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rejects an "Arab maiden" in his search for an idealised embodiment of a woman. As the Poet wanders one night, he dreams of a "veiled maid". This veiled vision brings with her an intimation of the supernatural world that lies beyond nature. This dream vision serves as a mediator between the natural and supernatural domains by being both spirit and an element of human love. As the Poet attempts to unite with the spirit, night's blackness swallows the vision and severs his dreamy link to the
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Ruminating on thoughts of death as the possible next step beyond dream to the supernatural world he tasted, the Poet notices a small boat ("little shallop") floating down a nearby river. Passively, he sits in the boat furiously being driven down the river by a smooth wave. Deeper and deeper into the
65:
the speaker ostensibly recounts the life of a Poet who zealously pursues the most obscure part of nature in search of "strange truths in undiscovered lands", journeying to the
Caucasus Mountains ("the ethereal cliffs of Caucasus"), Persia, "Arabie", Cashmire, and "the wild Carmanian waste". The Poet
85:
When the Poet reaches the "obscurest chasm," his last sight is of the moon. As that image fades from the Poet's mind, he has finally attained transcendence to the supernatural world. The journey to the very source of nature led, finally, to an immanence within nature's very structure and to a world
265:
Mary
Shelley, in her note on the work, wrote: "None of Shelley's poems is more characteristic than this." In the spring of 1815, Shelley had been erroneously diagnosed as suffering from consumption. Shelley suffered from spasms and there were abscesses in his lungs. He made a full recovery but the
81:
As his senses are literally dulled, his imagination helps him sense the spirit's supernatural presence. Instead of perceiving the vision through the senses, the Poet imaginatively observes her in the dying images of the passing objects of nature. The boat flows onward to an "immeasurable void" and
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We fear that not even this commentary , will enable ordinary readers to decipher the import of the greater part of Mr. Shelley's allegory. All is wild and specious, intangible and incoherent as a dream. We should be utterly at a loss to convey any distinct idea of the plan or purpose of the
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shock of imminent death is reflected in the work. Mary
Shelley noted that the work "was the outpouring of his own emotions, embodied in the purest form he could conceive, painted in the ideal hues which his brilliant imagination inspired, and softened by the recent anticipation of death."
242:
for April 1816, the critic wrote: "We must candidly own that these poems are beyond our comprehension; and we did not obtain a clue to their sublime obscurity, till an address to Mr. Wordsworth explained in what school the author had formed his taste." In the
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Once touched by the maddening hand of the supernatural, the Poet restlessly searches for a reconciliation with his lost vision. Though his imagination craves a reunion with the infinite, it too is ultimately anchored to the perceptions of the natural world.
165:(1814) the lines, "The good die first,/ And they whose hearts are dry as summer dust / Burn to the socket!" The line "It is a woe 'too deep for tears'" is a quote from Wordsworth's "Ode: Intimations of Immortality".
38:, written from 10 September to 14 December in 1815 in Bishopsgate, near Windsor Great Park and first published in 1816. The poem was without a title when Shelley passed it along to his contemporary and friend
224:
wrote the first major positive review in the
November 1819 issue. Lockhart wrote that Shelley is "a man of genius... Mr. Shelley is a poet, almost in the very highest sense of that mysterious word."
102:, printed for Baldwin, Cradock and Joy, Pater-Noster Row; and Carpenter and Son, Old Bond-Street: by S. Hamilton, Weybridge, Surrey, consisting of the title poem and the following additional poems:
303:, since the poem is framed with direct quotations from Wordsworth's poetry, and Shelley had a deeply ambivalent reaction to Wordsworth's poetry, as witnessed in his sonnet "To Wordsworth".
653:
Richardson, Donna. "An
Anatomy of Solitude: Shelley's Response to Radical Skepticism in 'Alastor'." Studies in Romanticism Vol. 31, No. 2 (Summer, 1992), pp. 171-195.
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very source of the natural world he rushes. Like the water's surface supports the boat, the supernatural world "cradles" the mutability both of nature and of man.
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as "evil genius". The name does not refer to the hero or Poet of the poem, however, but instead to the spirit who divinely animates the Poet's imagination.
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The
English translation of the Latin is: "I was not yet in love, and I loved to be in love, I sought what I might love, in love with loving."
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Brooks, Richard. "Frankenstein lives – thanks to the poet: Percy
Shelley helped his wife Mary create the monster, a new book claims."
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170:
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701:
Steinman, Lisa M. (2008). "From 'Alastor' to 'The
Triumph of Life': Shelley on the Nature and Source of Linguistic Pleasure."
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Arditi, Neil Lucien. "The Uses of
Shelley: 'Alastor' to 'The Triumph of Life' (Percy Bysshe Shelley, William Wordsworth,
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the Poet finds himself ready to sink into the supernatural world and break through the threshold into death.
802:
689:
Schapiro, Barbara. (1979). "Shelley's 'Alastor' and
Whitman's 'Out of the Cradle': The Ambivalent Mother."
373:
Quellen Vorbilder, Stoffe zu Shelley's Poetischen Werken. 1. Alastor. Romanischen und Englischen Philologie
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436:. (1993). "Secrets of the Birth of Time: The Rhetoric of Cultural Origins in Alastor and 'Mont Blanc'."
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Mueschke, Paul and Earl L. Griggs. (1934). "Wordsworth as the Prototype of the Poet in Shelley's
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have been noted but Shelley is unlikely to have read that poem, still unpublished at the time of
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42:. The poem is 720 lines long. It is considered to be one of the first of Shelley's major poems.
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Critics have spent a great deal of effort attempting to identify the Poet. One possibility is
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Ramadier, Bernard. "Shelley et l'encombrante enveloppe: Le Passage de l'etre a l'ombre dans
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Starner, Jacqueline M. (2008). "Shelley and Plato: Metaphysical Formulations." Online link.
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Peterfreund, Stuart. (1985). "Between desire and nostalgia: Intertextuality in Shelley's
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Strange Truths in Undiscovered Lands: Shelley's Poetic Development and Romantic Geography
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Jones, Frederick L. (1947). "The Vision Theme in Shelley's 'Alastor" and Other Poems."
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348:, each of which was partly composed while Southey and Coleridge were in close contact.
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Bean, John C. (1974). "The Poet Borne Darkly: The Dream-Voyage Allegory in Shelley's
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The poem was attacked by contemporary critics for its "obscurity". In a review in
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Poetics of Self and Form in Keats and Shelley: Nietzschean Subjectivity and Genre
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for May 1816, the reviewer dismissed the work as "the madness of a poetic mind."
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Raben, Joseph. (1966). "Coleridge as the Prototype of the Poet in Shelley's
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in imagery and quest-narrative. Shelley sent a copy of the book to Southey.
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O'Malley, Glenn. (1958). "Shelley's 'Air-Prism': The Synesthetic Scheme of
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389:)." Ph.D. diss., U of Virginia, 1998, DAI, 60-01A (1999): 138, 213 pages.
650:, ed. Jean Marigny (Grenoble: Universite Stendhal-Grenoble, 1998), 31–42.
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In his biography of John Keats, Sidney Colvin wrote on the influence of
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Rajan, Tilottama. "The Web of Human Things: Narrative and Identity in
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Fraistat, Neil. (1984). "Poetic Quests and Questionings in Shelley's
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s composition. The similarities might be explained by those between
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Crucefix, Martyn. (1983). "Wordsworth, Superstition, and Shelley's
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Nondum amabam, et amare amabam, quaerebam quid amarem, amans amare.
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Project Gutenberg: complete works of Shelley, including Alastor
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Wordsworth's Influence on Shelley: A Study of Poetic Authority
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influenced the poetry of William Butler Yeats, whose own work
639:, pp. 85–107. Ed. G. Kim Blank. London: Macmillan, 1991.
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Wolfstein, The Murderer; or, The Secrets of a Robber's Cave
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Complete works of Shelley, including Alastor at Archive.org
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Ristic, Ratomir. (2000). "Shelley's First Major Lyrics and
21:
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Carson, Robert N. "The Solipsism in Shelley's 'Alastor'."
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Carl H. Pforzheimer Collection of Shelley and His Circle
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Behrendt, Stephen C. "Two Voices: Narrator and Poet in
277:: "It is certain that Keats read and was impressed by
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Eight lines from the poem "Mutability" are quoted in
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Peacock suggested the name Alastor, which comes from
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NY: Columbia University Press, 1933. Online version.
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Bennett, Betty T. "Love and Egocentricity: Teaching
174:(1818) in the scene when Victor Frankenstein climbs
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Alastor; or, The Spirit of Solitude: And Other Poems
94:
The work was first published in London in 1816 (see
142:The epigraph to the poem is from St. Augustine's
126:Feelings Of A Republican On The Fall Of Bonaparte
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189:We rise. One wandering thought pollutes the day;
873:Poetical Essay on the Existing State of Things
637:The New Shelley: Later Twentieth-Century Views
375:(Erlangen & Leipzig, 1899), pp. 1–16.
161:Shelley also quotes from William Wordsworth's
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200:Man's yesterday may ne'er be like his morrow;
316:, a favourite poem of Shelley's, prefigures
715:Winstanley, L. "Shelley as a Nature Poet."
589:Encyclopedia of the Romantic Era, 1760–1850
191:We feel, conceive or reason, laugh or weep;
187:We rest. A dream has power to poison sleep;
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944:Posthumous Fragments of Margaret Nicholson
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757:
455:, Apostasy, and the Ecology of Criticism".
310:, whom Shelley had much admired and whose
146:, III, i, written between 397 and 398 AD:
196:It is the same! For, be it joy or sorrow,
193:Embrace fond woe, or cast our cares away:
117:"The Pale, The Cold, And The Moony Smile"
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708:Wier, M.C. "Shelley's 'Alastor' Again."
470:: Shelley Corrects Wordsworth." (1981).
198:The path of its departure still is free:
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428:Approaches to Teaching Shelley's Poetry
409:Approaches to Teaching Shelley's Poetry
171:Frankenstein; or, The Modern Prometheus
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550:Zeitschrift für vergl. Litteraturgesch
247:for October 1816, Josiah Condor wrote:
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555:Jones, Frederick L. (December 1946).
212:Reviews were initially negative when
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1201:Wolfstein; or, The Mysterious Bandit
1097:Rosalind and Helen, A Modern Eclogue
936:Original Poetry by Victor and Cazire
484:. NY: Charles Scribner's Sons, 1917.
451:Brigham, Linda. "Irony and Clerisy:
382:. University of Toronto Press, 2009.
291:was influenced by the Shelley poem.
135:Translated From The Greek Of Moschus
1217:Zastrozzi, The Master of Discipline
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1081:Alastor, or The Spirit of Solitude
566:, Vol. 13, No. 4, pp. 291–98.
534:An Odyssey of the Soul, Shelley's
387:Alastor, or the Spirit of Solitude
362:(Op. 14) based on Shelley's work.
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202:Nought may endure but Mutability.
31:Alastor, or The Spirit of Solitude
14:
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571:The Years Work in English Studies
106:"O! There Are Spirits Of The Air"
1389:The Life of Percy Bysshe Shelley
920:" (published posthumously, 1840)
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712:, xlvi, September 1931, 947–950.
686:. Burlington, VT: Ashgate, 2005.
664:, Vol. 2, No. 7, pp. 69–86.
544:Imelmann, R. (1909). "Shelley's
528:, xlv, December 1930, 1098–1115.
132:Sonnet From The Italian Of Dante
609:and two shorter poems from the
557:The Inconsistency of Shelley's
1507:Poetry by Percy Bysshe Shelley
1318:Sir Percy Shelley, 3rd Baronet
1295:The Man Who Wrote Frankenstein
1034:One Word is Too Often Profaned
910:A Philosophical View of Reform
730:Audiobook recording of Alastor
587:Murray, Christopher John, ed.
360:Alastor, Poème d'après Shelley
231:in the December 1816 issue of
222:Blackwood's Edinburgh Magazine
25:1816 first edition title page.
1:
1527:Works by Percy Bysshe Shelley
1469:The Haunting of Villa Diodati
887:A Vindication of Natural Diet
880:A Letter to Lord Ellenborough
628:, XVII, 67, pp. 278–292.
440:, 32, no. 3, pp. 339–66.
430:. New York: MLA, 1990. 76–78.
411:. New York: MLA, 1990. 54–58.
1243:Keats–Shelley Memorial House
1166:History of a Six Weeks' Tour
895:History of a Six Weeks' Tour
705:, 7, 1, Winter, 1983, 23–36.
648:Images fantastiques du corps
120:A Summer-evening Church-yard
16:Poem by Percy Bysshe Shelley
7:
1041:Music, When Soft Voices Die
985:Hymn to Intellectual Beauty
703:Nineteenth-Century Contexts
615:Nineteenth-Century Contexts
323:Similarities in imagery to
10:
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1532:English poetry collections
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693:, XXXVI, pp. 245–259.
679:NY: Silver, Burdett, 1902.
495:, XXXIII, pp. 126–47.
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351:In 1912, Russian composer
86:free of decay and change.
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626:Review of English Studies
472:Modern Language Quarterly
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866:The Necessity of Atheism
564:English Literary History
520:Havens, R.D. "Shelley's
426:." Hall, Spencer (ed.).
407:." Hall, Spencer (ed.).
1396:Shelley's Vegetarianism
617:, 9, 1, pp. 47–66.
602:, 55, pp. 178–187.
532:Hoffman, Harold Leroy.
513:: A Reinterpretation."
506:, 33, pp. 161–181.
443:Blank, G. Kim. (1988).
325:Samuel Taylor Coleridge
289:The Wanderings of Oisin
216:was published in 1816.
138:The Daemon Of The World
1486:Shelley Memorial Award
667:Roberts, Charles G.D.
591:. NY: Routledge, 2004.
584:, 49, pp. 229–45.
517:, 62, (1947), 1022–42.
466:Carothers, Yvonne M. "
438:Studies in Romanticism
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49:. Peacock has defined
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1421:Bride of Frankenstein
1403:Shelley: A Life Story
1352:Thomas Jefferson Hogg
1145:The Masque of Anarchy
504:Keats-Shelley Journal
400:, 23, pp. 60–76.
398:Keats-Shelley Journal
313:Thalaba the Destroyer
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184:
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1453:Rowing with the Wind
1372:Edward John Trelawny
1225:Zastrozzi, A Romance
1013:Ode to the West Wind
780:Percy Bysshe Shelley
447:. London: Macmillan.
422:with Mary Shelley's
218:John Gibson Lockhart
36:Percy Bysshe Shelley
1471:" (2020 TV episode)
1367:Thomas Love Peacock
1289:authorship question
1156:Collaborations with
1137:The Triumph of Life
1089:The Revolt of Islam
918:A Defence of Poetry
662:Facta Universitatis
493:Essays in Criticism
371:Ackermann, Richard.
227:Leigh Hunt praised
109:Stanzas.—April 1814
40:Thomas Love Peacock
1330:Sir Bysshe Shelley
1279:Authorship debates
1129:The Witch of Atlas
1121:Julian and Maddalo
928:Poetry collections
803:Prometheus Unbound
658:Prometheus Unbound
420:Prometheus Unbound
353:Nikolai Myaskovsky
301:William Wordsworth
259:The British Critic
240:The Monthly Review
208:Critical reception
98:) under the title
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1260:Shelley's Cottage
1006:Love's Philosophy
717:Englische Studien
509:Gibson, Evan K. "
463:, 24 August 2008.
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1341:Claire Clairmont
1265:Shelley Memorial
971:The Devil's Walk
952:Posthumous Poems
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734:Internet Archive
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163:The Excursion
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123:To Wordsworth
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34:is a poem by
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1461:Mary Shelley
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1312:Mary Shelley
1293:
1287:Frankenstein
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1199:
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1020:To a Skylark
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552:, Vol. XVII.
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129:Superstition
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68:supernatural
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18:
1464:(2017 film)
1456:(1988 film)
1448:(1988 film)
1440:(1986 film)
1432:(1984 play)
1424:(1935 film)
1381:Biographies
1193:Adaptations
963:Short poems
858:Non-fiction
306:Another is
144:Confessions
1517:1816 books
1512:1815 poems
1501:Categories
1413:Portrayals
1357:John Keats
1336:Lord Byron
1174:Proserpine
1065:Long poems
999:Ozymandias
992:Mont Blanc
978:Mutability
847:St. Irvyne
669:Shelley's
482:John Keats
355:wrote his
346:Kubla Khan
330:Kubla Khan
273:on Keats'
180:Swiss Alps
176:Montanvert
113:Mutability
1073:Queen Mab
1027:The Cloud
839:Zastrozzi
795:The Cenci
613:volume."
1326:(father)
1057:" (1834)
1050:" (1824)
1043:" (1824)
1036:" (1822)
1029:" (1820)
1022:" (1820)
1015:" (1820)
1008:" (1819)
1001:" (1818)
994:" (1817)
987:" (1817)
980:" (1816)
973:" (1812)
882:" (1812)
875:" (1811)
868:" (1811)
275:Endymion
1479:Related
1113:Adonaïs
1048:A Dirge
831:Fiction
675:Alastor
671:Adonais
644:Alastor
633:Alastor
622:Alastor
611:Alastor
607:Alastor
596:Alastor
578:Alastor
559:Alastor
546:Alastor
536:Alastor
522:Alastor
511:Alastor
500:Alastor
489:Alastor
468:Alastor
453:Alastor
416:Alastor
405:Alastor
394:Alastor
366:Sources
342:Thalaba
335:Alastor
318:Alastor
285:Alastor
279:Alastor
271:Alastor
229:Alastor
214:Alastor
178:in the
63:Alastor
57:Summary
51:Alastor
1437:Gothic
1314:(wife)
1305:People
1236:Places
1228:(1986)
1220:(1977)
1212:(1850)
1204:(1822)
1185:(1820)
1177:(1820)
1169:(1817)
1148:(1832)
1140:(1824)
1132:(1824)
1124:(1824)
1116:(1821)
1108:(1821)
1100:(1819)
1092:(1818)
1084:(1816)
1076:(1813)
955:(1824)
947:(1810)
939:(1810)
898:(1817)
890:(1813)
850:(1811)
842:(1810)
814:(1822)
811:Hellas
806:(1820)
798:(1819)
646:." In
1320:(son)
1182:Midas
787:Plays
338:'
252:poem.
710:PMLA
673:and
582:PMLA
526:PMLA
515:PMLA
418:and
344:and
732:at
660:."
635:."
624:."
598:."
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327:'s
281:."
256:In
220:of
61:In
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