The English Novel and the Principle of its DevelopmentLanier, Sidney
History
The English Novel and the Principle of its Development
Lanier, Sidney
English fiction -- History and criticism
The same instinct of modernness both in the spirituality of the
torment and in the minuteness of its description displays itself a
little farther on in the curse of Prometheus. Prometheus tells us in
this same opening speech that long ago he uttered a certain awful
curse against Jove which he now desires to recall; but it would seem
that in order to recall it he wishes to hear the exact words of it.
"What was that curse?"--he exclaims at the end of the speech; "for ye
all heard me speak." To this question we have page after page of
replies from five voices--namely, the Voice of the Mountains, of the
Springs, of the Air, of the Whirlwinds and of the Earth--embodying
such a mass of falsetto sublimity that Shelley himself would surely
have drawn his pen through the whole, if he had lived into the term of
manhood.
Finally the whole awkward device for getting the curse of Prometheus
before the reader is consummated by raising up the phantasm of Jupiter
which repeats the curse, word for word.
In truth, Shelley appears always to have labored under an essential
immaturity: it is very possible that if he had lived a hundred years
he would never have become a man: he was penetrated with modern ideas,
but penetrated as a boy would be, crudely, overmuch, and with a
constant tendency to the extravagant and illogical: so that I call him
the modern boy.
These considerations quite cover the remaining three acts of his
_Prometheus Unbound_ and render it unnecessary for me to quote from
them in support of the passages already cited.
The first act contains, indeed, nearly the substance of the whole
drama. Act II contains no important motive except the visit of Asia
and Panthea to Demogorgon under the earth. In the third act we have a
view of Jove surrounded by his ministers; but in the midst of a short
speech to them he is suddenly swept into hell for everlasting
punishment. Here, of course, Shelley makes a complete departure from
the old story of the compromise between Jove and Prometheus; Shelley
makes Prometheus scornfully reject such a compromise and allow Jove to
go down to his doom. Hercules then unbinds Prometheus who repairs to a
certain exquisite interlunar cave and there dwells in tranquillity
with his beloved Asia.
Public-domain text, read in full here on John Shaqi.
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