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flower to flower" and it visits also "with inconstant glance / Each human heart and countenance." When it passes away it leaves "our state, / This dim vast vale of tears, vacant and desolate." Shelley does not profess to know why
Intellectual Beauty, which he calls "unknown and awful," is an inconstant visitor, but he is convinced that if it kept "with glorious train firm state" within man's heart, man would be "immortal and omnipotent." But since the Spirit of Beauty visits the world and man's heart with such irregularity, Shelley pleads with his deity rather than praises it. It remains remote and inaccessible. In the concluding stanza Shelley is a suppliant praying that the power of the Spirit of Beauty will continue to supply its calm "to one who worships thee, / And every form containing thee."
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one might as well ask why rainbows disappear or why man can both love and hate, despair and hope. No voice from another world has ever answered these questions. The "names of Demon, Ghost, and Heaven" are the record of men's vain attempts to get answers to such questions. Only the light of the Spirit of Beauty gives grace and truth to the restless dream which life is. If the Spirit of Beauty remained constantly with man, man would be immortal and omnipotent. It nourishes human thought. The poet beseeches this spirit not to depart from the world. Without it, death would be an experience to be feared.
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388:, Shelley believed that Beauty could also be found through its earthly manifestations and could only be connected to through the use of the imagination. The origins of Shelley's understanding of Beauty and how to attain it can be found within "Hymn to Intellectual Beauty". The poem's theme is Beauty, but Shelley's understanding of how the mind works is different from Plato's: Plato wrote (principally in the
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394:) that Beauty is a metaphysical object existing independent of our experiences of particular concrete objects, while Shelley believed that philosophy and metaphysics could not reveal truth and that an understanding of Beauty was futile. Instead, Beauty could only be felt and its source could not be known.
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Alpine scenery was new to
Shelley and unutterably beautiful. He was profoundly moved by it, and the poem, he wrote to Leigh Hunt, was "composed under the influence of feelings which agitated me even to tears." Thanks to the Alps, Shelley, who had given up Christianity, had at last found a deity which
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The shadow of a strange power floats unseen throughout the world, entering into man, coming and going mysteriously. Shelley asks this shadow, which he calls a "Spirit of Beauty," where it has gone and why it disappears and leaves us desolate. Then he acknowledges that it is vain to ask this question;
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In regard to the "Intellectual Beauty" of the title, Barrell remarked that it implies an approach by means of the mental faculties but that
Shelley meant to convey the idea that his concept of beauty was abstract rather than concrete. His approach is romantic and emotional. Shelley, however, thinks
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romances, the shadow of
Intellectual Beauty suddenly fell on him. He shrieked and clasped his hands in ecstasy. As a consequence of this experience, he tells us in Stanza VI, he vowed that he would dedicate his "powers / To thee and thine," and he has kept his vow. The experience also left him with
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In his youth, Shelley sought spiritual reality in ghosts and the dead. In his search, the shadow of the Spirit of Beauty suddenly fell on him and filled him with elation. He vowed that he would dedicate himself to this Spirit and he has kept his vow. He is convinced that it will free the world from
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The central idea of "Hymn to
Intellectual Beauty" is that there is a spiritual power that stands apart from both the physical world and the heart of man. This power is unknown to man and invisible, but its shadow visits "this various world with as inconstant wing / As summer winds that creep from
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The narrator breaks from the
Wordsworthian tradition by realising that Intellectual Beauty, and not manifestations of it in nature, is what should be worshipped. The imagination, and not nature, is connected to truth, and the narrator realises that he should revere his own imagination and the
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Shelley replaces the third of the
Christian values, faith, with self-esteem, which signifies respect for the human imagination. According to the narrator, we have only temporary access to these values and can only attain them through Intellectual Beauty:
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he could wholeheartedly adore. The worship of beauty is
Shelley's new religion, and it is significant that he calls his poem a hymn, a term used almost exclusively for religious verse. Later, in August 1817, Shelley read Plato's
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The words he speaks, possibly referring to
Christian doctrines, brought him no response. It was not until he mused on life that he was able to experience a sort of religious awakening and learn of Intellectual Beauty:
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by
William Benbow in 1826 in London. After the initial publication, Percy Shelley corrected lines 27 and 58 but made no other changes. A second finished version was discovered in December 1976 in the
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Shelley's understanding of Beauty as an ideal and universal aspect, as opposed to the common understanding of the word as an aesthetic judgment of an object, was influenced by his knowledge of
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the hope that the Spirit of Beauty would free "this world from its dark slavery." In this stanza, Shelley combined two of the major interests of his life, love of beauty and love of freedom.
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The "Hymn to Intellectual Beauty" was conceived and written during a boating excursion with Byron on Lake Geneva, Switzerland, in June 1816. The beauty of the lake and of the
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of his Spirit of Beauty as personal, like the God of Christianity. He addresses it, pleads with it, worships it, but is using only the rhetorical device of personification.
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the state of slavery in which it is. He prays that this power will bring calm to his life, for he worships it. It has taught him to fear himself and love all mankind.
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476:, which Shelley read in August 1818. It was daily intercourse with stunning beauty, not Plato, however, that brought Shelley to his new faith. Joseph Barrell, in
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384:'s writings. However, where Plato believed Beauty should be sought after gradually in degrees until one can achieve true Beauty, a process made possible through
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who immediately lost it. Shelley was therefore forced to create another finished draft of the poem and resend the poem. It was eventually published in Hunt's
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is responsible for Shelley's elevating what he calls "Intellectual Beauty" to the ruling principle of the universe.
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In Stanza V, Shelley confesses that in his youth, while he was searching for spiritual reality, chiefly by reading
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and his faith in beauty was no doubt strengthened by Plato's discussion of abstract beauty in that work and in the
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https://web.archive.org/web/20130305043103/http://www.cliffsnotes.com/study_guide/literature/id-245.html%3E
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101:; it was written in Mary Shelley's hand and contained many differences from the first published edition.
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Hall, Spencer. "Power and the Poet: Religious Mythmaking in Shelley's 'Hymn to Intellectual Beauty'."
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Pyle, Forest. "'Frail Spells': Shelley and the Ironies of Exile." Irony and Clerisy. Praxis Series.
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that states a Knowledge editor's personal feelings or presents an original argument about a topic.
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Isomaki, Richard. "Interpretation and Value in 'Mont Blanc' and 'Hymn to Intellectual Beauty'."
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copy of the poem and the original manuscript draft in terms of language and philosophical view.
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McNiece, Gerald. "The Poet as Ironist in 'Mont Blanc' and 'Hymn to Intellectual Beauty'."
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Knapp, John. "The Spirit of Classical Hymn in Shelley's 'Hymn to Intellectual Beauty'."
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61:"Hymn to Intellectual Beauty" was written during the summer of 1816 while Percy and
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673:, 2nd ed., Ed. Donald H. Reiman and Neil Fraistat. New York: Norton and Co., 2002.
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Once he learns of Intellectual Beauty, he makes a vow, which begins stanza six:
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Watson, J. R. "Shelley's 'Hymn to Intellectual Beauty' and the Romantic Hymn."
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The second stanza begins with the narrator addressing Intellectual Beauty:
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Reiman, Donald H. and Fraistat, Neil. "Hymn to Intellectual Beauty" in
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Keep with thy glorious train firm state within his heart. (Lines 36–41)
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Shelley and the Thought of His Time: A Study in the History of Ideas
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Shelley and the Thought of His Time: A Study in the History of Ideas
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The first published edition varies from both the copy found in the
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on 19 January 1817. The poem also appeared in the 1819 collection
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Nitchie, Elizabeth. "Shelley's 'Hymn to Intellectual Beauty'."
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This dim vast vale of tears, vacant and desolate? (Lines 13–17)
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Wolfstein, The Murderer; or, The Secrets of a Robber's Cave
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The Visionary Company: A Reading of English Romantic Poetry
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personal reflection, personal essay, or argumentative essay
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I shrieked, and clasped my hands in ecstasy! (Lines 59–60)
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Miscellaneous and Posthumous Poems of Percy Bysshe Shelley
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Remain the records of their vain endeavour, (Lines 25–28)
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Carl H. Pforzheimer Collection of Shelley and His Circle
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Hopes of high talk with the departed dead. (Lines 49–52)
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To fear himself, and love all human kind. (Lines 78–84)
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But he is not answered, as he reveals in stanza three:
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Rosalind and Helen, A Modern Eclogue; With Other Poems
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Like moonbeams that behind some piny mountain shower,
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As summer winds that creep from flower to flower. –
665:http://www.rc.umd.edu/praxis/irony/pyle/frail.html
213:Why aught should fail and fade that once is shown,
289:Like life and fear, a dark reality. (Lines 42–48)
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642:, Vol. 63, No. 2. (June 1948), pp. 752–753.
635:, Vol. 14, No. 4 (Fall, 1975), pp. 311–336.
610:, Vol. 30, No. 1 (Spring, 1991), pp. 57–69.
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300:Through many a listening chamber, cave and ruin,
239:Therefore the name of God and ghosts and Heaven,
198:Of human thought or form, – where art thou gone?
303:And starlight wood, with fearful steps pursuing
250:Love, Hope, and Self-esteem, like clouds depart
219:Cast on the daylight of this earth such gloom –
833:Poetical Essay on the Existing State of Things
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589:. New Haven, CT: Yale University Press, 1947.
480:, has shown that the "Hymn" is not Platonic.
297:While yet a boy I sought for ghosts, and sped
277:Thou – that to human thought art nourishment,
329:To thee and thine – have I not kept the vow?
201:Why dost thou pass away and leave our state,
195:With thine own hues all thou dost shine upon
122:"Hymn to Intellectual Beauty" is an 84-line
652:Pulos, C. E. "Scepticism and Platonism" in
645:O'Neill, Michael. "Shelley's Lyric Art" in
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233:No voice from some sublimer world hath ever
904:Posthumous Fragments of Margaret Nicholson
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259:Didst thou, unknown and awful as thou art,
253:And come, for some uncertain moments lent.
157:This various world with as inconstant wing
154:Floats through unseen among us, – visiting
22:"Hymn to Intellectual Beauty" appeared in
596:. Ithaca: Cornell University Press, 1993.
448:Learn how and when to remove this message
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337:Thus let thy power, which like the truth
246:The fourth stanza reveals three values:
225:For love and hate, despondency and hope?
210:Weaves rainbows o'er yon mountain river.
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326:I vowed that I would dedicate my powers
236:To sage or poet these responses given –
216:Why fear and dream and death and birth,
175:Like clouds of starlight widely spread,
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352:Whom, Spirit fair, thy spells did bind
286:Depart not – lest the grave should be,
192:Spirit of Beauty, that dost consecrate
181:Like aught that for its grace may be –
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333:Stanza seven continues with the vow:
184:Dear, and yet dearer for its mystery.
151:The awful shadow of some unseen Power
1161:Wolfstein; or, The Mysterious Bandit
1057:Rosalind and Helen, A Modern Eclogue
896:Original Poetry by Victor and Cazire
617:, 33, 22 March 1999, pp. 43–66.
603:, Vol. 32, (1983), pp. 123–149.
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346:Its calm – to one who worships thee,
1177:Zastrozzi, The Master of Discipline
343:Descended, to my onward life supply
274:That wax and wane in lovers's eyes-
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1041:Alastor, or The Spirit of Solitude
256:Man were immortal, and omnipotent,
172:Like hues and harmonies of evening
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169:Each human heart and countenance;
1349:The Life of Percy Bysshe Shelley
880:" (published posthumously, 1840)
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166:It visits with inconstant glance
349:And every form containing thee,
280:Like darkness to a dying flame!
145:Ode: Intimations of Immortality
53:in 1816 and published in 1817.
1467:Poetry by Percy Bysshe Shelley
1278:Sir Percy Shelley, 3rd Baronet
1255:The Man Who Wrote Frankenstein
994:One Word is Too Often Profaned
870:A Philosophical View of Reform
622:CliffsNotes on Shelley's Poems
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521:Reiman and Fraistat 2002 p. 93
512:Reiman and Fraistat 2002 p. 92
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315:Sudden, thy shadow fell on me;
283:Depart not as thy shadow came,
222:Why does man have such a scope
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1429:The Haunting of Villa Diodati
847:A Vindication of Natural Diet
840:A Letter to Lord Ellenborough
691:"Hymn to Intellectual Beauty"
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340:Of nature on my passive youth
271:Thou messenger of sympathies,
207:Ask why sunlight not forever,
89:printed by C. H. Reynell for
1203:Keats–Shelley Memorial House
1126:History of a Six Weeks' Tour
855:History of a Six Weeks' Tour
293:In stanza five, he reveals:
178:Like memories of music fled,
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1001:Music, When Soft Voices Die
945:Hymn to Intellectual Beauty
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57:Composition and publication
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678:Durham University Journal
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136:Julie, or the New Heloise
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826:The Necessity of Atheism
572:Pulos 1985 pp. 38–40, 42
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91:Charles and James Ollier
1356:Shelley's Vegetarianism
360:imagination of others.
126:that was influenced by
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49:" is a poem written by
1446:Shelley Memorial Award
633:Studies in Romanticism
620:MacEachen, Dougald B.
608:Studies in Romanticism
554:Bloom 1993 pp. 292–193
428:by rewriting it in an
370:Scrope Davies Notebook
99:Scrope Davies Notebook
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1381:Bride of Frankenstein
1363:Shelley: A Life Story
1312:Thomas Jefferson Hogg
1105:The Masque of Anarchy
601:Keats-Shelley Journal
128:Jean-Jacques Rousseau
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1413:Rowing with the Wind
1332:Edward John Trelawny
1185:Zastrozzi, A Romance
973:Ode to the West Wind
740:Percy Bysshe Shelley
680:, 85 (1993): 203–10.
654:Percy Bysshe Shelley
51:Percy Bysshe Shelley
35:Percy Bysshe Shelley
1431:" (2020 TV episode)
1327:Thomas Love Peacock
1249:authorship question
1116:Collaborations with
1097:The Triumph of Life
1049:The Revolt of Islam
878:A Defence of Poetry
624:. 18 July 2011 <
563:O'Neill 2002 p. 618
1290:Sir Bysshe Shelley
1239:Authorship debates
1089:The Witch of Atlas
1081:Julian and Maddalo
888:Poetry collections
763:Prometheus Unbound
702:Rosalind and Helen
697:. The poem in full
430:encyclopedic style
417:is written like a
141:William Wordsworth
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24:Rosalind and Helen
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1220:Shelley's Cottage
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695:Poetry Foundation
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533:Bloom 1993 p. 290
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438:February 2024
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39:Amelia Curran
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1421:Mary Shelley
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1272:Mary Shelley
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1247:Frankenstein
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1118:Mary Shelley
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980:To a Skylark
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130:'s novel of
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65:stayed with
63:Mary Shelley
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1424:(2017 film)
1416:(1988 film)
1408:(1988 film)
1400:(1986 film)
1392:(1984 play)
1384:(1935 film)
1341:Biographies
1153:Adaptations
923:Short poems
818:Non-fiction
132:sensibility
71:Lake Geneva
37:painted by
1472:1816 poems
1461:Categories
1373:Portrayals
1317:John Keats
1296:Lord Byron
1134:Proserpine
1025:Long poems
959:Ozymandias
952:Mont Blanc
938:Mutability
807:St. Irvyne
580:References
462:Swiss Alps
364:Variations
75:Leigh Hunt
67:Lord Byron
1033:Queen Mab
987:The Cloud
799:Zastrozzi
755:The Cenci
470:Symposium
391:Symposium
386:dialectic
1286:(father)
1017:" (1834)
1010:" (1824)
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989:" (1820)
982:" (1820)
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968:" (1819)
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947:" (1817)
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933:" (1812)
842:" (1812)
835:" (1811)
828:" (1811)
474:Phaedrus
398:Analysis
80:Examiner
1439:Related
1073:Adonaïs
1008:A Dirge
791:Fiction
693:at The
424:Please
105:Summary
41:in 1819
26:, 1819.
1397:Gothic
1274:(wife)
1265:People
1196:Places
1188:(1986)
1180:(1977)
1172:(1850)
1164:(1822)
1145:(1820)
1137:(1820)
1129:(1817)
1108:(1832)
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810:(1811)
802:(1810)
774:(1822)
771:Hellas
766:(1820)
758:(1819)
705:, 1819
489:Gothic
376:Themes
1280:(son)
1142:Midas
747:Plays
615:Style
500:Notes
382:Plato
69:near
640:PMLA
143:'s "
139:and
118:Poem
124:ode
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