While these poets were sitting at Godwin's feet, Shelley was still a child. But he came across Political Justice at Eton; in his later life he reread it almost every year; and when he married Godwin's daughter he was more Godwinian than Godwin himself. Hazlitt, writing in 1814, says that Godwin's reputation had "sunk below the horizon," but Shelley never ceased to believe in his theory, though he came to see that the regeneration of man would be a much slower process than he had at first imagined. In the immature poem Queen Mab the philosophy of Godwin was behind his description of the future, and it was behind the longer and more ambitious poems of his maturer years. The city of gold, of the Revolt of Islam, is Godwin's future society, and he describes that poem as "an experiment on the temper of the public mind as to how far a thirst for a happier condition of moral and political society survives, among the enlightened and refined, the tempests which have shaken the age in which we live." As to Prometheus Unbound his biographer observes: [Footnote: Dowden, ib. ii. p. 264. Elsewhere Dowden remarks on the singular insensibility of Shelley's mind "to the wisdom or sentiment of history" (i. p. 55).] All the glittering fallacies of "Political Justice"--now sufficiently tarnished--together with all its encouraging and stimulating truths, may be found in the caput mortuum left when the critic has reduced the poetry of the "Prometheus" to a series of doctrinaire statements. The same dream inspired the final chorus of Hellas. Shelley was the poet of perfectibility. 8. The attraction of perfectibility reached beyond the ranks of men of letters, and in Robert Owen, the benevolent millowner of Lanark, it had an apostle who based upon it a very different theory from that of Political Justice and became one of the founders of modern socialism.