"A Defence of Poetry" is an unfinished essay by Percy Bysshe Shelley written in February and March 1821 that the poet put aside and never completed. The text was published posthumously in 1840 in Essays, Letters from Abroad, Translations and Fragments. Its final sentence expresses Shelley's famous proposition that "poets are the unacknowledged legislators of the world."

Background

The essay was written in response to his friend Thomas Love Peacock's article "The Four Ages of Poetry", which had been published in 1820. Shelley wrote to the publishers Charles and James Ollier (who were also his own publishers): To Peacock, Shelley wrote: The text we know as A Defence of Poetry was eventually published eighteen years after Shelley's death, after being subjected to some editing by John Hunt and Shelley's wife Mary Shelley, in her Essays, Letters from Abroad, Translations and Fragments.

Editorial introductions

Shelley's aim was to show that poets establish morality and inspire the legal norms in a civil society, thus creating a foundation for the other institutions of a community. Robert M. Hutchins and Mortimer J. Adler wrote: David Perkins wrote:

Major themes

Shelley’s argument for poetry is an important text of English Romanticism. In 1858, William Stigant, a poet, essayist, and translator, wrote in his essay "Sir Philip Sidney" that Shelley's "beautifully written Defence of Poetry" is a work which "analyses the very inner essence of poetry and the reason of its existence, – its development from, and operation on, the mind of man". Shelley writes in Defence that while "ethical science arranges the elements which poetry has created," and leads to a moral civil life, poetry acts in a way that "awakens and enlarges the mind itself by rendering it the receptacle of a thousand unapprehended combinations of thought". A Defence of Poetry argued that the invention of language reveals a human impulse to reproduce the rhythmic and ordered, so that harmony and unity are delighted in wherever they are found and incorporated, instinctively, into creative activities: "Every man in the infancy of art, observes an order which approximates more or less closely to that from which highest delight results..." This "faculty of approximation" enables the observer to experience the beautiful, by establishing a "relation between the highest pleasure and its causes". Those who possess this faculty "in excess are poets" and their task is to communicate the "pleasure" of their experiences to the community. Shelley does not claim language is poetry on the grounds that language is the medium of poetry; rather he recognises in the creation of language an adherence to the poetic precepts of order, harmony, unity, and a desire to express delight in the beautiful. Aesthetic admiration of "the true and the beautiful" is provided with an important social aspect which extends beyond communication and precipitates self-awareness. Poetry and the various modes of art it incorporates are directly involved with the social activities of life. Shelley nominated unlikely figures such as Plato and Jesus in their excellent use of language to conceive the inconceivable. For Shelley, "poets . . . are not only the authors of language and of music, of the dance, and architecture, and statuary, and painting; they are the institutors of laws, and the founders of civil society." Social and linguistic order are not the sole products of the rational faculty, as language is "arbitrarily produced by the imagination" and reveals "the before unapprehended relations of things and perpetuates their apprehension" of a higher beauty and truth. Shelley's conclusive remark that "poets are the unacknowledged legislators of the world" suggests his awareness of "the profound ambiguity inherent in linguistic means, which he considers at once as an instrument of intellectual freedom and a vehicle for political and social subjugation".

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