In Shelley’s poetry, the figure of the poet (and, to some extent, the figure of Shelley himself) is not simply a talented entertainer or even a perceptive moralist but a grand, tragic, prophetic hero. The poet has a deep, mystic appreciation for nature, as in the poem “To Wordsworth” (1816), and this intense connection with the natural world gives him access to profound cosmic truths, as in “Alastor; or, The Spirit of Solitude” (1816). He has the power—and the duty—to translate these truths, through the use of his imagination, into poetry, but only a kind of poetry that the public can understand. Thus, his poetry becomes a kind of prophecy, and through his words, a poet has the ability to change the world for the better and to bring about political, social, and spiritual change. Shelley’s poet is a near-divine savior, comparable to Prometheus, who stole divine fire and gave it to humans in Greek mythology, and to Christ. Like Prometheus and Christ, figures of the poets in Shelley’s work are often doomed to suffer: because their visionary power isolates them from other men, because they are misunderstood by critics, because they are persecuted by a tyrannical government, or because they are suffocated by conventional religion and middle-class values. In the end, however, the poet triumphs because his art is immortal, outlasting the tyranny of government, religion, and society and living on to inspire new generations.
Like many of the romantic poets, especially William Wordsworth, Shelley demonstrates a great reverence for the beauty of nature, and he feels closely connected to nature’s power. In his early poetry, Shelley shares the romantic interest in pantheism—the belief that God, or a divine, unifying spirit, runs through everything in the universe. He refers to this unifying natural force in many poems, describing it as the “spirit of beauty” in “Hymn to Intellectual Beauty” and identifying it with Mont Blanc and the Arve River in “Mont Blanc.” This force is the cause of all human joy, faith, goodness, and pleasure, and it is also the source of poetic inspiration and divine truth. Shelley asserts several times that this force can influence people to change the world for the better. However, Shelley simultaneously recognizes that nature’s power is not wholly positive. Nature destroys as often as it inspires or creates, and it destroys cruelly and indiscriminately. For this reason, Shelley’s delight in nature is mitigated by an awareness of its dark side.
Shelley uses nature as his primary source of poetic inspiration. In such poems as “The Mask of Anarchy Written on the Occasion of the Massacre at Manchester” (1819) and “Ode to the West Wind,” Shelley suggests that the natural world holds a sublime power over his imagination. This power seems to come from a stranger, more mystical place than simply his appreciation for nature’s beauty or grandeur. At the same time, although nature has creative power over Shelley because it provides inspiration, he feels that his imagination has creative power over nature. It is the imagination—or our ability to form sensory perceptions—that allows us to describe nature in different, original ways, which help to shape how nature appears and, therefore, how it exists. Thus, the power of the human mind becomes equal to the power of nature, and the experience of beauty in the natural world becomes a kind of collaboration between the perceiver and the perceived. Because Shelley cannot be sure that the sublime powers he senses in nature are only the result of his gifted imagination, he finds it difficult to attribute nature’s power to God: the human role in shaping nature damages Shelley’s ability to believe that nature’s beauty comes solely from a divine source.
Shelley sets many of his poems in autumn, including “Hymn to Intellectual Beauty” and “Ode to the West Wind.” Fall is a time of beauty and death, and so it shows both the creative and destructive powers of nature, a favorite Shelley theme. As a time of change, autumn is a fitting backdrop for Shelley’s vision of political and social revolution. In “Ode to the West Wind,” autumn’s brilliant colors and violent winds emphasize the passionate, intense nature of the poet, while the decay and death inherent in the season suggest the sacrifice and martyrdom of the Christ-like poet.
Shelley’s interest in the supernatural repeatedly appears in his work. The ghosts and spirits in his poems suggest the possibility of glimpsing a world beyond the one in which we live. In “Hymn to Intellectual Beauty,” the speaker searches for ghosts and explains that ghosts are one of the ways men have tried to interpret the world beyond. The speaker of “Mont Blanc” encounters ghosts and shadows of real natural objects in the cave of “Poesy.” Ghosts are inadequate in both poems: the speaker finds no ghosts in “Hymn to Intellectual Beauty,” and the ghosts of Poesy in “Mont Blanc” are not the real thing, a discovery that emphasizes the elusiveness and mystery of supernatural forces.
From his days at Oxford, Shelley felt deeply doubtful about organized religion, particularly Christianity. Yet, in his poetry, he often represents the poet as a Christ-like figure and thus sets the poet up as a secular replacement for Christ. Martyred by society and conventional values, the Christ figure is resurrected by the power of nature and his own imagination and spreads his prophetic visions over the earth. Shelley further separates his Christ figures from traditional Christian values in Adonais, in which he compares the same character to Christ, as well as Cain, whom the Bible portrays as the world’s first murderer. For Shelley, Christ and Cain are both outcasts and rebels, like romantic poets and like himself.
For Shelley, Mont Blanc—the highest peak in the Alps—represents the eternal power of nature. Mont Blanc has existed forever, and it will last forever, an idea he explores in “Mont Blanc.” The mountain fills the poet with inspiration, but its coldness and inaccessibility are terrifying. Ultimately, though, Shelley wonders if the mountain’s power might be meaningless, an invention of the more powerful human imagination.
Shelley uses the West Wind to symbolize the power of nature and of the imagination inspired by nature. Unlike Mont Blanc, however, the West Wind is active and dynamic in poems, such as “Ode to the West Wind.” While Mont Blanc is immobile, the West Wind is an agent for change. Even as it destroys, the wind encourages new life on earth and social progress among humanity.
In Shelley’s work, the statue of the ancient Egyptian pharaoh Ramses II, or Ozymandias, symbolizes political tyranny. In “Ozymandias,” (1817) the statue is broken into pieces and stranded in an empty desert, which suggests that tyranny is temporary and also that no political leader, particularly an unjust one, can hope to have lasting power or real influence. The broken monument also represents the decay of civilization and culture: the statue is, after all, a human construction, a piece of art made by a creator, and now it—and its creator—have been destroyed, as all living things are eventually destroyed.