     Born of the Sun and one of the Atlantides (note Shelley's familiar 
symbolism of light and the water of universal life), the witch lives in 
a cave amidst the Atlas mountains.  Lovely, gentle, and powerful, she 
attracts gods, men, and beasts to her marvelous storehouse of treasures.  
The Naiads, Hamadryads, and Oreads (spirits in natural objects such as 
streams and trees) would be her familiars, but she is immortal and each 
of them will eventually die.  In a magic boat that can sail on air or 
water, the witch is conducted everywhere by a hermaphroditic pilot.  She 
sends helpful or imaginative dream.  At other times she plays merry pranks.
     Among the longer poems by Shelley, this displays perhaps the rich-
est and most graceful of consistent imagery and lyricism.  Keats thought 
the watch was beauty; others have interpreted her as Creative Imagination, 
Venus Genetrix, and even as the spirit of electricity.  She seems defi-
nitely to be spiritualized love, eternal but lending beauty to mortals 
and beauty, sympathy and wisdom.  Perhaps the withch might be thought of 
as Asia before she meets Prometheus; she is the ideal of love before it 
is personified in human flesh.  Sexless herself, the witch creates in 
the hermaphrodite the perfect union of male and female.  In this frank 
escapism to a dream world and dream symbolism, Shelley sought a respite 
from the real world that was increasingly pressing upon him.
     EPIPSYCHIDION (1821, 1822) in title is a coined Greek wording to 
mean "this soul out of my soul" carrying on the psyche-epipsyche theme 
from Alastor.  With the Defence of Poetry and Adonais, both completed 
soon thereafter, it forms a triad contemplating the process of creati-
vity in the poet, the forces contributing to his achievement, and the 
forces corrupting and negating him.  This heroic-couplet poem arose from 
Shelley's profound sympathy for Teresa (known to the Shelleys as Emilia 
or Emily) Viviani, daughter of the governor of Pisa.  Her stingy father 
had virtually imprisoned her at the convent of St.  Anna in Pisa while 
seeking for her a husband who would ask no dowry.  A beautiful nineteen-
year-old brunette with some facility in writing poetry, she powerfully 
appealed to Shelley as the victim of parental tyranny.  She extravagantly 
praised Shelley and fascinated him throughout the writing of Epipsychi-
dion, but even before the publication of the poem, she disillusioned 
Shelley by meekly submitting to her father's choice of a husband.  He 
mused:  "The person whom it celebrates was a cloud instead of a Juno."  
This section seems to start with strong autobiographical references, 
to proceed to Platonic implications and then to dwell especially upon 
astronomical conjectures.  The Platonism seems based upon a threefold 
division of soul enunciated in Plato's Phaedrus, Republic, and Timaeus:  
(1) Immortal spirit to which Shelley aspires.  Emilia is the anima or 
epipsyche embodying this highest realm of the soul.  (2) Higher rational 
or mortal soul, which Shelley believes represented by Mary.  (3) Lower 
appetitive soul, apparently symboized by "Claire."
     Characteristic of a yet unformed genre, its practitioners frequ-
ently tried to offer it as what it was not in essence:  Defoe tried to 
masqueade fiction as fact, Richardson staked his achievement upon moral 
preaching, and Sterne cavorted willfully.  Part of this uncertain quality 
of 18th-century novels arose from their incredibly mixed ancestry of 
form, an examination of which is given below.  The primary impulse of 
the novel came from the Spanish picaresque tales, apparently burgles 
of the courtly romance, substituting a low scoundrel for the questing 
knight.  Largely composed of a string of episodes, these accounts were 
mainly held together by the racy personality of the central figure, and 
the atmosphere of actual tangible things and genuine earthy experience 
was pervasive.  Also, as mentioned before, through much of the 17th 
century the fashionable English aristocrats were addicted to the French 
into such notable collections as Boccaccio's Decameron.
     The pastoral romance from Hellenistic Greeks such as Apuleius, with 
Italian and Spanish imitations in the Renaissance, stimulated the arti-
fictions of Malory and Mandeville, generating a tase for recitals of 
adventurous action.  The domestic literature of roguery, in Greene and 
Dekker of the Renaissance and later in the 17th century from Tom Briwn 
and Ned Ward, strengthened the picaresque influence and provided a 
bouncy, vivacious narrative of low life.  Though the sketches of "char" 
by Sir Thomas Overbury and John Eare belong with the essay rather than 
with the novel, their astute appraisals of personalities provide a 
stimulus for the revelation of character in the later novel.
     Allegories such as Pilgrim's Progress provided fiction with a 
compelling seriousness it had previously lacked and also offered an 
imaginative ingenuity and flashes of realism.  Lesser domestic sources 
of fiction were the hest books and chapbooks of unprofessional liter-
ateurs, which perpetuated the storytelling faculties of the people which 
Chaucer had employed so well.
     According to the Digest of Educational Statistics, the total ex-
penditures for public and nonpublic schools at all levels of edu-
cation from kindergarten through the graduate curriculum doubled in 
seven years.  The estimate for the recent academic year 1972-73 is 
$90,200 million.  The defense budget, on the other hand, is about 
$76,000 million this year.
     "The Structure of 'Tssing p'ing TIIAO' is classical; the inter-
pretation is individualistic," explains young Chinese choreographer 
Maleina Yung, She is speaking of her Chinese dance drama which was 
staged recently in New York's Carnegie Hall.