No More Learning

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). Mrs. Shelley (1839)
places a full stop at fail (5) and reads, All round me gathered, etc.

28.
Words which the lore of truth in hues of flame, etc. (9 12 6. )
The editio princeps, followed by Rossetti and Woodberry, has hues of
grace [cf. note (20) above]; Forman and Dowden read hues of flame. For
instances of a rhyme-word doing double service, see 9 34 6, 9
(thee. . . thee); 6 3 2, 4 (arms. . . arms); 10 5 1, 3 (came. . . came).

29.
Led them, thus erring, from their native land; (10 5 6. )
Editions 1818, 1839 read home for land here. All modern editors adopt
Fleay's cj. , land [rhyming with band (8), sand (9)].

30.
11 11 7. Rossetti and Dowden, following Mrs. Shelley (1839), print
writhed here.

31.
When the broad sunrise, etc. (12 34 3. )
When is Rossetti's cj. (accepted by Dowden) for Where (1818, 1839),
which Forman and Woodberry retain. In 11 24 1, 12 15 2 and 12 28 7 there
is Forman's cj. for then (1818).

32.
a golden mist did quiver
Where its wild surges with the lake were blended,-- (12 40 3, 4. )
Where is Rossetti's cj. (accepted by Forman and Dowden) for When
(editions 1818, 1839; Woodberry). See also list of punctual variations
below.

33.
Our bark hung there, as on a line suspended, etc. (12 40 5. )
Here on a line is Rossetti's cj. (accepted by all editors) for one line
(editions 1818, 1839). See also list of punctual variations below.

34.
LIST OF PUNCTUAL VARIATIONS.
Obvious errors of the press excepted, our text reproduces the
punctuation of Shelley's edition (1818), save where the sense is likely
to be perverted or obscured thereby. The following list shows where the
pointing of the text varies from that of the editio princeps (1818)
which is in every instance recorded here.

DEDICATION, 7. long. (9).

CANTO 1.
9. scale (3), neck (7).
11. What life what power (1).
22. boat, (8), lay (9).
23. embarked, (7), below A vast (8, 9).
26. world (1), chaos: Lo! (2).
28. life: (2), own. (9).
29. mirth, (6).
30. language (2), But, when (5).
31. foundations--soon (2), war-- thrones (6), multitude, (7).
32. flame, (4).
33. lightnings (3), truth, (5), brood, (5), hearts, (8).
34. Fiend (6).
35. keep (8).
37. mountains-- (8).
38. unfold, (1), woe: (4), show, (5).
39. gladness, (6) 40 fire, (1), cover, (5), far (6).
42. kiss. (9).
43. But (5).
44. men. (4), fame; (7).
45. loved (4).
47. sky, (5), away (6).
49. dream, (2), floods. (9).
50. Universe. (4), language (6).
54. blind. (4).
57. mine--He (8).
58. said-- (5).
60. tongue, (9).

CANTO 2.
1. which (4).
3. Yet flattering power had (7).
4. lust, (6).
6. kind, (2).
11. Nor, (2).
13. ruin. (3), trust. (9).
18. friend (3).
22. thought, (6), fancies (7).
24. radiancy, (3).
25. dells, (8).
26. waste, (4)
28. passion (7).
31. yet (4).
32. which (3).
33. blight (8), who (8).
37. seat; (7).
39. not--'wherefore (1).
40. good, (5).
41. tears (7).
43. air (2).
46. fire, (3).
47. stroke, (2).
49. But (6).

CANTO 3.
1. dream, (4).
3. shown (7), That (9).