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"Mont Blanc: Lines Written in the Vale of Chamouni" is a poem by the Romantic poet Percy Bysshe Shelley composed between 22 July 1816 and 29 August 1816. It was first published in 1817 in History of a Six Weeks' Tour through a Part of France, Switzerland, German and Holland by Percy Shelley and Mary Shelley.

Background

"Mont Blanc" was written at the end of July 1816, when Mary Godwin, Percy Shelley, and Claire Clairmont (Mary Godwin's half-sister by marriage), were touring the Chamonix Valley and visited Mont Blanc, Europe's highest mountain. Shelley finished a draft of the poem before September, and it was first published in 1817 as part of the Shelleys' travel narrative History of a Six Weeks' Tour. The published edition was not based on the first finished copy of Shelley's poem, but on a second created after Shelley lost the first. The first manuscript copy, which contains many differences from the first published edition, was discovered in December 1976.

Inspired to write the poem by the scenery surrounding a bridge over the Arve River in the Valley of Chamonix in Savoy, near Geneva, Shelley set the poem in a similar landscape. He wrote that the poem "was composed under the immediate impression of the deep and powerful feelings excited by the objects which it attempts to describe; and, as an undisciplined overflowing of the soul, rests its claim to approbation on an attempt to imitate the untamable wilderness and inaccessible solemnity from which those feeling sprang". Later, he described the mountains in general when he wrote, "The immensity of these aerial summits excited when they suddenly burst upon the sight, a sentiment of extatic wonder, not unallied to madness."

Poem

"Mont Blanc" is a 144-line natural ode divided into five stanzas and marked with irregular rhyme. It serves as Shelley's response to William Wordsworth's Tintern Abbey and as a "defiant reaction" against the "religious certainties" of Samuel Taylor Coleridge's "Hymn before Sun-rise, in the Vale of Chamouni", which "credits God for the sublime wonders of the landscape".

When the narrator of the poem looks upon Mont Blanc, he is unable to agree with Wordsworth that nature is benevolent and gentle. Instead, the narrator contends that nature is a powerful force:

"The everlasting universe of things

Flows through the mind, and rolls its rapid waves,

Now dark - now glittering - now reflecting gloom -

Now lending splendour, where from secret springs

The source of human thought its tribute brings

Of waters" - (Lines 1–5)

However, this force only seems to have power in relation to the human mind.

The narrator, in Stanza Two, turns to the Arve River as a representation of the conscious force in nature. The Arve River and the ravine surrounding the river increase the beauty of the other:

awful scene,

Where the Power in likeness of the Arve comes down

From the ice gulphs that gird his secret throne,

Bursting through these dark mountains like the flame

Of lightning through the tempest;" (Lines 15–19)

When the narrator witnesses the power of the Arve River, he claims:

I seem as in a trance sublime and strange

To muse on my own separate phantasy,

My own, my human mind, which passively

Now renders and receives fast influencings,

Holding and unremitting interchange

With the clear universe of things around; (Lines 35–40)

He realizes that knowledge is a combination of sensory perceptions and the ideas of the mind. The river can then serve as a symbol of a conscious power and a source for imaginative thought when he finishes the stanza, "thou art there!"

The third stanza introduces Mont Blanc and how the mountain is connected to the higher power:

Far, far above, piercing the infinite sky,

Mont Blanc appears, - still, snowy, and seren -

Its subject mountains their unearthly forms

Pile around it, ice and rock; broad vales between

Of frozen floods, unfathomable deeps,

Blue as the overhanging heaven, that spread

And wind among the accumulated steeps; (Lines 60–66)

Although the power may seem removed from mankind, it can still serve as a teacher. By listening to the mountain, one can learn that nature is can be benevolent and malevolent, and good and evil comes from how our wills use nature:

The wilderness has a mysterious tongue

Which teaches awful doubt, or faith so mild,

So solemn, so serene, that man may be

But for such faith with nature reconciled;

Thou hast a voice, great Mountain, to repeal

Large codes of fraud and woe; not understood

By all, but which the wise, and great, and good

Interpret, or make felt, or deeply feel.(Lines 76–83)

The fourth stanza discusses the greater power behind the mountain:

Power dwells apart in its tranquillity

Remote, serene, and inaccessible:

And this, the naked countenance of earth,

On which I gaze, even these primæval mountains

Teach the adverting mind. (Lines 96–100)

The power's ability to create and destroy, which parallels the power of the imagination to aid in creation or, through negation of the imagination, destruction.

Although nature can teach about the imagination and give truths about the universe, the poem denies an ability to establish a natural religion. The power of the universe is symbolized by Mont Blanc, but our imagination is vital in that power having any meaning:

Mont Blanc yet gleams on high: - the power is there,

The still and solemn power of many sights,

And many sounds, and much of life and death.

The secret strength of things

Which governs thought, and to the infinite dome

Of heaven is as a law, inhabits thee!

And what were thou, and earth, and stars, and sea,

If to the human mind's imagins

Silence and solitude were vacancy?(Lines 127–129, 139–144)

Variations

The first published edition varies from both the copy found in the Scrope Davies Notebook copy of the poem and the original manuscript draft in terms of language and philosophical view. An important distinction between the text is in the first published edition's line "But for such faith", which reads "In such a faith" in the Scrope Davies edition, with the manuscript agreeing with the Scrope Davies edition. The critic Michael O'Neill emphasizes that the Scrope Davies's version "makes the more evident sense, though it possibly sacrifices some of the tension" while the first published edition's version "is cryptic and tortuous, and yet the fact remains that Shelley chose to print the poem with this reading in his lifetime."

Themes

"Mont Blanc" is not a poem about landscape but is instead a poem the human mind and its ability to understand truth. The poem's main theme is the relationship of the human mind with the universe, and it discusses what kind of influence perceptions have on the mind, and the world becomes a reflection for the operation of the mind. Although Shelley believed that the human mind should be free of restraints, he also believed that nothing in the universe was truly free; there is a force in the universe that the human mind connects to and is influenced by. Shelley, unlike Coleridge, believes that the poets are the source of authority in the world, and he, unlike Wordsworth, believes that there darker side of nature that is part of a cyclical process of the universe, which is similar to the theory put forth in the works of George Cuvier.

In "Mont Blanc", the poem's relationship with the mountain becomes a symbol for the poets relationship with history. The poet is privileged because he can understand the truth found in nature, and the poet is then able to use this truth to guide humanity. The only way for one could understand nature's truth, in turn, is through the poet's interpretation of the mountain's "voice". However, the poet, in putting faith in the truth that he has received, has earned a place among nature and given the right to speak on this truth. Nature's role does not matter as much as the poet's role between nature and man. Shelley, and the poet in "Mont Blanc", opposes organized religion and instead puts forth an egalitarian replacement, but only a certain few can truly understand the secrets of the universe.

Notes

1. ^ Reiman and Fraistat 2002 p. 96
2. Shelley 1930 p. 88
3. Shelley 1930 p. 137
4. ^ Bloom 1993 p. 293
5. ^ Wu 1998 p. 845, note 1.
6. Kapstein 1947 p. 1049
7. ^ Bloom 1993 p. 294
8. Kapstein 1947 p. 1050
9. ^ Bloom 1993 p. 295
10. Bloom 1993 pp. 295–296
11. Bloom 1993 p. 296
12. O'Neill 2002 p. 618
13. O'Neill 2002 p. 619
14. Reider 1981 p. 790
15. Pite 2004 p. 51
16. Kapstein 1947 p. 1046
17. Bloom 1993 p. 295
18. Reider 1981 p. 778
19. Jeffrey 1978 p. 151
20. Reider 1981 pp. 780–781
21. Reider 1981 pp. 786–787

References

• Bloom, Harold. "Introduction" in Percy Bysshe Shelley, Ed. Harold Bloom, 1–30. New York: Chelsea House Publishers, 1985.
• Bloom, Harold. The Visionary Company: A Reading of English Romantic Poetry. Ithaca: Cornell University Press, 1993.
• Jeffrey, Lloyd. "Cuvierian Catastrophism in Shelley's 'Prometheus Unbound' and 'Mont Blanc'." The South Central Bulletin, Vol. 38, No. 4 (Winter, 1978) pp. 148–152.
• Kapstein, I. J. "The Meaning of Shelley's 'Mont Blanc'." PMLA, Vol. 62, No. 4 (Dec. 1947) pp. 1046–1060.
• O'Neill, Michael. "Shelley's Lyric Art" in Shelley's Prose and Poetry, 2nd ed., Ed. Donald H. Reiman and Neil Fraistat, 616–626. New York: Norton and Co., 2002.
• Pite, Ralph. "Shelley in Italy." The Yearbook of English Studies, Vol. 34 (2004) pp. 46–60.
• Reider, John. "Shelley's 'Mont Blanc': Landscape and the Ideology of the Sacred Text." ELH, Vol. 48, No. 4 (Winter, 1981) pp. 778–798.
• Reiman, Donald H. and Fraistat, Neil. "Mont Blanc" in Shelley's Prose and Poetry, 2nd ed., Ed. Donald H. Reiman and Neil Fraistat, 96-97. New York: Norton and Co., 2002.
• Shelley, Percy. Complete works Vol. VI. Julian Edition. ed. Roger Ingpen and Walter Peck. London: Benn, 1930.
• Wu, Duncan. "Mont Blanc" in Romanticism: An Anthology, 2nd ed., Ed. Duncan Wu. Oxford: Blackwell, 1998.

External links

• Poetry by Percy Bysshe Shelley
• 1816 poems