With Shelley in Italy : being a selection of the poems and letters of Percy Bysshe Shelley which have to do with his life in Italy from 1818 to 1822 . her, Titusstanding in a quadriga, with a winged Victory. Thegrouping of the horses, and the beauty, correctness, andenergy of their delineation, is remarkable, though they aremuch destroyed. picture, Titus is represented standing in a chariot drawn by four horses,crowned with laurel, and surrounded by the tumultuous numbers of histriumphant army, and the magistrates, and priests, and generals, and philos-ophers, dragged in chains beside his whee
With Shelley in Italy : being a selection of the poems and letters of Percy Bysshe Shelley which have to do with his life in Italy from 1818 to 1822 . her, Titusstanding in a quadriga, with a winged Victory. Thegrouping of the horses, and the beauty, correctness, andenergy of their delineation, is remarkable, though they aremuch destroyed. picture, Titus is represented standing in a chariot drawn by four horses,crowned with laurel, and surrounded by the tumultuous numbers of histriumphant army, and the magistrates, and priests, and generals, and philos-ophers, dragged in chains beside his wheels. Behind him stands a Victoryeagle-winged. The arch is now mouldering into ruins, and the imagery almost erasedby the lapse of fifty generations. Beyond this obscm-e monument ofHebrew desolation, is seen the tomb of the Destroyers family, now amountain of ruins. The Flavian amphitheatre has become a habitation for owls and power, of whose possession it was once the type, and of whose departureit is now the emblem, is become a dream and a memory. Rome is no morethan Jerusalem. [ 102 ] T^lIE Coliseum seen thrDUglithe Art-h of The Flavian amphitheatre has become a hafutatiun foroivls and dragons. The power, of whose possession if icasonce the type, . . is become a dream and a memory. ^^ — Slielleys Roman Note-Book, p. 102. THE YEAR 1819 PROMETHEUS UNBOUNDA Lyrical Drama in Four Acts ATJDISNE H^C AMPHIAKAE, SUB TERKAM ABDITE ? PREFACE The Greek tragic writers, in selecting as their subjectany portion of their national history or mythology, em-ployed in their treatment of it a certain arbitrary by no means conceived themselves bound to adhereto the common interpretation or to imitate in story as intitle their rivals and predecessors. Such a system wouldhave amounted to a resignation of those claims to prefer-ence over their competitors which incited the Agamemnonian story was exhibited on the Atheniantheatre with as many variat
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