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Prefigurations here, surely, of the anxious messages reportedly passing between Tripoli and Caracas? The tyrant returns, and immediately sets about the business of repression in what is again a Shelleyan fantasy of reactionary violence, painted in the most lurid, although not necessarily unrealistic, colours:

        Myriads had come — millions were on their way;
        The tyrant passed, surrounded by the steel
        Of hired assassins, through the public way,
        Choked with his country's dead: — his footsteps reel
        On the fresh blood — he smiles. ‘Ay, now I feel
        I am a King in truth!' he said, and took
        His royal seat, and bade the torturing wheel
        Be brought, and fire, and pincers, and the hook,
        And scorpions; that his soul on its revenge might look.  
                            (X.8)

Scenes soon to be re-enacted, perhaps, in Benghazi, Tripoli and Bahrain.

In the midst of the violence and ensuing pestilence (evoked by Shelley in what, after many re-readings, I still think of as verse of exceptional imaginative power) Laon offers his life for Cythna, who has been captured by the tyrant. The tyrant promptly has them both burned, in what for Shelley is a stereotypical act of despotic betrayal. But not before Laon has told him that "in the desert there is built a home /For Freedom":

        There is a People mighty in its youth,
        A land beyond the Oceans of the West,
        Where, though with rudest rites, Freedom and Truth
        Are worshipped; from a glorious Mother's breast,
        Who, since high Athens fell, among the rest
        Sate like the Queen of Nations, but in woe,
        By inbred monsters outraged and oppressed,
        Turns to her chainless child for succour now,
        It draws the milk of Power in Wisdom's fullest flow.

        That land is like an Eagle, whose young gaze
        Feeds on the noontide beam, whose golden plume
        Floats moveless on the storm, and in the blaze
        Of sunrise gleams when Earth is wrapped in gloom;
        An epitaph of glory for the tomb
        Of murdered Europe may thy fame be made,
        Great People! as the sands shalt thou become;
        Thy growth is swift as morn, when night must fade;
        The multitudinous Earth shall sleep beneath thy shade.
                            (XI.22-23)

He refers, of course, to America; and it would be interesting now to have Shelley's thoughts on the extent to which America has either shunned or embraced an imperial destiny over the past two centuries.

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Anonymous
June 13th, 2014
10:06 AM
I concur; after having plodded through six cantos (that's halfway), I didn't quite see the point of continuing. Tedious, dense language and a fair amount of repetition (e.g. the 'leaves in autumn' trope) and his obscure ideas made me lose interest. To be sure, there are elements that did get my attention, particularly the frequent occasions of paradox. The poem abounds in strange combinations of terms such as "unquiet trance", "the peace of madness", "chains / of sweet captivity", etc. which are intriguing and typical of Romantic poetry. And as for the "prophetic" character of this poem, I'm afraid the epithet is apt only in a most generalised, perhaps even forced, sense.

Jaq
November 5th, 2013
7:11 AM
The writer, Mr Womersley, is drawing a long bow here methinks with parallels to the 'Arab Spring'. Inspired by a related curiosity I've made several attempts but been bogged down and bushwhacked by this poem each time. So I checked back to some of the contemporary reviews and found I am not alone there, in the bog. (I'm sympathetic to Shelley and what he stood for.) Nothing made much sense to me, starting from the pointlessness of the title and struggling on through the text. The clearest exposition of the poem I've found, and it is good, is in Bernard Blackstones's The Lost Travellers. I'd recommend that to anyone who's interested and has the stamina to persevere with the poem.

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