Then there is an epilogue saying quite baldly that perhaps we may console ourselves by believing that "In this life Of error, ignorance, and strife, Where nothing is, but all things seem, And we the shadows of the dream, It is a modest creed, and yet Pleasant if one considers it, To own that death itself must be, Like all the rest, a mockery. That garden sweet, that lady fair, And all sweet shapes and odours there, In truth have never passed away: 'Tis we, 'tis ours, are changed; not they. For love, and beauty, and delight, There is no death nor change: their might Exceeds our organs which endure No light, being themselves obscure." The fact is that Shelley's melancholy is intimately connected with his philosophical ideas. It is the creed of the student of Berkeley, of Plato, of Spinoza. What is real and unchanging is the one spirit which interpenetrates and upholds the world with "love and beauty and delight," and this spirit--the vision which Alastor pursued in vain, the "Unseen Power" of the 'Ode to Intellectual Beauty'--is what is always suggested by his poetry at its highest moments. The suggestion, in its fulness, is of course ineffable; only in the case of Shelley some approach can be made to naming it, because he happened to be steeped in philosophical ways of thinking. The forms in which he gave it expression are predominantly melancholy, because this kind of idealism, with its insistence on the unreality of evil, is the recoil from life of an unsatisfied and disappointed soul.