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"Into her mother's bosom sweet and soft."

The antecedent of "her" is "the soul”-ie. “a Wood-nymph." Clearly therefore we ought to read "her," and not (as in previous texts) "their."

P. 311.

"(Like a vast fane in a metropolis)" &c.

I have introduced the parenthesis, beginning at this line, and ending at "branchlike traceries." Hitherto, without any such definite punctuation, the construction of the sentence has remained very vague. It will now be seen to run (as I apprehend it should) thus:-"They [the Wood-nymphs] make a green space among the meeting branches; in which space there is religion, and in which space there is also the mute persuasion of unkindled melodies" &c.

P. 312.
Fragment xxi.

These lines appear pretty clearly to be addressed to Byron, whom Shelley visited at Venice in 1818.

P. 313.
Scene from Tasso.

Shelley, writing to Mr Peacock from Milan, 20th April 1818, speaks thus of the drama he was then projecting. "I have devoted this summer, and indeed the next year, to the composition of a tragedy on the subject of Tasso's madness; which, I find upon inspection, is, if properly treated, admirably dramatic and poetical. But you will say I have no dramatic talent. Very true, in a certain sense: but I have taken the resolution to see what kind of tragedy a person without dramatic talent could write. It shall be better morality than Fazio, and better poetry than Bertram, at least." Mr Garnett remarks, with regard to the scene here preserved from the projected drama:-"It would appear that the envy of courtiers and Tasso's rivals would have been among the principal elements of the action: the piece would consequently have borne little resemblance to Göthe's Tasso, which it is doubtful whether Shelley ever read."

P. 314.
Marenghi.

Mrs. Shelley says:-"This fragment refers to an event, told in Sismondi's Histoire des Républiques Italiennes, which occurred during the war when Florence finally subdued Pisa, and reduced it to a province." On referring to Sismondi's book (vol. viii., pp. 142, 143, of the Paris edition of 1826), I find that the hero of this incomplete poem has always been misnamed in the previous texts of Shelley: his name is not Masenghi, but Marenghi―also the local name is not Vada, but Vads. The heroic exploit of Marenghi is narrated by Sismondi as follows:-"Les Florentins ne croyaient guère possible d'ouvrir une brêche aux murs de Pise; en sorte qu'ils se proposaient de réduire la ville par la famine, tandis que leur armée attaquait successivement les divers châteaux du territoire. Les Pisans, de leur côté, s'efforçaient de se pourvoir de vivres: ils envoyèrent quelques galères chercher des blés en Sicile. L'une d'elles, surprise à son retour par des vaisseaux que les Florentins avaient fait armer à Gènes, se réfugia sous la tour de Vado. Un Florentin nommé Pierre Marenghi, qui errait loin de sa patrie frappé d'une sentence capitale, saisit cette circonstance pour rendre à ses concitoyens un service signalé. Il s'élança du rivage, un flambeau à la main, et s'approcha de la galère à la nage malgré les traits qu'on lançait contre lui. Percé de trois blessures, il continua longtemps à se soutenir sous la proue en soulevant son flambeau, jusqu'à ce que le feu se fût communiqué à la galère ennemie de manière à ne plus s'éteindre. Elle brûla en face de la tour de

Vado, tandis que Pierre Marenghi regagna le rivage. Il fut rappelé ensuite dans sa patrie avec honneur." The greater part of Marenghi is now first printed from a transcript made by Mr Garnett, and kindly placed by him at my disposal.

P. 320.

"Which fairies catch in hyacinth bowls."

The emendation of "bowls" instead of “buds " is given by Mr Garnett.

P. 321.
Fragment xxxiv.

I infer that these lines were written in the season of Mrs. Shelley's deep dejection for the loss of the beloved infant William. So also Fragment xxxvii. In the concluding line of No. xxxiv., the word "when" should, I suspect, be "where"—i.e. to the tomb.

P. 323

"And where is truth? On tombs?" &c.

"In tombs" would seem a more natural reading.

P. 327.

A Vision of the Sea.

This poem is not a fragment in the same sense as others. It was published by Shelley during his lifetime (in the Prometheus volume); and its breaking off abruptly at the end must therefore be matter of option, not of casualty.

P. 327.

"As if heaven were ruining in,

Which they seemed to sustain with their terrible mass.

As if ocean had sunk from beneath them, they pass

To their graves" &c.

The punctuation here is my own. Hitherto the pause has been at "beneath them." I cannot see the sense of saying that "the waterspouts seemed to sustain heaven, as if ocean had sunk from beneath them:" but I do see the sense of saying that the waterspouts collapse as if ocean had sunk from beneath them."

P. 331.

"The moon arose up in the murky east."

This is the correction given by Mr. Garnett, on MS. authority, instead of “ the murky earth."

P. 333-
Orpheus.

upon

"No trace of this poem appears in Shelley's note-books: it exists only in a transcript by Mrs. Shelley, who has written, in playful allusion to her toils as an amanuensis: Aspetto fin che il diluvio cala, ed allora cerco di posare argine alle sue parole'-'I await the descent of the flood, and then I endeavour to embank his words.' From this circumstance, as well as from the internal evidence of the piece, I should conjecture that it was an attempt at improvisation. Shelley had severa times heard Sgricci, the renowned improvvisatore, in the winter of 1820, and this may have inspired him with the idea of attempting a similar feat."-(G.) In Mr. Garnett's Relics of Shelley, some lines, duly inserted in our edition, were omitted.

P. 335.

"To picture forth its perfect attributes."

I have here substituted "its" for "his." The latter word seems to be given inadvertently; for the "attributes" evidently pertain to the song of Orpheus-not to Orpheus himself.

P. 336.

To his Genius.

"Shelley's poetry is the idealized representation of Shelley himself. . . . This ideal tendency, gathering beauty with every successive manifestation, finally culminated in the radiant mysticism and rapturous melody' of Epipsychidion; beyond which, progress hardly seems possible. Fiordispina, and the piece which I have ventured to entitle To his Genius (using the latter in the sense of dalμwv), may be regarded as preliminary, though unconscious, studies for this crowning work. This is indicated by the general similarity among the three, as well as by the fact that very many lines now found in Epipsychidion have been transferred to it from the others. . . . The second [To his Genius]. was probably the earlier in point of date. Fiordispina seems to have been written during the first days of Shelley's acquaintance with Emilia Viviani.”—(G.) The poem To his Genius embodies the whole of that which figures, in the collected editions heretofore, as Fragment, No. 1, To. As To his Genius is a confessed fragment, and hardly more fragmentary without than with the lines which were transferred almost verbatim into Epipsychidion, it has appeared to me the more reasonable course to cut out such lines from the verses now before us, unless necessary to the context.

P. 336.

"I have already dedicated two" &c.

"The Revolt of Islam, to Mrs. Shelley: and The Cenci, to Leigh Hunt.”—{G.)

P. 337.

"A flower which, fresh as Lapland roses are,

Lifts its bold head into the world's frore air."

In the Relics of Shelley, the word is "pure," instead of "frore." The emendation seems to me internally probable; and Mr. Garnett, on my suggesting it to him, has expressed his concurrence.

P. 341.

To the Moon.

The last two lines of this fragment, here printed, are added from Shelley's own MS.

P. 342.

"And many pass it by with careless tread."

Mr. Fleay has pointed out to me that the word should be "pass," not (as heretofore) "passed."

P. 345.
Prologue to Hellas.

Mrs. Shelley informs us, in her note on the Prometheus Unbound, that, at the time of her husband's arrival in Italy, he meditated the production of three dramas. One of these was the Prometheus itself; the second, a drama on the subject of Tasso's madness; the third, one founded on the Book of Job-of which,' she adds, 'he never abandoned the idea.' That this was the case will be apparent from the following newly discovered fragment: which may have been (as I have on the whole preferred to describe it) an unfinished prologue to Hellas,-or perhaps the original sketch of that work discarded for the existing more dramatic but less

ambitious version, for which the Perse of Eschylus evidently supplied the model. It is written in the same book as the original MS. of Hellas, and so blended with this as to be only separable after very minute examination. Few even of Shelley's rough drafts have proved more difficult to decipher or connect. Numerous chasms will be observed which, with every diligence, it has proved impossible to fill up: the correct reading of many printed lines is far from certain: and the imperfection of some passages is such as to have occasioned their entire omission."-(G.)

P. 350.
Fragment lxxiv.

It may be surmised that this song belongs to the Unfinished Drama, p. 366, and is an utterance of the "Indian Youth" who cherishes a hopeless passion for the Pirate's Bride. In like manner, The Isle (p. 365) may be a song proper to the Bride herself. The passage of her speech at p. 368,

"Over that islet pared with flowers and moss," &c.

suggests this.

P. 351.

"Athwart the stream, and time's monthless torrent grew."

The meaning of the word "monthless" is not wholly clear, and this dissyllable gives an awkward over-length to the line. Mr. Garnett suggests to me that Shelley probably wrote at first "smooth," and afterwards "loud," as a substitute; and that these two consecutive words have been misread as "monthless." That, with such MS. as Shelley's, such a mistake as this is possible enough, is known to the initiated yet I cannot take upon myself to displace "monthless." My own belief is that it ought to be "mouthless"-the conception in Shelley's mind being this: "Keats's name was 'writ on water '-i.e., on the flood of time, which, as long as it remained in the state of fluid water, was 'mouthless'-did not preserve or utter forth the name but Death supervened, and turned the water into ice, and the letters of the name, from transitory, into permanent."

P. 351.
Fragment lxxix.

This may be surmised to form a dialogue between a depreciator and Shelley himself-who, modestly rather than accurately, confesses that his laurels are not evergreens.

P. 351.
Fragment lxxx.

I am strongly inclined to think this stanza forms part of the same composition as Fragment xxxviii.; and, if the two were united, one might perhaps treat the lyric as a complete one.

P. 352.
Ginevra.

Mrs. Shelley says: "This fragment is part of a poem which Shelley intended to write, founded on a story to be found in the first volume of a book entitled L'Osservatore Fiorentino."

P. 352.

"A moonbeam in the shadow of a cloud

Were less heavenly fair."

It seems clear that Shelley must have written, or intended to write, "Were"-not "Was," as in former texts. The rhythm of this second line is annoyingly imperfect: which we must set down to the laxity of a first draft.

P. 355.

"Through seas and winds, cities and wildernesses."

I don't see much appositeness in this word "winds," and suspect it is a mispriat -not improbably, for "waves," or perhaps "strands." The awakening of the earth to a new day is figured as being effected at the call of "the matin winds;" these arouse " 'every living heart which it (the earth) possesses, through (throughout) seas and waves (?), cities and wildernesses."

P. 355.

"Their barks are wrecked on its inhospitable shore."

Shelley has introduced into the lines on Time (p. 266) a line nearly identical, "Vomitest thy wrecks on its inhospitable shore."

P. 356.

"All eyes

In which that form whose fate they weep in vain

Will never, thought they, kindle smiles again."

We should all use the phrase "to kindle smiles in (not on) eyes." I have therefore made this substitution.

P. 357

"The rats in her heart

Will have made their nest.

Both these lines remain rhymeless. I think Mr. Fleay is almost certainly right in proposing "breast" instead of "heart": for this not only sets the rhyming right so far, but is a more self-consistent statement. In the course of one day after death, the rats might be building a nest in Ginevra's breast, but hardly in her heart. Still, the passage as it has always stood printed possesses a horrible energy and fascination which I cannot bring myself to tamper with. Further, the final line (also at present rhymeless) might perhaps run "she shall rest" (instead of “sleep.") But, even after these alterations, the lines ending with "night" and "couch" would lack rhymes.

P. 358.

"The lark and the thrush and the swallow free." Perhaps "free" ought to be "blithe," to rhyme with "scythe" in the following line.

P. 359

"What none yet ever knew, nor can be known."

This, allowing for a certain latitude of syntax, makes sense: not so the old reading "or can be known."

P. 359.

"Melchior and Lionel."

No doubt these names symbolize Williams and Shelley; the latter of whom is in like wise shadowed forth, to some extent, in the "Lionel" of Rosalind and Helen.

P. 359.

"It was that hill whose intervening brow

Screens Lucca from the Pisan's envious eye."

These lines are self-confessing adaptations of the passage in Dante's Inferno (canto хххііі.)

"Al monte

Perchè i Pisan veder Lucca non ponno."

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