The Revolt of Islam

By Percy Bysshe Shelley

The Revolt of Islam (1818) is a poem in twelve cantos. 
The plot centres on two characters named Laon and Cythna, inhabitants of Argolis under Ottoman rule who initiate a revolution against its despotic ruler. Despite its title, the poem is not focused on Islam as a specific religion, though the general subject of religion is addressed, and the work draws on Orientalist archetypes and themes. The work is a symbolic parable on liberation and revolutionary idealism following the disillusionment of the French Revolution. 

• Language: English
• Publisher: Strelbytskyy Multimedia Publishing
• Release date: Jul 22, 2022
• ISBN: 9780880038249

Percy Bysshe Shelley

Percy Bysshe Shelley (1792-1822) was an English Romantic poet. Born into a prominent political family, Shelley enjoyed a quiet and happy childhood in West Sussex, developing a passion for nature and literature at a young age. He struggled in school, however, and was known by his colleagues at Eton College and University College, Oxford as an outsider and eccentric who spent more time acquainting himself with radical politics and the occult than with the requirements of academia. During his time at Oxford, he began his literary career in earnest, publishing Original Poetry by Victor and Cazire (1810) and St. Irvine; or, The Rosicrucian: A Romance (1811) In 1811, he married Harriet Westbrook, with whom he lived an itinerant lifestyle while pursuing affairs with other women. Through the poet Robert Southey, he fell under the influence of political philosopher William Godwin, whose daughter Mary soon fell in love with the precocious young poet. In the summer of 1814, Shelley eloped to France with Mary and her stepsister Claire Claremont, travelling to Holland, Germany, and Switzerland before returning to England in the fall. Desperately broke, Shelley struggled to provide for Mary through several pregnancies while balancing his financial obligations to Godwin, Harriet, and his own father. In 1816, Percy and Mary accepted an invitation to join Claremont and Lord Byron in Europe, spending a summer in Switzerland at a house on Lake Geneva. In 1818, following several years of unhappy life in England, the Shelleys—now married—moved to Italy, where Percy worked on The Masque of Anarchy (1819), Prometheus Unbound (1820), and Adonais (1821), now considered some of his most important works. In July of 1822, Shelley set sail on the Don Juan and was lost in a storm only hours later. His death at the age of 29 was met with despair and contempt throughout England and Europe, and he is now considered a leading poet and radical thinker of the Romantic era.

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Introductory Note

The Revolt of Islam is a return to the social and political propaganda of Queen Mab, though the narrative element is stronger and the ideal characterization is along the more human lines of Alastor. It belongs distinctly in the class of reform poems and obeys a didactic motive in the same way as does the Faerie Queene, in the stanza of which it is written. It was composed in the spring and summer of 1817, and embodies the opinions of Shelley nearly as completely as Queen Mab had done, five years earlier. It was printed under the title Laon and Cythna; or, The Revolution of the Golden City: A Vision of the Nineteenth Century; a few copies only were issued, when the publisher refused to proceed with the work unless radical alterations were made in the text. Shelley reluctantly consented to this, and made the required changes. The title was altered, and the work published. The circumstances under which the poem was written are told by Mrs. Shelley, with a word upon the main characters:

‘He chose for his hero a youth nourished in dreams of liberty, some of whose actions are in direct opposition to the opinions of the world, but who is animated throughout by an ardent love of virtue, and a resolution to confer the boons of political and intellectual freedom on his fellow-creatures. He created for this youth a woman such as he delighted to imagine – full of enthusiasm for the same objects; and they both, with will unvanquished and the deepest sense of the justice of their cause, met adversity and death. There exists in this poem a memorial of a friend of his youth. The character of the old man who liberates Laon from his tower prison, and tends on him in sickness, is founded on that of Doctor Lind, who, when Shelley was at Eton, had often stood by to befriend and support him, and whose name he never mentioned without love and veneration.

‘During the year 1817 we were established at Marlow, in Buckinghamshire. Shelley’s choice of abode was fixed chiefly by this town being at no great distance from London, and its neighborhood to the Thames. The poem was written in his boat, as it floated under the beech groves of Bisham, or during wanderings in the neighboring country, which is distinguished for peculiar beauty. The chalk hills break into cliffs that overhang the Thames, or form valleys clothed with beech; the wilder portion of the country is rendered beautiful by exuberant vegetation; and the cultivated part is peculiarly fertile. With all this wealth of nature which, either in the form of gentlemen’s parks or soil dedicated to agriculture, flourishes around, Marlow was inhabited (I hope it is altered now) by a very poor population. The women are lacemakers, and lose their health by sedentary labor, for which they were very ill paid. The poor-laws ground to the dust not only the paupers, but those who had risen just above that state, and were obliged to pay poor-rates. The changes produced by peace following a long war, and a bad harvest, brought with them the most heart-rending evils to the poor. Shelley afforded what alleviation he could. In the winter, while bringing out his poem, he had a severe attack of ophthalmia, caught while visiting the poor cottages. I mention these things, – for this minute and active sympathy with his fellow-creatures gives a thousand-fold interest to his speculations, and stamps with reality his pleadings for the human race.’

Shelley himself gave two accounts of the poem, of which the most interesting occurs in a letter to Godwin, December 11, 1817:

‘The Poem was produced by a series of thoughts which filled my mind with unbounded and sustained enthusiasm. I felt the precariousness of my life, and I engaged in this task, resolved to leave some record of myself. Much of what the volume contains was written with the same feeling, as real, though not so prophetic, as the communications of a dying man. I never presumed indeed to consider it anything approaching to faultless; but when I consider contemporary productions of the same apparent pretensions, I own I was filled with confidence. I felt that it was in many respects a genuine picture of my own mind. I felt that the sentiments were true, not assumed. And in this have I long believed that my power consists; in sympathy and that part of the imagination which relates to sentiment and contemplation. I am formed, if for anything not in common with the herd of mankind, to apprehend minute and remote distinctions of feeling, whether relative to external nature or the living beings which surround us, and to communicate the conceptions which result from considering either the moral or the material universe as a whole. Of course, I believe these faculties, which perhaps comprehend all that is sublime in man, to exist very imperfectly in my own mind.’

The second is contained in an earlier letter to a publisher, October 13, 1817:

‘The whole poem, with the exception of the first canto and part of the last, is a mere human story without the smallest intermixture of supernatural interference. The first canto is, indeed, in some measure a distinct poem, though very necessary to the wholeness of the work. I say this because, if it were all written in the manner of the first canto, I could not expect that it would be interesting to any great number of people. I have attempted in the progress of my work to speak to the common elementary emotions of the human heart, so that, though it is the story of violence and revolution, it is relieved by milder pictures of friendship and love and natural affections. The scene is supposed to be laid in Constantinople and modern Greece, but without much attempt at minute delineation of Mahometan manners. It is, in fact, a tale illustrative of such a revolution as might be supposed to take place in an European nation, acted upon by the opinions of what has been called (erroneously, as I think) the modern philosophy, and contending with ancient notions and the supposed advantage derived from them to those who support them. It is a Revolution of this kind that is the beau idéal, as it were, of the French Revolution, but produced by the influence of individual genius and out of general knowledge.’

Peacock supplements Mrs. Shelley’s note, with some details of the revision:

‘In the summer of 1817 he wrote The Revolt of Islam, chiefly on a seat on a high prominence in Bisham Wood where he passed whole mornings with a blank book and a pencil. This work when completed was printed under the title of Laon and Cythna. In this poem he had carried the expression of his opinions, moral, political, and theological, beyond the bounds of discretion. The terror which, in those days of persecution of the press, the perusal of the book inspired in Mr. Ollier, the publisher, induced him to solicit the alteration of many passages which he had marked. Shelley was for some time inflexible; but Mr. Ollier’s refusal to publish the poem as it was, backed by the advice of all his friends, induced him to submit to the required changes.’

Shelley subsequently revised the poem still more, in expectation of a second edition, but the changes so made are now unknown. Author’s Preface

The Poem which I now present to the world is an attempt from which I scarcely dare to expect success, and in which a writer of established fame might fail without disgrace. It is an experiment on the temper of the public mind as to how far a thirst for a happier condition of moral and political society survives, among the enlightened and refined, the tempests which have shaken the age in which we live. I have sought to enlist the harmony of metrical language, the ethereal combinations of the fancy, the rapid and subtle transitions of human passion, all those elements which essentially compose a poem, in the cause of a liberal and comprehensive morality; and in the view of kindling within the bosoms of my readers a virtuous enthusiasm for those doctrines of liberty and justice, that faith and hope in something good, which neither violence, nor misrepresentation, nor prejudice, can ever totally extinguish among mankind.

For this purpose I have chosen a story of human passion in its most universal character, diversified with moving and romantic adventures, and appealing, in contempt of all artificial opinions or institutions, to the common sympathies of every human breast. I have made no attempt to recommend the motives which I would substitute for those at present governing mankind, by methodical and systematic argument. I would only awaken the feelings, so that the reader should see the beauty of true virtue, and be incited to those inquiries which have led to my moral and political creed, and that of some of the sublimest intellects in the world. The Poem therefore (with the exception of the first Canto, which is purely introductory) is narrative, not didactic. It is a succession of pictures illustrating the growth and progress of individual mind aspiring after excellence and devoted to the love of mankind; its influence in refining and making pure the most daring and uncommon impulses of the imagination, the understanding, and the senses; its impatience at ‘all the oppressions which are done under the sun;’ its tendency to awaken public hope and to enlighten and improve mankind; the rapid effects of the application of that tendency; the awakening of an immense nation from their slavery and degradation to a true sense of moral dignity and freedom; the bloodless dethronement of their oppressors and the unveiling of the religious frauds by which they had been deluded into submission; the tranquillity of successful patriotism and the universal toleration and benevolence of true philanthropy; the treachery and barbarity of hired soldiers; vice not the object of punishment and hatred, but kindness and pity; the faithlessness of tyrants; the confederacy of the Rulers of the World and the restoration of the expelled Dynasty by foreign arms; the massacre and extermination of the Patriots and the victory of established power; the consequences of legitimate despotism, – civil war, famine, plague, superstition, and an utter extinction of the domestic affections; the judicial murder of the advocates of liberty; the temporary triumph of oppression, that secure earnest of its final and inevitable fall; the transient nature of ignorance and error and the eternity of genius and virtue. Such is the series of delineations of which the Poem consists. And if the lofty passions with which it has been my scope to distinguish this story shall not excite in the reader a generous impulse, an ardent thirst for excellence, an interest profound and strong, such as belongs to no meaner desires, let not the failure be imputed to a natural unfitness for human sympathy in these sublime and animating themes. It is the business of the poet to communicate to others the pleasure and the enthusiasm arising out of those images and feelings in the vivid presence of which within his own mind consists at once his inspiration and his reward.

The panic which, like an epidemic transport, seized upon all classes of men during the excesses consequent upon the French Revolution, is gradually giving place to sanity. It has ceased to be believed that whole generations of mankind ought to consign themselves to a hopeless inheritance of ignorance and misery because a nation of men who had been dupes and slaves for centuries were incapable of conducting themselves with the wisdom and tranquillity of freemen so soon as some of their fetters were partially loosened. That their conduct could not have been marked by any other characters than ferocity and thoughtlessness is the historical fact from which liberty derives all its recommendations, and falsehood the worst features of its deformity. There is a reflux in the tide of human things which bears the shipwrecked hopes of men into a secure haven after the storms are past. Methinks those who now live have survived an age of despair.

The French Revolution may be considered as one of those manifestations of a general state of feeling among civilized mankind, produced by a defect of correspondence between the knowledge existing in society and the improvement or gradual abolition of political institutions. The year 1788 may be assumed as the epoch of one of the most important crises produced by this feeling. The sympathies connected with that event extended to every bosom. The most generous and amiable natures were those which participated the most extensively in these sympathies. But such a degree of unmingled good was expected as it was impossible to realize. If the Revolution had been in every respect prosperous, then misrule and superstition would lose half their claims to our abhorrence, as fetters which the captive can unlock with the slightest motion of his fingers, and which do not eat with poisonous rust into the soul. The revulsion occasioned by the atrocities of the demagogues and the reëstablishment of successive tyrannies in France was terrible, and felt in the remotest corner of the civilized world. Could they listen to the plea of reason who had groaned under the calamities of a social state, according to the provisions of which one man riots in luxury whilst another famishes for want of bread? Can he who the day before was a trampled slave suddenly become liberal-minded, forbearing,