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The Witch of Atlas by Percy Bysshe Shelley

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The Witch of Atlas is Shelley’s whimsical and captivating tale about a magical woman born on a mountain in North Africa.

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The Witch of Atlas

Percy Bysshe Shelley

(ON HER OBJECTING TO THE FOLLOWING POEM, UPON THE SCORE OF ITS CONTAINING NO HUMAN INTEREST). How, my dear Mary,--are you critic-bitten (For vipers kill, though dead) by some review, That you condemn these verses I have written, Because they tell no story, false or true? What, though no mice are caught by a young kitten, May it not leap and play as grown cats do, Till its claws come? Prithee, for this one time, Content thee with a visionary rhyme. What hand would crush the silken-winged fly, The youngest of inconstant April's minions, Because it cannot climb the purest sky, Where the swan sings, amid the sun's dominions? Not thine. Thou knowest 'tis its doom to die, When Day shall hide within her twilight pinions The lucent eyes, and the eternal smile, Serene as thine, which lent it life awhile. To thy fair feet a winged Vision came, Whose date should have been longer than a day, And o'er thy head did beat its wings for fame, And in thy sight its fading plumes display; The watery bow burned in the evening flame. But the shower fell, the swift Sun went his way-- And that is dead.--O, let me not believe That anything of mine is fit to live! Wordsworth informs us he was nineteen years Considering and retouching Peter Bell; Watering his laurels with the killing tears Of slow, dull care, so that their roots to Hell Might pierce, and their wide branches blot the spheres Of Heaven, with dewy leaves and flowers; this well May be, for Heaven and Earth conspire to foil The over-busy gardener's blundering toil. My Witch indeed is not so sweet a creature As Ruth or Lucy, whom his graceful praise Clothes for our grandsons--but she matches Peter, Though he took nineteen years, and she three days In dressing. Light the vest of flowing metre She wears; he, proud as dandy with his stays, Has hung upon his wiry limbs a dress Like King Lear's 'looped and windowed raggedness.' If you strip Peter, you will see a fellow Scorched by Hell's hyperequatorial climate Into a kind of a sulphureous yellow: A lean mark, hardly fit to fling a rhyme at; In shape a Scaramouch, in hue Othello. If you unveil my Witch, no priest nor primate Can shrive you of that sin,--if sin there be In love, when it becomes idolatry. THE WITCH OF ATLAS. Before those cruel Twins, whom at one birth Incestuous Change bore to her father Time, Error and Truth, had hunted from the Earth All those bright natures which adorned its prime, And left us nothing to believe in, worth The pains of putting into learned rhyme, A lady-witch there lived on Atlas' mountain Within a cavern, by a secret fountain. Her mother was one of the Atlantides: The all-beholding Sun had ne'er beholden In his wide voyage o'er continents and seas So fair a creature, as she lay enfolden In the warm shadow of her loveliness;-- He kissed her with his beams, and made all golden The chamber of gray rock in which she lay-- She, in that dream of joy, dissolved away. 'Tis said, she first was changed into a vapour, And then into a cloud, such clouds as flit, Like splendour-winged moths about a taper, Round the red west when the sun dies in it: And then into a meteor, such as caper On hill-tops when the moon is in a fit: Then, into one of those mysterious stars Which hide themselves between the Earth and Mars. Ten times the Mother of the Months had bent Her bow beside the folding-star, and bidden With that bright sign the billows to indent The sea-deserted sand--like children chidden, At her command they ever came and went-- Since in that cave a dewy splendour hidden Took shape and motion: with the living form Of this embodied Power, the cave grew warm. A lovely lady garmented in light From her own beauty--deep her eyes, as are Two openings of unfathomable night Seen through a Temple's cloven roof--her hair Dark--the dim brain whirls dizzy with delight. Picturing her form; her soft smiles shone afar, And her low voice was heard like love, and drew All living things towards this wonder new. And first the spotted cameleopard came, And then the wise and fearless elephant; Then the sly serpent, in the golden flame Of his own volumes intervolved;--all gaunt And sanguine beasts her gentle looks made tame. They drank before her at her sacred fount; And every beast of beating heart grew bold, Such gentleness and power even to behold. The brinded lioness led forth her young, That she might teach them how they should forego Their inborn thirst of death; the pard unstrung His sinews at her feet, and sought to know With looks whose motions spoke without a tongue How he might be as gentle as the doe. The magic circle of her voice and eyes All savage natures did imparadise. And old Silenus, shaking a green stick Of lilies, and the wood-gods in a crew Came, blithe, as in the olive copses thick Cicadae are, drunk with the noonday dew: And Dryope and Faunus followed quick, Teasing the God to sing them something new; Till in this cave they found the lady lone, Sitting upon a seat of emerald stone. And universal Pan, 'tis said, was there, And though none saw him,--through the adamant Of the deep mountains, through the trackless air, And through those living spirits, like a want, He passed out of his everlasting lair Where the quick heart of the great world doth pant, And felt that wondrous lady all alone,-- And she felt him, upon her emerald throne. And every nymph of stream and spreading tree, And every shepherdess of Ocean's flocks, Who drives her white waves over the green sea, And Ocean with the brine on his gray locks, And quaint Priapus with his company, All came, much wondering how the enwombed rocks Could have brought forth so beautiful a birth;-- Her love subdued their wonder and their mirth. The herdsmen and the mountain maidens came, And the rude kings of pastoral Garamant-- Their spirits shook within them, as a flame Stirred by the air under a cavern gaunt: Pigmies, and Polyphemes, by many a name, Centaurs, and Satyrs, and such shapes as haunt Wet clefts,--and lumps neither alive nor dead, Dog-headed, bosom-eyed, and bird-footed. For she was beautiful--her beauty made The bright world dim, and everything beside Seemed like the fleeting image of a shade: No thought of living spirit could abide, Which to her looks had ever been betrayed, On any object in the world so wide, On any hope within the circling skies, But on her form, and in her inmost eyes. Which when the lady knew, she took her spindle And twined three threads of fleecy mist, and three Long lines of light, such as the dawn may kindle The clouds and waves and mountains with; and she As many star-beams, ere their lamps could dwindle In the belated moon, wound skilfully; And with these threads a subtle veil she wove-- A shadow for the splendour of her love. The deep recesses of her odorous dwelling Were stored with magic treasures--sounds of air, Which had the power all spirits of compelling, Folded in cells of crystal silence there; Such as we hear in youth, and think the feeling Will never die--yet ere we are aware, The feeling and the sound are fled and gone, And the regret they leave remains alone. And there lay Visions swift, and sweet, and quaint, Each in its thin sheath, like a chrysalis, Some eager to burst forth, some weak and faint With the soft burthen of intensest bliss. It was its work to bear to many a saint Whose heart adores the shrine which holiest is, Even Love's:--and others white, green, gray, and black, And of all shapes--and each was at her beck. And odours in a kind of aviary Of ever-blooming Eden-trees she kept, Clipped in a floating net, a love-sick Fairy Had woven from dew-beams while the moon yet slept; As bats at the wired window of a dairy, They beat their vans; and each was an adept, When loosed and missioned, making wings of winds, To stir sweet thoughts or sad, in destined minds. And liquors clear and sweet, whose healthful might Could medicine the sick soul to happy sleep, And change eternal death into a night Of glorious dreams--or if eyes needs must weep, Could make their tears all wonder and delight, She in her crystal vials did closely keep: If men could drink of those clear vials, 'tis said The living were not envied of the dead. Her cave was stored with scrolls of strange device, The works of some Saturnian Archimage, Which taught the expiations at whose price Men from the Gods might win that happy age Too lightly lost, redeeming native vice; And which might quench the Earth-consuming rage Of gold and blood--till men should live and move Harmonious as the sacred stars above; And how all things that seem untameable, Not to be checked and not to be confined, Obey the spells of Wisdom's wizard skill; Time, earth, and fire--the ocean and the wind, And all their shapes--and man's imperial will; And other scrolls whose writings did unbind The inmost lore of Love--let the profane Tremble to ask what secrets they contain. And wondrous works of substances unknown, To which the enchantment of her father's power Had changed those ragged blocks of savage stone, Were heaped in the recesses of her bower; Carved lamps and chalices, and vials which shone In their own golden beams--each like a flower, Out of whose depth a fire-fly shakes his light Under a cypress in a starless night. At first she lived alone in this wild home, And her own thoughts were each a minister, Clothing themselves, or with the ocean foam, Or with the wind, or with the speed of fire, To work whatever purposes might come Into her mind; such power her mighty Sire Had girt them with, whether to fly or run, Through all the regions which he shines upon. The Ocean-nymphs and Hamadryades, Oreads and Naiads, with long weedy locks, Offered to do her bidding through the seas, Under the earth, and in the hollow rocks, And far beneath the matted roots of trees, And in the gnarled heart of stubborn oaks, So they might live for ever in the light Of her sweet presence--each a satellite. 'This may not be,' the wizard maid replied; 'The fountains where the Naiades bedew Their shining hair, at length are drained and dried; The solid oaks forget their strength, and strew Their latest leaf upon the mountains wide; The boundless ocean like a drop of dew Will be consumed--the stubborn centre must Be scattered, like a cloud of summer dust. 'And ye with them will perish, one by one;-- If I must sigh to think that this shall be, If I must weep when the surviving Sun Shall smile on your decay--oh, ask not me To love you till your little race is run; I cannot die as ye must--over me Your leaves shall glance--the streams in which ye dwell Shall be my paths henceforth, and so--farewell!'-- She spoke and wept:--the dark and azure well Sparkled beneath the shower of her bright tears, And every little circlet where they fell Flung to the cavern-roof inconstant spheres And intertangled lines of light:--a knell Of sobbing voices came upon her ears From those departing Forms, o'er the serene Of the white streams and of the forest green. All day the wizard lady sate aloof, Spelling out scrolls of dread antiquity, Under the cavern's fountain-lighted roof; Or broidering the pictured poesy Of some high tale upon her growing woof, Which the sweet splendour of her smiles could dye In hues outshining heaven--and ever she Added some grace to the wrought poesy. While on her hearth lay blazing many a piece Of sandal wood, rare gums, and cinnamon; Men scarcely know how beautiful fire is-- Each flame of it is as a precious stone Dissolved in ever-moving light, and this Belongs to each and all who gaze upon. The Witch beheld it not, for in her hand She held a woof that dimmed the burning brand. This lady never slept, but lay in trance All night within the fountain--as in sleep. Its emerald crags glowed in her beauty's glance; Through the green splendour of the water deep She saw the constellations reel and dance Like fire-flies--and withal did ever keep The tenour of her contemplations calm, With open eyes, closed feet, and folded palm. And when the whirlwinds and the clouds descended From the white pinnacles of that cold hill, She passed at dewfall to a space extended, Where in a lawn of flowering asphodel Amid a wood of pines and cedars blended, There yawned an inextinguishable well Of crimson fire--full even to the brim, And overflowing all the margin trim. Within the which she lay when the fierce war Of wintry winds shook that innocuous liquor In many a mimic moon and bearded star O'er woods and lawns;--the serpent heard it flicker In sleep, and dreaming still, he crept afar-- And when the windless snow descended thicker Than autumn leaves, she watched it as it came Melt on the surface of the level flame. She had a boat, which some say Vulcan wrought For Venus, as the chariot of her star; But it was found too feeble to be fraught With all the ardours in that sphere which are, And so she sold it, and Apollo bought And gave it to this daughter: from a car Changed to the fairest and the lightest boat Which ever upon mortal stream did float. And others say, that, when but three hours old, The first-born Love out of his cradle lept, And clove dun Chaos with his wings of gold, And like a horticultural adept, Stole a strange seed, and wrapped it up in mould, And sowed it in his mother's star, and kept Watering it all the summer with sweet dew, And with his wings fanning it as it grew. The plant grew strong and green, the snowy flower Fell, and the long and gourd-like fruit began To turn the light and dew by inward power To its own substance; woven tracery ran Of light firm texture, ribbed and branching, o'er The solid rind, like a leaf's veined fan-- Of which Love scooped this boat--and with soft motion Piloted it round the circumfluous ocean. This boat she moored upon her fount, and lit A living spirit within all its frame, Breathing the soul of swiftness into it. Couched on the fountain like a panther tame, One of the twain at Evan's feet that sit-- Or as on Vesta's sceptre a swift flame-- Or on blind Homer's heart a winged thought,-- In joyous expectation lay the boat. Then by strange art she kneaded fire and snow Together, tempering the repugnant mass With liquid love--all things together grow Through which the harmony of love can pass; And a fair Shape out of her hands did flow-- A living Image, which did far surpass In beauty that bright shape of vital stone Which drew the heart out of Pygmalion. A sexless thing it was, and in its growth It seemed to have developed no defect Of either sex, yet all the grace of both,-- In gentleness and strength its limbs were decked; The bosom swelled lightly with its full youth, The countenance was such as might select Some artist that his skill should never die, Imaging forth such perfect purity. From its smooth shoulders hung two rapid wings, Fit to have borne it to the seventh sphere, Tipped with the speed of liquid lightenings, Dyed in the ardours of the atmosphere: She led her creature to the boiling springs Where the light boat was moored, and said: 'Sit here!' And pointed to the prow, and took her seat Beside the rudder, with opposing feet. And down the streams which clove those mountains vast, Around their inland islets, and amid The panther-peopled forests whose shade cast Darkness and odours, and a pleasure hid In melancholy gloom, the pinnace passed; By many a star-surrounded pyramid Of icy crag cleaving the purple sky, And caverns yawning round unfathomably. The silver noon into that winding dell, With slanted gleam athwart the forest tops, Tempered like golden evening, feebly fell; A green and glowing light, like that which drops From folded lilies in which glow-worms dwell, When Earth over her face Night's mantle wraps; Between the severed mountains lay on high, Over the stream, a narrow rift of sky. And ever as she went, the Image lay With folded wings and unawakened eyes; And o'er its gentle countenance did play The busy dreams, as thick as summer flies, Chasing the rapid smiles that would not stay, And drinking the warm tears, and the sweet sighs Inhaling, which, with busy murmur vain, They had aroused from that full heart and brain. And ever down the prone vale, like a cloud Upon a stream of wind, the pinnace went: Now lingering on the pools, in which abode The calm and darkness of the deep content In which they paused; now o'er the shallow road Of white and dancing waters, all besprent With sand and polished pebbles:--mortal boat In such a shallow rapid could not float. And down the earthquaking cataracts which shiver Their snow-like waters into golden air, Or under chasms unfathomable ever Sepulchre them, till in their rage they tear A subterranean portal for the river, It fled--the circling sunbows did upbear Its fall down the hoar precipice of spray, Lighting it far upon its lampless way. And when the wizard lady would ascend The labyrinths of some many-winding vale, Which to the inmost mountain upward tend-- She called 'Hermaphroditus!'--and the pale And heavy hue which slumber could extend Over its lips and eyes, as on the gale A rapid shadow from a slope of grass, Into the darkness of the stream did pass. And it unfurled its heaven-coloured pinions, With stars of fire spotting the stream below; And from above into the Sun's dominions Flinging a glory, like the golden glow In which Spring clothes her emerald-winged minions, All interwoven with fine feathery snow And moonlight splendour of intensest rime, With which frost paints the pines in winter time. And then it winnowed the Elysian air Which ever hung about that lady bright, With its aethereal vans--and speeding there, Like a star up the torrent of the night, Or a swift eagle in the morning glare Breasting the whirlwind with impetuous flight, The pinnace, oared by those enchanted wings, Clove the fierce streams towards their upper springs. The water flashed, like sunlight by the prow Of a noon-wandering meteor flung to Heaven; The still air seemed as if its waves did flow In tempest down the mountains; loosely driven The lady's radiant hair streamed to and fro: Beneath, the billows having vainly striven Indignant and impetuous, roared to feel The swift and steady motion of the keel. Or, when the weary moon was in the wane, Or in the noon of interlunar night, The lady-witch in visions could not chain Her spirit; but sailed forth under the light Of shooting stars, and bade extend amain Its storm-outspeeding wings, the Hermaphrodite; She to the Austral waters took her way, Beyond the fabulous Thamondocana,-- Where, like a meadow which no scythe has shaven, Which rain could never bend, or whirl-blast shake, With the Antarctic constellations paven, Canopus and his crew, lay the Austral lake-- There she would build herself a windless haven Out of the clouds whose moving turrets make The bastions of the storm, when through the sky The spirits of the tempest thundered by: A haven beneath whose translucent floor The tremulous stars sparkled unfathomably, And around which the solid vapours hoar, Based on the level waters, to the sky Lifted their dreadful crags, and like a shore Of wintry mountains, inaccessibly Hemmed in with rifts and precipices gray, And hanging crags, many a cove and bay. And whilst the outer lake beneath the lash Of the wind's scourge, foamed like a wounded thing, And the incessant hail with stony clash Ploughed up the waters, and the flagging wing Of the roused cormorant in the lightning flash Looked like the wreck of some wind-wandering Fragment of inky thunder-smoke--this haven Was as a gem to copy Heaven engraven,-- On which that lady played her many pranks, Circling the image of a shooting star, Even as a tiger on Hydaspes' banks Outspeeds the antelopes which speediest are, In her light boat; and many quips and cranks She played upon the water, till the car Of the late moon, like a sick matron wan, To journey from the misty east began. And then she called out of the hollow turrets Of those high clouds, white, golden and vermilion, The armies of her ministering spirits-- In mighty legions, million after million, They came, each troop emblazoning its merits On meteor flags; and many a proud pavilion Of the intertexture of the atmosphere They pitched upon the plain of the calm mere. They framed the imperial tent of their great Queen Of woven exhalations, underlaid With lambent lightning-fire, as may be seen A dome of thin and open ivory inlaid With crimson silk--cressets from the serene Hung there, and on the water for her tread A tapestry of fleece-like mist was strewn, Dyed in the beams of the ascending moon. And on a throne o'erlaid with starlight, caught Upon those wandering isles of aery dew, Which highest shoals of mountain shipwreck not, She sate, and heard all that had happened new Between the earth and moon, since they had brought The last intelligence--and now she grew Pale as that moon, lost in the watery night-- And now she wept, and now she laughed outright. These were tame pleasures; she would often climb The steepest ladder of the crudded rack Up to some beaked cape of cloud sublime, And like Arion on the dolphin's back Ride singing through the shoreless air;--oft-time Following the serpent lightning's winding track, She ran upon the platforms of the wind, And laughed to bear the fire-balls roar behind. And sometimes to those streams of upper air Which whirl the earth in its diurnal round, She would ascend, and win the spirits there To let her join their chorus. Mortals found That on those days the sky was calm and fair, And mystic snatches of harmonious sound Wandered upon the earth where'er she passed, And happy thoughts of hope, too sweet to last. But her choice sport was, in the hours of sleep, To glide adown old Nilus, where he threads Egypt and Aethiopia, from the steep Of utmost Axume, until he spreads, Like a calm flock of silver-fleeced sheep, His waters on the plain: and crested heads Of cities and proud temples gleam amid, And many a vapour-belted pyramid. By Moeris and the Mareotid lakes, Strewn with faint blooms like bridal chamber floors, Where naked boys bridling tame water-snakes, Or charioteering ghastly alligators, Had left on the sweet waters mighty wakes Of those huge forms--within the brazen doors Of the great Labyrinth slept both boy and beast, Tired with the pomp of their Osirian feast. And where within the surface of the river The shadows of the massy temples lie, And never are erased--but tremble ever Like things which every cloud can doom to die, Through lotus-paven canals, and wheresoever The works of man pierced that serenest sky With tombs, and towers, and fanes, 'twas her delight To wander in the shadow of the night. With motion like the spirit of that wind Whose soft step deepens slumber, her light feet Passed through the peopled haunts of humankind. Scattering sweet visions from her presence sweet, Through fane, and palace-court, and labyrinth mined With many a dark and subterranean street Under the Nile, through chambers high and deep She passed, observing mortals in their sleep. A pleasure sweet doubtless it was to see Mortals subdued in all the shapes of sleep. Here lay two sister twins in infancy; There, a lone youth who in his dreams did weep; Within, two lovers linked innocently In their loose locks which over both did creep Like ivy from one stem;--and there lay calm Old age with snow-bright hair and folded palm. But other troubled forms of sleep she saw, Not to be mirrored in a holy song-- Distortions foul of supernatural awe, And pale imaginings of visioned wrong; And all the code of Custom's lawless law Written upon the brows of old and young: 'This,' said the wizard maiden, 'is the strife Which stirs the liquid surface of man's life.' And little did the sight disturb her soul.-- We, the weak mariners of that wide lake Where'er its shores extend or billows roll, Our course unpiloted and starless make O'er its wild surface to an unknown goal:-- But she in the calm depths her way could take, Where in bright bowers immortal forms abide Beneath the weltering of the restless tide. And she saw princes couched under the glow Of sunlike gems; and round each temple-court In dormitories ranged, row after row, She saw the priests asleep--all of one sort-- For all were educated to be so.-- The peasants in their huts, and in the port The sailors she saw cradled on the waves, And the dead lulled within their dreamless graves. And all the forms in which those spirits lay Were to her sight like the diaphanous Veils, in which those sweet ladies oft array Their delicate limbs, who would conceal from us Only their scorn of all concealment: they Move in the light of their own beauty thus. But these and all now lay with sleep upon them, And little thought a Witch was looking on them. She, all those human figures breathing there, Beheld as living spirits--to her eyes The naked beauty of the soul lay bare, And often through a rude and worn disguise She saw the inner form most bright and fair-- And then she had a charm of strange device, Which, murmured on mute lips with tender tone, Could make that spirit mingle with her own. Alas! Aurora, what wouldst thou have given For such a charm when Tithon became gray? Or how much, Venus, of thy silver heaven Wouldst thou have yielded, ere Proserpina Had half (oh! why not all?) the debt forgiven Which dear Adonis had been doomed to pay, To any witch who would have taught you it? The Heliad doth not know its value yet. 'Tis said in after times her spirit free Knew what love was, and felt itself alone-- But holy Dian could not chaster be Before she stooped to kiss Endymion, Than now this lady--like a sexless bee Tasting all blossoms, and confined to none, Among those mortal forms, the wizard-maiden Passed with an eye serene and heart unladen. To those she saw most beautiful, she gave Strange panacea in a crystal bowl:-- They drank in their deep sleep of that sweet wave, And lived thenceforward as if some control, Mightier than life, were in them; and the grave Of such, when death oppressed the weary soul, Was as a green and overarching bower Lit by the gems of many a starry flower. For on the night when they were buried, she Restored the embalmers' ruining, and shook The light out of the funeral lamps, to be A mimic day within that deathy nook; And she unwound the woven imagery Of second childhood's swaddling bands, and took The coffin, its last cradle, from its niche, And threw it with contempt into a ditch. And there the body lay, age after age. Mute, breathing, beating, warm, and undecaying, Like one asleep in a green hermitage, With gentle smiles about its eyelids playing, And living in its dreams beyond the rage Of death or life; while they were still arraying In liveries ever new, the rapid, blind And fleeting generations of mankind. And she would write strange dreams upon the brain Of those who were less beautiful, and make All harsh and crooked purposes more vain Than in the desert is the serpent's wake Which the sand covers--all his evil gain The miser in such dreams would rise and shake Into a beggar's lap;--the lying scribe Would his own lies betray without a bribe. The priests would write an explanation full, Translating hieroglyphics into Greek, How the God Apis really was a bull, And nothing more; and bid the herald stick The same against the temple doors, and pull The old cant down; they licensed all to speak Whate'er they thought of hawks, and cats, and geese, By pastoral letters to each diocese. The king would dress an ape up in his crown And robes, and seat him on his glorious seat, And on the right hand of the sunlike throne Would place a gaudy mock-bird to repeat The chatterings of the monkey.--Every one Of the prone courtiers crawled to kiss the feet Of their great Emperor, when the morning came, And kissed--alas, how many kiss the same! The soldiers dreamed that they were blacksmiths, and Walked out of quarters in somnambulism; Round the red anvils you might see them stand Like Cyclopses in Vulcan's sooty abysm, Beating their swords to ploughshares;--in a band The gaolers sent those of the liberal schism Free through the streets of Memphis, much, I wis, To the annoyance of king Amasis. And timid lovers who had been so coy, They hardly knew whether they loved or not, Would rise out of their rest, and take sweet joy, To the fulfilment of their inmost thought; And when next day the maiden and the boy Met one another, both, like sinners caught, Blushed at the thing which each believed was done Only in fancy--till the tenth moon shone; And then the Witch would let them take no ill: Of many thousand schemes which lovers find, The Witch found one,--and so they took their fill Of happiness in marriage warm and kind. Friends who, by practice of some envious skill, Were torn apart--a wide wound, mind from mind!-- She did unite again with visions clear Of deep affection and of truth sincere. These were the pranks she played among the cities Of mortal men, and what she did to Sprites And Gods, entangling them in her sweet ditties To do her will, and show their subtle sleights, I will declare another time; for it is A tale more fit for the weird winter nights Than for these garish summer days, when we Scarcely believe much more than we can see.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

The Witch of Atlas is Shelley’s whimsical and captivating tale about a magical woman born on a mountain in North Africa. Her beauty is so enchanting that every being—animal, god, and spirit—finds themselves drawn to her. She constructs a boat, creates a genderless companion named Hermaphroditus, and sails the world by night, subtly reshaping the dreams of those asleep to reveal hypocrisy, liberate lovers, and bring friends back together. Rather than following a conventional plot, it unfolds as a dazzling series of images, which Shelley acknowledges right from the start, playfully defending it to his wife Mary for lacking "human interest."

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. How, my dear Mary,--are you critic-bitten / (For vipers kill, though dead) by some review,

    Editor's note

    The poem begins with a dedication to Mary Shelley, who had reportedly expressed that the poem lacked human interest. Shelley pokes fun at her for letting critics influence her — dead vipers still have venom, suggesting that a negative review can taint a reader's perspective long after it's been penned. He urges her to embrace a poem that doesn’t follow a traditional narrative, likening it to a kitten playing before its claws have developed.

  2. What hand would crush the silken-winged fly, / The youngest of inconstant April's minions,

    Editor's note

    Shelley defends his poem by likening it to a delicate spring fly. No one would squash such a fragile, lovely creature just because it can't fly as high as a swan. He acknowledges that the poem is small and fleeting, but that shouldn't warrant its destruction. The fly is destined to perish as day turns to night — much like the poem may eventually fade — but it deserves to experience its short existence.

  3. To thy fair feet a winged Vision came, / Whose date should have been longer than a day,

    Editor's note

    Shelley takes on a more personal and somber tone as he reflects on a 'winged Vision' — a past poem or creative thought — that once inspired Mary but soon faded away, much like a rainbow that briefly appears in the evening sky before the rain washes it away. He humorously critiques his own fleeting creativity, joking that none of his writings are worthy of lasting beyond their moment.

  4. Wordsworth informs us he was nineteen years / Considering and retouching Peter Bell;

    Editor's note

    Here, Shelley delivers a biting critique of Wordsworth, who famously spent nineteen years working on his poem *Peter Bell*. Shelley suggests that all that painstaking effort led to something excessive and lacking foundation — a tree with roots that stretch to Hell and branches that obscure Heaven. The irony is that Heaven and Earth ultimately work together to undermine the overly meticulous poet's efforts.

  5. My Witch indeed is not so sweet a creature / As Ruth or Lucy, whom his graceful praise

    Editor's note

    Shelley directly likens his Witch to Wordsworth's cherished characters, Ruth and Lucy. He admits that his Witch lacks their domestic sweetness, but notes she was crafted in just three days, compared to the nineteen years Wordsworth took. He pokes fun at *Peter Bell*, describing it as a scarecrow in tattered clothes (a nod to King Lear), while he suggests that his own Witch, if revealed, would be so stunning it might verge on idolatry.

  6. If you strip Peter, you will see a fellow / Scorched by Hell's hyperequatorial climate

    Editor's note

    The satirical critique of Wordsworth culminates in this moment. Shelley envisions peeling back the poetic layers of *Peter Bell* to reveal a charred, sulfurous figure resembling a scarecrow — a Scaramouch in form, Othello in hue. In contrast, revealing the Witch would be such a profound experience that it would demand forgiveness from a priest — not due to any sin, but because her beauty transforms into an object of reverence.

  7. Before those cruel Twins, whom at one birth / Incestuous Change bore to her father Time,

    Editor's note

    The main poem begins. Shelley creates a mythological backdrop, where Error and Truth — the twin offspring of Change and Time — have chased away the vibrant, magical beings that once roamed the earth. The Witch resides in this earlier, more vibrant world, dwelling in a cave on Mount Atlas next to a hidden spring. This setup intentionally positions the poem beyond the realm of realism.

  8. Her mother was one of the Atlantides: / The all-beholding Sun had ne'er beholden

    Editor's note

    The Witch's origin story unfolds: her mother was a daughter of Atlas, and the Sun fell in love with her, showering her with kisses of light until she transformed into pure radiance. This death-by-beauty is a form of divine annihilation — she turns into vapor, then cloud, then meteor, ultimately becoming a hidden star nestled between Earth and Mars. The Witch is truly born from sunlight and myth.

  9. Ten times the Mother of the Months had bent / Her bow beside the folding-star,

    Editor's note

    Ten lunar months pass — the length of a pregnancy — and then the Witch takes form in the cave. Shelley depicts her birth as a gradual emergence of warmth and light in a cold, damp space. The moon controls the tides like a mother admonishing her children, and the cave slowly becomes infused with the Witch's vibrant presence.

  10. A lovely lady garmented in light / From her own beauty--deep her eyes, as are

    Editor's note

    The Witch's appearance is depicted with an intensity that goes beyond typical beauty. Her eyes resemble gateways to an endless night, glimpsed through a shattered temple roof — expansive, dark, and sacred. She has dark hair, her voice resonates with the essence of love, and all living things are irresistibly attracted to her. Shelley's portrayal is intentionally overwhelming; he notes that just imagining her can make one's mind spin.

  11. And first the spotted cameleopard came, / And then the wise and fearless elephant;

    Editor's note

    A parade of animals gathers at the Witch's fountain: a giraffe, an elephant, a serpent, and lions. Her presence calms them all. The lioness brings her cubs to learn to let go of their instinct to kill, while the leopard relaxes at her feet. This embodies the classical motif of *orphic* power — the belief that genuine beauty or music can soothe untamed nature — but Shelley infuses it with a distinctly feminine, peaceful energy.

  12. And old Silenus, shaking a green stick / Of lilies, and the wood-gods in a crew

    Editor's note

    The mythological figures arrive next: Silenus, who was Dionysus's old tutor, along with Faunus, Dryope, and other woodland spirits, come buzzing and intoxicated by the noon heat, much like cicadas. They discover the Witch sitting on an emerald throne. Even Pan—the universal spirit of wild nature—travels through the mountains to sense her presence, although he stays hidden from view.

  13. And every nymph of stream and spreading tree, / And every shepherdess of Ocean's flocks,

    Editor's note

    The gathering grows to include ocean nymphs, river gods, Priapus, herdsmen, mountain maidens, and a wild array of mythological and fantastical beings — Pygmies, Cyclopes, Centaurs, Satyrs, and even stranger creatures with dog heads and bird feet. All are captivated by the Witch's beauty, which silences both their awe and their mockery.

  14. For she was beautiful--her beauty made / The bright world dim, and everything beside

    Editor's note

    Shelley halts the procession to express the Witch's power clearly: her beauty renders the rest of the world a mere shadow. Anyone who has gazed upon her can't focus on anything else. This beauty acts like a cognitive takeover — it's not just about aesthetic enjoyment; it’s a complete immersion.

  15. Which when the lady knew, she took her spindle / And twined three threads of fleecy mist,

    Editor's note

    Knowing her beauty can be overwhelming, the Witch weaves a veil from mist, light, and starbeams—a shadow that softens the blinding force of her own radiance. This is a kind and considerate gesture: she dims her glow so others can be at ease around her. The veil also represents her creativity, connecting her to the poet who must shape their vision into form.

  16. The deep recesses of her odorous dwelling / Were stored with magic treasures--sounds of air,

    Editor's note

    The cave's interior resembles a magical library and a sensory archive. It contains sounds that draw in spirits, visions wrapped in chrysalis-like sheaths ready to emerge, scents trapped like birds in a net, and healing liquids that can transform death into beautiful dreams. Essentially, the cave serves as a storehouse for art and imagination — every object within it embodies a type of creative or transformative power.

  17. Her cave was stored with scrolls of strange device, / The works of some Saturnian Archimage,

    Editor's note

    The scrolls in the cave hold the wisdom of a forgotten golden age — revealing how to reclaim humanity's lost innocence, how to satisfy the destructive cravings for gold and violence, and how to create a human existence as harmonious as the stars. Other scrolls share the profound secrets of love. Shelley presents this knowledge as both idealistic and perilous — the unworthy are cautioned not to inquire about the contents of the love-scrolls.

  18. At first she lived alone in this wild home, / And her own thoughts were each a minister,

    Editor's note

    The Witch's solitude is portrayed as both self-sufficient and imaginative. Her thoughts take form in ocean foam, wind, and fire, executing her desires. Her father, the Sun, has granted her thoughts the ability to reach any place his light touches. This reflects Shelley's vision of the perfect poet or philosopher: a mind so vibrant that it creates its own universe.

  19. The Ocean-nymphs and Hamadryades, / Oreads and Naiads, with long weedy locks,

    Editor's note

    The nature spirits — sea nymphs, tree nymphs, mountain nymphs, river nymphs — ask to serve the Witch forever in return for basking in her light. She declines, kindly but firmly, pointing out that they are all mortal in the end: fountains dry up, oaks fall, and even the ocean will eventually evaporate. She cannot love beings whose existence is fleeting when she herself is eternal.

  20. 'And ye with them will perish, one by one;-- / If I must sigh to think that this shall be,

    Editor's note

    The Witch's refusal stands out as one of the poem's most touching moments. She cries at the thought of their eventual deaths, yet she can't allow herself to bond with beings so much more mortal than she is. Her immortality doesn't feel like a victory here — it feels more like a form of exile. She bids them farewell, and the weeping voices of the departing spirits resonate through the streams and forests.

  21. All day the wizard lady sate aloof, / Spelling out scrolls of dread antiquity,

    Editor's note

    After the spirits leave, the Witch returns to her solitary life: reading ancient scrolls, embroidering tapestries of poetic tales that come alive with the colors of her smiles, tending a fire of sandalwood and rare gums. Shelley adds a charming note — 'Men scarcely know how beautiful fire is' — before mentioning that the Witch hardly notices the fire because the cloth she weaves shines even brighter.

  22. This lady never slept, but lay in trance / All night within the fountain--as in sleep.

    Editor's note

    The Witch doesn’t sleep; she lies in a trance within the fountain, observing the constellations twirl through the water. In winter, she withdraws to a well of crimson fire amid a meadow of asphodel, resting in it as snow melts around her. Her existence hovers between states — neither fully asleep nor awake, neither entirely mortal nor completely divine.

  23. She had a boat, which some say Vulcan wrought / For Venus, as the chariot of her star;

    Editor's note

    The Witch gets her hands on a magical boat with a legendary background: crafted by Vulcan for Venus, then sold to Apollo, and finally given to the Witch. Another version of the story claims that the first-born Love, Eros, took a seed from Chaos, planted it in Venus's star, and nurtured the plant whose gourd-like fruit formed the boat's hull. Both tales highlight that the boat is made from love and cosmic elements — it originates from a realm beyond the laws of ordinary physics.

  24. Then by strange art she kneaded fire and snow / Together, tempering the repugnant mass

    Editor's note

    The Witch creates a companion: a living figure made from fire and snow, held together by liquid love. This results in Hermaphroditus — a being without a fixed sex, embodying the grace of both male and female, physically perfect and radiantly pure. Rather than a character, this figure serves as an embodiment of a Shelleyan ideal: beauty and power liberated from the constraints of gender.

  25. From its smooth shoulders hung two rapid wings, / Fit to have borne it to the seventh sphere,

    Editor's note

    Hermaphroditus receives wings that shimmer like lightning and are painted in the hues of the sky. The Witch positions it at the front of the boat, taking the rudder for herself. They embark on a journey down the mountain streams, navigating through forests filled with panthers, icy cliffs, and dark caverns — a quest that is as much about the physical journey as it is about inner exploration.

  26. And ever as she went, the Image lay / With folded wings and unawakened eyes;

    Editor's note

    As the boat moves along, Hermaphroditus drifts in a dream-like state, its face animated with a flurry of emotions—smiles, tears, sighs—while the world outside flows past. This contrast between the dreaming figure and the vibrant landscape reflects the poem's tension between inner imagination and external reality.

  27. And ever down the prone vale, like a cloud / Upon a stream of wind, the pinnace went:

    Editor's note

    The journey takes us through pools, rapids, and cataracts. The boat glides effortlessly—no ordinary vessel could handle these waters. Shelley vividly depicts the waterfalls and underground rivers, capturing their raw energy as the boat is carried by misty rainbows through shadowy passages and into the open sky.

  28. And when the wizard lady would ascend / The labyrinths of some many-winding vale,

    Editor's note

    When the boat needs to go upstream or upward, the Witch calls out 'Hermaphroditus!' and the figure awakens, spreads its wings, and lifts the boat into the air. The way the wings catch the light — flecked with fire, trailing snow and moonlight — stands out as one of the poem's most visually stunning moments.

  29. Or, when the weary moon was in the wane, / Or in the noon of interlunar night,

    Editor's note

    During the dark of the moon, when her visions fade, the Witch flies south to the Antarctic, landing by a vast still lake beneath the southern constellations. Here, she creates a temporary haven from storm clouds, a jewel-like shelter while the outer lake rages. She plays in her boat like a tiger chasing antelopes, circling the reflection of a shooting star on the water.

  30. And then she called out of the hollow turrets / Of those high clouds, white, golden and vermilion,

    Editor's note

    The Witch calls forth her spirit armies from the clouds—millions of them, waving meteor-flags and assembling pavilions made of the very atmosphere. They create a tent of exhalations illuminated by lightning, lay a carpet of mist across the water, and place her upon a throne of starlight. She receives updates about everything that has transpired between Earth and the Moon, responding with both laughter and tears.

  31. These were tame pleasures; she would often climb / The steepest ladder of the crudded rack

    Editor's note

    Even the grand aerial court is referred to as 'tame pleasures.' The Witch's more adventurous activities involve riding storm-clouds like Arion riding a dolphin, chasing after lightning bolts, running on wind-platforms, and soaring to the upper currents of air that circle the earth. When she joins the chorus of those elevated spirits, mortals below enjoy clear skies and brief moments of joy.

  32. But her choice sport was, in the hours of sleep, / To glide adown old Nilus,

    Editor's note

    The Witch loves to glide down the Nile at night while people are asleep, passing through Egypt and Ethiopia, taking in the temples, pyramids, and canals. She glides through the landscape like a spirit of slumber, slipping into palaces, labyrinths, and underground streets, observing mortals in all their states of rest.

  33. A pleasure sweet doubtless it was to see / Mortals subdued in all the shapes of sleep.

    Editor's note

    Shelley lists the sleeping humans that the Witch watches: infant twins, a crying young man, lovers wrapped in each other's arms, and peaceful elderly folks. Yet, she also perceives a more unsettling sleep — twisted nightmares, the signs of societal expectations and repression etched into people's expressions. She refers to this as 'the strife which stirs the liquid surface of man's life' — the social and psychological unrest simmering just below the surface of everyday life.

  34. And little did the sight disturb her soul.-- / We, the weak mariners of that wide lake

    Editor's note

    Shelley takes on the role of narrator to highlight the Witch's tranquility against the backdrop of human uncertainty. We are like 'weak mariners' on a vast lake, sailing aimlessly without guidance toward an uncertain destination. The Witch moves through the serene depths beneath the chaotic surface, where eternal beings exist in peace. This illustrates Shelley's vision of the philosophical or poetic mind that perceives what lies below the turmoil of society.

  35. And she saw princes couched under the glow / Of sunlike gems;

    Editor's note

    The Witch watches over every social class as they sleep: princes, priests (who are all trained to be the same, as Shelley points out with a touch of dry humor), peasants, sailors, and the deceased in their graves. She peers beyond the physical forms to the souls within — the 'naked beauty' of each spirit — and possesses a charm that allows a spirit to blend with her own.

  36. Alas! Aurora, what wouldst thou have given / For such a charm when Tithon became gray?

    Editor's note

    Shelley brings up three mythological figures — Aurora (who cherished the aging Tithonus), Venus (who mourned Adonis), and the Heliads — to ponder what they might have sacrificed for the Witch's charm. This charm seems capable of reversing aging or death, or at least providing comfort in the wake of losing someone dear. The Heliads (the daughters of the Sun) are not yet aware of its worth — suggesting that the Witch's power remains unappreciated.

  37. 'Tis said in after times her spirit free / Knew what love was, and felt itself alone--

    Editor's note

    A brief, touching aside: in later times, the Witch came to understand love and felt lonely. But she stayed chaste — 'like a sexless bee / Tasting all blossoms, and confined to none' — moving among human forms with a calm gaze and a light heart. This captures Shelley's idea of a love that is universal and non-possessive, rather than exclusive and consuming.

  38. To those she saw most beautiful, she gave / Strange panacea in a crystal bowl:--

    Editor's note

    The Witch offers her gifts to the most beautiful sleepers: a healing drink that changes their lives, allowing them to experience existence as if influenced by something beyond the ordinary. When they pass away, their graves turn into glowing sanctuaries. She also undoes the embalming process, removes the burial cloths, and leaves the body in a suspended, dreamlike state—neither dead nor alive, at peace for eternity.

  39. And she would write strange dreams upon the brain / Of those who were less beautiful,

    Editor's note

    For those who are less beautiful — the morally compromised — the Witch creates corrective dreams. Misers hand over their treasures to beggars. Deceitful scribes reveal their own dishonesty. Priests craft honest explanations of their rituals, confessing that the sacred bull Apis is simply a bull. Kings adorn apes with their crowns and observe their courtiers bowing to them. Soldiers envision themselves as blacksmiths, turning their swords into ploughshares. These are Shelley’s political fantasies transformed into dream-comedy.

  40. And timid lovers who had been so coy, / They hardly knew whether they loved or not,

    Editor's note

    The Witch lends a hand to bashful lovers by sending them dreams where they express their feelings. This way, when they meet the following day, they share a knowing blush. She also makes sure that their relationship leads to a joyful marriage. Additionally, she brings back friends who have been separated by jealousy. The poem concludes with Shelley vowing to share another story about what the Witch did to gods and spirits, noting that this tale is more fitting for winter nights than summer days.

§04Tone & mood

How this poem feels

Playful and extravagant, with moments of genuine tenderness and sharp political commentary. Shelley is clearly enjoying himself — the poem flows with the speed and lightness he mentions in the dedication, layering image upon image without stopping to moralize. Yet beneath the sparkle lies a deep sadness: the Witch's immortality leaves her isolated, and Shelley's whimsical dreams (swords turning into ploughshares, priests admitting their frauds) reflect the pain of someone who understands that these things won't come true while he's awake.

§05Symbols & metaphors

Symbols & metaphors

The Witch herself
She represents Shelley's vision of poetic imagination or ideal beauty—a force that transcends ordinary human time and society, able to see beyond appearances to reveal inner truths, and that changes the world not through power, but through vision and dreams.
The cave and its treasures
The cave represents the artist's mind: a personal, inner space filled with sounds, images, scents, and scrolls — all kinds of creative and intellectual energy just waiting to be unleashed into the world.
Hermaphroditus
The genderless companion, created from fire and snow, embodies an ideal of beauty and love that transcends the constraints of gender and social roles—a vision reminiscent of Shelley’s ideas about what humans could evolve into if love were genuinely universal.
The boat
The magical boat, crafted from love and bestowed by the gods, serves as a vehicle for the imagination. It can journey anywhere, break the rules of physics, and transport its passenger between the earthly realm and the divine.
The veil
The veil that the Witch weaves from mist and starlight to temper her own brightness represents poetic form itself — it's the essential bridge between an overwhelming vision and the human audience that needs to absorb it without being overwhelmed.
The dreams she plants
The corrective dreams the Witch weaves into the minds of the sleeping — turning misers into the generous, priests into the honest, and soldiers into the peaceful — serve as Shelley’s symbol for the political power of poetry and imagination: the belief that art can transform human consciousness from within.

§06Historical context

Historical context

Shelley wrote *The Witch of Atlas* in just three days in August 1820 while living in Pisa. At 28 years old, he had less than two years left to live. He composed the poem quickly and with joy, but chose not to publish it during his lifetime—partly because Mary Shelley, to whom he dedicated the verse, felt it lacked human interest. It eventually saw the light in 1824, two years after his death. The poem is part of a tradition of visionary fantasy that includes Spenser's *Faerie Queene* and Milton's *Comus*, yet it carries a lighter, more ironic tone than both. Shelley was also directly reacting to Wordsworth, whose *Peter Bell* (published in 1819 after nearly two decades of revisions) he viewed as pompous and overwrought. The Witch's dream-pranks—such as priests confessing and soldiers turning swords into ploughshares—echo Shelley's radical politics, especially in the wake of the Peterloo Massacre (1819), which had intensified his frustration with institutional power.

§07FAQ

Questions readers ask

That's precisely what Mary Shelley was getting at, and her response is captured in the verse dedication at the beginning. The poem doesn't follow a traditional plot — instead, it's more like a continuous fantasy depiction of a magical being and her actions. Consider it less a story and more a journey through imagination. The Witch is born, sets up her cave, creates a companion, explores the world, and reshapes the dreams of sleeping people. The focus isn't on what happens next, but rather on what each image uncovers about beauty, power, and the mind.

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