments of the happiest and best minds. We are aware of evanescent visitations of thought and feeling sometimes associated with place or person, sometimes regarding our own mind alone, and always arising unforeseen and departing unbidden, but elevating and delightful beyond all expression: so that even in the desire and the regret they leave, there cannot but be pleasure, participating as it does in the nature of its object. It is as it were the interpenetration of a diviner nature through our own; but its footsteps are like those of a wind over the sea, which the coming calm erases, and whose traces remain only, as on the wrinkled sand which paves it. These and corresponding conditions of being are experienced principally by those of the most delicate sensibility and the most enlarged imagination; and the state of mind produced by them is at war with every base desire. The enthusiasm of virtue, love, patriotism, and friendship, is essentially linked with such emotions; and whilst they last, self appears as what it is, an atom to a universe. Poets are not only subject to these experiences as spirits of the most refined organization, but they can colour all that they combine with the evanescent hues of this ethereal world; a word, a trait in the representation of a scene or a passion, will touch the enchanted chord, and reanimate, in those who have ever experienced these emotions, the sleeping, the cold, the buried image of the past. Poetry thus makes immortal all that is best and most beautiful in the world; it arrests the vanishing apparitions which haunt the interlunations of life, and veiling them, or in language or in form, sends them forth among mankind, bearing sweet news of kindred joy to those with whom their sisters abide — abide, because there is no portal of expression from the caverns of the spirit which they inhabit into the universe of things. Poetry redeems from decay the visitations of the divinity in man.
In the midst of these æsthetic studies, and while producing his own greatest works, Shelley was not satisfied that his genius ought to be devoted to poetry. "I consider poetry," he wrote to Peacock, January 26th, 1819, "very subordinate to moral and political science, and if I were well, certainly I would aspire to the latter; for I can conceive a great work, embodying the discoveries of all ages, and harmonizing the contending creeds by which mankind have been ruled. Far from me is such an attempt, and I shall be content, by exercising my fancy, to amuse myself, and perhaps some others, and cast what weight I can into the scale of that balance which the Giant of Arthegall holds." Whether he was right in the conviction that his genius was no less fitted for metaphysical speculation or for political science than for poetry, is a question that admits of much debate.23 We have nothing but fragments whereby to form a definite opinion — the unfinished Defence of Poetry, the unfinished Essay on a Future State, the unfinished Essay on Christianity, the unfinished Essay on the Punishment of Death, and the scattered Speculations on Metaphysics. None of these compositions justify the belief so confidently expressed by Mrs. Shelley in her Preface to the prose works, that "had not Shelley deserted metaphysics for poetry in his youth, and had he not been lost to us early, so that all his vaster projects were wrecked with him in the waves, he would have presented the world with a complete theory of mind; a theory to which Berkeley, Coleridge, and Kant would have contributed; but more simple, unimpugnable, and entire than the systems of these writers." Their incompleteness rather tends to confirm what she proceeds to state, that the strain of philosophical composition was too great for his susceptible nerves; while her further observation that "thought kindled imagination and awoke sensation, and rendered him dizzy from too great keenness of emotion," seems to indicate that his nature was primarily that of a poet deeply tinctured with philosophical speculation, rather than that of a metaphysician warmed at intervals to an imaginative fervour. Another of her remarks confirms us in this opinion. "He considered these philosophical views of mind and nature to be instinct with the intensest spirit of poetry."24 This is the position of the poet rather than the analyst; and, on the whole, we are probably justified in concluding with Mrs. Shelley, that he followed a true instinct when he dedicated himself to poetry and trained his powers in that direction.25 To dogmatize upon the topic would be worse than foolish. There was something incalculable, incommensurable, and dæmonic in Shelley's genius; and what he might have achieved, had his life been spared and had his health progressively improved, it is of course impossible to say.
In the spring of 1819 the Shelleys settled in Rome, where the poet proceeded with the composition of Prometheus Unbound. He used to write among the ruins of the Baths of Caracalla, not then, as now, despoiled of all their natural beauty, but waving with the Paradise of flowers and shrubs described in his incomparable letter of March the 23rd to Peacock. Rome, however, was not destined to retain them long. On the 7th of June they lost their son William after a short illness. Shelley loved this child intensely, and sat by his bedside for sixty hours without taking rest. He was now practically childless; and his grief found expression in many of his poems, especially in the fragment headed "Roma, Roma, Roma! non è più com' era prima." William was buried in the Protestant cemetery, of which Shelley had written a description to Peacock in the previous December. "The English burying-place is a green slope near the walls, under the pyramidal tomb of Cestius, and is, I think, the most beautiful and solemn cemetery I ever beheld. To see the sun shining on its bright grass, fresh, when we first visited it, with the autumnal dews, and hear the whispering of the wind among the leaves of the trees which have overgrown the tomb of Cestius, and the soil which is stirring in the sun-warm earth, and to mark the tombs, mostly of women and young people who were buried there, one might, if one were to die, desire the sleep they seem to sleep. Such is the human mind, and so it peoples with its wishes vacancy and oblivion."
Escaping from the scene of so much sorrow, they established themselves at the Villa Valsovano, near Leghorn. Here Shelley began and finished The Cenci at the instance of his wife, who rightly thought that he undervalued his own powers as a dramatic poet. The supposed portrait of Beatrice in the Barberini Palace had powerfully affected his imagination, and he fancied that her story would form the fitting subject for a tragedy. It is fortunate for English literature that the real facts of that domestic drama, as recently published by Signor Bertolotti, were then involved in a tissue of romance and legend. During this summer he saw a great deal of the Gisborne family. Mrs. Gisborne's son by a previous marriage, Henry Reveley, was an engineer, and Shelley conceived a project of helping him to build a steamer which should ply between Leghorn and Marseilles. He was to supply the funds, and the pecuniary profit was to be shared by the Gisborne family. The scheme eventually fell through, though Shelley spent a good deal of money upon it; and its only importance is the additional light it throws upon his public and private benevolence. From Leghorn the Shelleys removed in the autumn to Florence, where, on the 12th of November, the present Sir Percy Florence Shelley was born. Here Shelley wrote the last act of Prometheus Unbound, which, though the finest portion of that unique drama, seems to have been an afterthought. In the Cascine outside Florence he also composed the Ode to the West Wind, the most symmetrically perfect as well as the most impassioned of his minor lyrics. He spent much time in the galleries, made notes upon the principal antique statues, and formed a plan of systematic art-study. The climate, however, disagreed with him, and in the month of January, 1820, they took up their abode at Pisa.
1819 was the most important year in Shelley's life, so far as literary production is concerned. Besides The Cenci and Prometheus Unbound, of which it yet remains to speak, this year saw the production of several political and satirical poems — the Masque of Anarchy, suggested by the news of the Peterloo massacre, being by far the most important. Shelley attempted the composition of short popular songs which should stir the English people to a sense of what he felt to be their degradation. But he lacked the directness which alone could make such verses forcible, and the passionate apostrophe to the Men of England in his Masque of Anarchy marks the highest point of his achievement in this style:—
Men of England, Heirs of Glory,
Heroes of unwritten story,
Nurslings of one mighty mother,
Hopes of her, and one another!
Rise, like lions after slumber,
In unvanquishable number,
Shake your chains to earth like dew,
Which in sleep had fall'n on you.
Ye are many, they are few.
Peter Bell the Third, written in this year, and Swellfoot the Tyrant, composed in the following autumn, are remarkable as showing with what keen interest Shelley watched public affairs in England from his exile home; but for my own part, I cannot agree with those critics who esteem their humour at a high rate. The political poems may profitably be compared with his contemporary correspondence; with the letters, for instance, to Leigh Hunt, November 23rd, 1819; and to Mr. John Gisborne, April 10th, 1822; and with an undated fragment published by Mr. Garnett in the Relics of Shelley, page 84. No student of English political history before the Reform Bill can regard his apprehensions of a great catastrophe as ill-founded. His insight into the real danger to the nation was as penetrating as his suggestion of a remedy was moderate. Those who are accustomed to think of the poet as a visionary enthusiast, will rub their eyes when they read the sober lines in which he warns his friend to be cautious about the security offered by the English Funds. Another letter, dated Lerici, June 29, 1822, illustrates the same practical temper of mind, the same logical application of political principles to questions of public economy.
That Prometheus Unbound and The Cenci should have been composed in one and the same year must be reckoned among the greatest wonders of literature, not only because of their sublime greatness, but also because of their essential difference. Æschylus, it is well-known, had written a sequel to his Prometheus Bound, in which he showed the final reconciliation between Zeus, the oppressor, and Prometheus, the champion, of humanity. What that reconciliation was, we do not know, because the play is lost, and the fragments are too brief for supporting any probable hypothesis. But Shelley repudiated the notion of compromise. He could not conceive of the Titan "unsaying his high language and quailing before his successful and perfidious adversary." He, therefore, approached the theme of liberation from a wholly different point of view. Prometheus in his drama is the humane vindicator of love, justice, and liberty, as opposed to Jove, the tyrannical oppressor, and creator of all evil by his selfish rule. Prometheus is the mind of man idealized, the spirit of our race, as Shelley thought it made to be. Jove is the incarnation of all that thwarts its free development. Thus counterposed, the two chief actors represent the fundamental antitheses of good and evil, liberty and despotism, love and hate. They give the form of personality to Shelley's Ormuzd-Ahriman dualism already expressed in the first canto of Laon and Cythna; but instead of being represented on the theatre of human life, the strife is now removed into the region of abstractions, vivified by mythopoetry. Prometheus resists Jove to the uttermost, endures all torments, physical and moral, that the tyrant plagues him with, secure in his own strength and calmly expectant of an hour which shall hurl Jove from heaven, and leave the spirit of good triumphant. That hour arrives; Jove disappears; the burdens of the world and men are suddenly removed; a new age of peace and freedom and illimitable energy begins; the whole universe partakes in the emancipation; the spirit of the earth no longer groans in pain, but sings alternate love-songs with his sister orb, the moon; Prometheus is re-united in indissoluble bonds to his old love, Asia. Asia, withdrawn from sight during the first act, but spoken of as waiting in her exile for the fated hour, is the true mate of the human spirit. She is the fairest daughter of Earth and Ocean. Like Aphrodite, she rises in the Ægean near the land called by her name; and in the time of tribulation she dwells in a far Indian vale. She is the Idea of Beauty incarnate, the shadow of the Light of Life which sustains the world and enkindles it with love, the reality of Alastor's vision, the breathing image of the awful loveliness apostrophized in the Hymn to Intellectual Beauty, the reflex of the splendour of which Adonais was a part. At the moment of her triumph she grows so beautiful that Ione her sister cannot see her, only feels her influence. The essential thought of Shelley's creed was that the universe is penetrated, vitalized, made real by a spirit, which he sometimes called the Spirit of Nature, but which is always conceived as more than Life, as that which gives its actuality to Life, and lastly as Love and Beauty. To adore this spirit, to clasp it with affection, and to blend with it, is, he thought, the true object of man. Therefore, the final union of Prometheus with Asia is the consummation of human destinies. Love was the only law Shelley recognized. Unterrified by the grim realities of pain and crime revealed in nature and society, he held fast to the belief that, if we could but pierce to the core of things, if we could but be what we might be, the world and man would both attain to their perfection in eternal love. What resolution through some transcendental harmony was expected by Shelley for the palpable discords in the structure of the universe, we hardly know. He did not give his philosophy systematic form: and his new science of love remains a luminous poetic vision — nowhere more brilliantly set forth than in the "sevenfold hallelujahs and harping symphonies" of this, the final triumph of his lyrical poetry.
In Prometheus, Shelley conceived a colossal work of art, and sketched out the main figures on a scale of surpassing magnificence. While painting in these figures, he seems to reduce their proportions too much to the level of earthly life. He quits his god-creating, heaven-compelling throne of mythopœic inspiration, and descends to a love-story of Asia and Prometheus. In other words, he does not sustain the visionary and primeval dignity of these incarnated abstractions; nor, on the other hand, has he so elaborated their characters in detail as to give them the substantiality of persons. There is therefore something vague and hollow in both figures. Yet in the subordinate passages of the poem, the true mythopœic faculty — the faculty of finding concrete forms for thought, and of investing emotion with personality — shines forth with extraordinary force and clearness. We feel ourselves in the grasp of a primitive myth-maker while we read the description of Oceanus, and the raptures of the Earth and Moon.
A genuine liking for Prometheus Unbound may be reckoned the touch-stone of a man's capacity for understanding lyric poetry. The world in which the action is supposed to move, rings with spirit voices; and what these spirits sing, is melody more purged of mortal dross than any other poet's ear has caught, while listening to his own heart's song, or to the rhythms of the world. There are hymns in Prometheus, which seem to realize the miracle of making words, detached from meaning, the substance of a new ethereal music; and yet although their verbal harmony is such, they are never devoid of definite significance for those who understand. Shelley scorned the æsthetics of a school which finds "sense swooning into nonsense" admirable. And if a critic is so dull as to ask what "Life of Life! thy lips enkindle" means, or to whom it is addressed, none can help him any more than one can help a man whose sense of hearing is too gross for the tenuity of a bat's cry. A voice in the air thus sings the hymn of Asia at the moment of her apotheosis:—
Life of Life! thy lips enkindle
With their love the breath between them;
And thy smiles before they dwindle
Make the cold air fire; then screen them
In those looks where whoso gazes
Faints, entangled in their mazes.
Child of Light! thy limbs are burning
Through the vest which seems to hide them,
As the radiant lines of morning
Through the clouds, ere they divide them;
And this atmosphere divinest
Shrouds thee wheresoe'er thou shinest.
Fair are others; none beholds thee.
But thy voice sounds low and tender,
Like the fairest, for it folds thee
From the sight, that liquid splendour,
And all feel, yet see thee never,
As I feel now, lost for ever!
Lamp of Earth! where'er thou movest
Its dim shapes are clad with brightness,
And the souls of whom thou lovest
Walk upon the winds with lightness,
Till they fail, as I am failing,
Dizzy, lost, yet unbewailing!
It has been said that Shelley, as a landscape painter, is decidedly Turneresque; and there is much in Prometheus Unbound to justify this opinion. The scale of colour is light and aerial, and the darker shadows are omitted. An excess of luminousness seems to be continually radiated from the objects at which he looks; and in this radiation of many-coloured lights, the outline itself is apt to be a little misty. Shelley, moreover, pierced through things to their spiritual essence. The actual world was less for him than that which lies within it and beyond it. "I seek," he says himself, "in what I see, the manifestation of something beyond the present and tangible object." For him, as for the poet described by one of the spirit voices in Prometheus, the bees in the ivy-bloom are scarcely heeded; they become in his mind —
Forms more real than living man,
Nurslings of immortality.
And yet who could have brought the bees, the lake, the sun, the bloom, more perfectly before us than that picture does?26 What vignette is more exquisitely coloured and finished than the little study of a pair of halcyons in the third act?27 Blake is perhaps the only artist who could have illustrated this drama. He might have shadowed forth the choirs of spirits, the trailing voices and their thrilling songs, phantasmal Demogorgon, and the charioted Hour. Prometheus, too, with his "flowing limbs," has just Blake's fault of impersonation — the touch of unreality in that painter's Adam.
Passing to The Cenci, we change at once the moral and artistic atmosphere. The lyrical element, except for one most lovely dirge, is absent. Imagery and description are alike sternly excluded. Instead of soaring to the empyrean, our feet are firmly planted on the earth. In exchange for radiant visions of future perfection, we are brought into the sphere of dreadful passions — all the agony, endurance, and half-maddened action, of which luckless human innocence is capable. To tell the legend of Beatrice Cenci here, is hardly needed. Her father, a monster of vice and cruelty, was bent upon breaking her spirit by imprisonment, torture, and nameless outrage. At last her patience ended; and finding no redress in human justice, no champion of her helplessness in living man, she wrought his death. For this she died upon the scaffold, together with her step-mother and her brothers, who had aided in the execution of the murder. The interest of The Cenci, and it is overwhelmingly great, centres in Beatrice and her father; from these two chief actors in the drama, all the other characters fall away into greater or less degrees of unsubstantiality. Perhaps Shelley intended this — as the maker of a bas-relief contrives two or three planes of figures for the presentation of his ruling group. Yet there appears to my mind a defect of accomplishment, rather than a deliberate intention, in the delineation of Orsino. He seems meant to be the wily, crafty, Machiavellian reptile, whose calculating wickedness should form a contrast to the dæmonic, reckless, almost maniacal fiendishness of old Francesco Cenci. But this conception of him wavers; his love for Beatrice is too delicately tinted, and he is suffered to break down with an infirmity of conscience alien to such a nature. On the other hand the uneasy vacillations of Giacomo, and the irresolution, born of feminine weakness and want of fibre, in Lucrezia, serve to throw the firm will of Beatrice into prominent relief; while her innocence, sustained through extraordinary suffering in circumstances of exceptional horror — the innocence of a noble nature thrust by no act of its own but by its wrongs beyond the pale of ordinary womankind — is contrasted with the merely childish guiltlessness of Bernardo. Beatrice rises to her full height in the fifth act, dilates and grows with the approach of danger, and fills the whole scene with her spirit on the point of death. Her sublime confidence in the justice and essential rightness of her action, the glance of self-assured purity with which she annihilates the cut-throat brought to testify against her, her song in prison, and her tender solicitude for the frailer Lucrezia, are used with wonderful dramatic skill for the fulfilment of a feminine ideal at once delicate and powerful. Once and once only does she yield to ordinary weakness; it is when the thought crosses her mind that she may meet her father in the other world, as once he came to her on earth.
Shelley dedicated The Cenci to Leigh Hunt, saying that he had striven in this tragedy to cast aside the subjective manner of his earlier work, and to produce something at once more popular and more concrete, more sober in style, and with a firmer grasp on the realities of life. He was very desirous of getting it acted, and wrote to Peacock requesting him to offer it at Covent Garden. Miss O'Neil, he thought, would play the part of Beatrice admirably. The manager, however, did not take this view; averring that the subject rendered it incapable of being even submitted to an actress like Miss O'Neil. Shelley's self-criticism is always so valuable, that it may be well here to collect what he said about the two great dramas of 1819. Concerning The Cenci he wrote to Peacock:—"It is written without any of the peculiar feelings and opinions which characterise my other compositions; I having attended simply to the impartial development of such characters, as it is probable the persons represented really were, together with the greatest degree of popular effect to be produced by such a development." "Cenci is written for the multitude, and ought to sell well." "I believe it singularly fitted for the stage." "The Cenci is a work of art; it is not coloured by my feelings, nor obscured by my metaphysics. I don't think much of it. It gave me less trouble than anything I have written of the same length." Prometheus, on the other hand, he tells Ollier, "is my favourite poem; I charge you, therefore, specially to pet him and feed him with fine ink and good paper"— which was duly done. Again:—"For Prometheus, I expect and desire no great sale; Prometheus was never intended for more than five or six persons; it is in my judgment of a higher character than anything I have yet attempted, and is perhaps less an imitation of anything that has gone before it; it is original, and cost me severe mental labour." Shelley was right in judging that The Cenci would be comparatively popular; this was proved by the fact that it went through two editions in his lifetime. The value he set upon Prometheus as the higher work, will hardly be disputed. Unique in the history of literature, and displaying the specific qualities of its author at their height, the world could less easily afford to lose this drama than The Cenci, even though that be the greatest tragedy composed in English since the death of Shakespere. For reasons which will be appreciated by lovers of dramatic poetry, I refrain from detaching portions of these two plays. Those who desire to make themselves acquainted with their author's genius, must devote long and patient study to the originals in their entirety.
Prometheus Unbound, like the majority of Shelley's works, fell still-born from the press. It furnished punsters with a joke, however, which went the round of several papers; this poem, they cried, is well named, for who would bind it? Of criticism that deserves the name, Shelley got absolutely nothing in his lifetime. The stupid but venomous reviews which gave him occasional pain, but which he mostly laughed at, need not now be mentioned. It is not much to any purpose to abuse the authors of mere rubbish. The real lesson to be learned from such of them as may possibly have been sincere, as well as from the failure of his contemporaries to appreciate his genius — the sneers of Moore, the stupidity of Campbell, the ignorance of Wordsworth, the priggishness of Southey, or the condescending tone of Keats — is that nothing is more difficult than for lesser men or equals to pay just homage to the greatest in their lifetime. Those who may be interested in studying Shelley's attitude toward his critics, should read a letter addressed to Ollier from Florence, October 15, 1819, soon after he had seen the vile attack upon him in the Quarterly, comparing this with the fragments of an expostulatory letter to the Editor, and the preface to Adonais.28 It is clear that, though he bore scurrilous abuse with patience, he was prepared if needful to give blow for blow. On the 11th of June, 1821, he wrote to Ollier:—"As yet I have laughed; but woe to those scoundrels if they should once make me lose my temper!" The stanzas on the Quarterly in Adonais, and the invective against Lord Eldon, show what Shelley could have done if he had chosen to castigate the curs. Meanwhile the critics achieved what they intended. Shelley, as Trelawny emphatically tells us, was universally shunned, coldly treated by Byron's friends at Pisa, and regarded as a monster by such of the English in Italy as had not made his personal acquaintance. On one occasion he is even said to have been knocked down in a post-office by some big bully, who escaped before he could obtain his name and address; but this is one of the stories rendered doubtful by lack of precise details.
17 How many copies were put in circulation is not known. There must certainly have been many more than the traditional three; for when I was a boy at Harrow, I picked up two uncut copies in boards at a Bristol bookshop, for the price of 2s. 6d. a piece.
18 See Note on Poems of 1819, and compare the lyric "The billows on the beach."
19 Medwin's Life of Shelley, vol. i. 324. His date, 1814, appears from the context to be a misprint.
20 Note on the Revolt of Islam.
21 Letter from Florence, Nov., 1819.
22 See Letter to Ollier, Jan. 20, 1820, Shelley Memorials, p. 135.
23 See Mrs. Shelley's note on the Revolt of Islam, and the whole Preface to the Prose Works.
24 Note on Prometheus.
25 Note on Revolt of Islam.
26 Forman, vol. ii. p. 181.
27 Ibid. p. 231.
28 Shelley Memorials, p. 121. Garnett's Relics of Shelley, pp. 49, 190. Collected Letters, p. 147, in Moxon's Edition of Works in one vol. 1840.
Last updated Friday, December 26, 2014 at 14:34


text:
The Magazine
Indentured Families
Social conservatives and the GOP: Can this marriage be saved?
Mar 27, 2006, Vol. 11, No. 26 • By ALLAN CARLSON
IN THE INTERNAL POLITICS OF the Republican coalition, some members are consistently more equal than others. In particular, where the interests of the proverbial "Sam's Club Republicans" collide with the interests of the great banks, the Sam's Club set might as well pile into the family car and go home.
Consider, to take one recent instance, the Bankruptcy Abuse Prevention and Consumer Protection Act, enacted last year, after a long delay, with support from congressional Republicans. A controversial clause that would have prevented abortion protesters from filing for bankruptcy to avoid paying court-ordered fines had stalled the measure. After the Senate rejected this provision, GOP leaders drove the bill through both houses of Congress and gained an enthusiastic signature from President George W. Bush.
In a nutshell, the new law makes a "clean start" after filing for bankruptcy much more difficult for families with at least one wage earner. Instead, most affected households will find themselves essentially indentured to a bank or credit card bureau, paying off their debt for years to come. "A new form of feudalism," one critic calls it.
In truth, some had abused the old law, turning repeated bankruptcy filings into a kind of circus. A tightening on this side probably made sense. Significantly, though, the new law made no real changes on the lenders' side, measures that might have reined in an increasingly predatory credit industry. It is common knowledge, for example, that credit card companies intentionally urge financially troubled families to borrow still more money, because they can charge these households exorbitant interest rates. As one Citibank executive has candidly observed, "They are the ones who provide most of our profit." Late payment fees, another favored industry device, reportedly deliver over 30 percent of credit card financing revenue. Assurances by lawmakers that the new law will bring credit card interest rates down fly in the face of these more fundamental corporate strategies.
True, in the context of America's new debt-driven economy, this treatment of financially troubled families may constitute "good business" (even if under older ethical standards it's the equivalent of offering a barrel of whiskey to an alcoholic). More fundamentally, though, the GOP's opting for an outcome that's good for Citibank's profits while disregarding the effects on families should cause no surprise.
SOME HISTORY may help here. The modern "family issues" are actually about a century old. The first openly "pro-family" president was a Republican, Theodore Roosevelt. Between 1900 and about 1912, he wrote and spoke often, and eloquently, about the dangers of a rising divorce rate and a falling birth rate. He celebrated motherhood and fatherhood as the most important human tasks, and described the true marriage as "a partnership of the soul, the spirit and the mind, no less than of the body." He blasted as "foes of our household" the birth control movement, equity feminism, eugenics, and liberal Christianity.
However, the Rough Rider was the only prominent Republican of his time to think and talk this way. The dominant wing of the GOP tilted in favor of the banks, the great industries, and--perhaps more surprisingly--the feminist movement. Indeed, as early as 1904, the National Association of Manufacturers had formed an alliance with the feminists, for they shared an interest in moving women out of their homes and into the paid labor market. When the feminists reorganized as the National Woman's party in 1917, the manufacturers' association apparently provided secret financial support. More openly, Republican leaders embraced the feminists' proposed Equal Rights Amendment, first advanced in Congress in 1923. The GOP was also the first major party to endorse the ERA in its platform.

subset: commoncrawl


text:
Nasty Gal Moves into New L.A. Home
Nasty Gal is growing! The e-tailer will be moving into a massive 50,000 square ft. new office space in downtown Los Angeles. That is five times the size of its current office.
Nasty Gal's sales have been on a steady upward climb as their popularity has grown. Sales went from $6.5 million in 2010 to $28 million last year, and as much as $115 million by the end of this year. Nasty Gal also redesigned their website and debuted an in-house label this year.
Nasty Gal's website has this to say about the company:
"Who is a Nasty Gal? We like to think of her as the coolest girl in the room' pulling off whatever wildly unique piece that suits the mood. At Nasty Gal, we are our customer. Because of this, our job is an easy one: inspire and be inspired by cool girls the world over.
Our buyers search high and low for pieces you won't find anywhere else-be it from the Rose Bowl Flea Market or the racks at showrooms. Our shop is stocked weekly with both handpicked vintage and a highly curated selection of up-and-coming designers, giving you not just what the fashion doctor ordered, but truly unique items that can't be found elsewhere."
The name Nasty Gal was inspired by the song and album "Nasty Gal" by Betty Davis. As their website says she was, "the patron saint of badass women, was known for her unapologetically sexy funk music which comprises our vision of femininity-complete with lamé platform thigh-high boots."
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December 19, 2014
About Author
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- CONSTELLATIONS' Jake Gyllenhaal and Ruth Wilson Set for THEATER TALK This Weekend


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Product Specs
Product Description
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B3D GTX-480 Thermal Study
View Single Post
It's a wittle baby!
Join Date: Jan 2007
Location: United States
Posts: 4,554
Re: B3D GTX-480 Thermal Study
Ugh... guess I get to play devil's advocate on this one.
1. Gigantic and amazing cooling solution to cool the sucker down.
2. Extremely high power usage.
3. High heat output = higher cooling costs in the room.
4. Exposed HSF = heat back in the case = hotter components.
As well done as the article is, I'm getting sick of reading articles trying to justify the amount of heat that this thing produces. At one time not too many years ago,
was considered an absolutely ludicrous cooling solution for a video card. Now we have
I'm all in the name of advancing technology, but this card is just pushing the limit too far. Exposed heat pipes that get so hot that they can burn you??? More power usage than a HD 5970??? The list goes on...
I sound like I'm trying to justify my HD 5870. I know. But why does Nvidia believe that this sort of extreme heat and power usage is acceptable for retail usage? And why do so many people continually stand behind it saying it's an amazing product? Don't get me wrong, the performance is quite good from a single-chip solution, but at what cost? The 8800 GTX wasn't that bad, and lets face it, that thing was a pretty hot (temp) card. The 6800 series was quite awesome too, but it required a smaller 2 slot cooling solution in its most powerful form, and it got up into the 70c range temperature wise. It didn't get into the 90s.
These articles are hilarious. How can you justify those temperatures? According to them, the 5870 gets up to within 5C of the GTX 480... Look at the difference in cooling solutions! The GTX 480 has 4 exposed heatpipes. The HD 5870 has 1/2 the upper slot for exhaust. Why are the temperatures of each of these cards being compared? If you put the GTX 480's cooling solution on the HD 5870, the 5870 would probably hit full load in the 60's or low 70's max. Likewise, if you put the HD 5870's cooling solution on the GTX 480, you'd have a card with a fan that never shuts up because it's constantly spinning up to cool the card down.
Once again, I fail to see reasoning behind this article. Heat is still heat, and the GTX 480 creates a lot of it. No amount of testing or writing is going to change that. Only a revision of the architecture will.
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Danger level: High
What is it?
Necrotizing fasciitis is a type of infection that rapidly destroys skin and the tissue beneath it and can lead to death.
Who gets it?
It's quite rare – Since 1883 there have only been 500 known cases in the United States. It's about 2-3 times as common in men than women.
It can happen to anyone, but might be more common if you have any of these:
- A problem with your immune system
- A chronic disease, such as diabetes, cancer or liver or kidney disease.
- If you have cuts – such as wounds from operations.
- If you've had chickenpox lately, or other viral infections with a rash.
- You take steroids (not the ones used for growing, the ones used to treat a disease).
What causes it?
Necrotizing fasciitis is usually caused by a germ called group A streptococci, (frequently called the "flesh eating bacteria" in relation to this) and sometimes by others.
That bacteria can cause "regular" skin infections. Sometimes, though, a simple damage to the skin (such as a bruise or muscle strain) can cause the germ to enter the area. It then releases poisons (called toxins) that damage the soft tissue below the skin, and then spread rapidly to destroy muscle coverings. Along the way it causes death of the tissue.
The germ can also spread through the blood to the lungs and other organs, which leads to failure of these organs and death.
The progression of all of these can happen in a matter of hours!
Streptococcus – the germ wreaking all the havoc here. If you want to see how necrotizing fasciitis looks like, click here Warning: This photograph contains graphic details that may be difficult to watch. Proceed at your own risk. (necrotizing fasciitis photo by Piotr Smuszkiewicz, Iwona Trojanowska and Hanna Tomczak).
How does it feel?
There will be great pain in the area involved – What's common here is that the pain doesn't fit what is seen on the outside – the skin might look fine, but the pain will be very severe. Fever might be present, as well as nausea and vomiting. Within hours, the area will be swollen and tender to touch. Then it will become red, usually with blisters. Later the skin becomes blue, brown or black.
Since the germ spreads through the blood, within hours infected people will enter shock and finally death, if not treated.
How is it discovered?
The rate that the infection spreads will be a clue to the doctor to the fact that this is necrotizing fasciitis. Sometimes, a sample form the skin will be taken to identify the germ. Sometimes an x-ray picture of a CT or MRI scan will be taken.
How is it treated?
Treatment is done by surgery. In the surgery, the doctor will take out the dead tissue, to keep the infection from spreading. Along with that, antibiotics are given against the germ.
Another thing that can be done is hyperbaric oxygen treatment – This means putting the patient in a special container which contains high levels of oxygen. Why does this help?
- Sometimes the germs causing this can't live with oxygen, and this will simply kill them.
- The infection lowers the level of oxygen in the infected tissue, and white blood cells (the cells responsible for fighting infections) can't fight the infection properly. By increasing the oxygen level in the tissues, these cells can fight better.
What happens after treatment?
About 30% of people will die because of this infection (much more if it's not treated on time).
The bottom line: How do I avoid it?
Here are a few things you can do to avoid getting this rare, yet horrible, disease:
- Wash your hands often – This will help prevent not just this, but other infections as well.
- Keep cuts, scrapes, burns, sores, bites or surgical wounds clean.
- Watch for signs of infection: Pain, swelling, pus, heat or redness near a wound or fever without an obvious cause. If any of these appear, seek medical attention immediately. Do not take any anti-inflammatory drugs such as ibuprofen, since they might reduce the symptoms and delay discovery of the infection on time.
- If you recently strained a muscle or sprained a joint and you develop fever, chills and sever pain, seek medical care immediately.
- In rare cases, the germ can spread from one person to another through close contact such as kissing. If you have been in close contact with someone who develops necrotizing fasciitis, your doctor might recommend that you take an antibiotic.
Here's a story of a survivor. Do you have a story of your own to share? You can do it in the comments.


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CMT Crossroads Taped Tonight
Taylor Swift will realize yet another dream come true when she comes face to face with her favorite rockers, Def Leppard, today (Monday, October 6th) in Nashville. The teenager and the legendary band will tape the newest installment of CMT Crossroads tonight before an invitation-only audience.
The pairing was not something created by the show's producer, but instead by Swift herself, as she told us: "I've wanted to do Crossroads with Def Leppard since I heard about Crossroads. I always thought, 'That would be so fun to get these crazy British guys with these awesome songs and they're rock stars and my band would freak out.'It never occurred to me that we'd actually get to do it."
Swift took the bull by the horns and asked one of the members of Def Leppard about doing the show with her. "I actually made a phone call to the drummer a year ago. I was on tour with Tim (McGraw) and Faith (Hill) and I heard through the grapevine that Tim's tour manager was Rick Allen, the drummer's brother, so I kept bothering this guy, like bugging him non-stop, like, 'Hey, can I have a call with your brother? I need to talk to him about something. Can I please call him? And one night he came on my tour bus and he was like, 'I got someone on the phone for you,' and it was Rick Allen."
Swift said that Allen had no idea who she was as an artist when she first contacted him.
CMT Crossroads featuring Swift and Def Leppard will premiere on the cable network sometime next month.
CMT Hot Dish has an interview with Taylor. It's a nice reading.


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The Global FlyFisher - The Largest and Best Place to go for Online Fly Fishing and Fly Tying
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1912 $10 MS67 PCGS. Ex: Kruthoffer. Like the 1911, the 1912 is a more available early P-mint that is often used for type pu...
2006 April (CSNS) Signature Auction #404
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The typical 1912 is sharper struck on the obverse than the reverse. That is the case with this coin. The obverse displays strong definition on the hair of the Indian and the headdress, but there is a slight loss of detail on the front edge of the eagle's wing. The finely granular surfaces have an overlay of soft mint frost, and each side shows rich, deep reddish coloration, with a slight intermingling of lilac on the reverse and even fainter portions of that same color on the obverse. Close examination with a magnifier reveals a few tiny marks, but the only one that might be useful for tracing the pedigree of this important coin is an angling mark below the first A in AMERICA.
Ex: Kruthoffer Collection (Paramount, 9/81), lot 51, where it brought $4,800.
Indian Eagle Selections from the Dr. Steven L. Duckor Collection.(Registry values: N1) (NGC ID# 28GW, PCGS# 8871)
View all of [Indian Eagle Selections from the Dr. Steven L. Duckor Collection]
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Revised Edition by James L. Halperin, Mark R. Borckardt, Mark Van Winkle, Jon Amato, and Gregory J. Rohan, with special contributor David W. Akers
The Coinage of Augustus Saint-Gaudens is an issue-by-issue examination of these two artistically inspired series of gold coins.
Each date and mintmark is reviewed with up-to-date information, much of which has never been previously published. The book is based on
two extraordinary collections: The Phillip H. Morse collection and the Dr. and Mrs. Steven L. Duckor collection.
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Ubuntu 11.10 drivers
I never thought I'd ever use Linux but I gave it a try on my old laptop. I'm running the latest Ubuntu 64 bit version on an HP dv4-1225dx and everything is golden except for one thing; the mic isn't working at all. I already checked the mute settings and anything that's a simple fix. I've googled for hours on end since this morning, and I still can't find anything that will work in the terminal or in a download. Can anybody give me some help with this? I'm really trying to get the mic to work since I'm giving this laptop to my gf while I deploy so we can Skype together. Please help me, I'm still on the Linux learning curve and slowly getting it. I have until Monday to get this fixed :/.
Re: Ubuntu 11.10 drivers
23 views and no clue? Can anyone please give me any insight? Help me nvnews, you're my only hope.
Re: Ubuntu 11.10 drivers
Can you try loading off a live distro for 11.04 and 11.10? That would be a quick way to see if there was a difference between the distros. I don't have a ton of experience with Linux Audio (outside of crying over my Creative cards years ago), but we'll see what we can do for you.
Re: Ubuntu 11.10 drivers
I'll have to get an 11.04 distro. I've read a lot of posts of people having the same problem in 11.04 where their built in mic won't work on the same laptop. Then they post about some dell-m4-1 fix worked for them, but they don't explain how it works. I've read about people doing things with PULSEAUDIO and ALSA drivers, but they don't explain anything at all, they just post that they fixed it.
This is where I found the closest to fixing my issue, but the person doesn't really explain to where I can understand it. Link
Re: Ubuntu 11.10 drivers
Open a terminal and do these. FYI - I don't remember if the "install" command is required before the "--reinstall". It's been a while. :o
sudo apt-get update
sudo apt-get install --reinstall ALSA
sudo apt-get install --reinstall pulseaudio
sudo gedit /etc/modprobe.d/alsa-base.conf
This will open that file in gedit (kind of like notepad, but better) for you. Add the line at the bottom, save and close.
options snd-hda-intel model=dell-m4-1
Lastly, in the terminal again he used what you see, enter each line followed by enter,.
killall pulseaudio
sudo alsa force-reload
pulseaudio -D
Now cross fingers <-very important :lol:
Re: Ubuntu 11.10 drivers
I type sudo-aptget update in the terminal and after all the downloading, I get
W: failed to fetch http://ppa.launchpad.net/ubuntu-audi...source/Sources 404 Not Found
W: failed to fetch http://ppa.launchpad.net/ubuntu-audi...md64/Packages/ 404 Not Found
W: failed to fetch http://ppa.launchpad.net/ubuntu-audi...-i386/Packages 404 Not Found
E: Some index files failed to download. They have been ignored, or old ones used instead.
Should I do something else or keep going in terminal?
Okay, I went on ahead and continued with the commands in Terminal and when I entered pulse audio -D, get:
E: [pulseaudio] main.c: Daemon startup failed.
Re: Ubuntu 11.10 drivers
Do you have synaptic package manager installed? It's much easier to find what you're looking for.
Re: Ubuntu 11.10 drivers
I'm not too sure. I'll check when I get home. I'm at my girlfriends house and the charger just gave out on the linux lappy, luckily I brought my MBP. I googled one of the 404 error that I got and people are saying that the dropbox server isn't updated.
Re: Ubuntu 11.10 drivers
I have a stock install of 11.10 myself, not tweaked at all and my mic seems to be ok, so it has to be a simple reason why yours doesn't.
Thing is I haven't kept up on linux recently, so i'm not sure I can offer you a whole lot of help. :o
Re: Ubuntu 11.10 drivers
Any help is appreciated dude. It's bee a while since I've posted, a longer while since I've been in the tech world loop, and I'm definitely no linuxpert yet lol. I googled "adding a ppa" and I'm taking a look at the first result, "How do I use software from a PPA," but it's not really telling me what it is. I'll keep reading up on it, try it out, and then post up what I got; this time it'll be from the linux lappy so I can just copy/pasta it into the reply box :).
Re: Ubuntu 11.10 drivers
Okay, I'm gonna do a clean reinstall of 11.10 because now my output sound doesn't work. I might have done too many things to "fix" my mic, so I'll just make it simple and start over with a clean install.
So, after the clean reinstall of 11.10, sudo apt-get update works perfectly fine. I even installed Synaptic Package Manager. After inputting what grey_1 posted, everything goes smoothly...until I get to "pulseaudio -D." When I enter that command, I get ":~$ pulseaudio -D
E: [pulseaudio] main.c: Daemon startup failed."
What could be causing this now?
Okay, I fixed the problem. After inputting all the aforementioned commands, I installed Syaptic Package Manager and looked through Media and Communications for anything that was related to Pulseaudio that wasn't installed, so I selected and installed it all. My mic and input jacks work now. Hopefully anyone else with this issue will come across this thread and solve their issue as well :). Thanks for the help, grey_1!
Re: Ubuntu 11.10 drivers
Sorry for the delayed responses, crazy weekend.
Ok, my mic doesn't work now - it's just a simple, cheap Logitech plug in, and fixes aren't working for me either.
Here's a Ubuntu sound trouble shooting page I'm working off of. :o I'll update this thread if I find a fix. :o
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To prepare the moth bean sprouts:
1. Soak the moth beans in water for about 5-6 hours or overnight.
2. Then drain them through a sieve and place in room temperature covering with a cloth for another 8-12 hours.
3. Clean the beans roughly.
4. Heat a pressure cooker pot to medium high and add, 2 tbsp oil, dry whole red chilies, mustard seeds, curry leaves, potato chunks, water, turmeric powder, salt, garlic paste, ginger paste and green chili paste and let it cook with cover for about 10 minutes.
5. Then add the moth beans and let it cook adding more water on low to medium heat for about 10 minutes.
6. Sprinkle coriander leaves and onion slices and serve with rice or roti.


text:
Unraveling Panda PatternsBlog Post: July 29, 2014
If I was to score the effect of each of the factors contributing to Panda as a whole I would certainly not be putting the "Pogo-effect" as described in the replies above much value especially when you have a clear CTA such as a telephone number above the fold. There may be a threshold to when it becomes a factor after a period of time.
Avoiding duplicate content and maintaining in context Informative content is certainly more of a factor.
Nice blog, evokes a good chain of thought.


text:
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You can now invite anyone to meet at your favorite Starbucks.
Limited-time feature
27 year old woman | Golden, CO, USA | Seeking men 26-31 within 50 miles of Evergreen, CO
Hey, I'm Katy! I'm down to try ANYTHING…
Hey, I'm Katy! I'm down to try ANYTHING new (unless it's seafood). In fact, I've been wanting to learn how to play golf lately. So, if you can teach me, you get some extra points :) I'm always on the go and need to be working toward some sort of goal. I feel like I've been in school my entire life because I haven't ever really quit going. I'm extremely indecisive and I prefer someone else make my decisions for me most of the time. Roadtripping and traveling is my PASSION. It's my addiction. If I'm not on some sort of trip (even just a quick weekend get-away) then I'm in the process of planning one. I'm usually an off-the-beaten path kind of tripper. I try not to get too touristy-it makes me feel like a drone or something. It also creates a challenge when you have to do homework for a trip and see what there is to do besides just stare at the Space Needle or something. I do have one man in my life-my son, Kye. He is only one, and way more fun than I could've ever imagined! I love hiking and I've been getting back into running more recently. I'm looking for someone who enjoys staying fit and having fun while doing it, as well. I left the flatlands and moved to Colorado 6 years ago for several reasons and one of them is the fact that the mountains offer so many incredible experiences. This brings me to another point. ..I love to ski! I was a ski virgin until I moved to Co and now I just can't get enough! A-basin and Keystone are definitely at the top of my list. I need a man that is willing to wake up at 5 in the morning on weekends, deal with the dreaded I70 (without complaining) and come up skiing. And if you aren't a morning person, I like winter camping. And I LOVE summer camping but I guess who doesn't? Those are the basics about myself....
Book club , Camping , Coffee and conversation , Dining out , Fishing/Hunting , Hobbies and crafts , Movies/Videos , Museums and art , Music and concerts , Exploring new areas , Performing arts , Playing cards , Shopping/Antiques , Travel/Sightseeing , Volunteering , Wine tasting
Aerobics, Baseball, Bowling, Running, Skiing, Swimming, VolleyBall, Walking / Hiking
I exercise 3-4 times per week.
I like Dogs, Exotic Pets, Other
I've always wanted a goat or three. I just love them. Hate cats....
I have lots of favorites. Not too many un-favorites. I don't care much for seafood, but I do enjoy crab and salmon.
I don't spend my weekends in front of the tv. In fact, until recently I hadn't even owned a tv. I am always out and about. Kayaking Camping Exploring Hanging out by the river with a 6-er I do claim friends TV's around holidays to watch 25 days/Xmas
Divergent and Insurgent
Z{{Cta}} {{#if HasMoreInfo}} ?{{CtaSecondary}} {{/if}}
|What she is looking for
|5'5" (165cms)
|6'0" (182cms) to 8'11" (271cms)
|Body type:
|Slender, About average, Athletic and toned
|No preference
|Auburn / Red
|No preference
|No Way
|No Way
|Social Drinker
|Social Drinker
|Medical / Dental / Veterinary / Fitness
|No preference
|$50,001 to $75,000
|$35,001 to $50,000, $50,001 to $75,000, $75,001 to $100,000, $100,001 to $150,000, $150,001+
|Never Married
|No preference
|Have kids:
|Yes, and they live at home (1)
|No preference
|Wants kids:
|Not sure
|Someday, Not sure
|White / Caucasian
|No preference
|I'll tell you later
|No preference
|No preference
|Associates degree
|High school, Some college, Associates degree, Bachelors degree, Graduate degree, PhD / Post Doctoral


text:
Forget password?
Remember Me
The expanded CD version of The Suburbs sees the original album augmented by a longer version of the track "Wasted Hours (A Life That We Can Live)," as well as the previously unreleased "Culture War" and "Speaking In Tongues," the latter of which features David Byrne on additional vocals.
Highlights of the DVD portion include the complete half-hour short film Scenes From The Suburbs, directed by Spike Jonze. The package is rounded out by an exclusive booklet featuring lyrics and 80 pages of photos taken during the Scenes From The Suburbs film shoot. Click here to pre-order the album.
Arcade Fire
Tour Dates
Arcade Fire News
To read comments and participate in this story, please visit the Articles forum »


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Do not load your saved AC3 game while the DLC is downloading in the background
What do do?
Make sure you complete all the information on the My Profile Page
Post comments against videos and news articles.
Get involved in the community! Post at least 10 comments and login to the site regularly.
Become a gaming journalist and submit articles and videos. Be famous!


text:
The Detective Division investigate crimes that have been
reported to the Tulsa Police Department that did not result in an
immediate arrest. They follow up on cases that are to be
prosecuted and continue the investigation prior to presenting the
case and charges to the District Attorney's Office.
The Detective Division is divided
into squads of investigators.
The Detective Division has a
squad of seven detectives on
duty overnight. The day to day
operations of the Detective Division
are directed by two captains.
If you have any questions about
your case or would like to contact
the detective assigned to your case,
please select the squad from the list
and you will be able to send an email
which will be answered in a timely manner.


text:
1. In a large pan, bring 2 quarts of water to boil and boil the broccoli with 1 teaspoon of salt; cook for 6 - 8 minutes until broccoli is crisp but tender.
2. Drain and set aside.
3. In a large bowl, whisk together buttermilk, parsley, mustard, olive oil, thyme, red wine vinegar, garlic, kosher salt nutmeg and pepper.
4. Add the broccoli and red onion; stir it gently to coat.
5. Plate the broccoli and top with walnuts and goat cheese.


text:
Excellence is Here!
Adamsville Primary Elementary commits itself to provide all students the foundation to achieve personal success by actively participating in a rigorous, safe, and nurturing learning environment.
Adamsville Primary Elementary aspires to educate students to become successful contributing members of a technologically advanced and globally diverse society. It is our goal to support and encourage students' unique pathways to learning through a curriculum that aids in mastering fundamental skills. To achieve this, we will work collaboratively with the community and all stakeholders by promoting active, balanced, and life-long learners.
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