nature's influences; but when he begins to think he irradiates the scene; he lifts it with his aspiration and softens it with his regret; he brings it near by reminiscences of the English fields and cliffs and streams; he informs it with the large interests of the intellectual life; and not infrequently he concludes with a passage which, in the arrangement of its images, the sequence of its thought and feeling, the unity of its effect, in all except metrical structure, is a poem. Many paragraphs might be cited which show the character of his genius as directly as do his verses, and which justify the claim advanced for them as having the permanent interest of ideal beauty.
The principal charm of these letters, however, as Dr. Garnett says, is not artistic, but moral. It is not meant to refer by this term to the practical morality of Shelley's deeds, or to his conscientiousness, humanity, self-sacrifice, or other such qualities as they are here displayed; of these there is no longer need to speak. Nor is it meant simply to express the gratification one feels at finding that Shelley, unlike many men of letters who disappoint us by being only common mortals in private life, never falls
