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THE south of Europe was in a state of great political excitement at the beginning of the year 1821. The Spanish Revolution had been a signal to Italy-secret societies were formed-and when Naples rose to declare the Constitution, the call was responded to from Brundusium to the foot of the Alps. To crush these attempts to obtain liberty, early in 1821, the Austrians poured their armies into the Peninsula at first their coming rather seemed to add energy and resolution to a people long enslaved. The Piedmontese asserted their freedom; Genoa threw off the yoke of the King of Sardinia; and, as if in playful imitation, the people of the little state of Massa and Carrara gave the congé to their sovereign and set up a republic.

Tuscany alone was perfectly tranquil. It was said, that the Austrian minister presented a list of sixty Carbonari to the grand-duke, urging their imprisonment; and the grand-duke replied, "I do not know whether these sixty men are Carbonari, but I know if I imprison them, I shall directly have sixty thousand start up." But though the Tuscans had no desire to disturb the paternal government, beneath whose shelter they slumbered, they regarded the progress of the various Italian revolutions with intense interest, and hatred

for the Austrian was warm in every bosom. But they had slender hopes; they knew that the Neapolitans would offer no fit resistance to the regular German troops, and that the overthrow of the Constitution in Naples would act as a decisive blow against all struggles for liberty in Italy.

We have seen the rise and progress of reform. But the Holy Alliance was alive and active in those days, and few could dream of the peaceful triumph of liberty. It seemed then that the armed assertion of freedom in the south of Europe was the only hope of the liberals, as, if it prevailed, the nations of the north would imitate the example. Happily the reverse has proved the fact. The countries accustomed to the exercise of the privileges of freemen, to a limited extent, have extended, and are extending these limits. Freedom and knowledge have now a chance of proceeding hand in hand; and if it continue thus, we may hope for the durability of both. Then, as I have said, in 1821, Shelley, as well as every other lover of liberty, looked upon the struggles in Spain and Italy as decisive of the destinies of the world, probably for centuries to come. The interest he took in the progress of affairs was intense. When Genoa declared itself free, his hopes were at their highest. Day after day, he read the bulletins of the Austrian army, and sought eagerly to gather tokens of its defeat. He heard of the revolt of Genoa with emotions of transport. His whole heart and soul were in the triumph of their cause.

We were living at

Pisa at that time; and several well-informed Italians, at the head of whom we may place the celebrated Vaccá, were accustomed to seek for sympathy in their hopes from Shelley: they did not find such for the despair they too generally experienced, founded on contempt for their southern countrymen.

While the fate of the progress of the Austrian armies then invading Naples was yet in suspense, the news of another revolution filled him with exultation. We had formed the acquaintance at Pisa of several Constantinopolitan Greeks, of the family of Prince Caradja, formerly Hospodar of Wallachia, who, hearing that the bowstring, the accustomed finale of his viceroyalty, was on the road to him, escaped with his treasures, and took up his abode in Tuscany. Among these was the gentleman to whom the drama of Hellas is dedicated. Prince Mavrocordato was warmed by those aspirations for the independence of his country, which filled the hearts of many of his countrymen. He often intimated the possibility of an insurrection in Greece; but we had no idea of its being so near at hand, when, on the 1st of April, 1821, he called on Shelley; bringing the proclamation of his cousin, Prince Ipsilanti, and, radiant with exultation and delight, declared that henceforth Greece would be free.

Shelley had hymned the dawn of liberty in Spain and Naples, in two odes, dictated by the warmest enthusiasm ; —he felt himself naturally impelled to decorate with poetry the uprise of the descendants of that people, whose works he regarded with deep admiration; and to adopt the vaticinatory character in prophesying their success. "Hellas" was written in a moment of enthusiasm. It is curious to remark how well he overcomes the difficulty of forming a drama out of such scant materials. His prophecies, indeed, came true in their general, not their particular purport. He did not foresee the death of Lord Londonderry, which was to be the epoch of a change in English politics, particularly as regarded foreign affairs; nor that the navy of his country would fight for instead of against the Greeks; and by the battle of

Navarino secure their enfranchisement from the Turks. Almost against reason, as it appeared to him, he resolved to believe that Greece would prove triumphant; and in this spirit, auguring ultimate good, yet grieving over the vicissitudes to be endured in the interval, he composed his drama. The chronological order to be observed in the arrangement of the remaining poems, is interrupted here, that his dramas may follow each other consecutively. "Hellas" was among the last of his compositions, and is among the most beautiful. The choruses are singularly imaginative, and melodious in their versification. There are some stanzas that beautifully exemplify Shelley's peculiar style; as, for instance, the assertion of the intellectual empire which must be for ever the inheritance of the country of Homer, Sophocles, and Plato:

But Greece and her foundations are
Built below the tide of war;
Based on the crystalline sea

Of thought and its eternity.

And again, that philosophical truth, felicitously imaged forth

Revenge and wrong bring forth their kind,
The foul cubs like their parents are;

Their den is in the guilty mind,

And conscience feeds them with despair.

The conclusion of the last chorus is among the most beautiful of his lyrics; the imagery is distinct and majestic; the prophecy, such as poets love to dwell upon, the regeneration of mankind—and that regeneration reflecting back splendour on the foregone time, from which it inherits so much of intellectual wealth, and memory of past virtuous deeds, as must render the possession of happiness and peace of tenfold value.





A Tragedy, in Two Acts.


Choose Reform or Civil War,

When through thy streets, instead of hare with dogs,
A CONSORT QUEEN shall hunt a KING with hogs,
Riding on the IONIAN MINOTAUR.

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