More than that, Shelley, in works such as Prometheus Unbound (1820) and A Defence of Poetry (1840), attempted to create a public persona for the poet as an arbiter of morality, genius, and political order. Thus, the Romantic, as exemplified in Shelley himself, was peculiarly subject to the rather pretentious self-promotion of his vocation—not unlike the wizened Ozymandias of his sonnet.