"Man's yesterday may never be like his morrow; Nought may endure but Mutability"
About this Quote
Shelley compresses a Romantic credo into two swift blows: the day behind us will not resemble the day ahead, and the only thing that lasts is change itself. The first clause emphasizes discontinuity rather than mere variation; it is not just that tomorrow will differ, but that it may never rhyme with yesterday at all. The second clause turns change into a principle, capitalized into a near-deity, a law that outlives every form it dissolves. The epigram recalls Heraclitus while channeling the early 19th century’s churn of revolutions, exiles, scientific upheavals, and personal losses that marked Shelley’s world.
These lines often accompany a short lyric that catalogs transience: flowers that smile today, friendship and love that falter, bright hours that pass into tears. The couplet seals the poem’s logic, not as a cheap sigh, but as a lucid diagnosis of conditions under which human feeling operates. Sweetness is inseparable from loss; the intensity of delight is heightened by its precariousness.
Yet the sentiment is not purely bleak. For Shelley, mutability is also the engine of renewal. The poet who asks the West Wind to scatter his dead thoughts like leaves trusts that the storm that destroys is the same force that prepares spring. In political terms, this undercuts the arrogance of empires and monuments; the warning that power crumbles resonates with the ruined colossus of Ozymandias. In psychological terms, it offers a candid account of mood, memory, and will, much like the image of passing clouds and trembling lyres in another poem titled Mutability.
What emerges is a double counsel. Do not cling to forms as if they were eternal, because they are not. And do not despair at their passing, because change keeps open the possibility of new justice, new beauty, new life. To live under Mutability is to cultivate humility, readiness, and a love sharpened by awareness that nothing, not even sorrow, can last.
These lines often accompany a short lyric that catalogs transience: flowers that smile today, friendship and love that falter, bright hours that pass into tears. The couplet seals the poem’s logic, not as a cheap sigh, but as a lucid diagnosis of conditions under which human feeling operates. Sweetness is inseparable from loss; the intensity of delight is heightened by its precariousness.
Yet the sentiment is not purely bleak. For Shelley, mutability is also the engine of renewal. The poet who asks the West Wind to scatter his dead thoughts like leaves trusts that the storm that destroys is the same force that prepares spring. In political terms, this undercuts the arrogance of empires and monuments; the warning that power crumbles resonates with the ruined colossus of Ozymandias. In psychological terms, it offers a candid account of mood, memory, and will, much like the image of passing clouds and trembling lyres in another poem titled Mutability.
What emerges is a double counsel. Do not cling to forms as if they were eternal, because they are not. And do not despair at their passing, because change keeps open the possibility of new justice, new beauty, new life. To live under Mutability is to cultivate humility, readiness, and a love sharpened by awareness that nothing, not even sorrow, can last.
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