No More Learning

ah! thought Satan, the pasture is good, _45
My Cattle will here thrive better than others;
They dine on news of human blood,
They sup on the groans of the dying and dead,
And supperless never will go to bed;
Which will make them fat as their brothers. _50

11.
Fat as the Fiends that feed on blood,
Fresh and warm from the fields of Spain,
Where Ruin ploughs her gory way,
Where the shoots of earth are nipped in the bud,
Where Hell is the Victor's prey, _55
Its glory the meed of the slain.

12.
Fat--as the Death-birds on Erin's shore,
That glutted themselves in her dearest gore,
And flitted round Castlereagh,
When they snatched the Patriot's heart, that HIS grasp _60
Had torn from its widow's maniac clasp,
--And fled at the dawn of day.

13.
Fat--as the Reptiles of the tomb,
That riot in corruption's spoil,
That fret their little hour in gloom, _65
And creep, and live the while.

14.
Fat as that Prince's maudlin brain,
Which, addled by some gilded toy,
Tired, gives his sweetmeat, and again
Cries for it, like a humoured boy. _70

15.
For he is fat,--his waistcoat gay,
When strained upon a levee day,
Scarce meets across his princely paunch;
And pantaloons are like half-moons
Upon each brawny haunch. _75

16.
How vast his stock of calf! when plenty
Had filled his empty head and heart,
Enough to satiate foplings twenty,
Could make his pantaloon seams start.

17.
The Devil (who sometimes is called Nature), _80
For men of power provides thus well,
Whilst every change and every feature,
Their great original can tell.

18.
Satan saw a lawyer a viper slay,
That crawled up the leg of his table, _85
It reminded him most marvellously
Of the story of Cain and Abel.

19.
The wealthy yeoman, as he wanders
His fertile fields among,
And on his thriving cattle ponders, _90
Counts his sure gains, and hums a song;
Thus did the Devil, through earth walking,
Hum low a hellish song.

20.
For they thrive well whose garb of gore
Is Satan's choicest livery, _95
And they thrive well who from the poor
Have snatched the bread of penury,
And heap the houseless wanderer's store
On the rank pile of luxury.

21.
The Bishops thrive, though they are big; _100
The Lawyers thrive, though they are thin;
For every gown, and every wig,
Hides the safe thrift of Hell within.

22.
Thus pigs were never counted clean,
Although they dine on finest corn; _105
And cormorants are sin-like lean,
Although they eat from night to morn.

23.
Oh! why is the Father of Hell in such glee,
As he grins from ear to ear?
Why does he doff his clothes joyfully, _110
As he skips, and prances, and flaps his wing,
As he sidles, leers, and twirls his sting,
And dares, as he is, to appear?

24.
A statesman passed--alone to him,
The Devil dare his whole shape uncover, _115
To show each feature, every limb,
Secure of an unchanging lover.

25.
At this known sign, a welcome sight,
The watchful demons sought their King,
And every Fiend of the Stygian night, _120
Was in an instant on the wing.

26.
Pale Loyalty, his guilt-steeled brow,
With wreaths of gory laurel crowned:
The hell-hounds, Murder, Want and Woe,
Forever hungering, flocked around; _125
From Spain had Satan sought their food,
'Twas human woe and human blood!

27.
Hark! the earthquake's crash I hear,--
Kings turn pale, and Conquerors start,
Ruffians tremble in their fear, _130
For their Satan doth depart.

28.
This day Fiends give to revelry
To celebrate their King's return,
And with delight its Sire to see
Hell's adamantine limits burn. _135

29.
But were the Devil's sight as keen
As Reason's penetrating eye,
His sulphurous Majesty I ween,
Would find but little cause for joy.

30.
For the sons of Reason see _140
That, ere fate consume the Pole,
The false Tyrant's cheek shall be
Bloodless as his coward soul.

NOTE:
_55 Where cj. Rossetti; When 1812.

***


FRAGMENT OF A SONNET.

FAREWELL TO NORTH DEVON.

[Published (from the Esdaile manuscript book) by Dowden,
"Life of Shelley", 1887; dated August, 1812. ]

Where man's profane and tainting hand
Nature's primaeval loveliness has marred,
And some few souls of the high bliss debarred
Which else obey her powerful command;
. . . mountain piles _5
That load in grandeur Cambria's emerald vales.

***


ON LEAVING LONDON FOR WALES.

[Published (from the Esdaile manuscript book) by Dowden,
"Life of Shelley", 1887; dated November, 1812. ]

Hail to thee, Cambria! for the unfettered wind
Which from thy wilds even now methinks I feel,
Chasing the clouds that roll in wrath behind,
And tightening the soul's laxest nerves to steel;
True mountain Liberty alone may heal _5
The pain which Custom's obduracies bring,
And he who dares in fancy even to steal
One draught from Snowdon's ever sacred spring
Blots out the unholiest rede of worldly witnessing.

And shall that soul, to selfish peace resigned, _10
So soon forget the woe its fellows share?
Can Snowdon's Lethe from the free-born mind
So soon the page of injured penury tear?
Does this fine mass of human passion dare
To sleep, unhonouring the patriot's fall, _15
Or life's sweet load in quietude to bear
While millions famish even in Luxury's hall,
And Tyranny, high raised, stern lowers on all?

No, Cambria! never may thy matchless vales
A heart so false to hope and virtue shield; _20
Nor ever may thy spirit-breathing gales
Waft freshness to the slaves who dare to yield.
For me! . . . the weapon that I burn to wield
I seek amid thy rocks to ruin hurled,
That Reason's flag may over Freedom's field, _25
Symbol of bloodless victory, wave unfurled,
A meteor-sign of love effulgent o'er the world.

. . .

Do thou, wild Cambria, calm each struggling thought;
Cast thy sweet veil of rocks and woods between,
That by the soul to indignation wrought _30
Mountains and dells be mingled with the scene;
Let me forever be what I have been,
But not forever at my needy door
Let Misery linger speechless, pale and lean;
I am the friend of the unfriended poor,-- _35
Let me not madly stain their righteous cause in gore.

***


THE WANDERING JEW'S SOLILOQUY.

[Published (from the Esdaile manuscript book) by Bertram Dobell, 1887. ]

Is it the Eternal Triune, is it He
Who dares arrest the wheels of destiny
And plunge me in the lowest Hell of Hells?
Will not the lightning's blast destroy my frame?
Will not steel drink the blood-life where it swells? _5
No--let me hie where dark Destruction dwells,
To rouse her from her deeply caverned lair,
And, taunting her cursed sluggishness to ire,
Light long Oblivion's death-torch at its flame
And calmly mount Annihilation's pyre. _10
Tyrant of Earth! pale Misery's jackal Thou!
Are there no stores of vengeful violent fate
Within the magazines of Thy fierce hate?
No poison in the clouds to bathe a brow
That lowers on Thee with desperate contempt? _15
Where is the noonday Pestilence that slew
The myriad sons of Israel's favoured nation?
Where the destroying Minister that flew
Pouring the fiery tide of desolation
Upon the leagued Assyrian's attempt? _20
Where the dark Earthquake-daemon who engorged
At the dread word Korah's unconscious crew?
Or the Angel's two-edged sword of fire that urged
Our primal parents from their bower of bliss
(Reared by Thine hand) for errors not their own _25
By Thine omniscient mind foredoomed, foreknown?
Yes! I would court a ruin such as this,
Almighty Tyrant! and give thanks to Thee--
Drink deeply--drain the cup of hate; remit this--I may die.

***


EVENING.

TO HARRIET.

[Published by Dowden, "Life of Shelley", 1887. Composed July 31, 1813. ]

O thou bright Sun! beneath the dark blue line
Of western distance that sublime descendest,
And, gleaming lovelier as thy beams decline,
Thy million hues to every vapour lendest,
And, over cobweb lawn and grove and stream _5
Sheddest the liquid magic of thy light,
Till calm Earth, with the parting splendour bright,
Shows like the vision of a beauteous dream;
What gazer now with astronomic eye
Could coldly count the spots within thy sphere? _10
Such were thy lover, Harriet, could he fly
The thoughts of all that makes his passion dear,
And, turning senseless from thy warm caress,--
Pick flaws in our close-woven happiness.

***


TO IANTHE.

[Published by Dowden, "Life of Shelley", 1887. Composed September, 1813. ]

I love thee, Baby! for thine own sweet sake;
Those azure eyes, that faintly dimpled cheek,
Thy tender frame, so eloquently weak,
Love in the sternest heart of hate might wake;
But more when o'er thy fitful slumber bending _5
Thy mother folds thee to her wakeful heart,
Whilst love and pity, in her glances blending,
All that thy passive eyes can feel impart:
More, when some feeble lineaments of her,
Who bore thy weight beneath her spotless bosom, _10
As with deep love I read thy face, recur,--
More dear art thou, O fair and fragile blossom;
Dearest when most thy tender traits express
The image of thy mother's loveliness.

***


SONG FROM THE WANDERING JEW.

[Published as Shelley's by Medwin, "Life of Shelley", 1847, 1 page 58. ]

See yon opening flower
Spreads its fragrance to the blast;
It fades within an hour,
Its decay is pale--is fast.
Paler is yon maiden; _5
Faster is her heart's decay;
Deep with sorrow laden,
She sinks in death away.

***


FRAGMENT FROM THE WANDERING JEW.

[Published as Shelley's by Medwin, "Life of Shelley", 1847, 1 page 56. ]

The Elements respect their Maker's seal!
Still Like the scathed pine tree's height,
Braving the tempests of the night
Have I 'scaped the flickering flame.
Like the scathed pine, which a monument stands _5
Of faded grandeur, which the brands
Of the tempest-shaken air
Have riven on the desolate heath;
Yet it stands majestic even in death,
And rears its wild form there. _10,

***


TO THE QUEEN OF MY HEART.

[Published as Shelley's by Medwin, "The Shelley Papers", 1833, and by
Mrs. Shelley, "Poetical Works", 1839, 1st edition; afterwards suppressed
as of doubtful authenticity. ]

1.
Shall we roam, my love,
To the twilight grove,
When the moon is rising bright;
Oh, I'll whisper there,
In the cool night-air, _5
What I dare not in broad daylight!

2.
I'll tell thee a part
Of the thoughts that start
To being when thou art nigh;
And thy beauty, more bright _10
Than the stars' soft light,
Shall seem as a weft from the sky.

3.
When the pale moonbeam
On tower and stream
Sheds a flood of silver sheen, _15
How I love to gaze
As the cold ray strays
O'er thy face, my heart's throned queen!

4.
Wilt thou roam with me
To the restless sea, _20
And linger upon the steep,
And list to the flow
Of the waves below
How they toss and roar and leap?

5.
Those boiling waves, _25
And the storm that raves
At night o'er their foaming crest,
Resemble the strife
That, from earliest life,
The passions have waged in my breast. _30

6.
Oh, come then, and rove
To the sea or the grove,
When the moon is rising bright;
And I'll whisper there,
In the cool night-air, _35
What I dare not in broad daylight.

***


NOTES ON THE TEXT AND ITS PUNCTUATION.

In the case of every poem published during Shelley's lifetime, the text
of this edition is based upon that of the editio princeps or earliest
issue. Wherever our text deviates verbally from this exemplar, the word
or words of the editio princeps will be found recorded in a footnote. In
like manner, wherever the text of the poems first printed by Mrs.
Shelley in the "Posthumous Poems" of 1824 or the "Poetical Works" of
1839 is modified by manuscript authority or otherwise, the reading of
the earliest printed text has been subjoined in a footnote. Shelley's
punctuation--or what may be presumed to be his--has been retained, save
in the case of errors (whether of the transcriber or the printer)
overlooked in the revision of the proof-sheets, and of a few places
where the pointing, though certainly or seemingly Shelley's, tends to
obscure the sense or grammatical construction. In the following notes
the more important textual difficulties are briefly discussed, and the
readings embodied in the text of this edition, it is hoped, sufficiently
justified. An attempt has also been made to record the original
punctuation where it is here departed from.

1.
THE DAEMON OF THE WORLD: PART 1.

The following paragraph, relating to this poem, closes Shelley's
"Preface" to "Alastor", etc. , 1816:--'The Fragment entitled "The Daemon
of the World" is a detached part of a poem which the author does not
intend for publication. The metre in which it is composed is that of
"Samson Agonistes" and the Italian pastoral drama, and may be considered
as the natural measure into which poetical conceptions, expressed in
harmonious language, necessarily fall. '

2.
Lines 56, 112, 184, 288. The editor has added a comma at the end of
these lines, and a period (for the comma of 1816) after by, line 279.

3.
Lines 167, 168. The editio princeps has a comma after And, line 167, and
heaven, line 168.

1.
THE DAEMON OF THE WORLD: PART 2.

Printed by Mr. Forman from a copy in his possession of "Queen Mab",
corrected by Shelley's hand. See "The Shelley Library", pages 36-44, for
a detailed history and description of this copy.

2.
Lines 436-438. Mr. Forman prints:--
Which from the exhaustless lore of human weal
Draws on the virtuous mind, the thoughts that rise
In time-destroying infiniteness, gift, etc.
Our text exhibits both variants--lore for 'store,' and Dawns for
'Draws'--found in Shelley's note on the corresponding passage of "Queen
Mab" (8 204-206). See editor's note on this passage. Shelley's comma
after infiniteness, line 438, is omitted as tending to obscure the
construction.

1.
ALASTOR; OR THE SPIRIT OF SOLITUDE.

"Preface". For the concluding paragraph see editor's note
on "The Daemon of the World": Part 1.

2.
Conducts, O Sleep, to thy, etc. (line 219. )
The Shelley texts, 1816, 1824, 1839, have Conduct here, which Forman and
Dowden retain. The suggestion that Shelley may have written 'death's
blue vaults' (line 216) need not, in the face of 'the dark gate of
death' (line 211), be seriously considered; Conduct must, therefore, be
regarded as a fault in grammar. That Shelley actually wrote Conduct is
not impossible, for his grammar is not seldom faulty (see, for instance,
"Revolt of Islam, Dedication", line 60); but it is most improbable that
he would have committed a solecism so striking both to eye and ear.
Rossetti and Woodberry print Conducts, etc. The final s is often a
vanishing quantity in Shelley's manuscripts. Or perhaps the compositor's
hand was misled by his eye, which may have dropped on the words, Conduct
to thy, etc. , seven lines above.

3.
Of wave ruining on wave, etc. (line 327. )
For ruining the text of "Poetical Works", 1839, both editions, has
running--an overlooked misprint, surely, rather than a conjectural
emendation. For an example of ruining as an intransitive (falling in
ruins,' or, simply, 'falling in streams') see "Paradise Lost", 6
867-869:--
Hell heard th' insufferable noise, Hell saw
Heav'n ruining from Heav'n, and would have fled
Affrighted, etc.
Ruining, in the sense of 'streaming,' 'trailing,' occurs in Coleridge's
"Melancholy: a Fragment" (Sibylline Leaves, 1817, page 262):--
Where ruining ivies propped the ruins steep--
"Melancholy" first appeared in "The Morning Post", December 7, 1797,
where, through an error identical with that here assumed in the text of
1839, running appears in place of ruining--the word intended, and
doubtless written, by Coleridge.

4.
Line 349. With Mr. Stopford Brooke, the editor substitutes here a colon
for the full stop which, in editions 1816, 1824, and 1839, follows
ocean. Forman and Dowden retain the full stop; Rossetti and Woodberry
substitute a semicolon.

5.
And nought but gnarled roots of ancient pines
Branchless and blasted, clenched with grasping roots
The unwilling soil. (lines 530-532. )
Editions 1816, 1824, and 1839 have roots (line 530)--a palpable
misprint, the probable origin of which may be seen in the line which
follows. Rossetti conjectures trunks, but stumps or stems may have been
Shelley's word.

6.
Lines 543-548. This somewhat involved passage is here reprinted exactly
as it stands in the editio princeps, save for the comma after and, line
546, first introduced by Dowden, 1890. The construction and meaning are
fully discussed by Forman ("Poetical Works" of Shelley, edition 1876,
volume 1 pages 39, 40), Stopford Brooke ("Poems of Shelley", G. T. S. ,
1880, page 323), Dobell ("Alastor", etc. , Facsimile Reprint, 2nd edition
1887, pages 22-27), and Woodberry ("Complete P. W. of Shelley", 1893,
volume 1 page 413).

1.
THE REVOLT OF ISLAM.

The revised text (1818) of this poem is given here, as being that which
Shelley actually published.
In order to reconvert the text of "The
Revolt of Islam" into that of "Laon and Cythna", the reader must make
the following alterations in the text. At the end of the "Preface"
add:--

'In the personal conduct of my Hero and Heroine, there is one
circumstance which was intended to startle the reader from the trance of
ordinary life. It was my object to break through the crust of those
outworn opinions on which established institutions depend. I have
appealed therefore to the most universal of all feelings, and have
endeavoured to strengthen the moral sense, by forbidding it to waste its
energies in seeking to avoid actions which are only crimes of
convention. It is because there is so great a multitude of artificial
vices that there are so few real virtues. Those feelings alone which are
benevolent or malevolent, are essentially good or bad. The circumstance
of which I speak was introduced, however, merely to accustom men to that
charity and toleration which the exhibition of a practice widely
differing from their own has a tendency to promote. (The sentiments
connected with and characteristic of this circumstance have no personal
reference to the Writer. --[Shelley's Note. ]) Nothing indeed can be more
mischievous than many actions, innocent in themselves, which might bring
down upon individuals the bigoted contempt and rage of the multitude. '

2 21 1:
I had a little sister whose fair eyes

2 25 2:
To love in human life, this sister sweet,

3 1 1:
What thoughts had sway over my sister's slumber

3 1 3:
As if they did ten thousand years outnumber

4 30 6:
And left it vacant--'twas her brother's face--

5 47 5:
I had a brother once, but he is dead! --

6 24 8:
My own sweet sister looked), with joy did quail,

6 31 6:
The common blood which ran within our frames,

6 39 6-9:
With such close sympathies, for to each other
Had high and solemn hopes, the gentle might
Of earliest love, and all the thoughts which smother
Cold Evil's power, now linked a sister and a brother.

6 40 1:
And such is Nature's modesty, that those

8 4 9:
Dream ye that God thus builds for man in solitude?

8 5 1:
What then is God? Ye mock yourselves and give

8 6 1:
What then is God? Some moonstruck sophist stood

8 6 8, 9:
And that men say God has appointed Death
On all who scorn his will to wreak immortal wrath.

8 7 1-4:
Men say they have seen God, and heard from God,
Or known from others who have known such things,
And that his will is all our law, a rod
To scourge us into slaves--that Priests and Kings

8 8 1:
And it is said, that God will punish wrong;

8 8 3, 4:
And his red hell's undying snakes among
Will bind the wretch on whom he fixed a stain

8 13 3, 4:
For it is said God rules both high and low,
And man is made the captive of his brother;

9 13 8:
To curse the rebels. To their God did they

9 14 6:
By God, and Nature, and Necessity.

9 15. The stanza contains ten lines--lines 4-7 as follows:
There was one teacher, and must ever be,
They said, even God, who, the necessity
Of rule and wrong had armed against mankind,
His slave and his avenger there to be;

9 18 3-6:
And Hell and Awe, which in the heart of man
Is God itself; the Priests its downfall knew,
As day by day their altars lovelier grew,
Till they were left alone within the fane;

10 22 9:
On fire! Almighty God his hell on earth has spread!

10 26 7, 8:
Of their Almighty God, the armies wind
In sad procession: each among the train

10 28 1:
O God Almighty! thou alone hast power.

10 31 1:
And Oromaze, and Christ, and Mahomet,

10 32 1:
He was a Christian Priest from whom it came

10 32 4:
To quell the rebel Atheists; a dire guest

10 32 9:
To wreak his fear of God in vengeance on mankind

10 34 5, 6:
His cradled Idol, and the sacrifice
Of God to God's own wrath--that Islam's creed

10 35 9:
And thrones, which rest on faith in God, nigh overturned.

10 39 4:
Of God may be appeased. He ceased, and they

10 40 5:
With storms and shadows girt, sate God, alone,

10 44 9:
As 'hush! hark! Come they yet?
God, God, thine hour is near! '

10 45 8:
Men brought their atheist kindred to appease

10 47 6:
The threshold of God's throne, and it was she!

11 16 1:
Ye turn to God for aid in your distress;

11 25 7:
Swear by your dreadful God. '--'We swear, we swear! '

12 10 9:
Truly for self, thus thought that Christian Priest indeed,

12 11 9:
A woman? God has sent his other victim here.

12 12 6-8:
Will I stand up before God's golden throne,
And cry, 'O Lord, to thee did I betray
An Atheist; but for me she would have known

12 29 4:
In torment and in fire have Atheists gone;

12 30 4:
How Atheists and Republicans can die;

2.
Aught but a lifeless clod, until revived by thee (Dedic. 6 9).

So Rossetti; the Shelley editions, 1818 and 1839, read clog, which is
retained by Forman, Dowden, and Woodberry. Rossetti's happy conjecture,
clod, seems to Forman 'a doubtful emendation, as Shelley may have used
clog in its [figurative] sense of weight, encumbrance. '--Hardly, as
here, in a poetical figure: that would be to use a metaphor within a
metaphor. Shelley compares his heart to a concrete object: if clog is
right, the word must be taken in one or other of its two recognized
LITERAL senses--'a wooden shoe,' or 'a block of wood tied round the neck
or to the leg of a horse or a dog. ' Again, it is of others' hearts, not
of his own, that Shelley here deplores the icy coldness and weight;
besides, how could he appropriately describe his heart as a weight or
encumbrance upon the free play of impulse and emotion, seeing that for
Shelley, above all men, the heart was itself the main source and spring
of all feeling and action? That source, he complains, has been dried
up--its emotions desiccated--by the crushing impact of other hearts,
heavy, hard and cold as stone. His heart has become withered and barren,
like a lump of earth parched with frost--'a lifeless clod. ' Compare
"Summer and Winter", lines 11-15:--
'It was a winter such as when birds die
In the deep forests; and the fishes lie
Stiffened in the translucent ice, which makes
Even the mud and slime of the warm lakes
A wrinkled clod as hard as brick;' etc. , etc.

The word revived suits well with clod; but what is a revived clog?
Finally, the first two lines of the following stanza (7) seem decisive
in favour of Roseetti's word.

If any one wonders how a misprint overlooked in 1818 could, after
twenty-one years, still remain undiscovered in 1839, let him consider
the case of clog in Lamb's parody on Southey's and Coleridge's "Dactyls"
(Lamb, "Letter to Coleridge", July 1, 1796):--
Sorely your Dactyls do drag along limp-footed;
Sad is the measure that hangs a clog round 'em so, etc. , etc.

Here the misprint, clod, which in 1868 appeared in Moxon's edition of
the "Letters of Charles Lamb", has through five successive editions and
under many editors--including Fitzgerald, Ainger, and Macdonald--held
its ground even to the present day; and this, notwithstanding the
preservation of the true reading, clog, in the texts of Talfourd and
Carew Hazlitt. Here then is the case of a palpable misprint surviving,
despite positive external evidence of its falsity, over a period of
thirty-six years.

3.
And walked as free, etc. (Ded. 7 6).

Walked is one of Shelley's occasional grammatical laxities. Forman well
observes that walkedst, the right word here, would naturally seem to
Shelley more heinous than a breach of syntactic rule. Rossetti and,
after him, Dowden print walk. Forman and Woodberry follow the early
texts.

4.
1 9 1-7. Here the text follows the punctuation of the editio princeps,
1818, with two exceptions: a comma is inserted (1) after scale (line
201), on the authority of the Bodleian manuscript (Locock); and (2)
after neck (line 205), to indicate the true construction. Mrs. Shelley's
text, 1839, has a semicolon after plumes (line 203), which Rossetti
adopts. Forman (1892) departs from the pointing of Shelley's edition
here, placing a period at the close of line 199, and a dash after
blended (line 200).

5.
What life, what power, was, etc. (1 11 1. )
The editio princeps, 1818, wants the commas here.

6.
. . . and now
We are embarked--the mountains hang and frown
Over the starry deep that gleams below,
A vast and dim expanse, as o'er the waves we go. (1 23 6-9. )
With Woodberry I substitute after embarked (7) a dash for the comma of
the editio princeps; with Rossetti I restore to below (8) a comma which
I believe to have been overlooked by the printer of that edition.
Shelley's meaning I take to be that 'a vast and dim expanse of mountain
hangs frowning over the starry deep that gleams below it as we pass over
the waves. '

7.
As King, and Lord, and God, the conquering Fiend did own,--(1 28 9. )
So Forman (1892), Dowden; the editio princeps, has a full stop at the
close of the line,--where, according to Mr. Locock, no point appears in
the Bodleian manuscript.

8.
Black-winged demon forms, etc. (1 30 7. )
The Bodleian manuscript exhibits the requisite hyphen here, and in
golden-pinioned (32 2).

9.
1 31 2, 6. The 'three-dots' point, employed by Shelley to indicate a
pause longer than that of a full stop, is introduced into these two
lines on the authority of the Bodleian manuscript. In both cases it
replaces a dash in the editio princeps. See list of punctual variations
below. Mr. Locock reports the presence in the manuscript of what he
justly terms a 'characteristic' comma after Soon (31 2).

10.
. . . mine shook beneath the wide emotion. (1 38 9. )
For emotion the Bodleian manuscript has commotion (Locock)--perhaps the
fitter word here.

11.
Deep slumber fell on me:--my dreams were fire-- (1 40 1. )
The dash after fire is from the Bodleian manuscript,--where, moreover,
the somewhat misleading but indubitably Shelleyan comma after passion
(editio princeps, 40 4) is wanting (Locock). I have added a dash to the
comma after cover (40 5) in order to clarify the sense.

12.
And shared in fearless deeds with evil men, (1 44 4. )
With Forman and Dowden I substitute here a comma for the full stop of
the editio princeps. See also list of punctual variations below (stanza
44).

13.
The Spirit whom I loved, in solitude
Sustained his child: (1 45 4, 5. )
The comma here, important as marking the sense as well as the rhythm of
the passage, is derived from the Bodleian manuscript (Locock).

14.
I looked, and we were sailing pleasantly,
Swift as a cloud between the sea and sky;
Beneath the rising moon seen far away,
Mountains of ice, etc. (1 47 4-7. )
The editio princeps has a comma after sky (5) and a semicolon after away
(6)--a pointing followed by Forman, Dowden, and Woodberry. By
transposing these points (as in our text), however, a much better sense
is obtained; and, luckily, this better sense proves to be that yielded
by the Bodleian manuscript, where, Mr. Locock reports, there is a
semicolon after sky (5), a comma after moon (6), and no point whatsoever
after away (6).

15.
Girt by the deserts of the Universe; (1 50 4. )
So the Bodleian manuscript, anticipated by Woodberry (1893). Rossetti
(1870) had substituted a comma for the period of editio princeps.

16.
Hymns which my soul had woven to Freedom, strong
The source of passion, whence they rose, to be;
Triumphant strains, which, etc. (2 28 6-8. )
The editio princeps, followed by Forman, has passion whence (7). Mrs.
Shelley, "Poetical Works" 1839, both editions, prints: strong The source
of passion, whence they rose to be Triumphant strains, which, etc.

17.
But, pale, were calm with passion--thus subdued, etc. (2 49 6. )
With Rossetti, Dowden, Woodberry, I add a comma after But to the
pointing of the editio princeps. Mrs. Shelley, "Poetical Works", 1839,
both editions, prints: But pale, were calm. --With passion thus subdued,
etc.

18.
Methought that grate was lifted, etc. (3 25 1. )
Shelley's and Mrs. Shelley's editions have gate, which is retained by
Forman. But cf. 3 14 2, 7. Dowden and Woodberry follow Rossetti in
printing grate.

19.
Where her own standard, etc. (4 24 5. )
So Mrs. Shelley, "Poetical Works", 1839, both editions.

20.
Beneath whose spires, which swayed in the red flame, (5 54 6. )
Shelley's and Mrs. Shelley's editions (1818, 1839) give red light
here,--an oversight perpetuated by Forman, the rhyme-words name (8) and
frame (9) notwithstanding. With Rossetti, Dowden, Woodberry, I print red
flame,--an obvious emendation proposed by Fleay.

21.
--when the waves smile,
As sudden earthquakes light many a volcano-isle,
Thus sudden, unexpected feast was spread, etc. (6 7 8, 9; 8 1. )
With Forman, Dowden, Woodberry, I substitute after isle (7 9) a comma
for the full stop of editions 1818, 1839 (retained by Rossetti). The
passage is obscure: perhaps Shelley wrote 'lift many a volcano-isle. '
The plain becomes studded in an instant with piles of corpses, even as
the smiling surface of the sea will sometimes become studded in an
instant with many islands uplifted by a sudden shock of earthquake.

22.
7 7 2-6. The editio princeps punctuates thus:--
and words it gave
Gestures and looks, such as in whirlwinds bore
Which might not be withstood, whence none could save
All who approached their sphere, like some calm wave
Vexed into whirlpools by the chasms beneath;
This punctuation is retained by Forman; Rossetti, Dowden, Woodberry,
place a comma after gave (2) and Gestures (3), and--adopting the
suggestion of Mr. A. C. Bradley--enclose line 4 (Which might. . . could
save) in parentheses; thus construing which might not be withstood and
whence none could save as adjectival clauses qualifying whirlwinds (3),
and taking bore (3) as a transitive verb governing All who approached
their sphere (5). This, which I believe to be the true construction, is
perhaps indicated quite as clearly by the pointing adopted in the
text--a pointing moreover which, on metrical grounds, is, I think,
preferable to that proposed by Mr. Bradley. I have added a dash to the
comma after sphere (5), to indicate that it is Cythna herself (and not
All who approached, etc. ) that resembles some calm wave, etc.

23.
Which dwell in lakes, when the red moon on high
Pause ere it wakens tempest;-- (7 22 6, 7. )
Here when the moon Pause is clearly irregular, but it appears in
editions 1818, 1839, and is undoubtedly Shelley's phrase. Rossetti cites
a conjectural emendation by a certain 'C. D. Campbell, Mauritius':--which
the red moon on high Pours eve it wakens tempest; but cf. "Julian and
Maddalo", lines 53, 54:--
Meanwhile the sun paused ere it should alight,
Over the horizon of the mountains.
--and "Prince Athanase", lines 220, 221:--
When the curved moon then lingering in the west
Paused, in yon waves her mighty horns to wet, etc.

24.
--time imparted
Such power to me--I became fearless-hearted, etc. (7 30 4, 5. )
With Woodberry I replace with a dash the comma (editio princeps) after
me (5)retained by Forman, deleted by Rossetti and Dowden. Shelley's (and
Forman's) punctuation leaves the construction ambiguous; with
Woodberry's the two clauses are seen to be parallel--the latter being
appositive to and explanatory of the former; while with Dowden's the
clauses are placed in correlation: time imparted such power to me that I
became fearless-hearted.

25.
Of love, in that lorn solitude, etc. (7 32 7. )
All editions prior to 1876 have lone solitude, etc. The important
emendation lorn was first introduced into the text by Forman, from
Shelley's revised copy of "Laon and Cythna", where lone is found to be
turned into lorn by the poet's own hand.

26.
And Hate is throned on high with Fear her mother, etc. (8 13 5. )
So the editio princeps; Forman, Dowden, Woodberry, following the text of
"Laon and Cythna", 1818, read, Fear his mother. Forman refers to 10 42
4, 5, where Fear figures as a female, and Hate as 'her mate and foe. '
But consistency in such matters was not one of Shelley's
characteristics, and there seems to be no need for alteration here. Mrs.
Shelley (1839) and Rossetti follow the editio princeps.

27.
The ship fled fast till the stars 'gan to fail,
And, round me gathered, etc. (8 26 5, 6. )
The editio princeps has no comma after And (6).