numerous errors that either partner commits. This is easily translatable to any era and any person, which is the meaning of Hazlitt's remark. Yet another example of this can be seen in Arethusa, with the lines 19-37: And now from their fountains In Enna's mountains, Down one vale where the morning basks, Like friends once parted Grown single-hearted, They ply their watery tasks. At sunrise they leap >From their cradles steep In the cave of the shelving hill; At noontide they flow Through the woods below And the meadows of asphodel; And at night they sleep In the rocking deep Beneath the Ortygian shore; Like spirits that lie In the azure sky When they love but live no more. In this poem Shelley is playing on one of the most beloved fantasies of both men and women, which is for the gorgeous, breathtakingly beautiful woman to be swiftly carried away by a tall, handsome, strong gentleman to a remote island where the two of them can make love in peace until the end of their days. Arethusa is carried by Alpheus to a luscious island where they act amorously until they die, their love for eachother lasting much longer than their mortal lives. More evidence of Shelley being the "incurable romanticist" comes in the poem The Dirge, which discusses a person who sees his significant other in a coffin: "Ere the sun through the heaven once more roll'd,/The rats in her heart/Will have made their nest/And the worms be alive in her golden hair/While the spirit that guides the sun/Sits throned in his flaming chair/She shall sleep." (Hazlitt 494) Again Mr. Hazlitt remarks that this poem "...is a fragment of the manner in which this craving...this desire to elevate and surprise,...leads us to overstep the modesty of nature and the bounds of decorum." (494). In the poem, Shelley imagines that his wife, Mary, in the coffin, dead; he is so deeply in love with her that he cannot bear the thought of her death, and the thought of worms, rats, and parasites decomposing her once-dazzling...