the dominion of elder gods usurped by younger, for Prometheus belonged
to the elder generation. The impression Keats gives us is that
he represents the dethroned gods in the sad vale, "far from
the fiery noon", for the pleasure of moving among them himself,
and creates their lonely world as a retreat for his own spirit.
Whereas in the `Prometheus Unbound' we feel that the scenes
laid in ancient days and built on Greek myths, have a direct relation
to the destinies of man, and that Shelley went back into the past
because he believed it was connected with the future,
and because he could use it as an artistic setting for exhibiting
an ideal world in the future.

"This problem of escape -- to rescue the soul from the clutches
of time, `ineluctabile tempus', -- which Keats and Shelley
tried to resolve for themselves by creating a new world in the past
and the future, met Browning too. The new way which Browning
has essayed -- the way in which he accepts the present and deals
with it, CLOSES with time instead of trying to elude it,
and discovers in the struggle that this time, `ineluctabile tempus',
is really a faithful vassal of eternity, and that its limits serve
and do not enslave illimitable spirit." -- From a Paper
by John B. Bury, B.A., Trin. Coll., Dublin, on Browning's
`Aristophanes' Apology', read at 38th meeting of the Browning Soc.,
Jan. 29, 1886.
--

Wordsworth, and the other poets I have named, Byron, Shelley, Keats,
and Coleridge, made such a protest against authority in poetry
as had been made in the 16th century against authority in religion;
and for this authority were substituted the soul-experiences