FRAGMENT: THE DESARTS OF SLEEP1 I WENT into the desarts of dim sleep That world which, like an unknown wilderness, Bounds this with its recesses wide and deep. FRAGMENT: CONSEQUENCE. THE viewless and invisible Consequence FRAGMENT: MILTON'S SPIRIT. I DREAMED that Milton's spirit rose, and took And from his touch sweet thunder flowed, and shook And sanguine thrones and impious altars quaked, FRAGMENT: A FACE.2 HIS face was like a snake's-wrinkled and loose 1 This and the next two fragments are from the Boscombe MSS.,-transcribed by Mr. Garnett and published in Mr. Rossetti's edition. 2 This fragment also was first published by Mr. Rossetti, who found it in the note-book containing Charles the First. FRAGMENT.1 My head is heavy, my limbs are weary, HOPE, FEAR, AND DOUBT.2 SUCH hope, as is the sick despair of good, Such doubt, as is pale Expectation's food ... Alas! this is not what I thought life was. I knew that there were crimes and evil men, And when I went among my kind, with triple brass 1 This fragment is from the Relics of Shelley. 2 The first five lines of this fragment are from Relics of Shelley: the last nine were first given by Mrs. Shelley in her note on the Poems of 1820, in VOL. IV. F the first edition of 1839. I have ventured to connect them because they seem to me to be very clearly related. They form together an irregular sonnet with two lines unfinished. FRAGMENT : UNRISEN SPLENDOUR.1 UNRISEN splendour of the brightest sun, 1 From Relics of Shelley. [The year 1821 was a very fertile one with Shelley: the presence of friends at Pisa and the Baths of San Giuliano, recorded by Mrs. Shelley in her note on the Poems of 1821, would seem to have operated most favourably on the creative energy of the poet. The minor poems belonging to this year, wherein we first find traces of the companionship of Edward Williams and "Jane," are most remarkable for variety, beauty, and mass; and it is to be remembered that Epipsychidion, Adonais, and Hellas, all belong to this year. Thus, although what is commonly called "human interest" found no development in Shelley's poetry after The Cenci, the poems of this later period abound in a very genuine human interest,—that of the persons associated with the several compositions; for behind these aëry fabrics of Platonism and almost mystic contemplation, the attentive reader discerns clearly enough such substantial beings as the unfortunate Viviani and the hapless Keats, and the delightful couple whose greatest misfortune and perhaps also highest privilege was their acquaintance with Shelley.-H. B. F.] |