Thisitwaswhich，inspiteofhisessentiallymoderncharacterasasinger，qualifiedShelleytobethepoetofPrometheusUnbound，foritmadehim，inthetruestsenseoftheword，amythologicalpoet。
　　Thischildlikequalityassimilatedhimtothechildlikepeoplesamongwhommythologieshavetheirrise。ThoseNaturemythswhich，accordingtomany，arethebasisofallmythology，arelikewisetheverybasisofShelley'spoetry。Thelarkthatisthegossipofheaven，thewindsthatpluckthegreyfromthebeardsofthebillows，thecloudsthataresnortedfromthesea'sbroadnostril，alltheelementalspiritsofNature，takefromhisverseperpetualincarnationandreincarnation，passinathousandglorioustransmigrationsthroughtheradiantformsofhisimagery。
　　Thus，butnotintheWordsworthiansense，heisaveritablepoetofNature。ForwithNaturetheWordsworthianswilladmitnotampering:
　　theyexactthedirectinterpretativereproductionofher;thatthepoetshouldfollowherasamistress，notuseherasahandmaid。TosuchfollowingofNature，Shelleyfeltnocall。Hesawinhernotapicturesetforhiscopying，butapalettesetforhisbrush;notahabitationpreparedforhisinhabiting，butaColiseumwhencehemightquarrystonesforhisownpalaces。Eveninhisdescriptivepassagesthedream—characterofhissceneryisnotorious;itisnottheclear，recognisablesceneryofWordsworth，butalandscapethathoversathwarttheheatandhazearisingfromhiscracklingfantasies。ThematerialsforsuchvisionaryEdenshaveevidentlybeenaccumulatedfromdirectexperience，buttheyarerecomposedbyhimintosuchscenesasneverhadmortaleyebeheld。"Don'tyouwishyouhad？"asTurnersaid。TheonejustificationforclassingShelleywiththeLakepoetisthathelovedNaturewithaloveevenmorepassionate，thoughperhapslessprofound。Wordsworth'sNightingaleandStockdovesumsupthecontrastbetweenthetwo，asthoughithadbeenwrittenforsuchapurpose。Shelleyisthe"creatureofebullientheart，"whoSingsasifthegodofwineHadhelpedhimtoavalentine。
　　Wordsworth'sisthe—Lovewithquietblending，Slowtobeginandneverending，the"seriousfaithandinwardglee。"
　　ButifShelley，insteadofcullingNature，crossedwithitspollentheblossomsofhisownsoul，thatBabyloniangardenishismarvellousandbestapology。ForastoundingfigurativeopulenceheyieldsonlytoShakespeare，andeventoShakespearenotinabsolutefecunditybutinimages。Thesourcesofhisfigurativewealtharespecialised，sourcesofShakespeare'sareuniversal。Itwouldhavebeenasconsciousaneffortforhimtospeakwithoutfigureasitisformostmentospeakwithfigure。Suspendedinthedrippingwellofhisimaginationthecommonestobjectbecomesencrustedwithimagery。HereinagainhedeviatesfromthetrueNaturepoet，thenormalWordsworthtypeofNaturepoet:imagerywastohimnotameremeansofexpression，notevenameremeansofadornment;itwasadelightforitsownsake。
　　Andhereinwefindthetrailbywhichwewouldclassifyhim。Hebelongstoaschoolofwhichnotimpossiblyhemayhardlyhavereadaline—theMetaphysicalSchool。ToalargeextentheISwhattheMetaphysicalSchoolshouldhavebeen。Thatschoolwasacertainkindofpoetrytryingforarange。Shelleyistherangefound。
　　CrashawandShelleysprangfromthesameseed;butintheonecasetheseedwaschokedwiththorns，intheothercaseitfellongoodground。TheMetaphysicalSchoolwasinitsdirectresultsanabortivemovement，thoughindirectlymuchcameofit—forDrydencameofit。Dryden，toagreaterextentthanis（weimagine）
　　generallyperceived，wasCowleysystematised;andCowley，whosankintothearmsofDryden，rosefromthelapofDonne。
　　ButthemovementwassoabortivethatfewwillthankusforconnectingwithitthenameofShelley。ThisisbecausetomostpeopletheMetaphysicalSchoolmeansDonne，whereasitoughttomeanCrashaw。Wejudgethedirectionofadevelopmentbyitshighestform，thoughthatformmayhavebeenproducedbutonce，andproducedimperfectly。NowthehighestproductoftheMetaphysicalSchoolwasCrashaw，andCrashawwasaShelleymanque;heneverreachedthePromisedLand，buthehadfervidvisionsofit。TheMetaphysicalSchool，likeShelley，lovedimageryforitsownsake:andhowbeautifulathingthefranktoyingwithimagerymaybe，letTheSkylarkandTheCloudwitness。Itisonlyevilwhenthepoet，onthestraightwaytoafixedobject，lagscontinuallyfromthepathtoplay。Thisiscommendableneitherinpoetnorerrand—boy。TheMetaphysicalSchoolfailed，notbecauseittoyedwithimagery，butbecauseittoyedwithitfrostily。TosportwiththetanglesofNeaera'shairmaybetrivialidlenessorcaressingtenderness，exactlyasyourrelationtoNeaeraisthatofheartlessgallantryoroflove。Soyoumaytoywithimageryinmereintellectualingenuity，andthenyoumightaswellgowriteacrostics:oryoumaytoywithitinraptures，andthenyoumaywriteaSensitivePlant。Infact，theMetaphysicalpoetswhentheywentastraycannotbesaidtohavedoneanythingsodaintyasisimpliedbyTOYINGwithimagery。Theycutitintoshapeswithapairofscissors。FromallsuchdangerShelleywassavedbyhispassionatespontaneity。Notrappingsaretoosplendidfortheswiftsteedsofsunrise。Hissword—hiltmayberoughwithjewels，butitisthehiltofanExcalibur。Histhoughtsscorchthroughallthefoldsofexpression。
　　Hisclothofgoldburstsattheflexures，andshowsthenakedpoetry。
　　Itisthisgiftofnotmerelyembodyingbutapprehendingeverythinginfigurewhichco—operatestowardscreatinghisrarestcharacteristics，soalmostpreternaturallydevelopedinnootherpoet，namely，hiswell—knownpowertocondensethemosthydrogenicabstraction。Sciencecannoweducethreadsofsuchexquisitetenuitythatonlythefeetofthetiniestinfant—spiderscanascendthem;butupthefilmiestinsubstantialityShelleyrunswithagileease。Tohim，intruth，nothingisabstract。ThedustiestabstractionsStart，andtrembleunderhisfeet，Andblossominpurpleandred。
　　Thecoldestmoonofanideariseshaloedthroughhisvaporousimagination。Thedimmest—sparkedchipofaconceptionblazesandscintillatesinthesubtileoxygenofhismind。ThemostwrinkledAEsonofanabstrusenessleapsrosyoutofhisbubblinggenius。InamoreintensifiedsignificationthanitisprobablethatShakespearedreamedof，Shelleygivestoairynothingalocalhabitationandaname。HereafreshhetouchestheMetaphysicalSchool，whoseverytitlewasdrawnfromthishabitualpursuitofabstractions，andwhofailedinthatpursuitfromtheonecauseomnipresentwiththem，becauseinalltheirpoeticsmithytheyhadleftneveraplaceforaforge。Theylaidtheirfancieschillontheanvil。Crashaw，indeed，partiallyanticipatedShelley'ssuccess，andyetfurtherdidalaterpoet，somuchfurtherthatwefinditdifficulttounderstandwhyagenerationthatworshipsShelleyshouldberevivingGray，yetalmostforgetthenameofCollins。Thegeneralityofreaders，whentheyknowhimatall，usuallyknowhimbyhisOdeonthePassions。Inthis，despiteitsbeauty，thereisstillasoupconofformalism，alingeringtraceofpowderfromtheeighteenthcenturyperiwig，dimmingthebrightlocksofpoetry。Onlytheliterarystudentreadsthatlittlemasterpiece，theOdetoEvening，whichsometimesheraldstheShelleianstrain，whileotherpassagesarethesolethingsinthelanguagecomparabletotheminiaturesofIlPenseroso。Crashaw，Collins，Shelley—threericochetsoftheonepebble，threejetsfromthreeboundsoftheonePegasus！Collins'sPity，"witheyesofdewylight，"isnearofkintoShelley'sSleep，"thefilmy—eyed";andthe"shadowytribesofmind"arethelinealprogenitorsof"Thought'scrownedpowers。"