II. His Ruling Symbols from The Philosophy of Shelley’s Poetry in Ideas of Good and Evil by William Butler Yeats.

“When he describes the Moon as part of some beautiful scene he can call her beautiful, but when he personifies, when his words come under the influence of that great memory or of some mysterious tide in the depth of our being, he grows unfriendly or not truly friendly or at the most pitiful.” [via]

Consider also:

  1. “our little memories are but a part of some great memory that renews the world and men’s thoughts age after age, and that our thoughts are not, as we suppose, the deep but a little foam upon the deep.”
  2. “I have sailed down mighty rivers and seen the sun rise and set and the stars come forth whilst I sailed night and day down a rapid stream among mountains.”
  3. “I was with a number of Hermetists, and one of them said to another, ‘Do you see something in the curtain?’ The other gazed at the curtain for a while and saw presently a man led through a wood by a black hound, and then the hound lay dead at a place the seer knew was called, without knowing why, ‘the Meeting of the Suns,’ and the man followed a red hound, and then the red hound was pierced by a spear. A white fawn watched the man out of the wood, but he did not look at it, for a white hound came and he followed it trembling, but the seer knew that he would follow the fawn at last, and that it would lead him among the gods. The most learned of the Hermetists said, ‘I cannot tell the meaning of the hounds or where the Meeting of the Suns is, but I think the fawn is the Morning and Evening Star.’ I have little doubt that when the man saw the white fawn he was coming out of the darkness and passion of the world into some day of partial regeneration, and that it was the Morning Star and would be the Evening Star at its second coming.”
  4. “It may have been this memory, or it may have been some impulse of his nature too subtle for his mind to follow, that made Keats, with his love of embodied things, of precision of form and colouring, of emotions made sleepy by the flesh, see Intellectual Beauty in the Moon; and Blake, who lived in that energy he called eternal delight, see it in the Sun, where his personification of poetic genius labours at a furnace.”
  5. “Again and again one finds some passing allusion to the cave of man’s mind, or to the caves of his youth, or to the cave of mysteries we enter at death, for to Shelley as to Porphyry it is more than an image of life in the world.”