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The Cenci with its very factual background has been usually considered as a kind of exception among Shelley's seemingly overall idealistic works, but this thesis would be one of the efforts to relocate The Cenci within Shelley's major works, which have been created from and also has created his strenuously sustained thinking itself about poetic imagination and its hard-to-define relation with human realities. And with this ponderous problem under its arm, furthermore his poetry dares to put a disturbing but critical question to itself, one like “are you just making up realities of 'words' or revealing any ‘real’ realities beyond?” Every main character in this tragedy is found out to be involved within inner struggles, during which he or she should settle for his own realities, chasing ‘what must be thought and may be done’ along many-convoluted paths through his mind. His mind is necessarily driven to glimpse its own limit, the limit of its capablities of representing realities, its limit of words. His mind is driven to a certain boundary, from which it could be possible to enter into an unimaginable, expressionless dimension of being. This ends not just as an idle musing, but as a life-and-death matter for the characters of The Cenci ; Seek the way within his own mind out or die(or live a death-like life). Giacomo, the son of Count Cenci, is found left shivering on the brink of his own imagination. He never dares to see the outside world clearly, as his vision is irreparably dimmed by its foggy inner fears. He never imagines any realities beyond, in which father is not a only and absolute value-giving center. Thus he never acts. Count Cenci, in his outrageously straightforward way, tries to represent the outer realities. as real as believed by himself to be. He torments human bodies for the body in pain could work as a unmistakable sure sign of the man's inner state. As for Count Cenci, how to represent means how to dominate. Abstracted from any earthly relations, he tries to embody for himself pure essence of dominating power but he would not admit the very conditions of that embodiment. Thus he would not allow the inevitable influx of history, he rapes his own daughter Beatrice, with a view to existing in presence there, as a hideous eye to control the future life. He tries to gulp down every concrete detail of life, into lifeless shreds signifying his power. Beatrice is the only one in real struggle. Though her inevitable associations and fears are the most intense and tormenting, she never succumbs to them and never locks herself within. Her greatest ‘act’ is accomplished during the last tribunal act. Here we rather should describe that she acts only with the words. She tries to defend her own case, in other words, she tries to represent her own realities without mentioning her father's unnameable misdemeanor but also drawing her deeply felt power of words from that inexpressible wrong. Here Beatrice's words bring into being another dimension of human reality, against the one ruled as absolutely real. Though she fails in gaining her case, what she achieves through this act is that her words bring these latent realities to life, restoring a possibility of freely proliferating meaning to the words. She embodies herself the limit of words and also proves by her own being the existence of its beyond. May I say Shelley tried to embody a poet in the world, through Beatrice?