xiii. 3-7. Cf. HELLAS, I. 587. xiii. 12-15 Twins, England and Spain; West, America; Impress conceal, the sense may be, impress us with your past which time cannot conceal. The passage is variously explained by Swinburne, Forman, and Rossetti. The suggested emendation of us for us, is not of itself sufficient to clarify the construction or meaning, but is possibly correct. Any explanation of the text appears unsatisfactory.

xvii. 9 intercessor. Cf. PROMETHEUS UNBOUND, III. iii. 49-60; ODE TO NAPLES, 69. The idea is suggested by Plato's theories in the Phædrus and Symposium; and is much developed by Shelley. Cf. PRINCE ATHANASE, II. 106-113, note.

Page 387. ARETHUSA. This and the following poem were written to be inserted in a drama entitled Proserpine, as the Hymns to Apollo and Pan were similarly written for a drama cailed Midas. Both dramas were the work of Williams. Zupitza describes the MSS. of these at length, with extracts, in Archiv für das Studium der neueren Sprachen und Literaturen, Band xciv. Heft 1.

II. 8. The reading unsealed for concealed is given by Zupitza as that of the Oxford MS.; he interprets the passage the wind unsealed in the rear the urns of the snow,' it being pleonastic, and the urns meaning the snow-springs.

Page 388. SONG OF PROSERPINE, cf. ARETHUSA, note.

Page 388. HYMN OF APOLLO, cf. ARETHUSA,

note.

Stanza vi. 6 its for their is given by Zupitza as the reading of the Oxford MS.

Page 389. HYMN OF PAN, cf. ARETHUSA,

note.

Stanza i. 5, 12. Zupitza gives listening my for listening to my, as the reading of the Oxford MS. Stanzas ii., iii. Cf. Virgil, Eclogues, vi.

Page 388. THE QUESTION, ii. 7, cf. Coleridge, To a Young Friend, 37, the rock's collected tears.' The reading heaven-collected, Mrs. Shelley, 1824, adopted by Forman, is improbable in view of the citation, while the text is supported by the first issue of Hunt and the Harvard and Ollier MSS.

Page 390. LETTER TO MARIA GISBORNE. Line 75. The boat and the hollow screw are the same.

Line 77 Henry, Mr. Reveley, Mrs. Gisborne's

son.

Line 130. The Libecchio here howls like a chorus of fiends all day.' Shelley to Peacock, July 12, 1820.

Line 185. Mrs. Gisborne read Calderon with him.

Line 195. Cf. TIME, 7.

Line 202. Cf. PETER BELL THE THIRD, V. i. 3, note.

Line 226 Hogg, Thomas Jefferson Hogg, Shelley's friend, and biographer of his Oxford days.

Line 233 Peacock, Thomas Love Peacock, the novelist. The play on the name in the next line is obvious.

Line 250 Horace Smith, perhaps the wisest and best friend Shelley had.

Line 313. Shelley's note: "Iμepos, from which the river Himera was named, is, with some slight shade of difference, a synonym of Love.'

Page 395. ODE TO NAPLES. The Oxford MS. is fully described by Zupitza.

SHELLEY'S NOTES:
Line 1. Pompeii.

Line 39. Homer and Virgil.

Line 104. Exa, the island of Circe. Line 112. The viper was the armorial device of the Visconti, tyrants of Milan.

Line 45. Zupitza gives sunbright for sunlit as the reading of the Oxford MS. Line 69. Cf. ODE TO LIBERTY, xvii. 9, note. Line 109. Cf. HELLAS, Shelley's notes, line 60. Page 401. GOOD-NIGHT. A version known as the Stacey MS. is followed by Rossetti. It varies from the text as follows:

i. 1, Good-night? no, love! the night is ill ii. 1, How were the night without thee good iii. 1, The hearts that on each other beat 3, Have nights as good as they are sweet 4. But never say good-night

This version is poetically inferior, and may or may not represent Shelley's final choice for publication. The matter being uncertain, it seems best to retain the better form, especially as it is the one that has grown familiar, and is well supported by the authority of the Harvard MS. as well as by the first editors, Hunt and Mrs. Shelley.

Page 403. FROM THE ARABIC. Medwin gives Hamilton's Antar as the source of these lines, but the passage has not been identified.

Page 403. To NIGHT, i. 1 o'er, the reading is from the Harvard MS.

ii. 3. The image is familiar in Shelley's verse. Cf. ALASTOR, 337, note.

Page 406. SONNET. Entitled in the Harvard MS., SONNET TO THE REPUBLIC OF BENEVENTO.

Page 407. ANOTHER VERSION. From the Trelawny MS., of Williams's play.

Page 407. EVENING: PONTE AL MARE, PISA, iv. 2. The Boscombe MS. reads cinereous for enormous, and is followed by Rossetti, Forman, and Dowden,

Page 408. REMEMBRANCE. Another version, known as the Trelawny MS., gives the following variations:

gives the following letter from Shelley to Williams:

My dear Williams: Looking over the portfolio in which my friend used to keep his verses, and in which those I sent you the other day were found, I have lit upon these; which, as they are too dismal for me to keep, I send you. If any of the stanzas should please you, you may read them to Jane, but to no one else. And yet, on second thoughts, I had rather you would not. Yours ever affectionately, P. B. S.' Williams notes in his journal, Saturday, January 26, 1822: S. sent us some beautiful but too melancholy lines (The Serpent is shut out from Paradise").' Byron named Shelley the Serpent.

Page 415. THE ISLE. Garnett conjectures that this poem was intended for the FRAGMENTS OF AN UNFINISHED DRAMA.

Page 415. A DIRGE, 6 strain, Rossetti's emendation for stain, given by all editors.

Page 416. LINES WRITTEN IN THE BAY OF LERICI. The lines were written during the last weeks of Shelley's life, perhaps, as Garnett conjectures, about May 1, the last time that Shelley was at Lerici at the time of the full moon.

Page 424. PRINCE ATHANASE. Cf. EPIPSYCHIDION, note.

II. 2. Cf. THE REVOLT OF ISLAM, II. xxvii. 7, note.

II. 15. Cf. PROMETHEUS UNBOUND, I. 451, note.

II. 103, story of the feast, the Symposium.

II. 106-113. This is the original germ of the Spirit of the Earth in PROMETHEUS UNBOUND, not perhaps without some indebtedness to Coleridge, Ode on the Departing Year, iv. The same passage may also have been not without influence on Shelley's idea of the intercessors' (cf. PROMETHEUS UNBOUND, III. iii. 49-60; ODE TO NAPLES, 69; ODE TO LIBERTY, xvii. 9, note), and of the guardian angels of the PROLOGUE TO HELLAS. Shelley, however, entirely recreates the image in these several instances, and shows his highest original power in so doing.

II. 118. Cf. Shelley, ON LOVE, under EPIPSYCHIDION, note.

Page 431. TASSO. Garnett gives from the Boscombe MS. Shelley's notes for intended scenes of this drama: 'Scene when he reads the sonnet which he wrote to Leonora to herself as composed at the request of another. His disguising himself in the habit of a shepherd, and questioning his sister in that disguise concerning himself, and then unveiling himself."

Page 432. Rossetti identifies the passage in Sismondi (Paris, 1826), viii. 142–143.

Page 435. LINES WRITTEN FOR PROMETHEUS UNBOUND. Cf. PROMETHEUS UNBOUND, IV. iv. 493.

Page 436. LINES WRITTEN FOR EPIPSYCHIDION. Cf. EPIPSYCHIDION, note.

Page 438. LINES WRITTEN FOR ADONAIS. Rossetti suggests, rightly, I think, that the first fragment refers to Moore, the lyre being the Irish harp, and he transposes the first and second fragments. In the latter green Paradise is

Ireland. In the last fragment Rossetti is ur able to find any human figure, and in this he also appears to be right.

Page 446. GINEVRA. Garnett identified the source as L'Osservatore Fiorentino sugli edifizi della sua Patria, 1821, p. 119. In the story Ginevra revives. Cf. Hunt, A Legend of Flor

ence.

Page 449. THE BOAT ON THE SERCHIO, line 30. Cf. THE TRIUMPH OF LIFE, 18. Line 40. Cf. TRANSLATIONS FROM DANTE, V. 13.

Page 450. THE ZUCCA. Cf. EPIPSYCHIDION, note, and FRAGMENTS OF AN UNFINISHED DRAMA, 127.

Page 452. CHARLES THE FIRST. The Headnotes contain the history of the fragment.

Page 466. FRAGMENTS OF AN UNFINISHED DRAMA. This poem is the most characteristic example of the last manner of Shelley in verse. It is shot through with reminiscences of his own work and with those of the poets he had long used as familiar masters and guides; the sentiment is as before; the material is not different; but over all, and pervading all, is a new charm, original, pure, and delicate, which makes the verse a new kind in English.

This

Page 470. THE TRIUMPH OF LIFE. poem, the last work of Shelley, is obviously Italian in suggestion and manner, and is obscure to the ordinary reader. It is a pure and mystical allegory, in which Shelley has blended many elements of his intellectual culture under an imaginative artistic form of the Renaissance rarely modernized. The meaning, however, is not obscure to one who will let his mind dwell on and penetrate the imagery, after becoming familiarized with Shelley's previous works. A few notes only, and those of an obvious kind, can be given here.

Line 103 that, the charioteer.

Line 133. The sense is broken.

Line 190 grim Feature. Cf. Milton, Paradise Lost, x. 279.

Line 255. Socrates: because he did not love. Alexander and Aristotle.

Line 261.

Line 283.

The Roman Emperors.

Line 290.

The Papacy.

Line 352.

The last and most mystical of the eternal beings of Shelley's phantasy.

Line 422. Mrs. Shelley's note: The favorite song, Stanco di pascolar le ecorelli, is a Brescian national air.'

Line 472 him, Dante.

Page 480. MINOR FRAGMENTS. The available information regarding these poems is given in the Head-notes.

Page 491. TRANSLATIONS. The Head-notes contain the records of these compositions. The text of THE CYCLOPS has been examined by Swinburne, Essays and Studies, 201-211. In SCENES FROM THE FAUST OF GOETHE, a slight correction, joy for you, ii. 333 (p. 545), is made in accordance with Zupitza's suggestion.

Page 546. JUVENILIA. The Head-notes include all that is known of the history of these pieces.

A CAT in distress, 547.

A gentle story of two lovers young, 485.
A glorious people vibrated again, 382.

A golden-winged Angel stood, 486.
A Hater he came and sat by a ditch, 486.
A man who was about to hang himself, 519.
A mighty Phantasm, half concealed, 439.
A pale dream came to a Lady fair, 350.
A portal as of shadowy adamant, 399.
A scene, which wildered fancy viewed, 566.
A Sensitive Plant in a garden grew, 372.
A shovel of his ashes took, 480.

A woodman, whose rough heart was out of tune,
430.

Ah! faint are her limbs, and her footstep is
weary, 554.

Alas! good friend, what profit can you see, 400.
Alas! this is not what I thought life was, 490.
Ambition, power, and avarice now have hurled,

Arethusa arose, 387.

Ariel to Miranda: - Take, 414.
Arise, arise, arise! 369.

Art thou indeed forever gone, 560.

Art thou pale for weariness, 485.
As a violet's gentle eye, 435.
As from an ancestral oak, 365.
As I lay asleep in Italy, 253.
As the sunrise to the night, 484.
At the creation of the Earth, 144.

Away! the moor is dark beneath the moon, 341.

Bear witness, Erin! when thine injured isle,
565.

Before those cruel Twins, whom at one birth,
273.

Best and brightest, come away! 412.

Bright ball of flame that through the gloom of
even, 569.

Bright wanderer, fair coquette of heaven, 485.
Brothers! between you and me, 565.

Buona notte, buona notte !'-Come mai, 401.
By the mossy brink, 563.

Calm art thou as yon sunset! swift and strong,
88.

Chameleons feed on light and air, 367.
Come, be happy! sit near me, 362.
Come hither, my sweet Rosalind, 137.
Come, thou awakener of the spirit's ocean, 484.
Corpses are cold in the tomb, 364.

Dares the lama, most fleet of the sons of the
wind, 561.

Dark flood of time! 608.

Dar'st thou amid the varied multitude, 549.
Daughters of Jove, whose voice is melody, 505.
Dear home, thou scene of earliest hopes and
joys, 480.

Dearest, best and brightest, 440.
Death is here, and death is there, 398.
Death! where is thy victory? 549.

'Do you not hear the Aziola cry? 408.

Eagle! why soarest thou above that tomb? 519.
Earth, Ocean, Air, beloved brotherhood! 33.
Echoes we: listen! 181.

Ever as now with Love and Virtue's glow,
568.

Faint with love, the Lady of the South, 485.
Fairest of the Destinies, 439.

False friend, wilt thou smile or weep, 249.
Far, far away, O ye, 405.

Flourishing vine, whose kindling clusters glow,
485.

Follow to the deep wood's weeds, 484.

For me, my friend, if not that tears did trem-
ble, 483.

For my dagger is bathed in the blood of the
brave, 548.

From the forests and highlands, 389.

Gather, oh, gather, 436.

Ghosts of the dead! have I not heard your
yelling, 551.

God prosper, speed, and save, 365.
Good-night? ah, no! the hour is ill, 401.

Great Spirit whom the sea of boundless thought,
490.

Guido, I would that Lappo, thou, and I, 522.

Hail to thee, blithe Spirit! 381.

Hail to thee, Cambria! for the unfettered wind,
572.

Hark! the owlet flaps his wings, 547.

Hast thou not seen, officious with delight, 537.
He came like a dream in the dawn of life, 467.
He fell, thou sayest, beneath his conqueror's
frown, 190.

Heigho! the lark and the owl! 466.

Here lieth One whose name was writ on
water!' 482.

Here, my dear friend, is a new book for you,

436.

Here, oh, here! 197.

Her voice did quiver as we parted, 355.

He wanders, like a day-appearing dream, 489.
Hic sinu fessum caput hospitali, 547.

His face was like a snake's-wrinkled and
loose, 486.

Honey from silkworms who can gather, 356.
Hopes, that swell in youthful breasts, 550.
How eloquent are eyes! 550.

How, my dear Mary, are you critic-bitten, 272.
How stern are the woes of the desolate mourner,
553.

How sweet it is to sit and read the tales, 485.
How swiftly through heaven's wide expanse,

553.

alas! our life is love, 432.

I met a traveller from an antique land, 356.
I mourn Adonis dead-loveliest Adonis, 520.
I pant for the music which is divine, 488.
I rode one evening with Count Maddalo, 152.

--

I sing the glorious Power with azure eyes, 504.
I stood within the city disinterred, 395.
I weep for Adonais he is dead! 308.
I went into the deserts of dim sleep, 489.
I would not be a king- enough, 487.
If gibbets, axes, confiscations, chains, 445.
If I esteemed you less, Envy would kill, 482.
If I walk in Autumn's even, 410.
Inter marmoreas Leonora pendula colles, 548.
In the cave which wild weeds cover, 486.
In the sweet solitude of this calm place, 526.
Is it that in some brighter sphere, 487.
Is it the Eternal Triune, is it He, 573.
Is not to-day enough? Why do I
peer, 487.

It is not blasphemy to hope that Heaven, 568.
It is the day when all the sons of God, 320.
It lieth, gazing on the midnight sky, 369.
It was a bright and cheerful afternoon, 399.
Kissing Helena, together, 519.

Let those who pine in pride or in revenge, 432.
Life of Life, thy lips enkindle, 188.

Lift not the painted veil which those who live,

363.

Like the ghost of a dear friend dead, 400.
Listen, listen, Mary mine, 357.

Madonna, wherefore hast thou sent to me, 482.
Maiden, quench the glare of sorrow, 563.
Many a green isle needs must be, 358.
Melodious Arethusa, o'er my verse, 521.
Men of England, wherefore plough, 364.
Methought I was a billow in the crowd, 489.
Mighty eagle! thou that soarest, 483.

Mine eyes were dim with tears unshed, 342.
Monarch of Gods and Dæmons, and all Spirits,
165.

Month after month the gathered rains descend,

357.

Moonbeam, leave the shadowy vale, 549.
Muse, sing the deeds of golden Aphrodite, 503.
Music, when soft voices die, 404.

My dearest Mary, wherefore hast thou gone,

481.

My faint spirit was sitting in the light, 403.
My head is heavy, my limbs are weary, 487.
My head is wild with weeping for a grief, 482.
My lost William, thou in whom, 481.

My Song, I fear that thou wilt find but few, 298.
My spirit like a charmed bark doth swim, 488.
My thoughts arise and fade in solitude, 490.

Night, with all thine eyes look down! 407.
No access to the Duke! You have not said,
431.

No Music, thou art not the 'food of Love,'
488.

No trump tells thy virtues- the grave where
they rest, 566.

Nor happiness, nor majesty, nor fame, 406.
Not far from hence. From yonder pointed hill,

441.
Now had the loophole of that dungeon, still, 524.
Now the last day of many days, 412.

O Bacchus, what a world of toil, both now, 506.

O happy Earth! reality of Heaven! 420.
O Mary dear, that you were here, 480.

O mighty mind, in whose deep stream this age,

482.

O pillow cold and wet with tears! 435.

O thou bright Sun! beneath the dark blue line,
339.

O thou immortal deity, 490.

O thou, who plumed with strong desire, 390.
O universal Mother, who dost keep, 505.

O wild West Wind, thou breath of Autumn's
being, 367.

O world! O life! O time! 410.

Offspring of Jove, Calliope, once more, 504.

Rarely, rarely, comest thou, 403.

Returning from its daily quest, my Spirit, 525.
Rome has fallen; ye see it lying, 484.
Rough wind, that moanest loud, 415.

Sacred Goddess, Mother Earth, 388.
She left me at the silent time, 416.

She was an aged woman; and the years, 564.
Silence! Oh, well are Death and Sleep and
Thou, 489.

Silver key of the fountain of tears, 488.
Sing, Muse, the son of Maia and of Jove, 491.
Sleep, sleep on! forget thy pain, 411.
So now my summer-task is ended, Mary, 49.
Such hope, as is the sick despair of good, 489.
Summer was dead and Autumn was expiring,
450.

Sweet Spirit! sister of that orphan one, 298.
Sweet star, which gleaming o'er the darksome
scene, 563.

Swift as a spirit hastening to his task, 471.
Swifter far than summer's flight, 409.
Swiftly walk o'er the western wave, 403.

Tell me, thou star, whose wings of light, 400.
That matter of the murder is hushed up, 211.
That time is dead forever, child, 355.

The awful shadow of some unseen Power, 346.
The babe is at peace within the womb, 486.
The billows on the beach are leaping around it,

354.

The odor from the flower is gone, 358.

The pale, the cold, and the moony smile, 343.
The rose that drinks the fountain dew, 481.
The rude wind is singing, 486.

The season was the childhood of sweet June,
443.

The serpent is shut out from paradise, 409.
The sleepless Hours who watch me as I lie,
388.

The spider spreads her webs whether she be,
391.

The sun is set; the swallows are asleep, 407.
The sun is warm, the sky is clear, 363.

The sun makes music as of old, 538.
The viewless and invisible Consequence, 486.
The warm sun is failing, the bleak wind is wail-
ing, 398.

The waters are flashing, 405.

The wind has swept from the wide atmosphere,
343.

The world is dreary, 480.

The world is now our dwelling-place, 481.
There is a voice, not understood by all, 435.
There is a warm and gentle atmosphere, 487.
There late was One within whose subtle being,
345.

There was a little lawny islet, 415.

There was a youth, who, as with toil and travel,

The rags of the

to wail and wander,

488.
Tremble Kings despised of man! 561.

'Twas dead of the night, when I sat in my
dwelling, 551.

Unfathomable Sea! whose waves are years,
402.

Unrisen splendor of the brightest sun, 484.

Vessels of heavenly medicine! may the breeze,
569.

Wake the serpent not

lest he, 487.

Wealth and dominion fade into the mass, 488.