” To….” ( One Word Is Too Often Profaned ) by Percy Bysshe Shelley
The poem was first published in London in 1824 in the collection Posthumous Poems of Percy Bysshe Shelley by John and Henry L. Hunt. The poem, One Word Is Too Often Profaned, is short, like “To A Lady, With A Guitar,” and was written for Jane Williams. It exemplifies Shelley’s real and deep devotion for Jane Williams, with whom he had a close bond. Jane Williams had a significant impact on Shelley, and the narrative of their connection is fascinating. He elevates her to a lofty position in the poem and offers her his worship.
Summary of ” To ….”
In One Word is Too Often Profaned , Shelley refuses to use the word “Love” to characterise his connection with Jane. He claims that because this word has been so frequently profaned or overused, he will not use it to describe this connection. He goes on to add that the use of this word may be rejected by Jane herself, and that his sentiments for her are too pure to be disdained unjustly.
He employs the word “pity,” claiming that Jane’s pity is more valuable than any other woman’s love. At this time, he begins to elevate Jane’s stature over that of other women throughout the world. Shelley uses the word “worship” to characterise his devotion for Jane. He claims that his admiration for Jane is both uplifting and moral (and the heavens reject not).
He describes the nature of his devotion: it is the devotion of a moth to a star, or the devotion of the night to the following morning. He describes his devotion as something that exists beyond the realms of material existence and conflict (the sphere of our sorrow).
Shelley claims that he cannot offer her what is commonly referred to as love because the word “love” has become devalued and vulgarised. But he can give her the emotion of worship that uplifts him and that God does not reject. His adoration for her is analogous to the moth’s unattainable desire for the star. He yearns for her as much as the night yearns for the day to arrive. He offers her his passionate devotion, living in a world of suffering, and asks her whether she will take it.
The poem employs a mix of anapests and iambs in its metrical feet. Each couplet has three accents on the first line and two accents on the second line.
Like most seventeenth-century love poems, the poem is a conceit, and it may elicit the ‘tetchy’ criticism, “More matter with less art.” This critic is implying that, while the poetry looks to be gleaming and appealing on the surface, it contains very little substance or significance. One is inclined to concur with this assessment because, except from the phrase “The desire of the moth for the star,” which is commonly attributed to Shelley’s unrealistic and unreachable goals, the poem is truly a little.
On this poetry, Desmond King-Hele has this to say: “This poem is one of those anthologists” darlings so damaging to Shelley’s reputation. Continual reprinting in anthologies has quite mummified it” — deadened it; taken away its life and soul – ennui is the standard reaction when encountering it again. The poetry has a glossy texture to prevent scratches, yet the ill-mannered cur that does scratch discovers nothing under the surface sheen.
