)
The editio princeps (1820) reads destined soft emotion, Attracts, etc.
The editio princeps (1820) reads destined soft emotion, Attracts, etc.
Shelley copy
)
For under edition 1839 has beneath, which, however, is cancelled for
under in the Bodleian manuscript (Locock).
11.
Lines 251-254. This, with many other places from line 222 onwards,
evidently lacks Shelley's final corrections.
12.
Line 259. According to Mr. Locock, the final text of this line in the
Bodleian manuscript runs:--
Exulting, while the wide world shrinks below, etc.
13.
Fragment 5 (lines 261-278). The text here is much tortured in the
Bodleian manuscript. What the editions give us is clearly but a rough
and tentative draft. 'The language contains no third rhyme to mountains
(line 262) and fountains (line 264). ' Locock. Lines 270-278 were first
printed by Mr. Locock.
14.
Line 289. For light (Bodleian manuscript) here the editions read bright.
But light is undoubtedly the right word: cf. line 287. Investeth (line
285), Rossetti's cj. for Investeth (1824, 1839) is found in the Bodleian
manuscript.
15.
Lines 297-302 (the darts. . . ungarmented). First printed by Mr. Locock
from the Bodleian manuscript.
16.
Another Fragment (A). Lines 1-3 of this Fragment reappear in a modified
shape in the Bodleian manuscript of "Prometheus Unbound", 2 4 28-30:--
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;
Here the lines are cancelled--only, however, to reappear in a heightened
shape in "The Cenci", 1 1 111-113:--
The dry, fixed eyeball; the pale quivering lip,
Which tells me that the spirit weeps within
Tears bitterer than the bloody sweat of Christ.
(Garnett, Locock. )
17.
PUNCTUAL VARIATIONS.
The punctuation of "Prince Athanase" is that of "Poetical Works", 1839,
save in the places specified in the notes above, and in line 60--where
there is a full stop, instead of the comma demanded by the sense, at the
close of the line.
ROSALIND AND HELEN.
1.
A sound from there, etc. (line 63. )
Rossetti's cj. , there for thee, is adopted by all modern editors.
2.
And down my cheeks the quick tears fell, etc. (line 366. )
The word fell is Rossetti's cj. (to rhyme with tell, line 369) for ran
1819, 1839).
3.
Lines 405-409. The syntax here does not hang together, and Shelley may
have been thinking of this passage amongst others when, on September 6,
1819, he wrote to Ollier:--'In the "Rosalind and Helen" I see there are
some few errors, which are so much the worse because they are errors in
the sense. ' The obscurity, however, may have been, in part at least,
designed: Rosalind grows incoherent before breaking off abruptly. No
satisfactory emendation has been proposed.
4.
Where weary meteor lamps repose, etc. (line 551. )
With Woodberry I regard Where, his cj. for When (1819, 1839), as
necessary for the sense.
5.
With which they drag from mines of gore, etc. (line 711. )
Rossetti proposes yore for gore here, or, as an alternative, rivers of
gore, etc. If yore be right, Shelley's meaning is: 'With which from of
old they drag,' etc. But cf. Note (3) above.
6.
Where, like twin vultures, etc. (line 932. )
Where is Woodberry's reading for When (1819, 1839). Forman suggests
Where but does not print it.
7.
Lines 1093-1096. The editio princeps (1819) punctuates:--
Hung in dense flocks beneath the dome,
That ivory dome, whose azure night
With golden stars, like heaven, was bright
O'er the split cedar's pointed flame;
8.
Lines 1168-1170. Sunk (line 1170) must be taken as a transitive in this
passage, the grammar of which is defended by Mr. Swinburne.
9.
Whilst animal life many long years
Had rescue from a chasm of tears; (lines 1208-9. )
Forman substitutes rescue for rescued (1819, 1839)--a highly probable
cj. adopted by Dowden, but rejected by Woodberry. The sense is: 'Whilst
my life, surviving by the physical functions merely, thus escaped during
many years from hopeless weeping. '
10.
PUNCTUAL VARIATIONS.
The following is a list of punctual variations, giving in each case the
pointing of the editio princeps (1819):--heart 257; weak 425; Aye 492;
There--now 545; immortally 864; not, 894; bleeding, 933; Fidelity 1055;
dome, 1093; bright 1095; tremble, 1150; life-dissolving 1166; words,
1176; omit parentheses lines 1188-9; bereft, 1230.
JULIAN AND MADDALO.
1.
Line 158. Salutations past; (1824); Salutations passed; (1839). Our text
follows Woodberry.
2.
--we might be all
We dream of happy, high, majestical. (lines 172-3. )
So the Hunt manuscript, edition 1824, has a comma after of (line 173),
which is retained by Rossetti and Dowden.
3.
--his melody
Is interrupted--now we hear the din, etc. (lines 265-6. )
So the Hunt manuscript; his melody Is interrupted now: we hear the din,
etc. , 1824, 1829.
4.
Lines 282-284. The editio princeps (1824) runs:--
Smiled in their motions as they lay apart,
As one who wrought from his own fervid heart
The eloquence of passion: soon he raised, etc.
5.
Line 414. The editio princeps (1824) has a colon at the end of this
line, and a semicolon at the close of line 415.
6.
The 'three-dots' point, which appears several times in these pages, is
taken from the Hunt manuscript and serves to mark a pause longer than
that of a full stop.
7.
He ceased, and overcome leant back awhile, etc. (line 511. )
The form leant is retained here, as the stem-vowel, though unaltered in
spelling, is shortened in pronunciation. Thus leant (pronounced 'lent')
from lean comes under the same category as crept from creep, lept from
leap, cleft from cleave, etc. --perfectly normal forms, all of them. In
the case of weak preterites formed without any vowel-change, the more
regular formation with ed is that which has been adopted in this volume.
See Editor's "Preface".
8.
CANCELLED FRAGMENTS OF JULIAN AND MADDALO. These were first printed by
Dr. Garnett, "Relics of Shelley", 1862.
9.
PUNCTUAL VARIATIONS.
Shelley's final transcript of "Julian and Maddalo", though written with
great care and neatness, is yet very imperfectly punctuated. He would
seem to have relied on the vigilance of Leigh Hunt--or, failing Hunt, of
Peacock--to make good all omissions while seeing the poem through the
press. Even Mr. Buxton Forman, careful as he is to uphold manuscript
authority in general, finds it necessary to supplement the pointing of
the Hunt manuscript in no fewer than ninety-four places. The following
table gives a list of the pointings adopted in our text, over and above
those found in the Hunt manuscript. In all but four or five instances,
the supplementary points are derived from Mrs. Shelley's text of 1824.
1. Comma added at end of line:
40, 54, 60, 77, 78, 85, 90, 94, 107,
110, 116, 120, 123, 134, 144, 145,
154, 157, 168, 179, 183, 191, 196,
202, 203, 215, 217, 221, 224, 225,
238, 253, 254, 262, 287, 305, 307,
331, 338, 360, 375, 384, 385, 396,
432, 436, 447, 450, 451, 473, 475,
476, 511, 520, 526, 541, 582, 590,
591, 592, 593, 595, 603, 612.
2. Comma added elsewhere:
seas, 58; vineyards, 58;
dismounted, 61;
evening, 65;
companion, 86;
isles, 90;
meant, 94;
Look, Julian, 96;
maniacs, 110;
maker, 113;
past, 114;
churches, 136;
rainy, 141;
blithe, 167;
beauty, 174;
Maddalo, 192;
others, 205;
this, 232;
respects, 241;
shriek, 267;
wrote, 286;
month, 300;
cried, 300;
O, 304;
and, 306;
misery, disappointment, 314;
soon, 369;
stay, 392;
mad, 394;
Nay, 398;
serpent, 399;
said, 403;
cruel, 439;
hate, 461;
hearts, 483;
he, 529;
seemed, 529;
Unseen, 554;
morning, 582;
aspect, 585;
And, 593;
remember, 604;
parted, 610.
3. Semicolon added at end of line:
101, 103, 167, 181, 279, 496.
4. Colon added at end of line:
164, 178, 606, 610.
5. Full stop added at end of line:
95, 201, 299, 319, 407, 481, 599, 601, 617.
6. Full stop added elsewhere:
transparent. 85;
trials. 472;
Venice, 583.
7. Admiration--note added at end of line:
392, 492;
elsewhere: 310, 323,
8. Dash added at end of line:
158, 379.
9. Full stop for comma (manuscript):
eye. 119.
10. Full stop for dash (manuscript):
entered. 158.
11. Colon for full stop (manuscript):
tale: 596.
12. Dash for colon (manuscript):
this-- 207;
prepared-- 379.
13. Comma and dash for semicolon (manuscript):
expressionless,-- 292.
14. Comma and dash for comma (manuscript):
not,-- 127.
PROMETHEUS UNBOUND.
The variants of B. (Shelley's 'intermediate draft' of "Prometheus
Unbound", now in the Bodleian Library), here recorded, are taken from
Mr. C. D. Locock's "Examination", etc. , Clarendon Press, 1903. See
Editor's Prefatory Note, above.
1.
Act 1, line 204. B. has--shaken in pencil above--peopled.
2.
Hark that outcry, etc. (1 553. )
All editions read Mark that outcry, etc. As Shelley nowhere else uses
Mark in the sense of List, I have adopted Hark, the reading of B.
3.
Gleamed in the night. I wandered, etc. (1 770. )
Forman proposes to delete the period at night.
4.
But treads with lulling footstep, etc. (1 774. )
Forman prints killing--a misreading of B. Editions 1820, 1839 read silent.
5.
. . . the eastern star looks white, etc. (1 825. )
B. reads wan for white.
6.
Like footsteps of weak melody, etc. (2 1 89. )
B. reads far (above a cancelled lost) for weak.
7.
And wakes the destined soft emotion,--
Attracts, impels them; (2 2 50, 51.
)
The editio princeps (1820) reads destined soft emotion, Attracts, etc. ;
"Poetical Works", 1839, 1st edition reads destined: soft emotion
Attracts, etc. "Poetical Works", 1839, 2nd edition reads destined, soft
emotion Attracts, etc. Forman and Dowden place a period, and Woodberry a
semicolon, at destined (line 50).
8.
There steams a plume-uplifting wind, etc. (2 2 53. )
Here steams is found in B. , in the editio princeps (1820) and in the 1st
edition of "Poetical Works", 1839. In the 2nd edition, 1839, streams
appears--no doubt a misprint overlooked by the editress.
9.
Sucked up and hurrying: as they fleet, etc. (2 2 60. )
So "Poetical Works", 1839, both editions. The editio princeps (1820)
reads hurrying as, etc.
10.
See'st thou shapes within the mist? (2 3 50. )
So B. , where these words are substituted for the cancelled I see thin
shapes within the mist of the editio princeps (1820). 'The credit of
discovering the true reading belongs to Zupitza' (Locock).
11.
2 4 12-18. The construction is faulty here, but the sense, as Professor
Woodberry observes, is clear.
12.
. . . but who rains down, etc. (2 4 100. )
The editio princeps (1820) has reigns--a reading which Forman bravely
but unsuccessfully attempts to defend.
13.
Child of Light! thy limbs are burning, etc. (2 5 54. )
The editio princeps (1820) has lips for limbs, but the word membre in
Shelley's Italian prose version of these lines establishes limbs, the
reading of B. (Locock).
14.
Which in the winds and on the waves doth move, (2 5 96. )
The word and is Rossetti's conjectural emendation, adopted by Forman and
Dowden. Woodberry unhappily observes that 'the emendation corrects a
faultless line merely to make it agree with stanzaic structure, and. . . is
open to the gravest doubt. ' Rossetti's conjecture is fully established
by the authority of B.
15.
3 4 172-174. The editio princeps (1820) punctuates:
mouldering round
These imaged to the pride of kings and priests,
A dark yet mighty faith, a power, etc.
This punctuation is retained by Forman and Dowden; that of our text is
Woodberry's.
16.
3 4 180, 188. A dash has been introduced at the close of these two lines
to indicate the construction more clearly. And for the sake of clearness
a note of interrogation has been substituted for the semicolon of 1820
after Passionless (line 198).
17.
Where lovers catch ye by your loose tresses; (4 107. )
B. has sliding for loose (cancelled).
18.
By ebbing light into her western cave, (4 208. )
Here light is the reading of B. for night (all editions). Mr. Locock
tells us that the anticipated discovery of this reading was the origin
of his examination of the Shelley manuscripts at the Bodleian. In
printing night Marchant's compositor blundered; yet 'we cannot wish the
fault undone, the issue of it being so proper. '
19.
Purple and azure, white, and green, and golden, (4 242. )
The editio princeps (1820) reads white, green and golden, etc. --white
and green being Rossetti's emendation, adopted by Forman and Dowden.
Here again--cf. note on (17) above--Prof. Woodberry commits himself by
stigmatizing the correction as one 'for which there is no authority in
Shelley's habitual versification. ' Rossetti's conjecture is confirmed by
the reading of B. , white and green, etc.
20.
Filling the abyss with sun-like lightenings, (4 276. )
The editio princeps (1820) reads lightnings, for which Rossetti
substitutes lightenings--a conjecture described by Forman as 'an example
of how a very slight change may produce a very calamitous result. ' B.
however supports Rossetti, and in point of fact Shelley usually wrote
lightenings, even where the word counts as a dissyllable (Locock).
21.
Meteors and mists, which throng air's solitudes:-- (4 547. )
For throng (cancelled) B. reads feed, i. e. , 'feed on' (cf. Pasturing
flowers of vegetable fire, 3 4 110)--a reading which carries on the
metaphor of line 546 (ye untameable herds), and ought, perhaps, to be
adopted into the text.
22.
PUNCTUAL VARIATIONS.
The punctuation of our text is that of the editio princeps (1820),
except in the places indicated in the following list, which records in
each instance the pointing of 1820:--
Act 1. --empire. 15; O, 17; God 144; words 185; internally. 299; O, 302;
gnash 345; wail 345; Sufferer 352; agony. 491; Between 712; cloud 712;
vale 826.
Act 2:
Scene 1. --air 129; by 153; fire, 155.
Scene 2. --noonday, 25; hurrying 60.
Scene 3. --mist. 50.
Scene 4. --sun, 4; Ungazed 5; on 103; ay 106; secrets. 115.
Scene 5. --brightness 67.
Act 3:
Scene 3. --apparitions, 49; beauty, 51; phantoms, (omit parentheses) 52;
reality, 53; wind 98.
Scene 4. --toil 109; fire. 110; feel; 114; borne; 115; said 124;
priests, 173; man, 180; hate, 188; Passionless; 198.
Act 4. --dreams, 66; be. 165; light. 168; air, 187; dreams, 209; woods 211;
thunder-storm, 215; lie 298; bones 342; blending. 343; mire. 349;
pass, 371; kind 385; move. 387.
THE CENCI.
1.
The deed he saw could not have rated higher
Than his most worthless life:-- (1 1 24, 25. )
Than is Mrs. Shelley's emendation (1839) for That, the word in the
editio princeps (1819) printed in Italy, and in the (standard) edition
of 1821. The sense is: 'The crime he witnessed could not have proved
costlier to redeem than his murder has proved to me. '
2.
And but that there yet remains a deed to act, etc. (1 1 100. )
Read: And but : that there yet : remains : etc.
3.
1 1 111-113. The earliest draft of these lines appears as a tentative
fragment in the Bodleian manuscript of "Prince Athanase" (vid. supr. ).
In the Bodleian manuscript of "Prometheus Unbound" they reappear (after
2 4 27) in a modified shape, as follows:--
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;
Here again, however, the passage is cancelled, once more to reappear in
its final and most effective shape in "The Cenci" (Locock).
4.
And thus I love you still, but holily,
Even as a sister or a spirit might; (1 2 24, 25. )
For this, the reading of the standard edition (1821), the editio
princeps has, And yet I love, etc. , which Rossetti retains. If yet be
right, the line should be punctuated:--
And yet I love you still,--but holily,
Even as a sister or a spirit might;
5.
What, if we,
The desolate and the dead, were his own flesh,
His children and his wife, etc. (1 3 103-105. )
For were (104) Rossetti cj. are or wear. Wear is a plausible emendation,
but the text as it stands is defensible.
6.
But that no power can fill with vital oil
That broken lamp of flesh. (3 2 17, 18. )
The standard text (1821) has a Shelleyan comma after oil (17), which
Forman retains. Woodberry adds a dash to the comma, thus making that
(17) a demonstrative pronoun indicating broken lamp of flesh. The
pointing of our text is that of editions 1819, 1839, But that (17) is to
be taken as a prepositional conjunction linking the dependent clause, no
power. . . lamp of flesh, to the principal sentence, So wastes. . . kindled
mine (15, 16).
7.
The following list of punctual variations indicates the places where our
pointing departs from that of the standard text of 1821, and records in
each instance the pointing of that edition:--
Act 1, Scene 2:--Ah! No, 34; Scene 3:--hope, 29; Why 44;
love 115; thou 146; Ay 146.
Act 2, Scene 1:--Ah! No, 13; Ah! No, 73; courage 80; nook 179;
Scene 2:--fire, 70; courage 152.
Act 3, Scene 1:--Why 64; mock 185; opinion 185; law 185; strange 188;
friend 222;
Scene 2:--so 3; oil, 17.
Act 4, Scene 1:--wrong 41; looked 97; child 107;
Scene 3:--What 19; father, (omit quotes) 32.
Act 5, Scene 2:--years 119;
Scene 3:--Ay, 5; Guards 94;
Scene 4:--child, 145.
THE MASK OF ANARCHY.
Our text follows in the main the transcript by Mrs. Shelley (with
additions and corrections in Shelley's hand) known as the 'Hunt
manuscript. ' For the readings of this manuscript we are indebted to Mr.
Buxton Forman's Library Edition of the Poems, 1876. The variants of the
'Wise manuscript' (see Prefatory Note) are derived from the Facsimile
edited in 1887 for the Shelley Society by Mr. Buxton Forman.
1.
Like Eldon, an ermined gown; (4 2. )
The editio princeps (1832) has Like Lord E-- here. Lord is inserted in
minute characters in the Wise manuscript, but is rejected from our text
as having been cancelled by the poet himself in the (later) Hunt
manuscript.
2.
For he knew the Palaces
Of our Kings were rightly his; (20 1, 2. )
For rightly (Wise manuscript) the Hunt manuscript and editions 1832,
1839 have nightly which is retained by Rossetti and in Forman's text of
1876. Dowden and Woodberry print rightly which also appears in Forman's
latest text ("Aldine Shelley", 1892).
3.
In a neat and happy home. (54 4. )
For In (Wise manuscript, editions 1832, 1839) the Hunt manuscript reads
To a neat, etc. , which is adopted by Rossetti and Dowden, and appeared
in Forman's text of 1876. Woodberry and Forman (1892) print In a neat,
etc.
4.
Stanzas 70 3, 4; 71 1. These form one continuous clause in every text
save the editio princeps, 1832, where a semicolon appears after around
(70 4).
5.
Our punctuation follows that of the Hunt manuscript, save in the
following places, where a comma, wanting in the manuscript, is supplied
in the text:--gay 47; came 58; waken 122; shaken 123; call 124; number
152; dwell 163; thou 209; thee 249; fashion 287; surprise 345; free 358.
A semicolon is supplied after earth (line 131).
PETER BELL THE THIRD.
Thomas Brown, Esq. , the Younger, H. F. , to whom the "Dedication" is
addressed, is the Irish poet, Tom Moore. The letters H. F. may stand for
'Historian of the Fudges' (Garnett), Hibernicae Filius (Rossetti), or,
perhaps, Hibernicae Fidicen. Castles and Oliver (3 2 1; 7 4 4) were
government spies, as readers of Charles Lamb are aware. The allusion in
6 36 is to Wordsworth's "Thanksgiving Ode on The Battle of Waterloo",
original version, published in 1816:--
But Thy most dreaded instrument,
In working out a pure intent,
Is Man--arrayed for mutual slaughter,
--Yea, Carnage is Thy daughter!
1.
For under edition 1839 has beneath, which, however, is cancelled for
under in the Bodleian manuscript (Locock).
11.
Lines 251-254. This, with many other places from line 222 onwards,
evidently lacks Shelley's final corrections.
12.
Line 259. According to Mr. Locock, the final text of this line in the
Bodleian manuscript runs:--
Exulting, while the wide world shrinks below, etc.
13.
Fragment 5 (lines 261-278). The text here is much tortured in the
Bodleian manuscript. What the editions give us is clearly but a rough
and tentative draft. 'The language contains no third rhyme to mountains
(line 262) and fountains (line 264). ' Locock. Lines 270-278 were first
printed by Mr. Locock.
14.
Line 289. For light (Bodleian manuscript) here the editions read bright.
But light is undoubtedly the right word: cf. line 287. Investeth (line
285), Rossetti's cj. for Investeth (1824, 1839) is found in the Bodleian
manuscript.
15.
Lines 297-302 (the darts. . . ungarmented). First printed by Mr. Locock
from the Bodleian manuscript.
16.
Another Fragment (A). Lines 1-3 of this Fragment reappear in a modified
shape in the Bodleian manuscript of "Prometheus Unbound", 2 4 28-30:--
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;
Here the lines are cancelled--only, however, to reappear in a heightened
shape in "The Cenci", 1 1 111-113:--
The dry, fixed eyeball; the pale quivering lip,
Which tells me that the spirit weeps within
Tears bitterer than the bloody sweat of Christ.
(Garnett, Locock. )
17.
PUNCTUAL VARIATIONS.
The punctuation of "Prince Athanase" is that of "Poetical Works", 1839,
save in the places specified in the notes above, and in line 60--where
there is a full stop, instead of the comma demanded by the sense, at the
close of the line.
ROSALIND AND HELEN.
1.
A sound from there, etc. (line 63. )
Rossetti's cj. , there for thee, is adopted by all modern editors.
2.
And down my cheeks the quick tears fell, etc. (line 366. )
The word fell is Rossetti's cj. (to rhyme with tell, line 369) for ran
1819, 1839).
3.
Lines 405-409. The syntax here does not hang together, and Shelley may
have been thinking of this passage amongst others when, on September 6,
1819, he wrote to Ollier:--'In the "Rosalind and Helen" I see there are
some few errors, which are so much the worse because they are errors in
the sense. ' The obscurity, however, may have been, in part at least,
designed: Rosalind grows incoherent before breaking off abruptly. No
satisfactory emendation has been proposed.
4.
Where weary meteor lamps repose, etc. (line 551. )
With Woodberry I regard Where, his cj. for When (1819, 1839), as
necessary for the sense.
5.
With which they drag from mines of gore, etc. (line 711. )
Rossetti proposes yore for gore here, or, as an alternative, rivers of
gore, etc. If yore be right, Shelley's meaning is: 'With which from of
old they drag,' etc. But cf. Note (3) above.
6.
Where, like twin vultures, etc. (line 932. )
Where is Woodberry's reading for When (1819, 1839). Forman suggests
Where but does not print it.
7.
Lines 1093-1096. The editio princeps (1819) punctuates:--
Hung in dense flocks beneath the dome,
That ivory dome, whose azure night
With golden stars, like heaven, was bright
O'er the split cedar's pointed flame;
8.
Lines 1168-1170. Sunk (line 1170) must be taken as a transitive in this
passage, the grammar of which is defended by Mr. Swinburne.
9.
Whilst animal life many long years
Had rescue from a chasm of tears; (lines 1208-9. )
Forman substitutes rescue for rescued (1819, 1839)--a highly probable
cj. adopted by Dowden, but rejected by Woodberry. The sense is: 'Whilst
my life, surviving by the physical functions merely, thus escaped during
many years from hopeless weeping. '
10.
PUNCTUAL VARIATIONS.
The following is a list of punctual variations, giving in each case the
pointing of the editio princeps (1819):--heart 257; weak 425; Aye 492;
There--now 545; immortally 864; not, 894; bleeding, 933; Fidelity 1055;
dome, 1093; bright 1095; tremble, 1150; life-dissolving 1166; words,
1176; omit parentheses lines 1188-9; bereft, 1230.
JULIAN AND MADDALO.
1.
Line 158. Salutations past; (1824); Salutations passed; (1839). Our text
follows Woodberry.
2.
--we might be all
We dream of happy, high, majestical. (lines 172-3. )
So the Hunt manuscript, edition 1824, has a comma after of (line 173),
which is retained by Rossetti and Dowden.
3.
--his melody
Is interrupted--now we hear the din, etc. (lines 265-6. )
So the Hunt manuscript; his melody Is interrupted now: we hear the din,
etc. , 1824, 1829.
4.
Lines 282-284. The editio princeps (1824) runs:--
Smiled in their motions as they lay apart,
As one who wrought from his own fervid heart
The eloquence of passion: soon he raised, etc.
5.
Line 414. The editio princeps (1824) has a colon at the end of this
line, and a semicolon at the close of line 415.
6.
The 'three-dots' point, which appears several times in these pages, is
taken from the Hunt manuscript and serves to mark a pause longer than
that of a full stop.
7.
He ceased, and overcome leant back awhile, etc. (line 511. )
The form leant is retained here, as the stem-vowel, though unaltered in
spelling, is shortened in pronunciation. Thus leant (pronounced 'lent')
from lean comes under the same category as crept from creep, lept from
leap, cleft from cleave, etc. --perfectly normal forms, all of them. In
the case of weak preterites formed without any vowel-change, the more
regular formation with ed is that which has been adopted in this volume.
See Editor's "Preface".
8.
CANCELLED FRAGMENTS OF JULIAN AND MADDALO. These were first printed by
Dr. Garnett, "Relics of Shelley", 1862.
9.
PUNCTUAL VARIATIONS.
Shelley's final transcript of "Julian and Maddalo", though written with
great care and neatness, is yet very imperfectly punctuated. He would
seem to have relied on the vigilance of Leigh Hunt--or, failing Hunt, of
Peacock--to make good all omissions while seeing the poem through the
press. Even Mr. Buxton Forman, careful as he is to uphold manuscript
authority in general, finds it necessary to supplement the pointing of
the Hunt manuscript in no fewer than ninety-four places. The following
table gives a list of the pointings adopted in our text, over and above
those found in the Hunt manuscript. In all but four or five instances,
the supplementary points are derived from Mrs. Shelley's text of 1824.
1. Comma added at end of line:
40, 54, 60, 77, 78, 85, 90, 94, 107,
110, 116, 120, 123, 134, 144, 145,
154, 157, 168, 179, 183, 191, 196,
202, 203, 215, 217, 221, 224, 225,
238, 253, 254, 262, 287, 305, 307,
331, 338, 360, 375, 384, 385, 396,
432, 436, 447, 450, 451, 473, 475,
476, 511, 520, 526, 541, 582, 590,
591, 592, 593, 595, 603, 612.
2. Comma added elsewhere:
seas, 58; vineyards, 58;
dismounted, 61;
evening, 65;
companion, 86;
isles, 90;
meant, 94;
Look, Julian, 96;
maniacs, 110;
maker, 113;
past, 114;
churches, 136;
rainy, 141;
blithe, 167;
beauty, 174;
Maddalo, 192;
others, 205;
this, 232;
respects, 241;
shriek, 267;
wrote, 286;
month, 300;
cried, 300;
O, 304;
and, 306;
misery, disappointment, 314;
soon, 369;
stay, 392;
mad, 394;
Nay, 398;
serpent, 399;
said, 403;
cruel, 439;
hate, 461;
hearts, 483;
he, 529;
seemed, 529;
Unseen, 554;
morning, 582;
aspect, 585;
And, 593;
remember, 604;
parted, 610.
3. Semicolon added at end of line:
101, 103, 167, 181, 279, 496.
4. Colon added at end of line:
164, 178, 606, 610.
5. Full stop added at end of line:
95, 201, 299, 319, 407, 481, 599, 601, 617.
6. Full stop added elsewhere:
transparent. 85;
trials. 472;
Venice, 583.
7. Admiration--note added at end of line:
392, 492;
elsewhere: 310, 323,
8. Dash added at end of line:
158, 379.
9. Full stop for comma (manuscript):
eye. 119.
10. Full stop for dash (manuscript):
entered. 158.
11. Colon for full stop (manuscript):
tale: 596.
12. Dash for colon (manuscript):
this-- 207;
prepared-- 379.
13. Comma and dash for semicolon (manuscript):
expressionless,-- 292.
14. Comma and dash for comma (manuscript):
not,-- 127.
PROMETHEUS UNBOUND.
The variants of B. (Shelley's 'intermediate draft' of "Prometheus
Unbound", now in the Bodleian Library), here recorded, are taken from
Mr. C. D. Locock's "Examination", etc. , Clarendon Press, 1903. See
Editor's Prefatory Note, above.
1.
Act 1, line 204. B. has--shaken in pencil above--peopled.
2.
Hark that outcry, etc. (1 553. )
All editions read Mark that outcry, etc. As Shelley nowhere else uses
Mark in the sense of List, I have adopted Hark, the reading of B.
3.
Gleamed in the night. I wandered, etc. (1 770. )
Forman proposes to delete the period at night.
4.
But treads with lulling footstep, etc. (1 774. )
Forman prints killing--a misreading of B. Editions 1820, 1839 read silent.
5.
. . . the eastern star looks white, etc. (1 825. )
B. reads wan for white.
6.
Like footsteps of weak melody, etc. (2 1 89. )
B. reads far (above a cancelled lost) for weak.
7.
And wakes the destined soft emotion,--
Attracts, impels them; (2 2 50, 51.
)
The editio princeps (1820) reads destined soft emotion, Attracts, etc. ;
"Poetical Works", 1839, 1st edition reads destined: soft emotion
Attracts, etc. "Poetical Works", 1839, 2nd edition reads destined, soft
emotion Attracts, etc. Forman and Dowden place a period, and Woodberry a
semicolon, at destined (line 50).
8.
There steams a plume-uplifting wind, etc. (2 2 53. )
Here steams is found in B. , in the editio princeps (1820) and in the 1st
edition of "Poetical Works", 1839. In the 2nd edition, 1839, streams
appears--no doubt a misprint overlooked by the editress.
9.
Sucked up and hurrying: as they fleet, etc. (2 2 60. )
So "Poetical Works", 1839, both editions. The editio princeps (1820)
reads hurrying as, etc.
10.
See'st thou shapes within the mist? (2 3 50. )
So B. , where these words are substituted for the cancelled I see thin
shapes within the mist of the editio princeps (1820). 'The credit of
discovering the true reading belongs to Zupitza' (Locock).
11.
2 4 12-18. The construction is faulty here, but the sense, as Professor
Woodberry observes, is clear.
12.
. . . but who rains down, etc. (2 4 100. )
The editio princeps (1820) has reigns--a reading which Forman bravely
but unsuccessfully attempts to defend.
13.
Child of Light! thy limbs are burning, etc. (2 5 54. )
The editio princeps (1820) has lips for limbs, but the word membre in
Shelley's Italian prose version of these lines establishes limbs, the
reading of B. (Locock).
14.
Which in the winds and on the waves doth move, (2 5 96. )
The word and is Rossetti's conjectural emendation, adopted by Forman and
Dowden. Woodberry unhappily observes that 'the emendation corrects a
faultless line merely to make it agree with stanzaic structure, and. . . is
open to the gravest doubt. ' Rossetti's conjecture is fully established
by the authority of B.
15.
3 4 172-174. The editio princeps (1820) punctuates:
mouldering round
These imaged to the pride of kings and priests,
A dark yet mighty faith, a power, etc.
This punctuation is retained by Forman and Dowden; that of our text is
Woodberry's.
16.
3 4 180, 188. A dash has been introduced at the close of these two lines
to indicate the construction more clearly. And for the sake of clearness
a note of interrogation has been substituted for the semicolon of 1820
after Passionless (line 198).
17.
Where lovers catch ye by your loose tresses; (4 107. )
B. has sliding for loose (cancelled).
18.
By ebbing light into her western cave, (4 208. )
Here light is the reading of B. for night (all editions). Mr. Locock
tells us that the anticipated discovery of this reading was the origin
of his examination of the Shelley manuscripts at the Bodleian. In
printing night Marchant's compositor blundered; yet 'we cannot wish the
fault undone, the issue of it being so proper. '
19.
Purple and azure, white, and green, and golden, (4 242. )
The editio princeps (1820) reads white, green and golden, etc. --white
and green being Rossetti's emendation, adopted by Forman and Dowden.
Here again--cf. note on (17) above--Prof. Woodberry commits himself by
stigmatizing the correction as one 'for which there is no authority in
Shelley's habitual versification. ' Rossetti's conjecture is confirmed by
the reading of B. , white and green, etc.
20.
Filling the abyss with sun-like lightenings, (4 276. )
The editio princeps (1820) reads lightnings, for which Rossetti
substitutes lightenings--a conjecture described by Forman as 'an example
of how a very slight change may produce a very calamitous result. ' B.
however supports Rossetti, and in point of fact Shelley usually wrote
lightenings, even where the word counts as a dissyllable (Locock).
21.
Meteors and mists, which throng air's solitudes:-- (4 547. )
For throng (cancelled) B. reads feed, i. e. , 'feed on' (cf. Pasturing
flowers of vegetable fire, 3 4 110)--a reading which carries on the
metaphor of line 546 (ye untameable herds), and ought, perhaps, to be
adopted into the text.
22.
PUNCTUAL VARIATIONS.
The punctuation of our text is that of the editio princeps (1820),
except in the places indicated in the following list, which records in
each instance the pointing of 1820:--
Act 1. --empire. 15; O, 17; God 144; words 185; internally. 299; O, 302;
gnash 345; wail 345; Sufferer 352; agony. 491; Between 712; cloud 712;
vale 826.
Act 2:
Scene 1. --air 129; by 153; fire, 155.
Scene 2. --noonday, 25; hurrying 60.
Scene 3. --mist. 50.
Scene 4. --sun, 4; Ungazed 5; on 103; ay 106; secrets. 115.
Scene 5. --brightness 67.
Act 3:
Scene 3. --apparitions, 49; beauty, 51; phantoms, (omit parentheses) 52;
reality, 53; wind 98.
Scene 4. --toil 109; fire. 110; feel; 114; borne; 115; said 124;
priests, 173; man, 180; hate, 188; Passionless; 198.
Act 4. --dreams, 66; be. 165; light. 168; air, 187; dreams, 209; woods 211;
thunder-storm, 215; lie 298; bones 342; blending. 343; mire. 349;
pass, 371; kind 385; move. 387.
THE CENCI.
1.
The deed he saw could not have rated higher
Than his most worthless life:-- (1 1 24, 25. )
Than is Mrs. Shelley's emendation (1839) for That, the word in the
editio princeps (1819) printed in Italy, and in the (standard) edition
of 1821. The sense is: 'The crime he witnessed could not have proved
costlier to redeem than his murder has proved to me. '
2.
And but that there yet remains a deed to act, etc. (1 1 100. )
Read: And but : that there yet : remains : etc.
3.
1 1 111-113. The earliest draft of these lines appears as a tentative
fragment in the Bodleian manuscript of "Prince Athanase" (vid. supr. ).
In the Bodleian manuscript of "Prometheus Unbound" they reappear (after
2 4 27) in a modified shape, as follows:--
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;
Here again, however, the passage is cancelled, once more to reappear in
its final and most effective shape in "The Cenci" (Locock).
4.
And thus I love you still, but holily,
Even as a sister or a spirit might; (1 2 24, 25. )
For this, the reading of the standard edition (1821), the editio
princeps has, And yet I love, etc. , which Rossetti retains. If yet be
right, the line should be punctuated:--
And yet I love you still,--but holily,
Even as a sister or a spirit might;
5.
What, if we,
The desolate and the dead, were his own flesh,
His children and his wife, etc. (1 3 103-105. )
For were (104) Rossetti cj. are or wear. Wear is a plausible emendation,
but the text as it stands is defensible.
6.
But that no power can fill with vital oil
That broken lamp of flesh. (3 2 17, 18. )
The standard text (1821) has a Shelleyan comma after oil (17), which
Forman retains. Woodberry adds a dash to the comma, thus making that
(17) a demonstrative pronoun indicating broken lamp of flesh. The
pointing of our text is that of editions 1819, 1839, But that (17) is to
be taken as a prepositional conjunction linking the dependent clause, no
power. . . lamp of flesh, to the principal sentence, So wastes. . . kindled
mine (15, 16).
7.
The following list of punctual variations indicates the places where our
pointing departs from that of the standard text of 1821, and records in
each instance the pointing of that edition:--
Act 1, Scene 2:--Ah! No, 34; Scene 3:--hope, 29; Why 44;
love 115; thou 146; Ay 146.
Act 2, Scene 1:--Ah! No, 13; Ah! No, 73; courage 80; nook 179;
Scene 2:--fire, 70; courage 152.
Act 3, Scene 1:--Why 64; mock 185; opinion 185; law 185; strange 188;
friend 222;
Scene 2:--so 3; oil, 17.
Act 4, Scene 1:--wrong 41; looked 97; child 107;
Scene 3:--What 19; father, (omit quotes) 32.
Act 5, Scene 2:--years 119;
Scene 3:--Ay, 5; Guards 94;
Scene 4:--child, 145.
THE MASK OF ANARCHY.
Our text follows in the main the transcript by Mrs. Shelley (with
additions and corrections in Shelley's hand) known as the 'Hunt
manuscript. ' For the readings of this manuscript we are indebted to Mr.
Buxton Forman's Library Edition of the Poems, 1876. The variants of the
'Wise manuscript' (see Prefatory Note) are derived from the Facsimile
edited in 1887 for the Shelley Society by Mr. Buxton Forman.
1.
Like Eldon, an ermined gown; (4 2. )
The editio princeps (1832) has Like Lord E-- here. Lord is inserted in
minute characters in the Wise manuscript, but is rejected from our text
as having been cancelled by the poet himself in the (later) Hunt
manuscript.
2.
For he knew the Palaces
Of our Kings were rightly his; (20 1, 2. )
For rightly (Wise manuscript) the Hunt manuscript and editions 1832,
1839 have nightly which is retained by Rossetti and in Forman's text of
1876. Dowden and Woodberry print rightly which also appears in Forman's
latest text ("Aldine Shelley", 1892).
3.
In a neat and happy home. (54 4. )
For In (Wise manuscript, editions 1832, 1839) the Hunt manuscript reads
To a neat, etc. , which is adopted by Rossetti and Dowden, and appeared
in Forman's text of 1876. Woodberry and Forman (1892) print In a neat,
etc.
4.
Stanzas 70 3, 4; 71 1. These form one continuous clause in every text
save the editio princeps, 1832, where a semicolon appears after around
(70 4).
5.
Our punctuation follows that of the Hunt manuscript, save in the
following places, where a comma, wanting in the manuscript, is supplied
in the text:--gay 47; came 58; waken 122; shaken 123; call 124; number
152; dwell 163; thou 209; thee 249; fashion 287; surprise 345; free 358.
A semicolon is supplied after earth (line 131).
PETER BELL THE THIRD.
Thomas Brown, Esq. , the Younger, H. F. , to whom the "Dedication" is
addressed, is the Irish poet, Tom Moore. The letters H. F. may stand for
'Historian of the Fudges' (Garnett), Hibernicae Filius (Rossetti), or,
perhaps, Hibernicae Fidicen. Castles and Oliver (3 2 1; 7 4 4) were
government spies, as readers of Charles Lamb are aware. The allusion in
6 36 is to Wordsworth's "Thanksgiving Ode on The Battle of Waterloo",
original version, published in 1816:--
But Thy most dreaded instrument,
In working out a pure intent,
Is Man--arrayed for mutual slaughter,
--Yea, Carnage is Thy daughter!
1.
