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AN EXAMINATION OF THE 
 
 SHELLEY MANUSCRIPTS 
 
 IN THE BODLEIAN LIBRARY 
 
 Being a collation thereof with the printed 
 texts, resulting in the pubHcation of 
 several long fragments hitherto unkno\vn, 
 and the introduction of many improved 
 readings into Prometheus Unbound^ and 
 other poems, by 
 
 C. D. LOCOCK, B.A. 
 
 OXFORD 
 AT THE CLARENDON PRESS 
 
 1903 
 

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AN EXAMINATION OF THE 
 
 SHELLEY MANUSCRIPTS 
 
 IN THE BODLEIAN LIBRARY 
 
 Being a collation thereof with the printed 
 texts, resulting in the publication of 
 several long fragments hitherto unknown, 
 and the introduction of many improved 
 readings into Prometheus Unbound, and 
 other poems, by 
 
 C. D. LOCOCK, B.A. 
 
 OXFORD 
 AT THE CLARENDON PRESS 
 
 1903 
 
 
AN EXAMINATION OF THE 
 
 SHELLEY MANUSCEIPTS 
 
 IN THE BODLEIAN LIBRARY 
 
 Being a collation thereof with the printed 
 texts, resulting in the publication of 
 several long fragments hitherto unknown, 
 and the introduction of many improved 
 readings into Prometheus Unhoundy and 
 other poems, by 
 
 C. D. LOCOCK, B.A. 
 
 OXFORD 
 AT THE CLARENDON PRESS 
 
 1903 
 
 > 1 j> 
 
HENRY FROWDE, M.A. 
 
 PUBLISHER TO THE UNIVERSITY OF OXFORD 
 
 LONDON, EDINBURGH 
 
 NEW YORK 
 
CONTENTS 
 
 MS. Shelley D 1 . 
 Epipsychidion . 
 From the Arabic 
 •-Ode to Naples . 
 The Witch of Atlas 
 Unpublished Fragments 
 
 MS. Shelley D 2 . 
 Arethusa . 
 Hymn of Apollo 
 Hymn of Pan . 
 Laon and Cythna 
 
 MS. ShelleyEI, E2, E3 
 Prometheus Unbound 
 Cancelled or Unpublished 
 Invocation to Misery 
 Ode to Heaven 
 
 MS". Shelley E 4 . 
 Marenghi 
 Ozymandias 
 To Constantia . 
 
 Passages in Prometheus Unbound 
 
 PAGE 
 3-24 
 
 3 
 13 
 14 
 18 
 21 
 
 24-28 
 24 
 25 
 25 
 26 
 
 28-39 
 28 
 33 
 38 
 39 
 
 40-75 
 40 
 46 
 46 
 
 383S.ia 
 
IV 
 
 CONTENTS 
 
 MS. Shelley E 4 {continued) 
 Passage of the Apennines 
 Translation from Virgil's Tenth Eclogue 
 Prince Athanase 
 To Constantia, Singing 
 To One Singing 
 Unsatisfied Desires . 
 Translation of the Cyclops 
 Unpublished Fragments . 
 
 MS. Shelley E 5 . 
 
 To a Faded Violet . 
 
 Stanzas written in dejection near Naples 
 
 page 
 47 
 47 
 50 
 60 
 63 
 63 
 64 
 71 
 
 75 
 75 
 75 
 
*y 
 
 THE SHELLEY MSS. IN THE 
 BODLEIAN LIBRARY 
 
 ri^HE Preface to Mr. Buxton Forman's 1892 edition of Shelley's Poems 
 JL contains the following statement : — 
 
 'The text being no longer the subject of such controversy as raged for 
 years over it, I have given it in the form in which I think it may be regarded 
 as established.' There is no necessity, I think, for so despondent a view. 
 While manuscripts remain undeciphered, or incorrectly deciphered, we are 
 not compelled to attribute to Shelley all those deficiencies in sense and 
 metre which have been accepted, either with or without hesitation — often 
 with peculiar admiration — for some sixty or eighty years. 
 
 The following notes are based on a careful and, as Bodley's Librarian 
 would testify, a prolonged examination of all the manuscript poems in the 
 Shelley Collection at Oxford. 
 
 What authority should be assigned to these manuscripts, in cases where 
 they differ from the printed texts, I do not propose to discuss here. 
 Speaking quite roughly, one may perhaps say that a manuscript reading 
 may be regarded as having authority whenever it (1) gives sense instead 
 of nonsense, or (2) is metrically more correct, or (3) is manifestly superior 
 in sense and sound, or (4) is likely to be misread^ or (5) is likely to be 
 vi'isprinted. Why manuscript readings which fulfil the first, second, or 
 third of these conditions have not yet appeared in print is a difficult, 
 perhaps even a delicate, question to answer. In some few cases the printer 
 may have been to blame ; in others perhaps the editor of the transcription. 
 But those who remember Mrs. Shelley's description of her own editorial 
 difficulties, and other graphic accounts of Shelley's methods of composition, 
 Avill probably be inclined to blame, and at the same time to pardon, the 
 transcriber. More especially should allowances be made for the pioneer 
 
 *^ 
 
2 THE SHELLEY MSS. 
 
 in these labours : those who follow his lead must expect little mercy if they 
 go astray. Certainly many words are decipherable only with the greatest 
 difficulty. Some are practically illegible : in such cases the sight of the 
 word is only confusing, and it is often best to conjecture at night and verify 
 the conjecture afterwards. In other cases, patience and additional experience 
 may eventually give the clue. The mysterious She d hart (?) in the 
 Prometheus^ which Zupitza had given up as hopeless, became suddenly clear 
 in the light shed by another equally illegible passage. But apart from 
 difficulties of this kind, there is one source of inaccuracy to which a 
 trarscriber of rough drafts is peculiarly liable. After taking much trouble 
 in deciphering the numerous cancelled words — often far more numerous than 
 those which are left uncancelled — he may write them down hurriedly, and, 
 not infrequently, forget to cancel them : the result, for us, being the printing 
 of lines containing one or more superfluous feet. Finally, the transcriber 
 may fail occasionally in deciphering his own transcription. 
 
 For the convenience of those who may wish to verify the corrections 
 and additions here given, I will take the contents of each notebook separately, 
 naming them according to their titles in the Bodleian Catalogue. It will 
 be noticed that the majority of the poems are posthumous. 
 
 SiGLA 
 
 ^r= First edition printed during Shelley's lifetime. 
 5 = Bodleian Manuscript. 
 
 C=Mrs. Shelley's Collected Editions (1839, &c.). Where distinction is 
 necessary, the first Collected Edition is referred to as C, and the 
 others as C^ &c. 
 P = Posthuynous Poems (1824). 
 Square brackets denote words cancelled in B. Undeciphered and doubtful 
 words are marked with asterisks. 
 
IN THE BODLEIAN LIBRARY 
 
 Description of MS. Shelley d 1 
 
 This notebook is bound in parchment: size, 8| in. by 6j in. 156 leaves. 
 Principal contents : an Epipsychidion fragment, The Witch of Atlas, and 
 the Ode to Naples. 
 
 EPIPSYCHIDION 
 
 This occupies twenty pages of MS. Shelley c?l, from 102 v to 92 v. The 
 title may be found on p. 103. It is evidently a first draft, and consists of 
 three versions, more or less incomplete, of the Preface, a version in ink 
 and pencil, much cancelled, of the last eighty lines of the poem, and some 
 additional lines which did not appear in print. The verse portion of the 
 draft is arranged in no particular order ; in fact Shelley appears to have 
 begun near the end and worked backwards. I have thought it best, 
 however, to quote the lines in the order in which they eventually appeared 
 in print. Judging that a first draft of perhaps the finest lines in Shelley's 
 most wonderful poem should be of interest to his admirers, I have spared 
 no effort in deciphering any words which appeared likely to yield as much 
 as a complete line, whether such words happened to be cancelled or not. 
 Considering the extraordinary confusion and illegibility of the MS., it 
 is inevitable that many words here quoted should partake to some extent 
 of the nature of guess-work ; and in many cases I may have guessed in- 
 correctly. It should be understood however that these guesses are based 
 on actual appearance, and that I have nowhere added a single word from 
 pure conjecture. 
 
 Of the three Prefaces such portions only as are uncancelled are here 
 printed. 
 
 B 2 
 
4 EPIPSYCHIDION 
 
 Preface I 
 
 The following Poem was found amongst other papers in the Portfolio of 
 a young Englishman with whom the Editor had contracted an intimacy at 
 Florence, brief indeed, but sufficiently long to render the Catastrophe by 
 which it terminated one of the most painful events of his life. — 
 
 The literary merit of the Poem in question may not be considerable ; but 
 worse verses are printed every day, & 
 
 He was an accomplished & amiable person but his error was, dvrjros oiv 
 fiTj Ovqra (PpoveLv, — his fate is an additional proof that ' The tree of Knowledge 
 is not that of Life/ — He had framed to himself certain opinions, founded 
 no doubt upon the truth of things, but built up to a Babel height ; they 
 fell by their own weight, & the thoughts that were his architects, became 
 unintelligible one to the other, as men upon whom confusion of tongues 
 has fallen. 
 
 [These] verses seem to have been written as a sort of dedication of some 
 w^ork to have been presented to the person whom they address : but his 
 papers afford no trace of such a work — The circumstances to which [they] 
 the poem allude, may easily be understood by those to whom [the] spirit of 
 the poem itself is [un]intelligible : a detail of facts, sufficiently romantic in 
 [themselves but] their combinations 
 
 The melancholy [task] charge of consigning the body of my poor friend 
 to the grave, was committed to me by his desolated family. I caused him 
 to be buried in a spot selected by himself, & on the h 
 
 Preface II 
 
 [Epips] T. E. V. Epipsych 
 
 Lines addressed to 
 
 the Noble Lady 
 
 [Emilia] [E. v".] 
 
 Emilia 
 
EPIPSYCHIDION 5 
 
 [The following Poem was found in the PF. of a young Englishman, who 
 died on his passage from Leghorn to the Levant. He had bought one of 
 the Sporades] He was accompanied by a lady [who might have been] supposed 
 to be his wife, & an effeminate looking youth, to whom he shewed an 
 [attachment] so [singular] excessive an attachment as to give rise to the 
 suspicion, that she was a woman — At his death this suspicion was con- 
 firmed ; . object speedily found a refuge both from the taunts of 
 the brute multitude, and from the of her grief in the same grave that 
 contained her lover. — He had bought one of the Sporades, & fitted up 
 a Saracenic castle which accident had preserved in some repair with simple 
 elegance, & it was his intention to dedicate the remainder of his life to 
 undisturbed intercourse with his companions 
 
 These verses apparently were intended as a dedication of a longer poem 
 or series of poems 
 
 Pkeface hi 
 
 The writer of these lines died at Florence in [January 1820] while he was 
 preparing * * for one wildest of the of the Sporades, where he bought 
 & fitted up the ruins of some old building — His life was singular, less 
 on account of the romantic vicissitudes which diversified it, than the ideal 
 tinge which they recieved from his own character & feelings — 
 
 The verses were apparently intended by the writer to accompany some 
 longer poem or collection of poems, of which there* [are no remnants in his] 
 * '^ * remains [in his] portfolio. — 
 
 The editor is induced to 
 
 The present poem, like the vita Nova of Dante, is sufficiently intelligible to 
 a certain class of readers without a matter of fact history of the circum- 
 stances to which it relate, & to a certain other class, it must & ought 
 ever to remain incomprehensible — It was evidently intended to be prefixed to 
 a longer poem or series of poems — but among his papers there are no traces 
 of such a collection. 
 
6 EPIPSYCHIDION 
 
 Transcription of the Verses 
 (Arranged in the order in which they eventually appeared) 
 
 [The* nature] [A] Our simple [heart] life wants little, [& the] 
 
 & true taste 
 [Does much] [ * ] not [Hires not] the blind slave Luxury, to waste 
 The scene it would adorn. And therefore still 
 Nature with all her children denizens* haunts the hill, 
 The [ringdove] fearless ringdove in the [bower] bowering* ivy 
 
 [ * ] yet 5 
 
 Keeps up her love lament, & the owls flit 
 In [twilight from the tower,] [twilight] From the evening k 
 
 [the bats *j the first stars glance 
 Between the quick bats in their [quaint twilight] enc red dance 
 [And] The [spec] spotted deer [has sleep] bask in the fresh 
 
 moonlight 
 Before our gate [breathing] [under the quiet] and the slow, 
 
 silent night 10 
 
 Is measured by the breath of their calm sleep 
 And when young dawn doth from her white veil peep | Oh 
 [Here] Be this our home, [and here let the winds heap] in life, 
 
 & [when we die] years heap 
 Oh let [our spirits] dissolving spirits * [mingle] linger* here 
 
 atmosphere 15 
 [The] A living soul of this Elysian isle 
 Conscious united one 
 
 4. denizens] in pencil before children. 7. first] in ink over bats. 
 
 8. quick] interpolated in ink. 10. silent] above quiet. 
 
EPIPSYCHIDION 7 
 
 And we will rise & sit & walk together 
 
 Under the roof of blue Ionian weather 
 
 And [linger] wander in the [forests] meadows, [& repair] or 
 
 [will hasten] ascend 20 
 
 The [grassy] mossy mountains, where the blue Heavens bend 
 [To] With [quickening] lightest winds [kissing] to [kiss clasp 
 
 touch] their paramour 
 Or linger where the pebble-paven shore 
 Under the quick, faint, kisses of the sea. 
 
 Trembles & sparkles as with ecstacy — 25 
 
 Possessing, & possesst by, all things [there] 
 Which seem the shadow of thy soul [to wear] 
 And [one another] by each other, till, to love & live 
 Be one — or, when at noontide we arrive 
 
 To where some cavern hoar seems yet to keep 30 
 
 The moonlight of the expired night asleep 
 Spite of the wakened day — or where the rocks 
 
 or where the woods 
 Hide the [unfathomable] deep '''" solitudes 
 [With] [By paths to which the instinct of blind] 35 
 
 Beside a dark green fountain, where a ledge 
 Of turf & flowers 
 
 or where the [woods] [leaves] tops 
 Of flowering mirtles keep their water-drops 
 [Ever whilst] Whilst through the roof of woods 40 
 
 [Or in some labyrinth of untrodden copse] 
 [Where, on the mirtle sprays] bright the water-drops 
 A veil for our [seclusion] close as nights 
 
8 EPIPSYCHIDION 
 
 [Kiss me,] Where & let sleep quench those innocent lights 
 
 Sleep, the sweet dew of overweary love 45 
 
 Where there is none to affright or to reprove 
 
 Where the day wide awake can never peep 
 
 A veil for our seclusion close as nights 
 
 Where [happy*] sleep may [quench] kill slumber may put out 
 
 those innocent lights 
 Sleep the fresh dew of overweary 50 
 
 That * * * faint love ; that rain 
 Sleep that fresh dew of languid love 
 Whose drops quench kisses, till they burn again 
 And we will talk till words become as flame [mist] smoke 
 Hiding the [thoughts] [fire of thought] living fire from which 
 
 it broke 55 
 
 [And] [And our communion of inarticulate] [Our inarticulate 
 
 conversing* shall be] 
 [Like thoughts of one mind that indistinguishably] 
 [That sweet confusion of all thoughts] which seem 
 Like mingling billows in a * stream* 
 [And we will talk, till till words be to our thought] [talk] till 
 
 words become 60 
 
 [Like clouds between the Heaven & its frown*] 
 [As clouds which [Heaven] hide Heaven from the] 
 And we will talk till [words] talk become as [mist] clouds 
 Between the [cloudless] starry Heaven & waveless floods 
 [And thou singing till smiles die in thought] 65 
 
 Yes we will talk till thought melody 
 Become too sweet for utterance, and [must] die 
 
EPIPSYCHIDION 9 
 
 [In sound notes words] To live [in silent smiles] again in [silent] 
 
 looks, which dart 
 [ * not] With thrilling tone into the voiceless [spirit] heart 
 Harmonizing silence without a sound .... 70 
 
 And whilst [the hours dance on their golden round] 
 Our breath shall intermix & our bosoms bound 
 And our [pulse] [blood leap] veins beat together, & our lips 
 With other deeper eloquence than words, eclipse 
 The [spirit] soul which burns [in them] between them, &c the 
 
 wells 75 
 
 The fountains of our inmost life, shall be 
 
 JVIingled in Passion's golden purity 
 
 A single web never to be unspun 
 
 [Like] As mountain springs under the morning sun 
 
 [And] We shall become the same — we shall be one 80 
 
 [Till] Until like [twin] two meteors of expanding flame 
 
 The spheres instinct with it, become the same 
 
 Touch, mingle, are transfigured ; ever still 
 
 Burning, yet ever unconsumable, 
 
 [And feeding on eacli other like two] 85 
 
 In one anothers substance finding food mig] 
 
 Like flames, [to whom all other[ too pure [to stain] & light 
 
 & unimbued 
 [With earthly taint ever to be renewed] 
 [From baser substance] 
 To nourish their bright lives with [other] [baser' grosser prey 90 
 
 90 grosser] perhaps cancelled 
 
10 EPIPSYCHIDION 
 
 One everlas [soul] living in [forms] limbs which pass away | United 
 One hope within two [lives] wills, one will [one thought within] 
 
 beneath 
 The [can] [roof of Heaven] bower [of] 
 Two overshadowing minds — one life, one death 
 One [Paradise] Heaven, one Hell, one Immortality 95 
 
 And one annihilation. — ^[thou and I] Emily woe is me. 
 The [plumed] wings of words on which my [heart] soul would 
 
 [soar] pierce 
 [Into our] Beyond the [height] depth of Love's rare universe 
 Are [lead] chains of lead [upon its flight of J which upon its 
 
 fiery flight 
 I sink 100 
 
 ' Conclusion ' 
 
 [Go take this * broken contrite] shattered cup whose wine 
 
 is verse 
 [And tell the God of H] | [With all thy phantoms] 
 [Run* children] [Weak] 
 Faint swift verses, [fly tell] go [until] kneel [beneath] [my lady's] 
 
 our sovereigns feet 
 And say, We are the masters of thy slave 105 
 
 What wouldest thou with us or ours or them 
 [And if she smile do thou arise,] 
 And she will clothe with strength [thy] your pinions fleet | 
 
 And touch* 
 [And she wiU give ye strength & speed to haste] 
 
EPIPSYCHIDION 11 
 
 [And if she smiles you have * * strength to haste] 110 
 
 And she will dye with strength your pinions fleet 
 
 [And lead your [darker sisters to her seat] weeping sisters to 
 
 thy shrine] 
 [Of which she is the Idol, Deity] 
 * [phantom] your sisters from [their grave] 
 To dye with strength their pinions dark & fleet 115 
 
 [In per] As clouds by rainbows, [with] in her smiles divine 
 So shall ye live, when I am in the grave | [And visit then] 
 [And make libations, of my tears, instead of wine 
 Out of that shattered] broken chalice 
 
 And if she smiles — do [thou] ye with pinions fleet 120 
 
 Visit all gentle [bosoms], & entreat 
 
 And take my heart, [that] life's shattered cup, whose wine 
 Is tears, [and] with libations [bid the] soothe the grave 
 [To spare] Till she that bitter dew [more] so sweet 
 [And take this burning heart, and tears, the wine 125 
 
 Of that poor chalice * cup — and intreat the grave] 
 [To grant me respite that it] [Though hungry] | Thou Heavens 
 
 spouse 
 Then from her eyes seek strength & swifter pinions 
 Then wander through the world until ye meet 
 Marina, Williams* * Vanna, Primus, & the rest 130 
 
 [And bid] them love each other & be blest 
 [And * ] And leave the troop, [of those] which err, & which 
 
 reproves 
 And come & be my guest, as I am Love's 
 
 C 2 
 
12 EPIPSYCHIDION 
 
 The following fragments are connected with the main passage already 
 quoted : — 
 
 («) 
 
 (Lightly cancelled with pencil) 
 
 If day should part us night will mend division 
 
 And if sleep parts us — we will meet in vision 
 
 And if life parts us — we will [meet] mix in death 
 
 Paying Yielding [our] [his tribute] of [smiling*] feverish [breath] 
 
 Yielding our mite* of unreluctant breath 
 
 Death cannot part us — we may must meet again 
 
 In [dust] all in nothing in delight in pain : 
 
 How, why or when or where — it matters not 
 
 So that we share an undivided lot 
 
 (Scattered lines and fragments containing the ' shadow of thy soul ' idea) 
 
 Where all things are | shadows of thee p. 97 v 
 
 [ * ] the [image] shadow reflex of thy heart p. 100 v 
 
 And Nature seems to wear the shadow bright p. 95 
 
 (followed by other attempts of a similar kind). 
 
 [Wherever beauty & the shapes that wear it p. 96 
 
 And all things seem the shadows of thy spirit] 
 And all the thoughts which in our spirits mix 
 
 [Where all things seem as shadows of thy soul] p. 98 
 
EPIPSYCHIDION 13 
 
 [While all things seem the shadow of thy soul p. 96 
 
 Harmonized by some unbeheld controul.] 
 
 And we will move possessing k possesst 
 Wherever beauty on the earth's bare* breast 
 Lies like thy shadow of thy soul — till we 
 Become one being with the world we see 
 
 (c) 
 (Isolated and apparently unconnected lines) 
 
 Blest as we are, they shall have power to bless p. 98 
 
 In all things which have souls & are divine ib. 
 
 And if we part to sleep, we meet in dream p. 100 v 
 
 Siccome io credo die sariamo noi p. 93 v 
 
 This is the last line of Dante's Sonnet to Guido Cavalcanti : I am indebted 
 to Mr. Gibson, of the Bodleian Library, for the reference. Shelley's transla- 
 tion of this Sonnet was published with Alastor in 1816. In B the line follows 
 immediately on 1. 101, but appears to have been ^vl■itten with a different 
 pencil and at an earlier date. 
 
 On p. 97 is the remark Nel detto anno et mese el Ducca. 
 
 FROM THE ARABIC 
 
 {My faint spirit, etc.) 
 
 pp. 8 v-9. 
 
 Stanza I. 3 at noon is cancelled. 5 B gives feet for hoofs; but 
 cf. 1. 7. 6 me is not visible. 7 B has ffrezo for were. 
 Stanza II. 1 The first word is 0. ^ of is omitted. 
 
14 
 
 ODE TO NAPLES 
 
 This is for the most part a neat and legible copy. I have added to my 
 notes a few remarks on the metrical irregularities in a very complex scheme. 
 
 Line 1 City B. 7 my] the B. Line 10 is a foot too long in the MS. 
 
 as in the printed texts. 11 azure! B. 12 It is surprising that no editor 
 has ventured to correct this unmetrical line — 
 
 Around me gleamed many a bright sepulchre. 
 
 The MS. provides the expected emendation. To the right of the capital A 
 a faint pencil-mark is just discernible, by means of which the second part 
 of the A combines with the r to form something resembling a capital R. 
 Round, therefore, is the true reading. 25 odours B. There is a comma 
 
 after sound. 39 Kings and Melody both begin with capitals. 42 depth : 
 there is no trace of a final s. 45 sunlit C Rossetti : sunlight P Forman : 
 
 sunhright B. No doubt Mrs. Shelley misread the word and printed it as 
 sunlight in the Posthumous Poems. In the next line aetherial, as given by 
 Mr. Forman ; so also aether in 1. 41. 51 After speaJc them there is a note 
 
 of exclamation followed by a dash. 66-71 The notebook gives two 
 
 versions of these six lines, one cancelled and the other not. Both differ 
 considerably from the published texts. The first (cancelled) version is — 
 
 Thou latest Giant birth 
 
 Which from the Titanian Earth 
 Leapst clothed with armour of impenetrable scale — 
 
 Last of the intercessors 
 
 Who gainst the -proud Transgressors 
 Didst plead before God's love ! Arrayed in Wisdom's mail 
 
ODE TO NAPLES 15 
 
 The uncancelled version, which appears on another page, reads — 
 
 Thou latest Giant birth 
 
 Which the Titamati Earth 
 Clothes as with armour of impenetrable scale — 
 
 Last of the Intercessors 
 
 Who cite the crowned transgressors 
 Before Love's equal throne — Arrayed in Wisdom''s mail 
 
 It will be noticed that throne in this last line does not fit in with the rhyming 
 scheme. Love, the reading of the cancelled version and the printed texts, 
 is clearly intended to rhyme with of, three lines above : cf. gaiod and tinazved 
 in the corresponding Antistrophe. In any case it is clear that Shelley must 
 have written a third version of the six lines in question. 75 The word 
 hiirried looks rather suspicious. 86 Compared with the corresponding line 
 
 in the Strophe (61) this line is a foot too long. Aghast may well have been 
 intended to disappear. The last line of this Antistrophe is not necessarily to 
 be regarded as unsymmetrical with 1. 65, which may easily be read as if 
 it consisted of three feet. 96 Here too there is no metrical irregularity, if 
 
 the first three syllables of 1. 72 be regarded as an anapaest : e. g. 
 
 Wave thy light ] ning lance | in mirth. 
 
 98 But in this and the next line the terminations are not consistent with the 
 Strophe (74, 75). Probably Shelley intended either fate or freight for the 
 ending of 1. 98. Line 99 requires another rhyme to gatvd. In the notebook 
 lines 98 and 99 are for some reason bracketed together. Perhaps this may 
 indicate an intended rearrangement in accordance with the metrical form of 
 the Strophe. 101 From land to land] Fi'om every heart B. In the previous 
 line thou is altered to Thou, as also in 1. 113. 105 desart as usual, although 
 an adjective. 113 With the exception of the final line this Strophe is 
 
 symmetrical with the first. 122 The same remark would apply to 
 
 this Strophe, if this rhymeless line were omitted. 133 serene] innocent B. 
 
16 ODE TO NAPLES 
 
 141 old] lost B. Ahoxe lost is written in pencil some such word as Jant. 
 It can hardly, I think, be past, while Jcdnt would be unsuitable. 145 
 Here black, the reading of the texts, is altered to blue by a strangely elusive 
 method of which I have met with only one other instance. In Prometheus 
 Unbound, III. iv. 187, among is thus neatly and unnoticeably changed into 
 amid. 
 
 Lines 139-143 are quite irregular in metre as compared with 15-19. 
 Between lines 159 and 160 there should be an extra line rhyming with shore 
 and Jloor, and corresponding with 1. 36. Lines 161, 162 also fail to harmonize 
 entirely with their prototypes. In 1. 157 lightmng is spelt lightening, as 
 often in Shelley's MS., though here not for the sake of the metre. The copy 
 ends with the figures 176, the presumed number of lines in the poem. 
 
 There remains for discussion the vexed question as to the correct designa- 
 tion of the various Epodes, Strophes, and Antistrophes. In Mrs. Shelley's 
 editions the sequence is — 'Epode I a, Epode II a. Strophe a 1, Strophe /3 2, 
 Antistrophe a, Antistrophe /3 2, Antistrophe a y, Antistrophe /3 y, Epode I /3, 
 Epode II /S.' This arrangement, which Mr. Swinburne justly calls ' chaotic to 
 a degree,' is followed by Mr. Buxton Forman, who believes that ' the various 
 divisions are in all probability named according to Shelley's intention.' Few, 
 probably, would be found to share this opinion. 
 
 Mr. Rossetti was the first to make a change. His designations, the 
 invention of Mr. Swinburne, run as follows (the ' Epodes ' being as before) — 
 ' Strophe I a. Strophe II ^, Antistrophe I a, Antistrophe II ^, Strophe III y, 
 Strophe IV 8.' Mr. Rossetti considers this an ' approach to common sense and 
 system ' ; but the ' system ' is only simple duplication. The numerals without 
 the letters, or the letters without the numerals, would clearly be sufficient. 
 If we were naming two adjacent houses we might call them either ' 1 and 2,' 
 or ' la and 16,' or ' 1 and la ' : what we should not call them is ' la and 26 ' ; 
 and yet this is Mr. Swinburne's method. 
 
 The headings in the notebook are unfortunately very doubtful, many of 
 them being very vaguely altered with pen and pencil. At the outset there is 
 a complication. Epodes 'la' and ' II a ' are clear enough, but through the 
 
ODE TO NAPLES 17 
 
 upper right-hand part of the first ' alpha '' is drawn a short thick pencil-mark, 
 which might either indicate the cancelling of the letter, or be an attempt at 
 rectifying its form. Again, the second ' alpha "" has on its left edge a pencil- 
 mark not unlike the first part of the figure 3. The headings of the con- 
 cluding Epodes, ' I /3 "' and ' II ^,*' are unaltered. On the whole, therefore, 
 the text-headings, perfectly logical so far as the Epodes are concerned, may 
 be regarded as supported by the MS. With the other divisions it is 
 different. Instead of ' Strophe a 1 ^ and ' Strophe j3 S,' etc., Shelley wrote at 
 first ' Strophe a,' ' Strophe jS,' ' Antistrophe a,' ' Antistrophe /S,' which, of 
 course, would be perfectly correct, though not quite consistent with the 
 designation of the Epodes. Accordingly he proceeded (in pencil) to alter 
 ' Strophe a "■ to ' Strophe 1 ' (cancelling the ' a ''), and ' Strophe /3 ' to 
 ' Strophe 2 ' (omitting to cancel the ' /3 '), ' Antistrophe a ' to ' Antistrophe 1 ' 
 {omitting to cancel the ' a '), and ' Antistrophe /3 ' to ' Antistrophe 2 "* (partially 
 cancelling the ' ^ '). From this it seems reasonable to suppose that Shelley 
 intended the simple and entirely consistent sequence ' Strophe 1, Strophe 2, 
 Antistrophe 1, Antistrophe 2.' 
 
 How, then, should he designate the two remaining Anti strophes ? Being 
 repetitions, from a metrical point of view, of Antistrophes 1 and 2, they 
 might be termed' Antistrophes 'la'' and '2 a," or simply 'a' and '/3.' To 
 call them Strophes, as Mr. Swinburne does, thereby raising false expectations 
 of further Antistrophes, appears to me most misleading. Again, if Shelley 
 had kept to his original plan of naming the first two Strophes and Anti- 
 strophes by the letters ' a ' and ' j3 ' only, the remaining Antistrophes might 
 be called ' a 2 ' and ' (3 2.' In the MS. they certainly appear to be named 
 ' a. y,' ' /3. y,'' precisely as they are given in the authorized editions. The two 
 'gammas' are dissimilar in form, and either or both might be questioned. 
 But, granted that they are ' gammas,' it should be noted that both are in ink, 
 and presumably, therefore, unrevised. If, then, the designations ^a. y' and 
 ^ 1^. y'' were written before the titles of the former Strophes and Antistrophes 
 were altered from ' a ' and ' /3 ' to ' 1 ' and ' 2,' it seems possible that Shelley 
 intended them to express ' second forms of a and j3 ' — indicating that they were 
 
 LOCOCK n 
 
18 ODE TO NAPLES 
 
 second forms by adding to ' a ' and ' /3 ' the next letter of the alphabet. If 
 this be the explanation, it is probable that, if he had continued his correc- 
 tions, he would have altered the designations to ' 1 a ' and ' 2 a,' the letter 'a"" 
 being now available. I conclude then that Shelley's intended sequence was — 
 Strophe 1, Strophe 2, Antistrophe 1, Antistrophe 2, Antistrophe 1 a, 
 Antistrophe 2 a. 
 
 THE WITCH OF ATLAS 
 
 Except for occasional incompleteness this has all the appearance of being 
 a fair copy. There is also in existence a transcript in Mrs. Shelley's 
 handwriting, here called T. The ' authorized ' text is based on that of the 
 Postlmmous Poeins (1824). The five readings from B marked (G) were given 
 by Dr. Garnett in the Relics from Shelley (1862). Mr. Buxton Forman's 
 edition of 1877 is my authority for the variations from T, which in many 
 cases are identical with those in B. B is clearly the earlier of the two copies 
 (cf. note on LXIX 5), and as there was, presumably, another final copy for 
 the press, it is not easy to explain the existence of T. Possibly Mrs. Shelley 
 may have copied it for a friend. 
 
 Ill 1 first was BT : wasfrst P. 4 redF: dead BT. 
 
 V 4 Temple'' s BT : tempesfs P. In B two probably accidental marks at 
 the end of the word render it very liable to be mistaken for Tempesfs. 
 
 VI 1 cameleopard BTP etc. : camelopa7'd C^. 8 In B and T only the 
 first word of the line appears, a gap being left for the remainder. 
 
 VIII 5 Dri/ope B(G)T : D?ioj}e P. 
 XI 5 etc. B gives here : — 
 
 Fauns, Centaurs, Pigmies cranes, and such wild game 
 
 And monophalmic Polyphemes who haunt 
 The pinehills, Jlocked ; 
 
 the stanza being left unfinished. T, as quoted by Mr. Forman, gives the 
 
THE WITCH OF ATLAS 19 
 
 same variation, with the exception that cranes is omitted, and that Fauns (as 
 well as Pygmies and monophthalmic) is misspelt. Mr. Forman's suggestion 
 as to why the stanza was originally left incomplete is evidently correct. The 
 sudden illegibility of pinehills^ Jlocked (the former word may even be doubtful) 
 bears clear testimony to Shelley's ' intense horror ' at the thought which was in 
 his mind. 
 
 XII 8 on BP : in T. The slenderness of Shelley's initial o's frequently 
 led to the same mistake ; cp. XLI 3. Occasionally Shelley took advantage 
 of this peculiarity, altering 07i to in by the simple process of dotting the o. 
 
 XIV 4 chrystal BTP : crystal Forman. 
 
 XV 1 lay B vulg. : om. T. 5 It was BT : It is P. There is no 
 authority for Mr. Rossetti's substitution of their for its. 6 that shrine B : 
 the shrine vulg. 
 
 XVI 4 Wove out o/'BT : Had zoovenfrom vulg. 
 
 XVII 6 chrystal vials BP : chrystal phials (?) T : crystal vials Forman. 
 7 these clear vials B : those clear vials P. 8 The word envied is clear in B. 
 Mr. Rossetti suggested envious. 
 
 XIX 7 prophane BTP : profane vulg. 
 
 XX The stanza is headed W~ll {to he ins. after V. 10), all but the 20 
 being cancelled. V would of course stand for ve?'se. 1 xoorhs B vulg. : 
 rochs T. 3 Had changed vulg. : Transformed BT. Mr. Rossetti at one 
 time substituted nigged for ragged, the reading of T and P. In B rugged 
 is neatly altered to ragged. 8 a starless P : the starless B. 
 
 XXI 2 own B(G)TP : om. C. 
 
 XXII 2 weedy B vulg. : streaming T. 6 knarled BT : gnarled vulg. 
 
 XXIII 7 centre vulg. : mountains BT. 
 
 XXIV 2 sigh B vulg. : zveep T. 
 
 XXVI 1 sate BT : sat P vulg. 
 
 XXVII 6 There is no authority for Mr. Rossetti's emendation thereon 
 for upon. 
 
 XXIX 2 that cold B vulg. : the cold T. 
 
 XXX 8 level B vulg. : liquid T. 
 
30 THE WITCH OF ATLAS 
 
 XXXII 4 Mr. Rossetti follows C in reading a. In Bia is altered 
 to an. 
 
 XXXVI 5 sxvdled Ughtlij BP : swelling lightly T : lightly swelled C. 
 youth B vulg. : growth T. 
 
 XXXVII 3 lightenings BC : lightnings TP. 
 
 XXXVIII 1 the streams B vulg. : those streams T. 
 
 XXXIX 6 When Earth B : When night T : TFActi earth vulg. 
 XL 8 ^A^ BT : that vulg. 
 
 XLI 3 o/i ^A^ B vulg. : in the T. 6 dancing B vulg. : shalloza T. 
 ' XLII 6 sunboivs B vulg. : sunbeams T. 
 
 XLV 6 Breasting B vulg. : Breathing T. The reading of B might easily 
 be mistaken for Breathing. 7 In B inchanted, Shelley's usual spelling, is 
 altered to enchanted. 
 
 XLVI 1, 2 The punctuation of B agrees with that of T and C. P gives 
 a misleading comma after sunlight. Of is quite clear. 
 
 XLVII 6 His BP etc. : Its T Forman. the' B : the T : th' P etc. B gives 
 no stop at the end of the stanza. 8 Thamondocana B(G)T : Thamondo- 
 cona P etc. 
 
 XLVIII 4 th' BP etc. : the T Forman etc. 5 Where B : When T : 
 
 There P vulg. The reading of B is over And, which is cancelled. 
 
 L 2 zmncPs BT : winds'' PC. 6 wreck B vulg. : fragment T. 
 
 LI 2 In B Circling is over cancelled Chasing. 3 tyg^''^ Bj ^s usual in 
 Shelle/s MS. 
 
 LI I 8 mere om. T. 
 
 LIV 3 mountain B vulg. : mountains T. 7 ^/i6' r«oo?i B : that moon 
 
 P vulg. 
 
 LV 8 roar B vulg. : ovll T. 
 
 LVII 2 xvhere BT : rt'Am PC. In B the word may be doubtful as usual. 
 
 LIX 5 pav'n BPC : paven T. 7 Informs . . . tonyn* B : J^i^A torvei-- 
 
 crested cities T : With tombs, and towers, and fanes, P : With tombs, and towers, 
 and fane, C. In B the reading of T is cancelled. 
 
 LXII 6 brows B vulg. : brow T. 
 
THE WITCH OF ATLAS 21 
 
 LXIII 3 Wherein BT: Where'er P vulg. 5 jc;i/(Z BP : xoide TC. 
 
 Cf. line 2. 
 
 LXVIII 7 In ^ forms is by no means clearly written. 
 
 LXIX 4 thenceforward B(G) : henceforioard T : thenceforth P etc. 
 5 grave B vulg. : grant T. In B an accidental mark would easily cause the 
 mistake. 7 TF«-y as a B(G) : TFa* a P etc. 
 
 LXX 1 that BP etc. : sx'/ie?* T. 3 Z«w/> BT : lamjjs P vulg. 
 
 4 deathly BT : deathy P etc. In B the word is blotted, but hardly 
 doubtful. 
 
 LXXI 1 there the body B vulg. : then bodies T. In B bodies is altered 
 to body. 4 smiles BT : sleep P etc. 
 
 LXXII 2 less om. T. 4 desart B : desarts T : desert vulg. 
 
 LXXIII 4 &ac?^ ^/te heralds BT : 6ic? ^/ie herald vulg. 5 tZoor* B vulg. : 
 
 rcaZ/,s T. 
 
 LXXV 3 Round the red anvils B vulg. : Aj'oimd the 7rd hot anvils T. In 
 B the first word is much altered, but the final result resembles Round rather 
 than A 7-ound. Q jailors^. 
 
 LXXVI 4 inmost B vulg. : utmost T. 
 
 UNPUBLISHED FRAGMENTS IN D 1 
 
 I (p. 33). 
 
 When IVIay is painting with her colours gay 
 
 The landscape sketched by April her sweet twin 
 
 The first and last words of line 1, and the words after April, might be 
 doubtful. Sketch is not found elsewhere in Shelley''s poems. 
 
22 UNPUBLISHED FRAGMENTS IN D 1 
 
 II (p. 104). 
 
 Thy beauty hangs around thee like 
 
 Splendour around the moon — 
 Thy voice, as silver bells that strike 
 
 Upon 
 
 Hangs is questionable : it cannot be clings. On the next page the 
 poet rests while he endeavours to make as many words as possible out of the 
 letters in ^starch.'' Two or three of his words would not be recognized by 
 any dictionary. Including these the number arrived at is forty-one, a 
 record which may be beaten without much difficulty. 
 
 III. 
 
 Italian prose translation of the ' Life of Life ' song in Act II of Prometheus 
 Unbound, and also of Act IV, lines 1-82. Dr. Garnett pointed out {Relics of 
 Shelley) that ^ sguardi,"" in 1. 5 of the lyric referred to, settles the question 
 whether locks or looks should be read. It might be added that ^ allora si 
 nascondano^ in the line before, is equally decisive against taking screen them, 
 as it has sometimes been taken, as an imperative. 
 
 IV (p. 104 etc.). 
 Italian prose translation of Laon and Cythna, Canto II, Stanzas 1-3, and 
 the first five lines of Stanza 4. 
 
 V (p. 108). 
 
 The death knell is ringing 
 The raven is singing 
 The earth worm is creeping 
 The mourners are weeping 
 Ding*dong, bell — 
 
 This reads like a study for Autumn, A Dirge. Cf. also the fragment Tlie 
 rude wind is singing. 
 
UNPUBLISHED FRAGMENTS IN D 1 23 
 
 VI (p. 111). 
 
 I stood upon a heaven-cleaving turret 
 
 Which overlooked a wide Metropolis — 
 
 And in the temple of my heart my Spirit 
 
 Lay prostrate, and with parted lips did kiss 
 The dust of Desolations hearth — 
 And with a voice too faint to falter 
 
 It shook that trembling fane with its weak prayer 
 Twas noon, — the sleeping skies were blue 
 The city 
 
 In 1. 4 pm-ted is cancelled, and then underlined. In 1. 5 hearth is written 
 after altar, which is cancelled, the line being left rhymeless. 
 
 VII (p. 87). 
 
 A first attempt at the well-known lines to Emilia Viviani. With the 
 exception of the line ' Sweet basil and mignonette ' there is little to remind one 
 of the final form of the poem. Nearly all of it is cancelled. 
 
 VIII. 
 
 Partially buried beneath this is a singularly illegible fragment in pencil, 
 almost every word of which may be doubtful : — 
 
 Deluge & dearth ardours & frosts & earthquake 
 
 Fire from high mountains, winds and rain and lightning 
 
 New pestilences and epidemics 
 
 Death * seditious acts & transmigrations 
 
 Line 1 dearth or drouth (?). 2 lightmng — merely light followed by a wavy 
 line. 3 and or arid (?). If and be correct epidemics would be accentuated 
 
24 UNPUBLISHED FRAGMENTS IN D 1 
 
 on the model of ' epitome.' 4 The omitted word has some resemblance to 
 
 ' long ' or ' dry ' : possibly it might be ' dire.' 
 
 The lines are presumably a translation from some Latin poem. 
 
 MS. Shelley d 2 
 
 MS. Shelley rZ 2 is a neatly filled notebook containing the ' Dramas in two 
 Acts ' entitled Proserpine and Midas. The lyrics alone are by Shelley, and 
 were written, as Mrs. Shelley informs us, at the request of ' a friend,' the 
 author of the dramas. This ' friend,' I should be inclined to guess, was 
 Mrs. Shelley herself ^ Proserpine contains the lyrics Aretliusa and the Song 
 of Proserpine-., Midas, the Hymns of Apollo and Pan. 
 
 ARETHUSA 
 
 Line 25 : — And the black south wind 
 
 It concealed behind 
 The urns of the silent snow. 
 
 Probably these lines have always been suspected. Mr. . Rossetti, who was 
 doubtful as to whether It meant the ' chasm ' or the 'trident' or the ' south wind' 
 itself, and moreover considered urns unsuitable, suggested 'congealed' for 
 concealed. The MS. word unseeded is perfectly legible. For urns cf. the 
 Sonnet to the Nile — ' By Nile's aerial urns.' 
 Line 31. Here the MS. gives — 
 
 And the beard and the hair 
 Without And the line begins, perhaps, a little abruptly. 
 Line 69. The MS. has Oceayi's for ocean. 
 The Song or Proserpine gives no variations. 
 
 &' 
 
 ^ Mr, Buxton Forman states as a fact — I do not know on what authority — tliat 
 Midas vf&s the work of E. E. Williams. Dr. Garnett points out that my conjecture 
 as to the autliorship is supported by Medwin's MS. notes for a proposed second 
 edition of his Life of Shelley. 
 
25 
 
 HYMN OF APOLLO 
 
 Line 3 The MS. gives no material for supplying the missing foot. The 
 ' received ' version of the last stanza is : — 
 
 I am the eye with which the universe 
 
 Beholds itself and knows itself divine ; 
 All harmony of instrument or verse. 
 
 All prophecy, all medicine, are mine, 
 All light of Art or Nature ; — to my song 
 Victory and praise in their own right belong. 
 
 The MS. gives three, as I think, superior readings ; it is for itself, is for are 
 (the comma should be removed), and its for their. 
 
 Probably the alterations in the last three lines are the result of an attempt 
 to 'correct' Shelley's grammar without understanding his meaning. Mr. 
 Rossetti has already conjectured, and introduced into his text, the correct 
 reading of the final line. Evidently Apollo means to assert that, as the god 
 of music, he cannot fail to be victorious in his contest with Pan. 
 
 HYMN OF PAN 
 
 This follows immediately on the previous song ; hence the reference to 
 Apollo at the end of stanza 2. 
 
 Lines 5, 12 : — Listening to my sweet pipings. 
 
 The MS. omits to in both cases. In 1. 5 the word is cancelled ; in 1. 12 it 
 is not written at all. 
 
 Line 17 Mrs. Shelley (1839 editions) has the misprint with for b?/. 
 
 Line 19 For the ivoods and waves the MS. reads the woods and the waves. 
 
 Line 28 The MS. omits the third and — no doubt accidentally. 
 
 LOCOCK j; 
 
26 
 
 LAON AND C YTHNA 
 
 MS. Shelley ^ 3 is an unbound quarto with some sheets missing. At least 
 one of the missing pages must have been in existence about the year 1860 
 {vide Forman's edition of 1876, Vol, I. p. 103, note). The contents of the 
 notebook consisted of a fair copy of the Preface, Dedication, and First Canto 
 of Laon and Cythna. As to the Preface, it need only be said that the passages 
 and variations quoted by Mr. Forman from the proof-leaf inserted in his 
 * cancelled copy ' appear, without alternatives, in the Bodleian MS. The final 
 paragraph, omitted from The Revolt of Islam, is also found uncancelled, but 
 the concluding footnote is absent. Unveiling is correctly spelt, but falshood 
 is so spelt, as usual ; also the slip prepares for prepare, which duly appeared 
 in print. The quotations from Archimedes, Chapman, and Pindar are not 
 
 given. 
 
 Dedication 
 
 The heading is — 
 
 To 
 
 [Mary Wollstonecraft Shelley] 
 
 To Mary , . 
 
 The pages containing III 3 to XI 4 are missing. At XII 9 there is 
 a footnote to the word*S'ir^ — 'The Author oi An Enquiry concerning Political 
 Justice.'' XIII 1 reads — 
 
 One voice went forth from that unshaken spirit 
 
 The substitution, in the texts, of many a mighty for that unshaken may 
 indicate some wavering in the poet's devotion to his father-in-law. 
 
 There is a cancelled attempt at a fifteenth stanza : — 
 
 [A colourless and shapeless mist that hovers 
 Over the birth of dawn — a vale outspread 
 
 Beneath the gathering rainbow-gleam that covers 
 The widely-glancing] 
 
LAON AND CYTHNA 27 
 
 Canto I 
 
 The first five stanzas are missing. Stanza VI is headed ' 7."* Stanza VII 
 is missing, and the heading of VIII is altered to ' 9,"* of IX to ' lO,' and of 
 X to '11.' The same difference of numbering occurs, but without alterations, 
 in the headings of the remaining stanzas. 
 
 IX 2, 3 The only change from the usual punctuation, which has been 
 suspected, is an additional comma after scale. 6 swoln. 
 
 X 2 After this several pages are missing. The next instalment begins 
 at XXIII 3. 
 
 XXIII 9 The last half of the line is missing. 
 
 XXV 1 The stanza begins — List Stranger^ list o list ! much, etc. 7 all- 
 pervading B. 
 
 XXVI 4 depths B. 5 blood-red B. 
 
 XXVIII 9 The MS. explains the origin of the full-stop given at the end 
 of the stanza in the printed version. There is no stop in the MS., but the 
 pen missed fire in the middle of the final n, the result being that the final 
 stroke, where it resumed work, has all the appearance of one of Shelley's full- 
 stops or dashes. 
 
 XXIX 6 No comma after mirth. 
 
 XXX 5 The authorized punctuation here is absurd : B gives the comma 
 after when instead of after But. An apparent dash at the end of the line 
 is presumably accidental. B gives also an important hyphen between Black 
 and winged in 1. 7. 
 
 XXXI 2 foundations . . . B. Shelley's printers never learned that a dash 
 was not the correct equivalent for his 'three-dots' pause, which is always 
 a longer pause than a full-stop. B gives a characteristic comma after soon. 
 6 war . . . B. 
 
 XXXII 2 B gives the necessary hyphen. 
 
 XXXIV 3 may est B. XXXV 1 an BA : a C. 
 
 XXXVI 8 B omits the unnecessary comma after wept. 9 extacy B, as 
 
 also in XLIX 2. 
 
 E % 
 
28 LAON AND CYTHNA 
 
 XXXVIII 4 gtdph, as invariably in B. 9 commotion B, which seems 
 
 more natural than emotion. 
 
 XL 1 fire — B. 4 No comma after passion. 
 
 XLI 2 ''till B : a form which often appeared in print. 5 in altered to to 
 (probably). A page is missing here, XLIV 5 being the next continuation. 
 
 XLV 4 loved, B ; a very important comma. 8 seas were B. 
 
 XLVII 1 fear''est B. 5, 6 B gives a very important semicolon after sTcy, 
 
 a comma after moon, and no stop after away. 8 the'' B. 
 
 XLVIII and XLIX Both these stanzas are labelled ' 50.' 
 
 L 3 behold it stand, B. 4 Universe ; B. After 1. 5 a page is missing, 
 
 the narrative being resumed at LIII 6. 
 
 LIV 4 blind] So probably B, though at the first glance the word would be 
 taken for kind. 9 chysial (sic) B, and in LVI 9 christalline. 
 
 LV 9 with] in B. I am inclined to guess that the printers, mistaking night 
 for might, changed in to with, and that Shelley, while correcting one mistake, 
 overlooked the other. 
 
 LVIII 2 a] an B. After LIX (60) 4 the remainder is missing. 
 
 Contents of MS. Shelley e 1, e2, e3 
 
 These are three notebooks 8| x 5f inches, consisting of 127 leaves in all. 
 The principal verse contents are the Prometheus Unbound. 
 
 PROMETHEUS UNBOUND 
 
 The Bodleian MS. has the appearance of being an intermediate draft. 
 Probably it was the first ' fair copy ' made, though a few passages seem to 
 give signs of improvisation. For the most part the MS. is easily legible, 
 though isolated words are sometimes very difficult to decipher. The first 
 three Acts are mainly written on the left-hand pages only, corrections and 
 interpolated passages appearing on the other side. The fourth Act, as is 
 well known, was an afterthought, and was written wherever there happened 
 
PROMETHEUS UNBOUND 29 
 
 to be a vacancy. The verbal variations from the received texts are very 
 numerous. I have carefully compared my list with Dr. Julius Zupitza's 
 results, published in Germany some years ago, and have carefully re-examined 
 the MS. on the few points of difference. I have marked with a (!) those 
 variations which seemed to me to be improvements worthy of superseding the 
 printed texts. The punctuation of the MS. is too wide a question to be 
 considered here, though many of the variations are of great importance. 
 I should be glad to answer any questions as to the pointing of particular 
 passages addressed to me by students of Shelley. 
 
 Preface. According to Zupitza this gives no variations of any importance. 
 
 Dramatis Personae. B omits Demogorgon, Ocean, Apollo, Sjnrit of the 
 Moon. Fawns is interpolated, the ' Faun scene ' being an afterthought. 
 
 Act I 
 
 14 seemed\ seem B. 35 his own] its own B. 48 The] Their (!) B. 
 
 54 thro^igh the wide] thro'' wide (!) B : Mr. Forman had conjectured the 
 omission. 80 run] ran B. 106 a A: as (!) BC. 120 streams] streams or 
 stream, B. 157 cloud / Of gloi-y, arise,] beam / From sunrise, leap B, the 
 reading of A being cancelled. As the new reading is perfectly legible, and 
 could not have been overlooked, it may be assumed that Shelley preferred the 
 older, and perhaps more appropriate metaphor. Cf. Ode to a Skylark, II 2, 3 ; 
 a passage which, if correctly punctuated, yields a similar metaphor. 
 165 sphered] B gives moonlight in pencil above sphered. 166 by] with B. 
 
 204 -peopled] -shaken (\) B, in pencil above -peopled. 208 on his throne / Of] 
 throned / On B, the reading of A being cancelled. 223 crossed o'er] crossed 
 
 over (!) B. Zupitza does not notice this. 237 His] Its add. B. 238 he] it 
 add. B. 246 He] Him B. 253 cannot] dare not B. 277 In] Its B. 
 
 331 [tempest-walking] B. 332 xoith] on B. 33§ into] in B. 357 no om. B. 
 369 or savage] ^ savage (!) B. 386 trampled] altered to trodden B. 472 we 
 are] are we{\) B. 531 is] was B. Zupitza does not notice this. 540 borne] 
 
30 PROMETHEUS UNBOUND 
 
 In B the word at first sight appears to be horn, which would make excellent 
 sense in connexion with the omission of the comma after misery. I think, 
 however, that the pen 'missed fire' just after the r, and that the final e is 
 consequently present. 553 Marl^] HarTi (!) B. 589 And] Tho (!) B. 
 
 619 niin A Forman : ravin[e] B : ravin C. 64:6 After thou add. more (!) B. 
 
 650 The] And B. 661 they behold] and they see B. 687 these A : there (!) 
 BC. 693 as] like B. 745 in] i[n] (!) B. 774 silent AC : Jcilling Forman 
 (misreading of B unnoticed by Zupitza) : hilling (!) B. 779 the] their or 
 thier B. 791 the om. B (!). 825 white] wan B. 
 
 Act II 
 
 I 25 sun-light] sunrise B. 40 thy] thine B. 43 thine] yours B. 
 m giddy] dizzy B. 88 ere] as B. 89 weah] far {\)^. The word is 
 written above \lost]. Zupitza describes it as ' weak, unclearly written ' : I 
 think it is weak altered to far. 115 to] in B. 122 moi-n AC : moon 
 B Forman, etc. 126 on] oer(!) B. \^^ my] mine B. \^Q the] these {\)^. 
 151 morning] moving {\)^. \bS farewells {\){^o?,'s,\h\y)^. 190, 196 S.D. 
 echoes] echo (!) B. 
 
 II 15 climbs and wanders] climb ^- wander's. 34 strain] probably altered 
 to stream {\)1^ ; cf. 13. Zupitza does not notice this. 38 -surroimding A : 
 -surrounded BC. 44 sweet] deep B. 5Q desires] desire (possibly) B. 
 Zupitza is doubtful. 64 The remainder of the scene was inserted as an 
 afterthought. A cancelled stage-direction shows that the ' Fauns ' are young 
 
 females. 71 which the enchantment AB : which enchantment C. 87 on] 
 
 i?i(!)B Forman. 89 stay] try (probably) B. Zupitza thinks stay{?)\s 
 
 altered to try. I think the alteration is rather from ,s^(ek) to try. 93 dooms 
 A: Joom (!)BC. 
 
 III 4 hurled] breathed B. 12 be] beest B. 26 illumined] illumed (\)B. 
 46 some] an B. 48 that] which B. 49 mine eyes] my eyes{\)'B. 50 / 
 see thin shapes within the mist. A: I see shapes within the mist. C : see st thou 
 shapes within the mist ? (!) B. B gives first the reading of C. / Avas then 
 
PROMETHEUS UNBOUND 31 
 
 cancelled, and st written above it, followed by thou above an omission-mark 
 after see. This tJiou, being very badly written, was evidently mistaken for 
 thin, the still more illegible st being neglected. The credit of discovering the 
 true reading belongs to Zupitza ; I could make nothing better of it than 
 If those shapes, etc. It seems probable that Mrs. Shelley, being aware from 
 her ' formidable list ' that thin was a misprint, consulted the MS. and, failing 
 to decipher it, decided to be content with what was easily legible. The 
 interrogation-mark might possibly be an s. Lines 54-98 were interpolated. 
 84 the] that{\)'Q, obviously referring to the next line. 88 treasured but for] 
 hidden, hut from B. 
 
 IV 37 has] have B. 39 The birthright] birthrights {l)B after [The spirits]. 
 Zupitza did not notice this variation. 66 prei/] Air^ or chase* B. 100 
 reigns A: rains {\)BC There is nothing ' contradictory ' in the assertion 
 that Jove does not rain down evil of himself, but only under the compulsion 
 of his master. Apart from this, reigns down is hardly English. 1^^ flash- 
 ing] [scattered] B. 145 Who] What{\)B. 151 smoh:e] [smoke] dust B. 
 168, 174 daughter] daughters B. 173 at] ere B. 
 
 V 9 the cloud ?] this cloud— (!) B. 22 thy] thine (!) B. 30 dwells] 
 dwell B. 54 lips A : limbs BC. In Shelley's translation into Italian prose 
 the word is membre. 68 lohom] whom those B. 72 This song of Asia's 
 was also inserted as an afterthought. It follows immediately on an unpublished 
 passage which will be given later. 96 winds on AC: winds <§- on{\) 
 B Rossetti. 
 
 Act III 
 
 13/ am] am IB. 4 had] altered to has (!) B. Zupitza takes the opposite 
 view. 5 like an unextinguished A : like unextinguished BC. 13 might 
 
 A Forman : night BC Rossetti. Cf. note on Laon and Cythna I Iv 9. 
 20 distant A : destined BC. 45 although] [al]though B. Opposite 54 B 
 
 has a marginal note Or Rhea''s {He ov As Rhea's Zupitza). 69 What art A : 
 What then art BC. 79 will] shall B. on] probably altered to in B ; Zupitza 
 
32 PROMETHEUS UNBOUND 
 
 takes the opposite view, which I regard as impossible. At the same time the 
 dot over the o may be accidental. 77 This] The B. Zupitza does not 
 
 notice this. thee] thou B. 82 mine] [mine] the B. 
 
 II 22 many peopled AC: many-peopled (I) ^. Forman eoj conj. M, Blind. 
 Zupitza considers that the supposed hyphen is an accidental blot from the 
 cross-stroke of a ^ on the opposite page ; I could give, however, much evidence 
 against this hypothesis. 26 light laden AC : light-ladeji{\)B Forman, etc. 
 39 on A : i"'(!)BC. 45 stream.,] streams perhaps B, 
 
 III 40 hither] thither B. 55 wrapt A : rapt (!) BC. 70 this is the A : 
 this the BC — a remarkable duplicate omission. 85 thy touch] their touch (!) B. 
 102 umoitting A: unwithering{\)^C. In B the word is badly written. 
 124 where] zvhence B. 126 xoho AB : that C. 131 amongst] among B. 
 147 TJiis] that B. ^ 163 capitals B. 164 most with] with most{\)'Q. 
 169 thy] thine B. 
 
 IV 26 my] mine B. 39 An AB : J C. 53 A] The (I) B. 121 light A : 
 flight BC. \?>^ fawned] frowned B. \^1 froxvned^ fawned B. 160 made] 
 
 make B. 173 Those] These (\)B. 187 among] altered to amid (I) B. The 
 alteration is so minute that it might easily escape notice. 192 and] or(!)B. 
 
 Act IV 
 
 13 Of the dead] Of dead B. 57 and of Earth] and earth B. 66 dreams] 
 dream B. 68 beams] beam B. 79 the spirits] all Spirits B. 80 and 
 
 sunbeams] S^- the sunbeams B. 82 as in bright] like radiant B. 107 loose] 
 
 [loose] sliding {\)li. The word is very illegible, and the transcriber may have 
 preferred the easier task of deciphering the cancelled word. 116 his] 
 
 her{\)'B. 138 and] or (!) altered from c^ B. 172 ocean] Oceans B. 
 
 208 night] light {[)'B. Owing to the shortness of the Z, as compared with the 
 i, the word has the appearance of n'ght, and at a first glance might well be 
 taken for night. Perhaps I maybe pardoned for mentioning that the expected 
 discovery of this reading was the origin of my examination of the Shelley MSS., 
 and consequently of this volume. 212 airy] aery (!) B. 225 string A : 
 
PROMETHEUS UNBOUND 33 
 
 strings (!) BC. 230 that] which B. 242 xvhite, green] white <§• green (!)B 
 
 Rossetti {ex coiy.). 263 Like to a child o'erwearied] Like a child over- 
 
 wearied B. 274 spoke A : spokes (\) BC. 276 lightnings] lightenings{\)'B 
 
 Rossetti {ex conj.) : ' an example of how a very slight change may produce 
 a very calamitous result ' (Forman). As a matter of fact Shelley generally spelt 
 lightenings with an e, even when the metre did not require it. 280 mine] 
 
 mines (!) B. 282 poured A : poized C : poised (!) B. 336 And] Of{\) B. 
 
 348 in] on B. 355 hy thunder-ball A : by the thunder-ball {^^^C 387 
 
 light] life{y)^ Forman. 411 sovereign] sovereigns (probably) B, as also in 
 
 a rough draft in Dr. Garnetfs possession. The superfluous * is a not 
 uncommon mistake in Shelley's MS. 416 Which rules] [Which rules] 
 
 Ruling B. Dr. Garnetfs rough draft also gives Ruling. 424 has] altered 
 
 to hath B. 432 infrozen A Rossetti : unfrozen (!) BC Forman. 483 or 
 
 a cameleon AB : or cameleon C. In B the a is not clear. 484 looks upon] 
 
 gazes on B. Lines 485-494 do not appear in B. 516 night] mist B. 
 
 547 throng] [throng] feed {\)'Q. li feed be taken in the sense oi feed on (cf. 
 Ill iv 110, and other instances in Shelley) the new reading would give point 
 to herds in the previous line. 550 and] or B. 554 This is the AB : 
 
 Tliis the C. 557 throne] home B. 559 dead A Forman : dread (!) BC 
 
 Rossetti. 569 the] that B. 515 flatter A : fatdter C : falter (!) B. 
 
 Cancelled or Unpublished Passages in Prometheus 
 
 Unbound 
 
 (1) 
 
 (Cancelled lines following I 37) 
 
 [When thou descendst each night with open eyes 
 In torture, for a tyrant seldom sleeps, 
 Thou never ;] 
 
34 PROMETHEUS UNBOUND 
 
 (2) 
 (Cancelled line following I 195) 
 
 [Which thou henceforth art doomed to interweave] 
 
 (3) 
 (Cancelled stage-direction following I 221) 
 
 [The sound beneath as of earthquake & the driving of 
 whirlwinds — The Ravine is split, & the Phantasm of Jupiter 
 [appears] rises, surrounded by heavy clouds which dart forth 
 lightning] 
 
 (4) 
 
 (Marginal note opposite I 349) 
 
 The contrast would have been completeter* if the sentiment 
 had been transposed : but wherefore sacrifize the philosophical 
 truth, that love however monstrous in its expression is still less 
 worthy of horror than hatred — [tho] perhaps in whatever * ? 
 
 Zupitza gave honor instead of horror. Still of course equals nevertheless. 
 The question-mark at the end requires some looking for. 
 
 (5) 
 (Cancelled lines following the first two words of I 342) 
 
 [I placed it in his choice to be 
 The crown, or trampled refuse of the world 
 With but one law itself a glorious boon — 
 I gave — ] 
 
PROMETHEUS UNBOUND 35 
 
 (6) 
 (Cancelled stage-direction following I 520) 
 
 [enter rushing by groupes of horrible forms ; they speak as they 
 [rush by] pass in chorus] 
 
 (Cancelled stage-direction following I 552) 
 [a shadow passes over the scene k a piercing shriek is heard] 
 
 (8) 
 (Cancelled passage following I 707) 
 
 2^ Spirit. 
 
 [I leaped on the wings of the Earth-star damp 
 As it rose on the steam of a slaughtered camp — 
 The sleeping newt heard not our tramp 
 As swift as the wings of fire may pass — 
 We threaded the points of long thick grass 
 Which hide the green pools of the morass 
 But shook a water-serpents couch 
 In a cleft skull, of many such 
 The widest ; at the meteors touch 
 The snake did seem to see in dream 
 Thrones & dungeons overthrown 
 Visions how unlike his own .... 
 'Twas the hope the prophecy 
 Which begins & ends in thee] 
 
 F 2 
 
36 PROMETHEUS UNBOUND 
 
 (9) 
 
 (Cancelled passage following II i 110) 
 
 [Lift up thine eyes Panthea — they pierce they burn ! 
 
 Panthea 
 
 Alas I am consumed — I melt away 
 The fire is in my heart — 
 
 Asia 
 
 Thine eyes burn burn ! — 
 Hide them within thine hair 
 
 Panthea 
 
 O quench thy lips 
 I sink I perish 
 
 Asia 
 
 Shelter me now — they burn 
 It is his spirit in their orbs . . my life 
 Is ebbing fast — I cannot speak — 
 
 Panthea 
 
 Rest, rest! 
 Sleep death annihilation pain ! aught else] 
 
 The remainder is lost, two leaves having been torn out. 
 
PROMETHEUS UNBOUND 37 
 
 (10) 
 (Cancelled lines following II iv 27) 
 
 [Or looks which tell that while the lips are calm 
 And the eyes cold, the spirit weeps within 
 Tears like the sanguine sweat of agony ;] 
 
 Cf. note on p. 56. 
 
 (11) 
 (Uncancelled passage following II v 71) 
 
 Asia 
 
 You [say] said that spirits [speak] spoke, but it was thee 
 Sweet sister, for even now thy curved hps 
 Tremble as if the sound were dying there 
 Not dead 
 
 Pa NTH E A 
 
 Alas it [is] was Prometheus [speaks] spoke 
 Within me, [if I spoke], & [even now it] and I know it must 
 
 be so 
 I mixed my own weak nature with his [life] love | [And] 
 
 And my thoughts 
 Are like the many forests of a vale 
 Through which the might of whirlwind & of rain 
 [Has] Had [past] passed [bu and] they [ghmmer] rest [glimmer] 
 
 rest through the evening light 
 As Imine do now in thy beloved smile. 
 
38 INVOCATION TO MISERY 
 
 Other Contents of MS. Shelley e 1, e 2, e 3 
 
 INVOCATION TO MISERY 
 
 There is a pencil copy of this poem on pp. 31-35 of e2. Two other 
 versions are extant ; one appeared in the Athenaeum in 1832, and again the 
 next year, without alteration, in Medwin's Shelley Papers ; the other was 
 published by Mrs. Shelley in her first edition of 1839. Except where it is 
 stated to the contrary the MS. agrees with the latter. 
 
 Stanza I, line 1 near BC : bt/ Medwin. 
 II 3 merrier yet B : happier far vulg. 
 
 VI 2 The MS. and Mrs. Shelley read ' And mine arm shall be thy pillow ' ; 
 Medwin's version 'And thine arm shall be my pillow' is certainly to be 
 preferred. The last line of the stanza is completely rubbed out. 
 
 VII 4 The MS. version is— 
 
 Was thine icy bosom leaping 
 
 While my burning heart was sleeping ? 
 
 In both cases is was written first and altered to was. 
 
 VIII 5 frozen is quite clear, though points might conceivably be prints. 
 Mr. Buxton Forman's suggestion ' points of molten lead ' is quite un- 
 intelligible to me : frozen lead may be pointed ; molten lead could hardly 
 assume this form. Probably the adoption of molten would be followed by 
 the omission of the o in points. A cancelled version of the stanza gives 
 additional evidence ; the last two lines are— 
 
 And thy tears upon my cheek 
 Burn, as it were with frost — o speak 
 
 IX 4 The MS. reads ' Oblivion is our coverlid.' 
 
INVOCATION TO MISERY 39 
 
 X This stanza was interpolated in ink. In 1. 2 the MS. agrees with Medwin 
 in reading lovers for shadows. In 1. 5 which is given instead of that. 
 
 XII 2 Instead of ' At the shadows of the earth ' the MS. gives : ' At all 
 shadows on the Earth.' 
 
 XIII In 1. 2 Are for Show : in 1. 3 Shadows for Puppets. The punctuation 
 of the last line is clear — ' Where [thou] I am, where Thou hast been.' 
 
 ODE TO HEAVEN 
 
 There is a copy of this in ink on pp. 17-20 of e 3. In 11. 17 and 21 night 
 and power begin with capitals — in the second case as the result of an alteration. 
 Line 27 is punctuated ' Thou remainest such — alway ! — ' 
 
 For Second Spirit the MS. reads A Remoter Voice, and for Third Spirit 
 A louder Sf still remoter Voice. 
 
 The notebook at Harvard University contains another copy of this poem. 
 On the first page of ^ 2 is a fragment which has so far, I believe, been printed 
 in Germany only. 
 
 The [living frame which sustains my soul] 
 
 Is [sinking beneath the fierce controull] 
 
 Down through the lampless deep of song 
 I am drawn & driven along — 
 
 On p. 23 is another unpublished fragment in pencil, the style of which 
 reminds one of the poem When soft winds etc. 
 
 When a Nation screams aloud 
 Like an eagle from the cloud 
 "When a 
 
 When the night 
 
 Watch the look askance & old — 
 See neglect, & falshood fold 
 
40 MARENGHI 
 
 MS. Shelley e^ is an oblong octavo notebook, of which the principal 
 contents are Prince Athanase, Marenghi, and the Cyclops Translation. 
 
 MARENGHI 
 
 This most interesting fragment is evidently a first draft. Of the twenty-eight 
 stanzas, or fragments of stanzas, printed in modern editions, Nos. VII to XV 
 only were published by Mrs. Shelley, the appearance of the remainder being due 
 to a modern transcription. It is not likely that any fair copy was made during 
 the poet's lifetime, and as the MS. version is greatly superior to that of the 
 printed editions, it would seem that a good many errors must be put down to 
 hasty transcription. 
 
 Stanza I, line 3 J7id is cancelled in favour of who: there is a comma 
 after the fifth word of the line. In 1. 6 Marenghi, spelt correctly, is altered 
 to Mazenghi, which is retained throughout the poem. 
 
 II In 1. 1 tozon is cancelled for sea. In the next line I find, not ruined, but 
 squalid ; in addition the whole line is cancelled. 
 
 III 3 threzv is cancelled. 
 
 IV This has hitherto been printed: — 
 
 In Pisa's church a cup of sculptured gold 
 
 Was brimming with the blood of feuds forsworn 
 
 At Sacrament: more holy ne'er of old 
 Etrurians mingled with the shades forlorn 
 
 Of moon-illumined forests. 
 
 Evidently this is nonsense. In 1. 3 the t of At is cancelled, and there is no 
 stop after sacrament, while in the next line the MS, gives, not with but mid. 
 An additional word at the end of the stanza shows that the sentence was left 
 unfinished. Henceforth the stanza may appear in the following more in- 
 telligible form : — 
 
MARENGHI 41 
 
 In Pisa''s church a cup of sculptured gold 
 
 Was brimming with the blood of feuds forsworn : 
 
 A Sacrament more Jioly n^er of old 
 
 Etrurians mingled mid the shades forlorn 
 
 Of moon-illumined forests, when .... 
 
 V 2 swear is perhaps cancelled. On the opposite page is a suggested 
 amendment — They swear. 
 
 VI The transcriber gives us a complete stanza which the MS. does not 
 appear to authorize. The remnant left by Shelley is : — 
 
 Was Florence the liberticide ? 
 
 planted, 
 Like one green isle mid Ethiopian sand, 
 A nation amid slaveries ; disenchanted 
 Of many impious faiths, 
 Doth Florence gorge the sated tyrants' spoil? 
 
 The printed version ends with prey^ rhyming with they at the end of the 
 previous line. But prey is cancelled for spoil^ and they is not to be found — 
 cancelled or uncancelled. ' 
 
 VII Mrs. Shelley's responsibility begins here. She gave the last two lines 
 as follows : — 
 
 The light-invested angel Poesy 
 
 Was drawn from the dim world to welcome thee* 
 
 Here the cancelled word Angel seems to have been inserted as the one most 
 readily decipherable. Over it is another cancelled word which may be intended 
 for Goddess. Above that again, also cancelled, is Child. But uncancelled on 
 the right is another very faintly written word, of which all one can say with 
 any certainty is that it probably ends in a d. Conjecture provides Herald as 
 a likely word, and on verification I found that there was at any rate no reason 
 
 LOCOCK (J 
 
42 MARENGHI 
 
 against the conjecture. In the next line the last three words are cancelled, 
 and hy thee is written above. The two lines, therefore, should perhaps 
 read : — 
 
 The light-invested Herald Poesy 
 
 Was drawn from the dim world by thee. 
 
 VIII has one of Shelley*'s characteristic ' pauses ' (three dots) after the word 
 false. Stanza IX is printed thus : — 
 
 Yes ; and on Pisa's marble walls the twine 
 Of direst weeds hangs garlanded — the snake 
 
 Inhabits its wrecked palaces : in thine 
 
 A beast of subtler venom now doth make 
 
 Its lair, and sits amid their glories overthrown, &c. 
 
 For direst I seem to find Desart, which is certainly preferable, and gives an 
 excuse for what must be taken as a capital D. Shelley wrote at first : — 
 
 Yes, and the hemlock climbs the marble walls 
 Of Pisa's silent streets : the fox and snake &c. 
 
 The second line was first cancelled and recommenced Of Pisa (?) : the two 
 words and the colon being in a light-coloured ink. The first line was then 
 cancelled, and Desart was written on the top of the supposed Pisa. At any 
 rate the transcriber appears to have failed to obser^^ that the dot of the i, if 
 there is one (even this is doubtful), is in the fainter ink of the rejected word. 
 In 1. 5 the extra foot has clearly no business. The word amid is cancelled, 
 and has nothing to do with the final version of the line. Immediately above 
 it is a badly written word which was mistaken for sits ; mistaken the more * 
 readily because the word sits, legibly written, appears just below as part 
 of another attempt at the line. Taking the badly written word as soils 
 instead of sits, we may get rid of the objectionable amid, and read — 
 
 Its lair, and soils their glories overthrown. 
 
MARENGHI 43 
 
 X (A) I give this provisional number to a nearly complete stanza which 
 has not yet appeared in print : — 
 
 iPktrd) Marenghi was a Florentine ; 
 
 If he had wealth, or children, or a wife 
 Or friends, [or farm] or cherished thoughts which twine 
 
 The sights and sounds of home with life"'s own life 
 Of these he was despoiled and Florence sent 
 
 from which one might conjecture 'banishment,"* as a probable ending. The 
 MS. gives ^Albert Mazenghi,"' ' Albert "" being left cancelled till the correct 
 name could be discovered. In 1. 3 farm may be doubtful, but ' fame "* would 
 not do so well. Or friends^ or farm (?) was at first cancelled, but a line drawn 
 under the first two words may be taken to indicate their restoration, and 
 might possibly apply to the words that follow. 
 
 XI 5 Instead of ' From the blind crowd he made secure and free,' the MS. 
 gives ihus^ not very clearly written, but by no means illegible. 
 
 XIII The printed version begins Amid the inountains. I am uncertain 
 whether Shelley intended this, or Mid desart mountains. Beginning originally 
 Amid the barren crags he cancelled the last two words, writing desart above 
 and mountains below. The word the is, I think, cancelled, though very lightly, 
 but it is difficult to say whether the thick mark through the first part of ^wf^ 
 is an accidental blot or an intentional erasure of the first letter. In the next 
 line the second syllable of himself is cancelled in favour of something which 
 I failed to decipher : it looks like hdh. 
 
 XV 5 The MS. comma after other is characteristic of Shelley and has 
 some metrical value. Here Mrs. Shelley's responsibility ends. 
 
 XVI The printed version of the last two lines is : — 
 
 While bones, and locks of dun and yellow hair. 
 And ringed horns which buffaloes did wear — 
 
 evidently a rather weak ending, instead of the w^onderful line given in the MS. 
 The words locks of dun are clearly cancelled, and it may be presumed that 
 
 G 2 
 
44 MARENGHI 
 
 Shelley''s failure to cancel the remainder of the line, after he had written 
 a thirds was due to inadvertence. In the next line I do not find buffaloes, but 
 the buffalo. Instead, therefore, of the two lines quoted above, we have at 
 least the option of reading — 
 
 And ringed horns which the biffalo did wear. 
 And the wolfs dark grey scalp who tracked him there. 
 The last two words are hidden in the earlier part of the stanza, and may 
 perhaps have escaped notice. The word before looks at first sight like tracks, 
 but the last letter of ringed is almost exactly similar. A similar idea may be 
 found in Mont Blanc, line 69 : — 
 
 Save when the eagle brings some hunter's bone, 
 And the wolf tracks her there. 
 
 XVII differs in four or five places from the MS. Mr. Rossetti's edition 
 gives : — 
 
 And at the utmost point . . . stood there 
 
 The relics of a weed-inwoven cot. 
 Thatched with broad flags. An outlawed murderer 
 
 Had lived seven days there : the pursuit was hot 
 When he was cold. The birds that were his grave 
 Fell dead upon their feast in Vado's wave. 
 
 In line 1 at the utmost point is cancelled, and xvhen substituted. In line 2 the 
 MS. gives a more suitable material for constructing a cot — reed instead of 
 weed. Line 5 gives who for that. The last line of the stanza is quite un- 
 intelligible as printed, but the MS. reading after for iipon is quite clear, and 
 the consequent sense that the birds which devoured the murderer's body fell 
 dead after their feast. A marginal note shows that Shelley intended to 
 substitute 'the name of the Ruin' for Vadci's. The line should stand accordingly 
 ' Fell dead after their feast in 's wave.' 
 
 XVIII In 1. 1, instead of — 'There must have lived within Marenghi's 
 heart,' the MS. gives — ' There must have burned within Marenghi's breast^ 
 and in the next line and for or ; in 1. ^,free Heaven^ s for tlie heaveiCs. 
 
MARENGHI * 45 
 
 XIX Lines 3 and 4 are printed : — 
 
 And every sea-gull which sailed down to drink 
 Those [ ] ere the death-mist went abroad. 
 
 Probably every reader has supplied the missing word to his own satisfaction : 
 probably, also, no one has supplied it correctly. The word in the MS. is 
 freshes : cf. The Tempest, III ii 75 : — 
 
 He shall drink nought but brine, for Til not show him 
 Where the quick freshes are. 
 
 XXI Here again are many MS. variations. The printed text gives : — 
 He mocked the stars by grouping on each weed 
 
 The summer dewdrops in the golden dawn ; 
 And, ere the hoar-frost vanished, he could read 
 
 Its pictured footprints, as on spots of lawn 
 Its delicate brief touch in silence weaves 
 The likeness of the wood's remembered leaves. 
 
 In the MS. the stanza is much cancelled. Assuming that two or three 
 cancelled words (given in brackets) were meant to stand, the result would 
 be:— 
 
 He mocked the stars zoith grouping on each weed 
 
 The summer dew-globes in the golden dawn ; 
 And, ere the hoar-frost languished, he could read 
 
 Its pictured path, as on [bare] spots of lawn 
 Its [delicate brief] touch in silver weaves 
 The likeness of the wood's remembered leaves. 
 
 XXIII The first four lines are printed : — 
 
 And in the moonless nights, when the dim ocean 
 
 Heaved underneath the heaven. 
 Starting from dreams 
 
 Communed with the immeasurable world ; ; 
 
4G MARENGHI 
 
 In 1. 1 the first five words are cancelled, and dim is clearly altered to chm. In 
 1, 2 Heaved is cancelled, and zolde Heaven is altered to the vast Heaven^ but 
 wide is written again above 1. 1. At the end of the line the missing rhyme 
 is supplied. In 1. 3 the too dramatic Starting fr^om dreams of is cancelled, and 
 He begins the line. Perhaps the stanza should be printed : — 
 
 [And in the moonless nights], when the dun ocean 
 
 underneath wide Heaven, star-impearledy 
 He 
 
 Communed with the immeasurable world &c. 
 
 XXIV In 1. 2 the MS. gives autumn for autumnal, and in 1. 3 or for and. 
 There is no hyphen in 1. 4, nor in 1. 1 of stanza XXII. 
 
 XXVI In 1. 1 liopes is lightly cancelled, 
 
 XXVII In 1. 3, instead of — ' Its pennons streaming on the blasts that fan 
 it,' the MS. gives pe7ino7i, the s being clearly cancelled. The final it may 
 therefore mean the pennon instead of the ship. The MS. blast for blasts is, 
 no doubt, a slip. In 1. 6, for — ' Striding across the orange-coloured heaven,' 
 the MS. gives athioart, which is more to the point. 
 
 OZYMANDIAS 
 
 Line 3 in the MS. begins Stand in the desart . . . There is a comma in the 
 middle of line 8. Line 9 reads — ' And on the pedestal this legend clear.'' 
 
 TO CONSTANTIA 
 
 According to the MS. the first two lines are — 
 
 The red Rose that drinks the fountain-dew 
 In the fragrant air of noon. 
 
 There is no her in the last line of the stanza. 
 
47 
 
 PASSAGE OF THE APENNINES 
 
 Mr. Rossetti was inclined to think that this was not a Fragment, properly 
 speaking. The point seems settled by the MS., which gives the first word of 
 an additional line — Shrouding. 
 
 TRANSLATION FROM VIRGILS' TENTH ECLOGUE 
 
 The printed version seems to be in a hopeless state. Probably the shortest 
 way will be to quote it in full : — 
 
 Melodious Arethusa, o'er my verse 
 
 Shed thou once more the spirit of thy stream : 
 Who denies verse to Gallus.^ So, when thou 
 
 Glidest beneath the green and purple gleam 
 Of Syracusan Waters, mayst thou flow 5 
 
 Unmingled with the bitter Doric dew ! 
 Begin, and, whilst the goats are browsing now 
 
 The soft leaves, in our way let us pursue 
 The melancholy loves of Gallus. List ! 
 
 We sing not to the dead : the wild woods knew 10 
 
 His sufferings, and their echoes . . . 
 
 Young Naiads, ... in what far woodlands wild 
 Wandered ye when unworthy love possessed 
 
 Your Gallus.'^ Not where Pindus is up-piled. 
 Nor where Parnassus' sacred mount, nor where 15 
 
 Aonian Aganippe expands 
 
 The laurels and the myrtle-copses dim. 
 
 The pine-encircled mountain, Maenalus, 
 
 The cold crags of Lycaeus, weep for him ; 
 
48 TRANSLATION— VIRGIL'S 10™ ECLOGUE 
 
 And Sylvan, crowned with rustic coronals, 20 
 
 Came shaking in his speed the budding wands 
 And heavy lilies which he bore : we knew 
 Pan the Arcadian. 
 
 • •••••• 
 
 AVhat madness is this, Gallus ? Thy heart's care 
 
 With willing steps pursues another there."' 25 
 
 Here we have a translation starting in defective terza rima, breaking into 
 some unknown lyrical measure, dropping for two or three lines into blank 
 verse, and finished off by a rhymed couplet. The MS. is less prodigal of 
 changes in the metre. The opening irregularity is due to the omission of 
 two lines, and the terza rima, so far as it goes, is consistent. The strange 
 lyrical stanza is resolved into terza rima, and the same applies to the rhymed 
 couplet, which, moreover, is altogether misplaced in the printed version. It 
 should be noted here that the MS. gives tioo drafts of the fragment ; the 
 later, though somewhat more legible, is by no means a fair copy, and, as 
 a matter of fact, is less complete than the rougher draft. I follow my 
 predecessor''s example in making use of both drafts ; how widely we differ in 
 our results will appear from a detailed list. 
 
 Line 2 A gap of two lines should be marked* 5 jlow as given in the 
 
 rougher draft is necessary for the rhyme ; but the later version substitutes 
 pass. 6 Not Doric but Dorian, in both drafts. Shelley does not use 
 
 Doric anywhere in his poems. 8 Not %oay but song. 10 Not dead but 
 
 dectf, — surdis in the original. 11 There is another word, anszver, after 
 
 echoes. 12 Not Naiads but Naiades, as in The Witch oj' Atlas, xxiii 2. 
 
 The gap in the line thus disappears. The MS. reading zooodland zailds is, no 
 doubt, a slip of the pen. 14 Owr Gallus, probably : and ??o;-, instead of A^o^. 
 16 The line is incomplete. The editorial attempt to make it complete by 
 expanding Aonian into a quadrisyllable, and accentuating Aganippe on the 
 antepenultimate, does not seem very happy. Apart from this, expands is not 
 in the MS. at all, while spreads its is. After this unfinished line a complete 
 
TRANSLATION— VIRGIL'S 10™ ECLOGUE 49 
 
 stanza (with ere, im, ere terminations) is evidently missing. 17 The full 
 
 stop is a mistake, the laurels and myrtle-copses being subjects of the verb 
 weep. Lines 17-19 are terza rima. After line 19 there should be a gap 
 to represent six lines in the original. 20 This and the next two or three 
 
 lines are introduced too early. There is an additional word with after 
 Arcadian. 24 A whole line has been omitted between this and 25. The 
 
 MS. gives a complete terza rima stanza. 25 The MS. gives step. Finally 
 come another four lines which the transcriber omitted. 
 
 As the result of these numerous corrections and additions the Tixinslation 
 may now read as follows : — 
 
 Melodious Arethusa, o'er my verse 
 
 Shed thou once more the spirit of thy stream : 
 
 (Two lines missing) 
 
 Who denies verse to Gallus ? So, when thou 
 
 Glidest beneath the green and purple gleam 
 Of Syracusan waters, mayest thou flow 
 
 Unmingled with the bitter Dorian dew ! 
 Begin, and whilst the goats are browzing now . 
 
 The soft leaves, in our sojig let us pursue 
 The melancholy loves of Gallus. List ! 
 
 We sing not to the deaf: the wild woods knew 
 His sufferings, and their echoes aiiswei^ 
 
 Young Naiades, in what far woodlands wild 
 Wandered ye, when unworthy love possessed 
 
 Our Gallus ? Nor where Pindus is up-piled 
 Nor where Parnassus' sacred mount, nor where 
 
 Aonian Aganippe spreads its 
 (Three lines missing) 
 
 LOCOCK fl 
 
50 TRANSLATION— VIRGIL'S 10™ ECLOGUE 
 
 The laurels and the myrtle-copses dim, 
 The pine-encircled mountain, JNIaenalus, 
 The cold crags of Lycaeus weep for him. 
 
 (Several lines missing) 
 
 ' What madness is this, Gallus ? thy heart's care, 
 
 Lycoiis, mid rude camps and Alpine snow, 
 With willing step pursues another there.' 
 
 (Some lines missing) 
 
 And Sylvan, crowned with rustic coronals, 
 Came shaking in his speed the budding wands 
 And heavy lilies which he bore : we knew 
 Pan the Arcadian ivith 
 
 and said, 
 
 ' Wilt thou not ever cease ? Love cares not. 
 The meadows with fresh streams, the bees with thyme, 
 The goats with the green leaves of budding spring 
 Are saturated not — nor Love with tears.' 
 
 These last three lines were adopted as a motto for Julian and Maddalo. 
 The fragment Wealth and Dominion etc., on p. 49, gives no variations 
 from the text of Mr. Rossetti's edition. 
 
 PRINCE ATHANASE 
 
 Another posthumous fragment, of which the MS. presents considerable 
 difficulties. I follow Mr. Buxton Forman's division of the poem into Parts I 
 and II, the latter containing four fragments. From MS. evidence I am 
 inclined to think that Shelley must have made another copy of the earlier 
 Part ; so that the numerous MS. variations in that Part will have no authority. 
 
PRINCE ATHANASE 51 
 
 except in one or two instances, and a simple categorical list of them will be 
 sufficient. Except where it is otherwise stated, the MS. agrees with the 
 collected editions rather than with the Posthumous Poems of 1824. 
 
 Part I 
 
 Line 1 'with long toil.'' 10 The word hlast^ which has been doubted, is 
 
 clearly written in the MS. over stroke^ which is cancelled. 12 'its little flame.*' 
 
 19 ' secret and unknown."' 20 ' 3i friendless wanderer.' 24 Comma in the 
 
 MS. after srich^ intended, no doubt, as a guide to the sense. '^bjled for 
 
 dead. 26 his liind cancelled in favour of jnankind. 28 'from ^Aa^toil.' 
 
 29, 30 : 
 
 He was the child of fortune and of power. 
 
 And though of a high race the orphan Chief, 
 
 The punctuation, a full stop after relief and a comma after Chief agrees with 
 that of the Collected Editions. 33 Above his hind for Apart from men. 
 
 37 hard for harsh. 43 ' scorning anght disguise ^ [Aught is used adjectivally 
 in Prometheus Unboiitid, I 70, The Cenci, IV i 121, and Laon and Cythna, II 
 xxi 4]. 4:4! All for What. 45 but for i/et. 
 
 So far the MS., with the exception of two or three corrections, is in the black 
 ink which I take to be the earlier. The next seven lines are in a lighter- 
 coloured ink, which may perhaps be assumed to be that of which Shelley 
 complained as being the best he could procure in Italy. The lines in the 
 lighter ink give no variations, and for that reason alone are presumably of 
 later date. 
 
 55 To them or those or aught which the loorkTs sphere 
 
 Contains within and human manifold (?) 
 
 59 wasting for failing. 62 r-fts for chasms. Both rifts and Piercing are 
 underlined by the writer in a different ink, probably with a view to alteration, 
 64 The MS. omits impetitous. 74 ' '^AHiich wake and feed aw everliving 
 
 woe.' All the printed texts give on for an, which is clearly the preferable 
 
 H 2 
 
52 PRINCE ATHANASE 
 
 reading. The word is not very clearly written, but the fact that it was 
 substituted for Ms is decisive, Shelley's first version of the line was ' Which 
 nursed and fed his everliving woe,"* from which it may perhaps be deduced 
 that waive, WVefeed, is used transitively. 77 did for might. 79 griefs 
 
 (probably) for grief. 80 jJ^^^ded silence for asked forbearance. 83 secret 
 
 for silent : secret is used two lines below. 86 percieved, as usually in 
 
 Shelley's MS. In the next line adamantine is spelt adantanite. 90 and 
 
 some for others. 
 
 94* From God's own frown aye like a darkness fell. 
 
 95 which owned no other law 
 
 But love, serene etc. 
 
 99 dim for "veiled. 100 dark cancelled in favour of deep. 102 Rolled 
 
 for Rolls. 103 might for may : was for is. The word rise is not clearly 
 
 written. 106 Shelley wrote first A lair of rest, as in the printed texts. 
 
 He then cancelled the first two words and substituted Their rest, followed by 
 Repose. 121 heart for being. 122 ' the life oijoy.' 123 That for 
 
 Which. 124 ' and must remain ' for ' let it remain.' This, the concluding line 
 of Part I, is in the lighter ink which I have assumed to be of Italian origin. 
 In any case it affords a striking confirmation of the sincerity of the Author's 
 Note placed here in the text. Part I is dated by Mrs. Shelley ' December, 1817,' 
 but a considerably later date must probably be assigned to its final elaboration, 
 as also to the remaining fragments dated by Mrs. Shelley ' Marlow, 1817.' 
 
 Part II 
 
 Fragment i, as hitherto printed, consists of 38^ lines. With the exception 
 of the first five the whole of these are clearly and decisively cancelled in the 
 MS., together with the first four lines of Fragment ii. Not only so, but they 
 do not appear in the revised version of Fragment i and Fragment ii, 1-18, 
 which appears uncancelled a few pages later in the same notebook. Why 
 
PRINCE ATHANASE 53 
 
 the cancelled passage was printed, and the uncancelled later version entirely 
 ignored, I am unable to conjecture. AVliatever the cause, it seems probable 
 that the cancelled lines were not put into any other shape by Shelley, and 
 consequently that the variations in the printed texts may all be regarded as 
 unauthorized, even if there was any authority for the printing of the cancelled 
 passage at all. 
 
 Fragment i 28 The word blighting^ marked as unsuitable by Mr. Rossetti, 
 is clearly cancelled in the MS. 30 ' She saw hehoeen the chesnuts, far 
 
 beneath.' Here the printed reading beneath the chesnuts is evidently a misprint. 
 31 The first three words are cancelled. 33 hair not hairs. 36 The 
 
 MS. has only a gap where the printed texts give gentle. 
 
 Fragment ii 1 morning is written above daylight, which however is left 
 uncancelled. The next line begins One, as in the collected editions, not An, 
 as in the Posthumous Poems. 4 At tempest-tost the cancelled passage ends. 
 
 The second word is probably thro, not had as in the Posthumous Poems. 
 10 Here the MS. agrees with the Posthiimous Poems in reading they. The 
 collected editions, followed by Mr. Rossetti, give now. 12 The collected 
 
 editions give that, the Posthumous Poems ' the.'' The MS. reading is doubtful 
 perhaps, but I think that was the writer's final intention, and suspect that he 
 first wrote their. 14 ivinds and them are both cancelled. Above them is it, 
 also cancelled. 
 
 I give next Shelley's revised version, evidently written with a different pen, 
 showing how he condensed the first 57 lines ofPart II, as hitherto printed, into 
 18. Words printed in italics are new readings. 
 
 Prince Athanase had one beloved friend, 1 
 
 An old, old man, with hair of silver white. 
 And lips where heavenly smiles would hang and blend 
 With his wise words ; and eyes whose arrowy light 4 
 
 Was the reflex of 7?iany minds ; he filled 
 
54 PRINCE ATHANASE 
 
 From fountains pure, nigh overgrowTi and , 
 
 The spirit of Prince Athanase, a child ; 7 
 
 And soul-sustaining songs of antient lore 
 
 And philosophic wisdom, clear and mild. 
 
 And sweet and subtle talk they evermore 10 
 
 The pupil and the master , until 
 
 Sharing that undiminishable store, 
 
 The youth, as clouds athwart a grassy hill 13 
 
 Outrun the winds that chase them, soon outran 
 
 His teacher, and did teach with native skill 
 
 Strange truths and new to that experienced man ; 16 
 
 So"^ they were friends, as few have ever been 
 
 Who mark the extremes of life's discordant span. 
 
 At the end of 1. 6 of the above version the word lost appears cancelled. It 
 was evidently copied mechanically from the earlier version and has no part in 
 the new rhyming scheme. The first seven lines are in the light-coloured ink. 
 
 In 1. 11 share was written and cancelled, space being left for another word. 
 Sharing begins the next line. 
 
 In 1. 17 the S of the first word is alone visible. There is no room for Stilly 
 the reading of the texts and the unrevised version, and So is in some respects 
 perhaps preferable ; but see 1. 19. 
 
 Fragment ii {contimied). 19 The Posthitmous Poems give here And for So. 
 20 ' Or on the rocks.' 25 Over Hanging upon the peaked is written Suspended 
 on the burstings neither reading being cancelled. 30 After storm comes one 
 of the poet's characteristic ' pauses,' consisting of three dots. 36 nighty 
 
 the reading of the Posthumous Poems, is cancelled for eve. 41 The author- 
 
 ized texts give a note of exclamation after nightingale. The MS. gives 
 a comma and dash, confirming ' B.V.' 's supposition, adopted by Mr. Rossetti, 
 
PRINCE ATHANASE 55 
 
 that 11. 39-44 should be regarded as one sentence. There is another dash at 
 the end of the next line, and also at the end of 1. 44, where it must be taken 
 as equivalent to a full stop or note of exclamation. The word p'niy in 1. 48 
 is very badly written, but is nevertheless probably correct. There is no 
 comma in the MS. after wind. 45 The whole line is cancelled in the 
 
 MS. ; but above alone the word hear, and under alone the words Not mine — , 
 are left uncancelled. 49 a is cancelled and with substituted. 52 
 
 The words whole being are not in the MS. 59 The printed texts give 
 
 ' How in those beams we walked, half resting on the sea ? "" The MS. affords 
 no help for getting rid of the extra foot. On the contrary it adds fresh 
 difficulties by reading dreams (or possibly streams) instead of beams, the 
 previous word being these, or perhaps these altered to those. In neither case 
 is the sense apparent. The word resting is made out of rested. 61 
 
 Tlien is not in the MS. We had, the opening of another attempt at the 
 line, is left uncancelled. 66 The word dark is cancelled, and there is only 
 a space where fojgetfulness appears in the printed version. The sentence is 
 of course unfinished. Of the MS. continuation the only words left uncancelled 
 are To talk / Of love divine, and redeemed (in pencil) as the rhyme. 
 
 All the above, since 1. 58, is in the light-coloured ink. This is followed by 
 a line and a half in the blacker ink, the uncancelled part being What what his 
 grief? He loves. 
 
 The next (left-hand) page of the notebook contains some of the concluding 
 lines of the Cyclops translation, the opposite page being filled with the 
 following interesting and hitherto unpublished fragment : — 
 
 Yes often when the eyes are cold & dry 
 And the lips calm the Spirit weeps within 
 Tears bitterer than [Christ's] the blood of agony 
 
 Trembling in drops on the discoloured skin 
 
 Of those who love [man] theii* kind & therefore [die] [perish] perish 
 
 In ghastly torture — a sweet medicine 
 
56 PRINCE ATHANASE 
 
 Of peace & sleep are tears, and quietly 
 
 Them soothe from whose uplifted eyes they fall 
 
 But 
 
 The above lines are in the light-coloured ink. 
 
 The metre is correct terza rima till the end of the seventh line, where 
 quietly, the rhyme to die which originally terminated 1. 5, is left unaltered. 
 Both metre and sense seem to indicate that the lines were originally intended 
 for Prince Athana.se. The first three of them, in an altered form, as nearly as 
 possible appeared in Pi'ometheus Unbound. In Act II, Scene iv of that poem, 
 the Bodleian MS. has, after 1. 27 :— 
 
 Or looks which tell that while the lips are calm 
 And the eyes cold, the spirit weeps within 
 Tears like the sanguine sweat of agony ; 
 
 The three lines there are cancelled — for a good reason, as Dr. Garnett points 
 out. For, after escaping Prince Athanase and the Prometheus, the passage 
 appears, in a still more powerful form, in Tlie Cenci, I i 111 etc. In 1. 8 Them 
 may be Those ; the word is altered from They. 
 
 I have already mentioned the fact that these eight lines are written in light- 
 coloured ink on a right-hand page, and that the opposite page contains, not 
 Athanase, but Cyclops. This supports very strongly the hypothesis that the 
 lighter ink is the more recent. Those who have seen Shelley's notebooks 
 will hold it far more credible that he should, when engaged on Athanase, have 
 turned over two pages accidentally, than that he would intentionally have left 
 a page, and especially a left-hand page, vacant. It is admitted, of course, 
 that the Cyclops translation was of later date than Athanase, and I think that 
 the same admission must hold good in regard to these lines and, consequently, 
 to all other passages and corrections written in this peculiar ink. 
 
 On the next page comes another unpublished fragment : — 
 
PRINCE ATHANASE 57 
 
 And when the old man saw that [on] the green 
 
 Leaves of his opening [manhood] * a bhght had hghted 
 
 He said — my friend one grief alone can wean 
 
 A gentle mind from all that once delighted 
 
 Thou lovest, & thy secret heart is laden 
 
 With feelings which should not be unrequited 
 
 And Athanase . . . then smiled as one oerladen 
 
 With iron chains might smile to* talk* of bands 
 
 Twined round her lover's neck by some blithe maiden 
 
 And said . . . 
 
 In I. 1 on is left cancelled, presumably by accident. In 1. 4 the apparent 
 cancelling o^ gentle is probably due to a blot. 
 
 Next comes the revised version of Part II, Fragment i, referred to earlier ; 
 after which the narrative is resumed and Fragment iii begins. 
 
 Line 5 A note of interrogation is written over expectant. 11 beneath, 
 
 the reading of the collected editions of 1839 etc., is cancelled for under, as 
 given in the Posthumous Poems of 1824. 14 The authorized line is : — 
 
 In any mirror — or the spring's young minions, 
 
 In the MS. spring's is perhaps lightly cancelled, though this is doubtful. 
 At any rate a line drawn under the word indicates its restoration. The next 
 word is not young but plumed, the upper part of the final d being so faint 
 that the word looks like plumes. Here again the word appears to be 
 cancelled ; but the restoring line under spring''s is probably long enough to 
 include plumed. Above the space between the two words is a pencil smudge 
 which may perhaps have been a correction. It has, however, no resemblance 
 to young, which may conceivably be the invention of Mrs. Shelley. Finally, 
 the is cancelled, and replaced by some such word as mark; probably to be taken 
 with a cancelled attempt (' or mark the winds that ' etc.). 
 
58 PRINCE ATHANASE 
 
 15 The whole line is cancelled, with the exception of winged which is 
 written above it. 17 outstrips is altered, not very legibly, to outrides, perhaps 
 owing to the presence of steps in the line below, though that word eventually 
 remained cancelled. In the margin is 4* ^^^^ white clouds, presumably an 
 alternative commencement of 1. 18. 20 More fleet than storms is clearly struck 
 out, together with one or two illegible words which follow. Two other 
 commencements were tried, but I have little doubt that the line should read 
 ' Exulting, while the wide world shrinks below.' After the previous lines no 
 further illustration of pace was needed, shrinhs is not clearly written — (it 
 might equally well be shrieks) — and the final s is also doubtful. 22 
 
 Mr. Rossetti correctly gives this as the beginning of a new Fragment. In 
 Mr. Buxton Forman's edition there is nothing to show that the terza rima 
 has been broken off. In the MS. the whole line is cancelled, with the 
 exception ofTzcas and Prince written above it. 23 The line as Shelley 
 
 first wrote it is : — 
 
 Past the aerial Alps — those wintry mountains 
 
 but finding later on that the language contains no third rhyme to mountains 
 SiuA fountains, he altered it in pencil to : — 
 
 Past the white Alps — those eagle-baffling crags. 
 
 Thus there is no MS. authority for the line printed in the texts : but the 
 phrase eagle-haffling mountain may be found in the Prometheus. Two lines 
 below, flountains is tentatively altered to springs P ?, so furnishing the rhyme 
 to xoings, which in the texts is rhymeless. The same of com'se applies to crags 
 in the MS. In the next line snow (or some similar word) is cancelled and 
 replaced by a minutely written word (or words) which I am unable to decipher. 
 
 27 like is underlined, presumably with a view to alteration. 30 In the 
 
 MS. chasms ; and Jrozen is probably cancelled. 
 
 The MS. continues the fragment : — 
 
 Vexed by the blast the great pines groaned i^ swung 
 Under their load of [snow^ — 
 
PRINCE ATHANASE 59 
 
 snow being cancelled for snozv/Iake.% which is also cancelled. The remainder 
 of the line is in pencil and partly illegible to me, JIaJced plumes of being alone 
 certain. Two cancelled lines follow, and then, in pencil : — 
 
 Such as the eagle sees when he dives down 
 From the grey desarts of wide air [beheld] 
 [Prince] Athanase, and o'er his mien* was thrown 
 The shadow of that scene field after field 
 Purple & dim & wide 
 
 The remainder is legible, but cancelled, the terminating rhymes being town, 
 yield, and below. 
 
 Fragment iv, 1. 2 O Love is cancelled : happy is written shove joyous, which 
 is uncancelled. 5 thy is clearly altered to thine. 7 All editions before 
 
 Mr. Rossetti's read Investest. Mr. Rossetti gave Investeth from his own 
 conjecture, and the MS. confirms it. The origin of the misprint is clear 
 enough, the latter part of the h being so faint that the letter resembles 
 a t, while the letter before might easily be mistaken for an s. 9 Here, on 
 
 the other hand, Mr. Rossetti's emendation shadoios for shadow derives no 
 support from the MS. Shelley was quite capable of taking such an expression 
 as ' the shadow of thy moving wings ' as a plural. Cf. Prometheus, IV 57 : — 
 
 The voice of the Spirits of Air and of Earth 
 Have drawn back the figured curtain of sleep. 
 
 In the next line deserts is spelt desarts — Shelley ""s invariable habit in those 
 MSS. which I have examined. 11 The MS. gives not bright but light. 
 
 The word like is cancelled, and over the line appears Thee like a garment. At 
 the beginning of the line Loveliness is left uncancelled. 19 The printed 
 
 texts break off at clothest not ? The notebook continues the fragment : — 
 
 the darts 
 Of the keen winter storm barbed with frost 
 Which from the everlasting snow that parts 
 
60 PRINCE ATHANASE 
 
 The Alps from Heaven, pierce some traveller lost 
 [On] In the wide waved interminable snow 
 Ungarmented, [are not] 
 
 On the next page comes the final fragment Her hair was hrown, etc., which 
 gives no variations from the best modern texts. 
 
 TO CONSTANTIA, SINGING 
 
 This is chaos. Evidently written at fever heat, the 44 lines, with their 
 innumerable corrections and cancelled attempts, extend over four large pages. 
 The first two lines may be quoted as an example, cancelled words being placed 
 within brackets. 
 
 Line 1. Cease cease — [in thy dark] [thus] for thus [they] tis said 
 that maniacs [feel] for [of] such [things] do [maniacs] madmen 
 [tell] [utter] [talk] learn wild lessons (the last two words 
 being over 'things'). 
 
 2. [And such perchance is death] to sink to sink, thus to be 
 lost [Thus long] Long thus [Thus to be lost], to sink, & thus 
 to [sink &] die & [fall] sink 
 
 Wliich, omitting some words accidentally left uncancelled, may be resolved 
 into : — 
 
 Cease, cease ! — for such wild lessons madmen learn ! 
 Thus to be lost, and thus to sink and die. 
 
 But chaotic as the whole draft is, it at least gives, when deciphered, four 
 stanzas of eleven lines each, all consistent in metre. This the accepted version 
 totally fails to do, so far as the first and second stanzas are concerned. I quote 
 here the first stanza of the printed texts ; it begins, strangely enough, with the 
 second line : — 
 
TO CONSTANTIA, SINGING Gl 
 
 Thus to be lost and thus to sink and die, 
 
 Perchance were death indeed ! — Constantia, turn ! 
 
 In thy dark eyes a power like light doth lie, 
 
 Even though the sounds which were thy voice, which burn 
 
 Between thy lips, are laid to sleep ; 
 
 Within thy breath, and on thy hair, like odour it is yet. 
 
 And from thy touch like fire doth leap. 
 
 Even while I write, my burning cheeks are wet, 
 Alas, that the torn heart can bleed, but not forget ! 
 
 This, at any rate, cannot be right. There are nine lines instead of eleven, the 
 portentous sixth line being a partial amalgamation of two. In addition, the 
 word hum (1. 4) is not in the MS. at all. 
 
 The following is the version of the first stanza to be found in Shelley's 
 notebook : I give the punctuation as I find it. 
 
 Cease, cease— for such wild lessons madmen learn 
 
 Thus to be lost, and thus to sink and die 
 Perchance were death indeed — Constantia turn — 
 In thy dark eyes a power like hght doth he 
 Even tho' the sounds its voice that were 
 
 Between [thy] lips are laid to sleep : 
 Within thy breath, and on thy hair 
 Like odour, it is [lingering] yet 
 
 And from thy touch like fire doth leap — 
 Even while I wTite my burning cheeks are wet — 
 Alas, that the torn heart can bleed but not forget. 
 
 The first line of this occurs also in a copy of the poem belonging to 
 Mr. Silsbee: [vide Dr. Garnett's letter in the Athenaeum of Jan. 15, 1898]. 
 In that copy, however, the last line is for some reason entirely missing, and 
 
62 TO CONSTANTIA, SINGING 
 
 the stanza comes, not first, but last. Dr. Garnett was inclined to uphold this 
 arrangement, on the ground that the words laid to sleep in 1. 6 would be 
 inconsistent with the description of singing given in the other stanzas. But 
 the sleep may have been only temporary ; may, in fact, have been only the 
 pause at the end of a verse of the song ; and the word noio in 1. 4 of stanza II 
 seems to me to dispose of the claim of that stanza to begin the poem. For 
 that honour there is yet another candidate in stanza IV, stated by Mr. Rossetti 
 to come first in Miss Clairmont's copy of the poem. But it certainly seems 
 more appropriate as a conclusion. Mr. Silsbee's version differs also in some 
 parts of 11. 2, 3, and 4. 
 
 The difficulties in the remainder of the poem are confined to the first part 
 of stanza II. The accepted version is : — 
 
 A breathless awe, like the swift change 
 
 Unseen, but felt in youthful slumbers, 
 Wild, sweet, but uncommunicably strange. 
 
 Thou breathest now in fast ascending numbers. 
 
 Clearly both the opening lines are a foot too short. The MS. gives little 
 help towards the completion of the first. Various openings are tried : — (1) 
 Then like a shifting scene of, (2) An or aicfid ins (where or is perhaps a slip for 
 mo), (3) A sweet Sj- tenor (? tender), (4) A deep and solemn awe, the last two 
 attempts being followed by like the sxoift change, which alone is uncancelled. 
 Above (1) breathless awe is written, but there is no uncancelled A. In the 
 second line the MS. supplies the missing foot, with advantage to the sense, 
 while the variations in the third line are more consistent with Shelley's diction. 
 The notebook version is : — 
 
 breathless awe like the swift change 
 Of cheams unseen but felt in youthful slumbers 
 Wild sweet yet mcommunicably strange 
 
 Thou breathest now : in fast ascending numbers 
 
 The colon should of course have been removed. 
 
63 
 
 TO ONE SINGING 
 
 This is written on the back of the last stanza of To Constantia Singing, and 
 is presumably of about the same date, and addressed to the same Constantia. 
 The printed version omits a word in 1. 3, and leaves out 1. 6 altoo-ether The 
 notebook gives : — 
 
 My spirit like a charmed bark doth swim 
 Upon the liquid waves of thy [sweet singing] 
 
 Far far away into the regions dim 
 
 Of rapture as (a) boat with swift sails winging 
 
 Its way adown some many winding river 
 
 Speeds thro dark forests oer the waters swijiging 
 
 Whereby the metre becomes manifest as terza rima. The idea is utilized in 
 Asia's song at the end of Act II of Proinetheus Unbound. A cancelled 
 opening of 1. 4 begins Even as a rapid. The word rapture is not clear. 
 
 UNSATISFIED DESIRES 
 
 This fragment is written on the same page as stanza IV of To Constantia 
 Singing, which partly covers it. 
 
 Line 1 Wail is not clear, and is, moreover, cancelled. 2 Unsteady in the 
 MS. and in Mr. Rossetti's edition. Mr. Buxton Forman and Mr. Ellis's 
 Concordance give uneasy. 4 The MS. reading may be When rather than 
 
 }V1iere ; but this is always a doubtful point in Shelley's MS. 6 The 
 
 epithet dim is more than doubtful. It might perhaps be dizzy. In The Cenci, 
 II ii 142, the word is weak. In the next line Mr. Rossetti suggested self- 
 created, as in the Cenci passage : but the MS. reading is clear 7 The line 
 is continued — then all the night / Sick. 
 
CA 
 
 TRANSLATION OF THE CYCLOPS 
 
 The Bodleian MS., which is practically complete, begins on p. 49 v of ^4, 
 and is continued at irregular intervals wherever space is available. Though 
 legible throughout, and comparatively free from corrections, it has the ap- 
 pearance of being a first draft. 
 
 The translation first appeared in the Posthumous Poems (1824), where 
 Mrs. Shelley remarks that it did not receive the author's ultimate corrections. 
 Whether it received corrections from the hand of Mrs. Shelley, or her classical 
 advisers, is a question which may be left to others to decide ; but it does not 
 seem likely that Shelley would greatly trouble himself with the revision of a 
 translation made only when he 'could absolutely do nothing else.' The author's 
 note on 1. 387 is perhaps slightly in favour of the supposition that this is the 
 copy from which Mrs. Shelley worked ; for it seems hardly likely that Shelley 
 would have repeated that note in a fair copy intended for publication. The 
 variations from the text of the Posthumous Poems are very numerous, and in 
 some cases passages which Shelley completely misunderstood are correctly 
 translated in the printed version. In the following list of variations I have 
 not thought it necessary to mention the numerous faults of spelling ; the most 
 common are Ulisses^ recieve etc. Nor need I mention the punctuation beyond 
 saying that such eccentricities as O, Bacchus^ (1. 1) are not to be found in this 
 MS., nor, so far as I am aware, in any other of Shelley's MSS. Mr. Forman 
 (1877) gives two quotations from B. In one of these I differ from his 
 reading. I have occasionally indicated what seemed probable explanations 
 of some of the mistranslations in B : no doubt many of these may be accounted 
 for by Mr. Swinburne's supposition — that Shelley's Greek text was inferior. 
 
 Lines 4, 5 In both these lines thee is cancelled in favour of you, and this 
 in spite of the fact that in 1. 3 you was altered to thou. 7 close to thy side] 
 
 The intention of B seems to be beside thee, clad, or beside thy shield, but the 
 line is much altered. 15 i? gives an alternative commencement An ambush 
 
TRANSLATION OF THE CYCLOPS 65 
 
 There follows a cancelled attempt to translate the remainder of 11. 12-13 in 
 the original. 23 wild] waste B ; cf. 26, where waste is cancelled for wild. 
 
 42-4 B gives only a very crude attempt : — 
 
 Ha what is this — what a Satyric sound ! 
 Are ye not like when the associate band 
 Sought Bacchus 
 
 hand being inserted with a different pen. 51 troughs B (probably). 52 in] 
 In B is appears to be written over in. 58 rambling is inserted with a 
 
 different pen. For the trisyllabic scansion cf. Prometheus Unbound, IV 294 
 (emblems), and The Medusa, 1. 3 {tremhlingly). The notebook has no space 
 reserved for the missing antistrophe. 61 erst did I] thus IJly^. 71 
 
 these] the B. 74 into] to B. 76 / see a Grecian ship upon the coast B : 
 
 / see a GreeJc ship's boat upon the coast P : I see a Grecian vessel on the coast C. 
 It seems hardly possible to believe that Mrs. Shelley had authority for both 
 her readings. Ill And the chief rowe7-s] And thence the rowers B. 78 
 
 About] Around B. 81 they, that they] ye that ye B. B has no stop at the 
 
 end of the previous line. 82 In B, after is, and is accidentally left uncan- 
 
 celled. 85 Instead of Be silent. Satyrs, while I ask aiul hear, B gives : — 
 
 Speak low lest we be heard not, while ye tell 
 
 which evidently required some alteration. 86 they] ye B. 88 our om. B. 
 90 We seem to be arrived] we are arrived I see B. 92 This sportive band of 
 Satyrs near the caves.] A crowd of Satyrs peeping from the caves B. 97 
 
 shrewd] In B sharp and keen are cancelled, and shrewd is inserted with a 
 different pen. 98 do not rail on me] be not impudent B. 101 After 
 
 How B gives a comma which quite alters the sense. 107 in] of B. 
 
 109 These lone rocks are bare of men] only these lone mountain tops B. 112 
 
 In B the state is left cancelled, popular is written above the cancelled 
 self {-governed) 117 ungracious] unhappy B. 124 Know'st thou what 
 
 thou must do to aid us hence] How shall we scape from this land B. 
 
66 TRANSLATION OF THE CYCLOPS 
 
 127 etc. B differs here both in the words of the lines and in their division 
 between the speakers : — 
 
 I have not anything but meat 
 
 Ulysses 
 
 Nay meat 
 Is a sweet for a hungry man 
 
 129 store of curdled] a good round of^. l^Qfor your clearer knowledge 
 
 om. B. 143 Shelley wrote first ^Jbr tasting calls the purchaser \ Above 
 
 calls, invites is written with a different pen, both for and calls being left 
 uncancelled. 145 Pour : that the draught may fillip my rememhrance.] 
 
 Come then, untie, that I may drink B. 146 Papaiapcex PC : papaiapax 
 
 {or papaiapcex) B : Papaiax Forman. 150 sweetly is not written in full 
 
 and may in other respects be doubtful. 154 goat.\ lamb B. 157 Here 
 
 the notebook reserves about two-thirds of a page for the eleven lines of the 
 original which are missing from the Translation. 158-9 B reads here : — 
 
 Ye have taen Troy & the old widow Helen.'* 
 
 Ulysses 
 And overthrown the realm of Priam old 
 
 SiL. 
 
 Why not then since the girl is caught again 
 
 followed by two lines representing 11. 180-1 of the original. Mr. Swinburne 
 first pointed out that Shelley followed the older editions in giving these and 
 the next six lines to Silenus instead of to the chorus. The mistranslation seems 
 due to a confusion of x^i-P^^lv with xripav. 162 the neck of Paris] her ivory 
 
 neck B. 163 In B man is cancelled, presumably on account of its proximity 
 to Men. 175 The cavern has recesses numberless] There are a hundred outlets 
 of the cave B. 177-8 B gives here : — 
 
TRANSLATION OF THE CYCLOPS 67 
 
 The [mighty] Troy were space not wide enough 
 For he who flies one man — 
 
 where arevot, is evidently confused with arcvos. The cancelling of mighty, 
 which Mrs. Shelley retains, seems to show that the poet had at least suspicions 
 as to the gender of fxeydXa. 182 will] [will] shall B. 183 As in the 
 
 printed version, B follows the Greek MSS. in giving this line to Silenus, 
 There is a comma after haste. 184 etc. B gives a very ingenious perversion : — 
 
 What bacchanals are here ? these tympani 
 
 And brazen castanets are the wild work 
 
 Of Bacchus, ha ! my suckling lambs, fresh dropped 
 
 Outside the cave ! can they have left so soon 
 
 Their mothers side ? and this great round of cheese 
 
 Packed in a bulrush basket ? What ? say — speak 
 
 I will etc. 
 
 195 tunful] tonful B. 199 B leaves space for the missing line. 203 Over 
 twigs (uncancelled) hands is inserted with a different pen. 206 / hum with 
 om. B, which gives a fever. 208 [because] B. 209 To steal your goods] 
 
 In B this is cancelled, repeated, and again cancelled. There is a pencilled 
 note here — Female eminence Gihhon Vol. 6", p. '28 Jf. 211 your] the B. 
 
 212 the] that B. 213 out] o/B. 216 Torture] Furrow B, which may 
 
 have been misread. 228 men] In B men is perhaps altered to man. 
 
 233 [ We] B. 238 The translation is resumed at p. 61 v. 252 do not 
 
 thou] let him not B. 263 B gives — O basest eocpedidition — [which for ye] sailed 
 ye not, the last two words with a different pen. 265 gods^ B : God's P : 
 
 Gods'' C. 265 After We pray thee add. comma B. 269 thy] your B. 
 
 276 Pallas] Athens B. 277 The Gerastian asylums] And the Gerastian 
 
 outlets B. 280 You have] [ Thou] you hast B. 287 [so fill] B. 293 that] 
 which B. 299 B gives here : — 
 
 Of all that flesh. What would you eat your words 
 And be a vain & babbling boaster, Cyclops. 
 
 K 2 
 
68 TRANSLATION OF THE CYCLOPS 
 
 This mistranslation may account for the redundant interrogation-mark in P. 
 309 lie] lay B. Marginal notes here seem to show that Shelley was uncertain 
 as to the meaning of KaOihpvTai and haKos. 312 heaven] Heaven B, as 
 
 almost invariably. 313 the the Tliracian B. 320 sacrifice ? I well know] 
 
 sacrifize ? [not I] know this B. The cancelling of the / may be doubtful. 
 321 Hie wise maris only Jupiter is this] TJiat Jupiter himself instructs the wise 
 B. 322 his] their B. 323 And give himself no care. And] Forbidding 
 
 them to plague him — as B. 325 / freely give them] He has appointed B. 
 
 332 Space is left for the missing line or two. 333 Ay^ Ay^ is clear. No 
 
 doubt the Greek interjection was intended: cf. 705. 335 [cruel] B. 
 
 339 And thou who] And [o] thou zoho B. 341 [of thy deity] B. 344 ravine 
 BPC : ravin Rossetti. Cf. note on Prometheus Unbound, I 619 supra. 348 
 An]a'B. 351 [The Cyclops Aetnean] B. Above is written, perhaps not 
 
 very clearly, the monster. 369 not believed] not to be believed B Rossetti. 
 
 370 B gives [ What seest thou] [ What is it Ithacan] — is What sawst, 373 Space 
 is left for the missing line. 38% four] ten Forman ex conj. Swinburne. In 
 
 B the word appears to be a mixture of four and fve, and to be cancelled by 
 a wavering line which might conceivably represent ten. The word amphorae 
 is underlined, and a note of interrogation appears in the margin. 386-7 
 
 These lines are marked with the marginal note given in P, / confess I do not 
 understand this. In the margin opposite 387 is another word or words which 
 I take to be artist-like, referring to 390. 388 God-abandoned] god-abandoned 
 B. Below abandoned appears detested (or possibly deserted). 392 cauldron, 
 and seized PC : cauldron, and he seized Rossetti : cauldron, [Sf he] seized B, where 
 above the cancelled words appears belly, Sf, inserted with a different pen. 
 401 bats] birds B, bats being written above with a different pen. 416 take] 
 
 In B grant is written under take. 423 may achieve] my assist B, atchieve 
 
 being written above. 424 But] By B. 426 among the Grecian Nymphs] 
 with the Danaides B. 433 antient B. 436 The space left for the missing 
 line and a half is marked with a large ?. 446 by some measure PC : by 
 
 some manoeuvre Rossetti : xvith some measures B. A little above the 
 
 space appears a single letter, d {?), perhaps the commencement of devices. 
 
TRANSLATION OF THE CYCLOPS 69 
 
 To judge from a marginal note Shelley appears to have read, instead of 
 6pv/xoto-t, either pvOfioio-i. or pvaixolai. 
 
 Mr. Forman states that the word in the MS. is measure ; but the final s 
 seems clear in B. 
 
 449 thou wert] you were B. After the next line the Translation is continued 
 at p. 37. 457 conceal injire] [hkle] injire B. Above the cancelled 
 
 hide^ concealed is written with a different pen. 462 Opposite the beginning 
 of this line there is a word which I did not decipher. It may be noticed that 
 Shelley makes no attempt to bring out the pun on kvkXuxtoo — KvkAcottos. 
 465 your] this altered to the B. 473 an F : a BC. 480 that] the B. 
 
 A blot above the word gives it some resemblance to that. s. d. Song within] 
 
 [Song w] Withiyi is song B. In the margin appears yelling. 492 After 
 
 this line B gives a new line O come along ! ; from which it would appear that 
 Shelley took wStj evhoOev, not as a stage-direction, but as a line in the text for 
 which a rhyme had to be found. 495 those PC : thou Rossetti ex conj. 
 
 Swinburne. In B the word is doubtful. 500 There PC : Thou Rossetti 
 
 ex conj. Swinburne : Thou B. The next three words are left cancelled. 
 501 strings] rings (perhaps) B ; certainly not strings^ though that is Shelley's 
 favourite word. 503 Shalt BPC : shall some later editions. 505 Above 
 the line Pa Pa Pa is left uncancelled. 508 merchanfs] merchant B. 
 
 510 Is om. B. The margin above has another attempt at the couplet. 
 515 The Translation is continued on p. 67 v. 520 In] In (?) altered from 
 
 On B. 522 thee] me B, giving a more legitimate rhyme. 532 skin ?] 
 
 [skin f cask ?] B. 535 gives BC : give P. 536 wine] drink B. 537 Stay 
 here, now drink,] Stay here now. drink B, which is evidently better. 549 
 
 sunwarm is not distinctly written. 562 look B. 563 that loves you 7iot] 
 
 [that] loves not you B. 567 After so B gives here : — 
 
 By Jupiter [before] [the] While you adjust 
 [I see thy crowns] That coronal, I swear, Fll have a task 
 
 Cycl. 
 
 An unjust [p(owrer)] 
 
70 TRANSLATION OF THE CYCLOPS 
 
 572 After right add. comma B. 573 B supplies the missing half-line, so 
 
 you will not vomit, a curious translation of coo-Trep ovk k^xL 574 Ye Gods, 
 
 What] Oh what B. 576 The vine. Will be distinguished from my hand B. 
 
 577 silent] quiet B. 581 vine BC : wine P. 591 After this Ganymede B 
 
 supplies the missing two lines ; after which Silenus continues ' O great Poly- 
 pheme "* &c. 593 Here again B gives four lines to represent the missing verses. 
 597 out] forth B. 602 The marginal note akaXayiiov explains the rendering 
 of this line. 605 Sleep and Night have capitals. 606 god hated B ; 
 
 above the last syllable is ing. 610 / needs must think] I believe of force B. 
 
 612 Arid] For B. 613 B gives will out of its place, and throat is cancelled. 
 624 O, / lo7ig to dance ajid revel] [I the while] desire to revel B. Above the 
 cancelled part is that I might dance. 625 Bromius, B. 627 [abandoned 
 home] B. 628 the moment] this hour B. The Translation is continued 
 
 at p. 73. 631-2 B gives here : — 
 
 Or spit, or [even] e'er wink, [lest calamity] ye should waken the 
 
 monster 
 [Should waven (?)] Calamity — until the Cyclops eye 
 Be tortured out with sight-destroying fire 
 
 638 /ar . . . B : few, PC. 641 or P : wor C : or or <§• B. 656 ye] I B. 
 
 658 That will I do B. 677 B has into thefre above upon the coals, which 
 
 is uncancelled. 684 The Translation is continued at p. 60 v. No gap is 
 
 indicated. 685 That stranger twas who ruined me — the wreck B. Wretch 
 
 is also spelt wreck in 1. 698. 686 eyes BP : eye C. 693 B gives an 
 
 important dash after you. 696 mocked !] mock, B. 699 care] gards {?) B. 
 705 ai ai— the antient B. 716 the] this B. 718 all] for B ; the line being 
 left unfinished. 
 
71 
 
 UNPUBLISHED FRAGMENTS IN E 4 
 
 I (p. 6) 
 
 Serene in his unconquerable might 
 Endued* the Almighty King, his steadfast throne 
 Encompassed unapproachably with power 
 And darkness & deep solitude & awe 
 Stood like a black cloud on some aery cliff 
 Embosoming its lightning — in his sight 
 Unnumbered glorious spirits trembling stood 
 Like slaves before their Lord — prostrate around 
 Heaven's multitudes hymned everlasting praise. 
 
 Line 2 Endued: so intended, I imagine, with a comma to follow. The 
 word has the appearance of Endused or Endured ; or it might begin with Env. 
 7 In the MS. Unmunhered. 
 
 II (p. 6) 
 
 Address to the human mind ; representation of its being a perpetual flame 
 Burning on the altars of Greece & Rome & Egypt Gods its ministering 
 Powers. Temples, Jugernaut, China, Sanctuary 
 
 Some of the above is very difficult to decipher, more particularly ministering 
 Powers. Powers may be doubtful. Sanctuary might equally well be Some- 
 thing. 
 
72 UNPUBLISHED FRAGMENTS IN E 4 
 
 Thou living light that in thy rainbow hues 
 Clothest this naked world ; & over Sea 
 And Earth & air, and all the shapes that be 
 In peopled darkness of this wondrous world 
 The Spirit of thy glory dost diffuse 5 
 
 truth thou Vital Flame 
 
 Mysterious thought that in this mortal frame 
 Of things, with unextinguished lustre burnest 
 
 Now pale & faint now high to Heaven upcurled 
 That eer as thou dost languish still returnest 10 
 
 And ever 
 
 • 
 
 Before the before the Pyramids 
 
 So soon as from the Earth formless & rude 
 One living step had chased drear Solitude 
 Thou wert, Thought ; thy brightness charmed the lids 15 
 Of the vast snake Eternity, who kept 
 The tree of good & evil. — 
 
 Line 2 Clothest is written above Dost clothe. Both are uncancelled. Cf. 
 Laon and Cythna, IX xxviii 5. 3 The last word is so blotted as to be 
 
 illegible. 5 The words Spirit of thy glory are underlined. 7 this^ or, 
 
 more apparently, the. 9 Shelley's most illegible line, so far as my experience 
 goes. My first impression of it was 'Thou proud and fairest temple to 
 Heaven apointed' (!). 15 brightness is not clear. It might be light step, 
 
 charmed the lids resembles more chained the lips : closed and sealed are cancelled. 
 16 For the vast snake Eternity cf. Daemon of the Worlds I 100. 
 
 On the same page, but not obviously connected with the above, is : — 
 
UNPUBLISHED FRAGMENTS IN E 4 73 
 
 Soft pillows for the fiends 
 Of power to renovate their blighted pinions 
 For 
 
 Here pillows looks very like buttons, and Jiejids may be doubtful. In the margin 
 above is the address No. 30 Francis S^, Bedford Square. 
 
 Ill (p. 7) 
 
 To Albas eyes . depth . amicableness like Albi . better with me than him — 
 Infants dont know their father from a stranger. The Mother a mist — a 
 torrent-cinctured spot Mountain tops — scattered by the storm 
 
 amicableness like is doubtful, dont is very badly written and their doubtful. 
 torrent-cinctured is practically a conjecture : it may be four short words. 
 Again spot might be spirit, tops lips, and Mountain something else. Un- 
 certainty as to whether the note has lapsed into a description of scenery 
 or not makes suggestion difficult. Albi of course is Byron : the usual form is 
 Albe, but Shelley seems to spell it elsewhere with an i. I do not know what 
 grounds there may be for identifying Alba with Byron's daughter Allegra : 
 but cf. Julian and Maddalo, 143-150, which gives a description of Allegra's 
 eyes. 
 
 Another note of possible interest to biographers may be referred to here -. 
 . it is to be found opposite the 8th stanza of Marenghi. Almost every word 
 is doubtful, but the interpretation may be : — 
 
 To remember that Albi's babies to kept secret from William. 
 
 Two references to Gibbon's History may be found in this notebook. One 
 is, ' A thousand globes of gold suspended in the dome. Gibbon Vol. 8, p. 228.' 
 (Cf. Marenghi, XIII, and Prometheus Unbound, III iii 139.) The other is to 
 ' Gibbon VIII. 284 on the eminence of women.' 
 
74 UNPUBLISHED FRAGMENTS IN E 4 
 
 IV (pp. 38 V, 48) 
 
 And the cloven waters like a chasm of mountains 
 Stood, and recieved him in its mighty portal 
 And led him thro the deeps untrampled fountains 
 
 He went in wonder thro the path immortal 
 
 Of his great Mother & her humid reign 
 
 And groves prophaned not by the step of mortal 
 
 Which sounded as he past, and lakes which rain 
 Replenished not girt round by marble caves 
 [Widldered by the Half wildered] by the watery motion of the 
 main 
 
 Half wildered he beheld the bursting* waves 10 
 
 Of every stream beneath the mighty earth 
 Phasis & Lycus which the * sand paves, 
 
 [And] The chasm where old Enipeus has its birth 
 
 And father Tyber & Anienas* glow 
 
 And whence Caicus, Mysian stream, comes forth 
 
 And rock-resounding Hypanis, & thou 
 Eridanus who bearest like empire's sign 
 Two golden horns upon thy taurine brow 
 
 Thou than whom none of the streams divine 
 
 Thro' garden-fields & meads with fiercer power, 20 
 
 Burst in their tumult on the purple brine 
 
UNPUBLISHED FRAGMENTS IN E 4 75 
 
 This is a translation of Georgic IV 360 &c. In 1. 2 mighty is underlined 
 as if for correction. Opposite 1. 4 is a marginal note A Half wild : of. below. 
 Above 1. 8 is the alternative enclosed in glimmering. Most of 1. 12 is 
 illegible : the undeciphered word looks like vaned {waved or veined ?). In 
 1. 19 TJiou may be cancelled. 
 
 Below this are six nonsense lines, all rhyming to folly. 
 
 Elsewhere in the same notebook are the lines : — 
 
 Arise sweet Mary rise 
 
 For the time is passing now 
 
 and on the margin of one of the pages of Prince Athanase the lines : — 
 
 Praxitelean shapes whose marble smiles 
 Filled the mute air 
 
 which was introduced, with slight alterations, into the Prometheus. 
 
 MS. Shelley g 5 is a single sheet inscribed with the Song To a Faded 
 Violet ( To is clearly a slip), and the Stanzas written in dejection near Naples 
 (Dec. 1818). The version of stanza I of the 'Violet' song is the one quoted 
 by Mr. Rossetti in his notes. The other poem gives nothing which was 
 not discovered by Dr. Garnett many years ago. The full stop at the end 
 of 1. 5 of stanza II should be a semicolon, as in the MS. 
 
 I quote in conclusion some words from Mr. Swinburne's Essay on Shelley in 
 the Fortnightly Review (1869) : ' These slight things, so tedious to dwell upon, 
 all help us — and they only can help us — towards a true text of our greatest 
 modern poet. In the case of Aeschylus or of Shakespeare, such light crumbs 
 and dry husks would be held precious as grains of gold,' 
 
 
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