R E V IE W S Lloyd Abbey, Destroyer and Preserver: Shelley’s Poetic Skepticism (Lincoln and London: University of Nebraska Press, 1980). xii, 171. $14.50 In a book that has governed Shelley studies since its publication a decade ago, Earl Wasserman wrote that “Shelley’s metaphysical speculations re capitulate the course of eighteenth-century empiricism and result in a special brand of idealism rooted in a persistent epistemological skepticism.” Wasserman ’s Shelley: A Critical Reading (1971) put the poet’s platonism in its place and influenced a whole generation of younger critics. Wasserman’s emphasis on Shelley’s skeptical treatment of poetic themes was a refreshing corrective to Shelley studies, for it brought the beautiful, ineffectual angel down to earth and gave us a more vigorous poet who courageously wrestled with the hard facts of the human condition. Wasserman’s Shelley felt the limits of mortality all too keenly; the poet who yearned to transcend imagi natively his circumscribed earthbound state only to be checked in his flight by his own critical intelligence was well-acquainted with the by-ways of ambivalence, and characteristically felt his way with irony, tentativeness, equivocation, and ambiguity. In his masterful analysis of Adonais, Wasser man showed how Shelley’s poetry continually refashioned imaginative sym bols and reshaped hypotheses to arrive at a provisional faith that could answer his desires and sustain his idealism. Wasserman thus toned down the anxiety that earlier mythopoeic critics such as Ross Woodman pointed to as the key to the self-destructive impulse in Shelley’s poetry. Woodman’s Apocalyptic Vision in the Poetry of Shelley (1964) gives us a Shelley tom between his dedication to humanity and his ultimate rejection of life. Shelley’s “real apocalyptic intention,” in Woodman’s estimation, “is not to recreate the body of the world but to destroy it in order to release the spirit from its prison.” Imagination, Woodman held, was therefore not redemptive for Shelley; instead, in the end, imagination betrays itself. Later acceptance of the hypothesis of Shelley’s skepticism allowed him greater detachment from the dilemma of imaginative vision, but left unanswered the question E n g lish Stu d ies in C anada, ix, i , March 1983 of what, if anything, sustained Shelley as a poet. Lloyd Abbey, who acknowl edges both Wasserman and Woodman as his critical ancestors, is faced with exactly this problem in Destroyer and Preserver: Shelley’s Poetic Skepticism. The issue of Shelley’s skepticism first received the attention it rightly deserves in 1954 with the publication by C. E. Pulos of The Deep Truth: A Study of Shelley’s Skepticism. Pulos helped to clear away some of the diffi culty surrounding Shelley’s intellectual position, characterized by M. H. Abrams in The Mirror and the Lamp as an “imperfectly assimilated” blend of platonism and empiricism. He presented considerable evidence that Shelley had been profoundly influenced by the philosophical ironies of David Hume, and that, after reading Sir William Drummond’s Academical Questions, which popularized Hume’s theories, Shelley pursued a provi sional and “ non-dogmatic idealism compatible with skepticism.” Wasserman ’s advice that “it is from Pulos’ analysis, and not from any supposedly fundamental Platonism, that any study of Shelley’s thought must begin” is wisely followed by Lloyd Abbey. Beginning with the premise that Shelley “was in a state of almost total philosophical uncertainty throughout his career,” Abbey has written a thoroughly consistent and sitmulating account of the way in which skepticism informs the themes and imagery of Shelley’s major poems. Abbey’s contribution begins when he distinguishes two aspects of Shelley’s skepticism, calling one “empirical” and the other “ Platonic.” Empirical skepticism, which derives from Hume, led Shelley to believe that the human mind could never attain absolute knowledge of the true nature of reality and consequently left him in a state of metaphysical uncertainty. This type of skepticism is of the sort generally accepted now as defining Shelley’s outlook, but where Pulos (and Wasserman in his footsteps) argues that Shelley the skeptic in philosophy preferred to suspend judgement in favour of entertaining imaginative possibilities in his poetry, Abbey takes up the line of mythopoeic critics such as...