The _Quarterly Review_ of May, 1818, accused Shelley[264] of atheism and of dissolute conduct in private life; the same journal of April, 1819, reviewing the _Revolt of Islam_ on the basis of the suppressed version of _Laon and Cythna_, though it did not fail to appreciate the genius and beauty of the poem, charged Shelley with a predilection for incest and with a frantic dislike for Christianity. It called the support of _The Examiner_ "the sweet undersong of the weekly journal."[265] The two attacks were met by a strong protest from Hunt,[266] particularly in regard to the part dealing with Shelley's life. He denied the propriety of such discussion in public criticism and declared that he had never known Shelley to "deviate, notwithstanding his theories, even into a single action which those who differ with him might think blameable." His life at Marlow was described as spent in "beautiful charity and generosity" and was likened to that of Plato. In 1821 an attack on Shelley by Hazlitt was met by an angry warning from Hunt and a threat to become his public enemy, if the offense were repeated.[267] Hunt's reason for taking this defensive attitude was that he knew that Shelley suffered greatly from such malignant exploitations and that he would not defend himself; therefore he made his friend's cause his own and wrote: "I reckon upon your leaving your personal battles to me,"[268] much in the same manner as Shelley had assumed his money troubles. Following the review of the _Revolt of Islam_, a notice of _Rosalind and Helen_ and of _Lines Written among the Euganean Hills_[269] appeared in _The Examiner_ of May 9, 1819. Attention was called to the poet's optimism and to his great love of nature: "the beauty of the external world has an answering heart, and the very whispers of the wind a meaning." _The Cenci_, published in 1820, contained in its dedication a glowing tribute to Hunt, an honour in Shelley's opinion only in a small degree worthy of his friend.[270] Hunt was intoxicated with the honour and wrote: "I feel as if you had bound, not only my head, but my very soul and body with laurels."[271] On the subject of the tragedy he was equally enthusiastic: "What a noble book, Shelley, have you given us! What a true, stately, and yet affectionate mixture of poetry, philosophy, and human nature, horror, and all redeeming sweetness of intention, for there is an undersong of suggestion through it all, that sings, as it were, after the storm is over, like a brook in April."[272] In a public expression of his opinion in _The Examiner_ of March 19, 1820, Hunt pronounced _The Cenci_ the greatest dramatic production of the day. Writing of the drama again in the same journal of July 19 and 26, 1820, he called Shelley "a framer of mighty lines" and continued: "Majesty and Love do sit on one throne in the lofty buildings of his poetry; and they will be found there, at a late and we trust a happier day, on a seat immortal as themselves."