In the exalted symbolism of the "Prometheus Unbound" Shelley shows that, in his view, evil and suffering were not inherent in the nature of things, the tyranny of evil having gained its ascendancy through the persistence of out-worn ideals, such as that of Power or Force symbolized in the Greek idea of Jupiter. Prometheus is the revolting mind of mankind, enslaved by the tyranny of Jupiter, hating the tyrant, yet determined to endure all the tyrant can inflict upon him rather than admit his right to rule. The freeing of Prometheus and the dethronement of Jupiter come through the awakening in the heart of Prometheus of pity for the tyrant--that is, Prometheus has learned to love his enemies as he loves his friends. The remainder of the poem is occupied with showing the effects upon humanity of this universal awakening of love. In the fine passage where the Spirit of the Earth hears the trumpet of the Spirit of the Hour sound in a great city, it beholds all ugly human shapes and visages which had caused it pain pass floating through the air, and fading still "Into the winds that scattered them, and those From whom they passed seemed mild and lovely forms After some foul disguise had fallen, and all Were somewhat changed, and after brief surprise And greetings of delighted wonder, all Went to their sleep again." And the Spirit of the Hour relates: "Soon as the sound had ceased whose thunder filled The abysses of the sky and the wide earth, There was a change: the impalpable thin air And the all-circling sunlight were transformed As if the sense of love dissolved in them Had folded itself around the sphered world." In the meantime, the over-souls of humanity--Prometheus, symbolic of thought or knowledge, is reunited to Asia, his spouse, symbolic of Nature or emotion, from whom he has long been separated and together with Asia's sisters, Panthea and Ione--retire to the wonderful cave where they are henceforth to dwell and where their occupations are inspired by the most childlike and exalted moods of the soul. Before considering the bearing of their life of love and art in the cave upon the character of Aprile let us turn our attention for a moment to a remarkable passage in "Hyperion," which poem was written as far back as 1820. Keats, like Shelley, deals with the dethronement of gods, but it is the older dynasty of Titans--Saturn and Hyperion usurped by Jupiter and Apollo. Shelley's thought in the "Prometheus" is strongly influenced by Christian ideals, but Keats's is thoroughly Greek.