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Julian and Maddalo by Percy Bysshe Shelley

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Two friends, Julian and Count Maddalo, ride along the Venice lagoon, engaging in a debate about whether human suffering can be conquered through willpower and reason, or if it ultimately wears us down regardless of our efforts.

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The PoemFull text

Julian and Maddalo

Percy Bysshe Shelley

The meadows with fresh streams, the bees with thyme, The goats with the green leaves of budding Spring, Are saturated not—nor Love with tears.—Virgil's Gallus. I rode one evening with Count Maddalo Upon the bank of land which breaks the flow Of Adria towards Venice: a bare strand Of hillocks, heaped from ever-shifting sand, Matted with thistles and amphibious weeds. Such as from earth's embrace the salt ooze breeds, Is this; an uninhabited sea-side, Which the lone fisher, when his nets are dried, Abandons; and no other object breaks The waste, but one dwarf tree and some few stakes Broken and unrepaired, and the tide makes A narrow space of level sand thereon. Where 'twas our wont to ride while day went down. This ride was my delight. I love all waste And solitary places; where we taste The pleasure of believing what we see Is boundless, as we wish our souls to be: And such was this wide ocean, and this shore More barren than its billows; and yet more Than all, with a remembered friend I love To ride as then I rode;—for the winds drove The living spray along the sunny air Into our faces; the blue heavens were bare. Stripped to their depths by the awakening north; And, from the waves, sound like delight broke forth Harmonising with solitude, and sent Into our hearts aëreal merriment. So, as we rode, we talked; and the swift thought, Winging itself with laughter, lingered not, But flew from brain to brain,—such glee was ours, Charged with light memories of remembered hours, None slow enough for sadness: till we came Homeward, which always makes the spirit tame. This day had been cheerful but cold, and now The sun was sinking, and the wind also. 35 Our talk grew somewhat serious, as may be Talk interrupted with such raillery As mocks itself, because it cannot scorn The thoughts it would extinguish:—'twas forlorn, Yet pleasing, such as once, so poets tell, 40 The devils held within the dales of Hell Concerning God, freewill and destiny: Of all that earth has been or yet may be, All that vain men imagine or believe, Or hope can paint or suffering may achieve, 45 We descanted, and I (for ever still Is it not wise to make the best of ill?) Argued against despondency, but pride Made my companion take the darker side. The sense that he was greater than his kind 50 Had struck, methinks, his eagle spirit blind By gazing on its own exceeding light. Meanwhile the sun paused ere it should alight, Over the horizon of the mountains;—Oh, How beautiful is sunset, when the glow 55 Of Heaven descends upon a land like thee, Thou Paradise of exiles, Italy! Thy mountains, seas, and vineyards, and the towers Of cities they encircle !—it was ours To stand on thee, beholding it: and then, 60 Just where we had dismounted, the Count's men Were waiting for us with the gondola.— As those who pause on some delightful way Though bent on pleasant pilgrimage, we stood Looking upon the evening, and the flood 65 Which lay between the city and the shore, Paved with the image of the sky . . . the hoar And aëry Alps towards the North appeared Through mist, an heaven-sustaining bulwark reared Between the East and West; and half the sky 70 Was roofed with clouds of rich emblazonry Dark purple at the zenith, which still grew Down the steep West into a wondrous hue Brighter than burning gold, even to the rent Where the swift sun yet paused in his descent 75 Among the many-folded hills: they were Those famous Euganean hills, which bear, As seen from Lido thro' the harbour piles, The likeness of a clump of peaked isles— And then—as if the Earth and Sea had been 80 Dissolved into one lake of fire, were seen Those mountains towering as from waves of flame Around the vaporous sun, from which there came The inmost purple spirit of light, and made Their very peaks transparent. 'Ere it fade,' 85 Said my companion, 'I will show you soon A better station'—so, o'er the lagune We glided; and from that funereal bark I leaned, and saw the city, and could mark How from their many isles, in evening's gleam, 90 Its temples and its palaces did seem Like fabrics of enchantment piled to Heaven. I was about to speak, when—'We are even Now at the point I meant,' said Maddalo, And bade the gondolieri cease to row. 95 'Look, Julian, on the west, and listen well If you hear not a deep and heavy bell.' I looked, and saw between us and the sun A building on an island; such a one As age to age might add, for uses vile, 100 A windowless, deformed and dreary pile; And on the top an open tower, where hung A bell, which in the radiance swayed and swung; We could just hear its hoarse and iron tongue: The broad sun sunk behind it, and it tolled 105 In strong and black relief.—'What we behold Shall be the madhouse and its belfry tower,' Said Maddalo, 'and ever at this hour Those who may cross the water, hear that bell Which calls the maniacs, each one from his cell, 110 To vespers.'—'As much skill as need to pray In thanks or hope for their dark lot have they To their stern maker,' I replied. 'O ho! You talk as in years past,' said Maddalo. "'Tis strange men change not. You were ever still 115 Among Christ's flock a perilous infidel, A wolf for the meek lambs—if you can't swim Beware of Providence.' I looked on him, But the gay smile had faded in his eye. 'And such,'—he cried, 'is our mortality, 120 And this must be the emblem and the sign Of what should be eternal and divine!— And like that black and dreary bell, the soul, Hung in a heaven-illumined tower, must toll Our thoughts and our desires to meet below 125 Round the rent heart and pray—as madmen do For what? they know not,—till the night of death As sunset that strange vision, severeth Our memory from itself, and us from all We sought and yet were baffled.' I recall 130 The sense of what he said, although I mar The force of his expressions. The broad star Of day meanwhile had sunk behind the hill, And the black bell became invisible, And the red tower looked gray, and all between 135 The churches, ships and palaces were seen Huddled in gloom:—into the purple sea The orange hues of heaven sunk silently. We hardly spoke, and soon the gondola Conveyed me to my lodging by the way. 140 The following morn was rainy, cold and dim: Ere Maddalo arose, I called on him, And whilst I waited with his child I played; A lovelier toy sweet Nature never made, A serious, subtle, wild, yet gentle being, 145 Graceful without design and unforeseeing, With eyes-Oh speak not of her eyes!—which seem Twin mirrors of Italian Heaven, yet gleam With such deep meaning, as we never see But in the human countenance: with me 150 She was a special favourite: I had nursed Her fine and feeble limbs when she came first To this bleak world; and she yet seemed to know On second sight her ancient playfellow, Less changed than she was by six months or so; 155 For after her first shyness was worn out We sate there, rolling billiard balls about, When the Count entered. Salutations past— 'The word you spoke last night might well have cast A darkness on my spirit—if man be 160 The passive thing you say, I should not see Much harm in the religions and old saws (Tho' I may never own such leaden laws) Which break a teachless nature to the yoke: Mine is another faith'—thus much I spoke 165 And noting he replied not, added: 'See This lovely child, blithe, innocent and free; She spends a happy time with little care. While we to such sick thoughts subjected are As came on you last night—it is our will 170 That thus enchains us to permitted ill— We might be otherwise—we might be all We dream of happy, high, majestical. Where is the love, beauty, and truth we seek But in our mind? and if we were not weak 175 Should we be less in deed than in desire?' 'Ay, if we were not weak—and we aspire How vainly to be strong!' said Maddalo: 'You talk Utopia.' 'It remains to know,' I then rejoined, and those who try may find 180 How strong the chains are which our spirit bind; Brittle perchance as straw . . . We are assured Much may be conquered, much may be endured, Of what degrades and crushes us. We know That we have power over ourselves to do 185 And suffer—what, we know not till we try; But something nobler than to live and die— So taught those kings of old philosophy Who reigned, before Religion made men blind; And those who suffer with their suffering kind 190 Yet feel their faith, religion.' 'My dear friend,' Said Maddalo, 'my judgement will not bend To your opinion, though I think you might Make such a system refutation-tight As far as words go. I knew one like you 195 Who to this city came some months ago, With whom I argued in this sort, and he Is now gone mad,—and so he answered me,— Poor fellow! but if you would like to go We'll visit him, and his wild talk will show 200 How vain are such aspiring theories.' 'I hope to prove the induction otherwise, And that a want of that true theory, still, Which seeks a "soul of goodness" in things ill Or in himself or others, has thus bowed 205 His being there are some by nature proud, Who patient in all else demand but this— To love and be beloved with gentleness And being scorned, what wonder if they die Some living death? this is not destiny 210 But man's own wilful ill.' As thus I spoke Servants announced the gondola, and we Through the fast-falling rain and high-wrought sea Sailed to the island where the madhouse stands. We disembarked. The clap of tortured hands, 215 Fierce yells and howlings and lamentings keen, And laughter where complaint had merrier been, Moans, shrieks, and curses, and blaspheming prayers Accosted us. We climbed the oozy stairs Into an old courtyard. I heard on high, 220 Then, fragments of most touching melody, But looking up saw not the singer there— Through the black bars in the tempestuous air I saw, like weeds on a wrecked palace growing, Long tangled locks flung wildly forth, and flowing, 225 Of those who on a sudden were beguiled Into strange silence, and looked forth and smiled Hearing sweet sounds.—Then I: 'Methinks there were A cure of these with patience and kind care, If music can thus move . . . but what is he 230 Whom we seek here?' 'Of his sad history I know but this,' said Maddalo: 'he came To Venice a dejected man, and fame Some thought the loss of fortune wrought him woe; 235 But he was ever talking in such sort As you do—far more sadly—he seemed hurt, Even as a man with his peculiar wrong, To hear but of the oppression of the strong, Or those absurd deceits (I think with you 240 In some respects, you know) which carry through The excellent impostors of this earth When they outface detection—he had worth, Poor fellow! but a humourist in his way'— 'Alas, what drove him mad?' 'I cannot say: 245 A lady came with him from France, and when She left him and returned, he wandered then About yon lonely isles of desert sand Till he grew wild—he had no cash or land Remaining, the police had brought him here— 250 Some fancy took him and he would not bear Removal; so I fitted up for him Those rooms beside the sea, to please his whim. And sent him busts and books and urns for flowers, Which had adorned his life in happier hours, 255 And instruments of music—you may guess A stranger could do little more or less For one so gentle and unfortunate: And those are his sweet strains which charm the weight From madmen's chains, and make this Hell appear 260 A heaven of sacred silence, hushed to hear.— 'Nay, this was kind of you—he had no claim, As the world says'—'None—but the very same Which I on all mankind were I as he Fallen to such deep reverse;—his melody 265 Is interrupted—now we hear the din Of madmen, shriek on shriek, again begin; Let us now visit him; after this strain He ever communes with himself again, And sees nor hears not any.' Having said 270 These words we called the keeper, and he led To an apartment opening on the sea— There the poor wretch was sitting mournfully Near a piano, his pale fingers twined One with the other, and the ooze and wind 275 Bushed through an open casement, and did sway His hair, and starred it with the brackish spray; His head was leaning on a music book, And he was muttering, and his lean limbs shook; His lips were pressed against a folded leaf 280 In hue too beautiful for health, and grief Smiled in their motions as they lay apart— As one who wrought from his own fervid heart The eloquence of passion, soon he raised His sad meek face and eyes lustrous and glazed 285 And spoke—sometimes as one who wrote, and thought His words might move some heart that heeded not, If sent to distant lands: and then as one Reproaching deeds never to be undone With wondering: self-compassion; then his speech Was lost in grief and then his words came each Unmodulated, cold, expressionless,— But that from one jarred accent you might guess It was despair made them so uniform: And all the while the loud and gusty storm 295 Hissed through the window, and we stood behind Stealing his accents from the envious wind Unseen. I yet remember what he said Distinctly: such impression his words made. 'Month after month,' he cried, 'to bear this load 300 And as a jade urged by the whip and goad To drag life on, which like a heavy chain Lengthens behind with many a link of pain!— And not to speak my grief—O, not to dare To give a human voice to my despair, 305 But live and move, and, wretched thing! smile on As if I never went aside to groan, And wear this mask of falsehood even to those Who are most dear—not for my own repose— Alas! no scorn or pain or hate could be 310 So heavy as that falsehood is to me— But that I cannot bear more altered faces Than needs must be, more changed and cold embraces, More misery, disappointment, and mistrust To own me for their father . . . Would the dust 315 Were covered in upon my body now! That the life ceased to toil within my brow! And then these thoughts would at the least be fled; Let us not fear such pain can vex the dead. 'What Power delights to torture us? I know 320 That to myself I do not wholly owe What now I suffer, though in part I may. Alas! none strewed sweet flowers upon the way Where wandering heedlessly, I met pale Pain My shadow, which will leave me not again— 325 If I have erred, there was no joy in error, But pain and insult and unrest and terror; I have not as some do, bought penitence With pleasure, and a dark yet sweet offence, For then,—if love and tenderness and truth 330 Had overlived hope's momentary youth, My creed should have redeemed me from repenting; But loathèd scorn and outrage unrelenting Met love excited by far other seeming Until the end was gained . . . as one from dreaming 335 Of sweetest peace, I woke, and found my state Such as it is.——— 'O Thou, my spirit's mate Who, for thou art compassionate and wise, Wouldst pity me from thy most gentle eyes If this sad writing thou shouldst ever see— 340 My secret groans must be unheard by thee, Thou wouldst weep tears bitter as blood to know Thy lost friend's incommunicable woe. 'Ye few by whom my nature has been weighed In friendship, let me not that name degrade 345 By placing on your hearts the secret load Which crushes mine to dust. There is one road To peace and that is truth, which follow ye! Love sometimes leads astray to misery. Yet think not though subdued—and I may well 350 Say that I am subdued—that the full Hell Within me would infect the untainted breast Of sacred nature with its own unrest; As some perverted beings think to find In scorn or hate a medicine for the mind 355 Which scorn or hate have wounded—O how vain! The dagger heals not but may rend again . . . Believe that I am ever still the same In creed as in resolve, and what may tame My heart, must leave the understanding free, 360 Or all would sink in this keen agony— Nor dream that I will join the vulgar cry; Or with my silence sanction tyranny; Or seek a moment's shelter from my pain In any madness which the world calls gain, 365 Ambition or revenge or thoughts as stern As those which make me what I am; or turn To avarice or misanthropy or lust . . . Heap on me soon, grave, thy welcome dust! Till then the dungeon may demand its prey, 370 And Poverty and Shame may meet and say— Halting beside me on the public way— "That love-devoted youth is ours-let's sit Beside him—he may live some six months yet." Or the red scaffold, as our country bends. 375 May ask some willing victim, or ye friends May fall under some sorrow which this heart Or hand may share or vanquish or avert; I am prepared—in truth with no proud joy— To do or suffer aught, as when a boy 380 I did devote to justice and to love My nature, worthless now! . . . 'I must remove A veil from my pent mind. 'Tis torn aside! O, pallid as Death's dedicated bride, Thou mockery which art sitting by my side, 385 Am I not wan like thee? at the grave's call I haste, invited to thy wedding-ball To greet the ghastly paramour, for whom Thou hast deserted me . . . and made the tomb Thy bridal bed . . . But I beside your feet Will lie and watch ye from my winding sheet— Thus . . . wide awake tho' dead . . . yet stay, O stay! Go not so soon—I know not what I say— Hear but my reasons . . I am mad, I fear, My fancy is o'erwrought . . thou art not here. . . 395 Pale art thou, 'tis most true . . but thou art gone, Thy work is finished . . . I am left alone!— ······· 'Nay, was it I who wooed thee to this breast Which, like a serpent, thou envenomest As in repayment of the warmth it lent? 400 Didst thou not seek me for thine own content? Did not thy love awaken mine? I thought That thou wert she who said, "You kiss me not Ever, I fear you do not love me now"— In truth I loved even to my overthrow 405 Her, who would fain forget these words: but they Cling to her mind, and cannot pass away. ······· 'You say that I am proud—that when I speak My lip is tortured with the wrongs which break The spirit it expresses . . . Never one 410 Humbled himself before, as I have done! Even the instinctive worm on which we tread Turns, though it wound not—then with prostrate head Sinks in the dusk and writhes like me—and dies? No: wears a living death of agonies! 415 As the slow shadows of the pointed grass Mark the eternal periods, his pangs pass Slow, ever-moving,—making moments be As mine seem—each an immortality! ······· 'That you had never seen me—never heard 420 My voice, and more than all had ne'er endured The deep pollution of my loathed embrace— That your eyes ne'er had lied love in my face— That, like some maniac monk, I had torn out The nerves of manhood by their bleeding root 425 With mine own quivering fingers, so that ne'er Our hearts had for a moment mingled there To disunite in horror—these were not With thee, like some suppressed and hideous thought Which flits athwart our musings, but can find 430 No rest within a pure and gentle mind . . . Thou sealedst them with many a bare broad word, And searedst my memory o'er them,—for I heard And can forget not . . . they were ministered One after one, those curses. Mix them up 435 Like self-destroying poisons in one cup. And they will make one blessing which thou ne'er Didst imprecate for, on me,—death. ······· 'It were A cruel punishment for one most cruel, If such can love, to make that love the fuel 440 Of the mind's hell; hate, scorn, remorse, despair: But me—whose heart a stranger's tear might wear As water-drops the sandy fountain-stone, Who loved and pitied all things, and could moan For woes which others hear not, and could see 445 The absent with the glance of phantasy, And with the poor and trampled sit and weep, Following the captive to his dungeon deep; Me—who am as a nerve o'er which do creep The else unfelt oppressions of this earth, 450 And was to thee the flame upon thy hearth, When all beside was cold—that thou on me Shouldst rain these plagues of blistering agony— Such curses are from lips once eloquent With love's too partial praise—let none relent 455 Who intend deeds too dreadful for a name Henceforth, if an example for the same They seek . . . for thou on me lookedst so, and so— And didst speak thus . . and thus . . . I live to show How much men bear and die not! 460 "Thou wilt tell, With the grimace of hate, how horrible It was to meet my love when thine grew less; Thou wilt admire how I could e'er address Such features to love's work . . . this taunt, though true, (For indeed Nature nor in form nor hue 465 Bestowed on me her choicest workmanship) Shall not be thy defence . . . for since thy lip. Met mine first, years long past, since thine eye kindled With soft fire under mine, I have not dwindled Nor changed in mind or body, or in aught 470 But as love changes what it loveth not After long years and many trials. 'How vain Are words! I thought never to speak again, Not even in secret, not to my own heart— But from my lips the unwilling accents start, 475 And from my pen the words flow as I write, Dazzling my eyes with scalding tears . . . my sight Is dim to see that charactered in vain On this unfeeling leaf which burns the brain And eats into it . . . blotting all things fair 480 And wise and good which time had written there. 'Those who inflict must suffer, for they see The work of their own hearts, and this must be Our chastisement or recompense—O child! I would that thine were like to be more mild 485 For both our wretched sakes . . . for thine the most Who feelest already all that thou hast lost Without the power to wish it thine again; And as slow years pass, a funereal train Each with the ghost of some lost hope or friend 490 Following it like its shadow, wilt thou bend No thought on my dead memory? ······· 'Alas, love! Fear me not . . . against thee I would not move A finger in despite. Do I not live That thou mayst have less bitter cause to grieve? 495 I give thee tears for scorn and love for hate; And that thy lot may be less desolate Than his on whom thou tramplest, I refrain From that sweet sleep which medicines all pain. Then, when thou speakest of me, never say 500 "He could forgive not. Here I cast away All human passions, all revenge, all pride; I think, speak, act no ill; I do but hide Under these words, like embers, every spark Of that which has consumed me—quick and dark 505 The grave is yawning . . . as its roof shall cover My limbs with dust and worms under and over So let Oblivion hide this grief . . . the air Closes upon my accents, as despair Upon my heart—let death upon despair!' 510 He ceased, and overcome leant back awhile, Then rising, with a melancholy smile Went to a sofa, and lay down, and slept A heavy sleep, and in his dreams he wept And muttered some familiar name, and we 515 Wept without shame in his society. I think I never was impressed so much; The man who were not, must have lacked a touch Of human nature . . . then we lingered not, Although our argument was quite forgot, 520 But calling the attendants, went to dine At Maddalo's; yet neither cheer nor wine Could give us spirits, for we talked of him And nothing else, till daylight made stars dim; And we agreed his was some dreadful ill 525 Wrought on him boldly, yet unspeakable, By a dear friend; some deadly change in love Of one vowed deeply which he dreamed not of; For whose sake he, it seemed, had fixed a blot Of falsehood on his mind which flourished not 530 But in the light of all-beholding truth; And having stamped this canker on his youth She had abandoned him—and how much more Might be his woe, we guessed not-he had store Of friends and fortune once, as we could guess 535 From his nice habits and his gentleness; These were now lost. it were a grief indeed If he had changed one unsustaining reed For all that such a man might else adorn. The colours of his mind seemed yet unworn; 540 For the wild language of his grief was high, Such as in measure were called poetry; And I remember one remark which then Maddalo made. He said: 'Most wretched men Are cradled into poetry by wrong, 545 They learn in suffering what they teach in song.' If I had been an unconnected man I, from this moment, should have formed some plan Never to leave sweet Venice,—for to me It was delight to ride by the lone sea; 550 And then, the town is silent—one may write Or read in gondolas by day or night, Having the little brazen lamp alight, Unseen, uninterrupted; books are there, Pictures, and casts from all those statues fair 555 Which were twin-born with poetry, and all We seek in towns, with little to recall Regrets for the green country. I might sit In Maddalo's great palace, and his wit And subtle talk would cheer the winter night 560 And make me know myself, and the firelight Would flash upon our faces, till the day Might dawn and make me wonder at my stay: But I had friends in London too: the chief Attraction here, was that I sought relief 565 From the deep tenderness that maniac wrought Within me—'twas perhaps an idle thought— But I imagined that if day by day I watched him, and but seldom went away, And studied all the beatings of his heart 570 With zeal, as men study some stubborn art For their own good, and could by patience find An entrance to the caverns of his mind, I might reclaim him from his dark estate: In friendships I had been most fortunate— 575 Yet never saw I one whom I would call More willingly my friend; and this was all Accomplished not; such dreams of baseless good Oft come and go in crowds or solitude And leave no trace—but what I now designed 580 Made for long years impression on my mind. The following morning, urged by my affairs, I left bright Venice. After many years And many changes I returned; the name Of Venice, and its aspect, was the same; 585 But Maddalo was travelling far away Among the mountains of Armenia. His dog was dead. His child had now become A woman; such as it has been my doom To meet with few,—a wonder of this earth, 590 Where there is little of transcendent worth,— Like one of Shakespeare's women: kindly she, And, with a manner beyond courtesy, Received her father's friend; and when I asked Of the lorn maniac, she her memory tasked, 595 And told as she had heard the mournful tale: 'That the poor sufferer's health began to fail Two years from my departure, but that then The lady who had left him, came again. Her mien had been imperious, but she now 600 Looked meek—perhaps remorse had brought her low. Her coming made him better, and they stayed Together at my father's—for I played, As I remember, with the lady's shawl— I might be six years old—but after all 605 She left him' . . . 'Why, her heart must have been tough: How did it end?' 'And was not this enough? They met—they parted'—'Child, is there no more?' 'Something within that interval which bore The stamp of why they parted, how they met: 610 Yet if thine aged eyes disdain to wet Those wrinkled cheeks with youth's remembered tears, Ask me no more, but let the silent years Be closed and cered over their memory As yon mute marble where their corpses lie.' 615 I urged and questioned still, she told me how All happened—but the cold world shall not know. CANCELLED FRAGMENTS OF JULIAN AND MADDALO 'What think you the dead are?' 'Why, dust and clay, What should they be?' ''Tis the last hour of day. Look on the west, how beautiful it is 620 Vaulted with radiant vapours! The deep bliss Of that unutterable light has made The edges of that cloudfade Into a hue, like some harmonious thought. Wasting itself on that which it had wrought. 625 Till it diesandbetween The light hues of the tender, pure, serene, And infinite tranquillity of heaven. Ay, beautiful! but when not. . . . ' ······· 'Perhaps the only comfort which remains 630 Is the unheeded clanking of my chains, The which I make, and call it melody.'

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Two friends, Julian and Count Maddalo, ride along the Venice lagoon, engaging in a debate about whether human suffering can be conquered through willpower and reason, or if it ultimately wears us down regardless of our efforts. To settle the argument, Maddalo brings Julian to meet a man confined in a Venetian madhouse — a brilliant and sensitive individual shattered by a disastrous love affair — and this man's anguished monologue becomes the emotional core of the poem. The poem leaves the debate unresolved, suggesting that Shelley intended it to remain that way.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. I rode one evening with Count Maddalo / Upon the bank of land which breaks the flow

    Editor's note

    Shelley begins with a striking, realistic scene: two men riding horses along the Lido, the narrow stretch of sand that divides the Adriatic from the Venice lagoon. The landscape feels intentionally sparse—just thistles, salt weeds, and a solitary stunted tree—creating a contrast between the emptiness and the thrill the narrator experiences in untamed, open spaces. This ride is depicted as a familiar joy, a cherished tradition of friendship.

  2. This ride was my delight. I love all waste / And solitary places; where we taste

    Editor's note

    Julian shares his affection for this desolate shoreline: the emptiness brings a sense of freedom, allowing the soul to stretch without boundaries. The line 'the pleasure of believing what we see / Is boundless, as we wish our souls to be' is crucial — it reveals that Julian is an idealist who reflects his inner desires onto the world around him. This also serves as the poem's initial indication that the difference between our aspirations and the reality we face will be a key theme.

  3. So, as we rode, we talked; and the swift thought, / Winging itself with laughter, lingered not,

    Editor's note

    The conversation between the two friends is described as electric, with ideas darting between them like birds. However, as the sun sets, the mood changes — their discussion turns serious, delving into free will, destiny, and suffering. Julian argues against despair, while Maddalo, whose pride and keen self-awareness reveal a darker truth, adopts the bleaker perspective. The sunset is both beautiful and foreboding, a transition the poem will employ throughout.

  4. Oh, / How beautiful is sunset, when the glow / Of Heaven descends upon a land like thee,

    Editor's note

    Shelley temporarily sets aside the philosophical debate to revel in a vivid description of the Italian sunset over the Euganean hills and the Venice lagoon. Italy is referred to as the 'Paradise of exiles' — a fitting label, considering that both Shelley and his real-life inspiration for Maddalo (Byron) were Englishmen living in self-imposed exile there. The beauty is genuine yet carries a touch of theatricality, creating a stunning backdrop that heightens the impact of what follows — the sound of the madhouse bell.

  5. 'Look, Julian, on the west, and listen well / If you hear not a deep and heavy bell.'

    Editor's note

    Maddalo points out the madhouse on its island, outlined by the setting sun. The bell summoning inmates to vespers emerges as the poem's main symbol: a soul trapped in a 'heaven-illumined tower,' ringing out desires that will never be met. Maddalo employs this as a straightforward challenge to Julian's optimism — this is the reality of human aspiration, he argues. This image stands out as one of the most striking in all of Shelley's work.

  6. The following morn was rainy, cold and dim: / Ere Maddalo arose, I called on him,

    Editor's note

    The poem takes a dramatic turn. Julian goes to Maddalo's house and interacts with his young daughter — portrayed with remarkable tenderness as a being of pure natural grace. The child's innocence and freedom sharply contrast with the 'sick thoughts' weighing on the two men. Julian points to her as a counterargument: we could embrace that same joy and lightness if we decided to break free from our mental shackles. Maddalo, however, remains skeptical.

  7. As thus I spoke / Servants announced the gondola, and we / Through the fast-falling rain and high-wrought sea

    Editor's note

    The two men navigate a storm to reach the madhouse island. Their arrival is meant to be jarring and sensory: tortured hands clapping, yells, laughter twisted into something more unsettling than tears, moans, and blasphemous prayers. Amid all this chaos, fragments of beautiful music drift down from somewhere above — the maniac at his piano. This stark contrast between the music's beauty and its source in suffering embodies the poem's central argument.

  8. 'Month after month,' he cried, 'to bear this load / And as a jade urged by the whip and goad

    Editor's note

    The maniac's monologue starts. He likens life to a horse forced to run, burdened by a chain of pain that seems to stretch endlessly. He's been donning a mask of normalcy—smiling in public and concealing his sorrow—not for himself, but to shield his loved ones from witnessing how deeply he has sunk. He claims that the burden of this feigned happiness is even heavier than the grief itself. This is Shelley at his most psychologically insightful.

  9. 'What Power delights to torture us? I know / That to myself I do not wholly owe

    Editor's note

    The maniac looks outward, wondering if a cruel God or fate is to blame for his suffering. He insists he never sought pleasure through sin—his love was real, his intentions sincere—and yet pain still came for him. He talks about encountering 'pale Pain' on his journey as if it were an unavoidable companion, a shadow that clings to him. This part directly addresses Julian's earlier point: the maniac exemplifies that good intentions and a sensitive heart provide no shield from suffering.

  10. 'O Thou, my spirit's mate / Who, for thou art compassionate and wise,

    Editor's note

    The maniac speaks to the woman who abandoned him—first with deep tenderness, referring to her as his 'spirit's mate,' then realizing that she will never see these words. His sorrow feels 'incommunicable': its intensity isolates him from the very person he longs to connect with. He shifts his focus to his broader circle of friends, pleading with them not to allow his pain to taint their own hearts, asserting that truth—not love, which can mislead—is the only safe path.

  11. 'Nay, was it I who wooed thee to this breast / Which, like a serpent, thou envenomest

    Editor's note

    The monologue becomes increasingly fragmented and confrontational. The maniac questions who started the love, who stirred whose longing — and brings to mind specific, intimate words she once shared with him. The recalled phrase ('You kiss me not / Ever, I fear you do not love me now') is painfully ordinary: this is the sound of genuine love before it shifts. The maniac's thoughts continually return to these memories, unable to release them.

  12. 'You say that I am proud—that when I speak / My lip is tortured with the wrongs which break

    Editor's note

    The woman has accused him of being proud, but he denies it. He claims to have humbled himself entirely, likening his situation to a worm that writhes underfoot yet cannot break free. This vivid imagery of the worm's slow, tormenting struggle—each moment stretching on indefinitely—captures one of Shelley's most intense depictions of mental anguish. He is not proud; he just can't ignore the pain.

  13. 'That you had never seen me—never heard / My voice, and more than all had ne'er endured

    Editor's note

    The maniac, filled with intense self-hatred, wishes they had never crossed paths — that he had ripped away his ability to love before it could connect with hers. He recounts her ultimate betrayals not as one devastating act but as a string of curses unleashed 'one after another,' like toxic poisons blended in a cup that lead to one inevitable result: death. The brutality of the imagery shows just how calculated and intentional the betrayal seemed.

  14. 'Those who inflict must suffer, for they see / The work of their own hearts, and this must be

    Editor's note

    The maniac moves toward something resembling forgiveness — or at least towards letting go of revenge. He tells her that he gives 'tears for scorn and love for hate,' and that he holds back from suicide just so her guilt won’t feel so overwhelming. All he asks is that when she talks about him, she doesn’t say he was incapable of forgiveness. Then, in the poem's most quietly heart-wrenching moment, he pleads for oblivion to envelop his grief like earth envelops a corpse, concluding with: 'let death upon despair.'

  15. He ceased, and overcome leant back awhile, / Then rising, with a melancholy smile

    Editor's note

    The maniac finishes, lies down, and drifts into a deep sleep, weeping and murmuring a name even in his unconscious state. Julian and Maddalo openly weep — Shelley observes this without any shame. The two men leave, dine at Maddalo's palace, and talk about nothing else throughout the night. They come to the conclusion that the maniac was ruined by a betrayal in love, by someone who had made a deep vow and then abandoned him. Maddalo's well-known line — 'Most wretched men / Are cradled into poetry by wrong' — serves as the poem's nearest approach to a conclusion.

  16. If I had been an unconnected man / I, from this moment, should have formed some plan

    Editor's note

    Julian thinks back to a time when he considered staying in Venice to help the maniac through friendship, but his responsibilities in London pulled him away. Years later, he comes back to find that Maddalo is gone, his dog has died, and his daughter has grown into an impressive woman. She shares that the lady eventually returned, the maniac showed some improvement, but then she left again. When Julian asks about what transpired during that time, the daughter hesitates to share the details — and Shelley concludes the poem by stating that the cold world will not be informed. This unresolved ending is intentional: the discussion surrounding human suffering lacks a simple resolution.

§04Tone & mood

How this poem feels

The poem explores a range of emotions. It starts with a feeling of joy and freedom — two close friends riding along a wild shore, their ideas flowing effortlessly. This shifts into a kind of thoughtful melancholy, almost enjoyable in its depth, like a meaningful discussion about tough topics. Then, the visit to the madhouse brings the mood down significantly: the tone turns raw, painful, and personal during the maniac's monologue, resembling less of a poem and more of a person speaking to themselves in a locked room. The final section feels quieter and more reflective, filled with the unique sadness that comes from time passing and unanswered questions. Throughout, Shelley maintains a conversational tone — this is a poem that engages in dialogue rather than delivering a formal speech.

§05Symbols & metaphors

Symbols & metaphors

The madhouse bell
The bell summoning inmates to vespers stands out as the poem's most impactful image. Maddalo uses it to argue that the human soul resembles a bell hung in a tower—able to aspire toward heaven but ultimately confined, only able to toll out desires that lead nowhere. This image merges the sacred (vespers, prayer, the soul's longing) with the pathetic (madmen praying without understanding) into one unified sound.
The sunset over Venice
The stunning Italian sunset shows up at several important moments and serves two purposes. It’s truly beautiful—Shelley captures it with real artistic attention—but it also signifies endings, the dimming of light, and the coming of darkness. It sets the stage for the chaotic bell scene and appears again in the discarded fragments. In this poem, beauty and extinction are always intertwined.
Maddalo's daughter
The child embodies the pure, unselfconscious freedom that Julian points to as evidence that happiness exists. She is 'blithe, innocent and free,' unaffected by the philosophical despair that weighs on the two men. By the end of the poem, she has matured into a woman who knows the maniac's secret but chooses not to reveal it — innocence has transformed into a quiet awareness, marking a different kind of loss.
The maniac's music
The maniac plays the piano, and his music is so beautiful that it momentarily eases the suffering of the other inmates. Here, music symbolizes the transformative power of art born from pain — it directly reflects Maddalo's closing observation that the most wretched individuals are 'cradled into poetry by wrong.' The music is genuine and healing, yet it can't save its creator.
The chain
The maniac portrays life as a chain that 'lengthens behind with many a link of pain.' This chain metaphor appears throughout the poem — Julian previously claims that the chains restricting the human spirit might be 'brittle perchance as straw,' but the maniac's experience indicates otherwise. This serves as the poem's main argument brought to life: can we break free from our mental and emotional limitations, or is it impossible?
Venice itself
Venice is a 'Paradise of exiles' — stunning, a bit surreal, and built on water, creating a city that feels suspended between worlds. It's an ideal backdrop for a poem about those dislocated from everyday life due to exile, madness, or sorrow. From the lagoon, its palaces resemble 'fabrics of enchantment,' yet up close, the city reveals a madhouse. The contrast between how things seem and how they truly are defines Venice's essence in this poem.

§06Historical context

Historical context

Shelley wrote this poem between 1818 and 1819 while living in Italy, and it reflects his friendship with Lord Byron. Maddalo is clearly a portrayal of Byron, characterized as proud and brilliant, while Julian represents Shelley himself as the idealistic optimist. The two men actually rode along the Lido, engaging in discussions about free will and the possibility of human perfection. The maniac at the center of the poem is believed to mirror Shelley's own experience with romantic betrayal, possibly tied to the tragic suicide of his first wife Harriet in 1816 or the emotional turmoil of his social circle. Shelley never published the poem during his lifetime; it was released in 1824, two years after he passed away. He described it as 'a conversation or a tale' and maintained that it wasn't an allegory, although readers have often interpreted the maniac as a representation of the poet himself — a sensitive soul crushed by love and the world's indifference.

§07FAQ

Questions readers ask

Julian represents Shelley, while Maddalo stands in for Lord Byron. The two were good friends during Shelley's time in Italy, and the poem is inspired by their actual discussions and rides along the Venice Lido in 1818. Shelley mentioned in a letter that Maddalo's character is 'drawn from Lord Byron'—capturing the eagle's pride, dark intelligence, and a rejection of simple hope.

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