The Complete Poetical Works of Percy Bysshe Shelley Part 1

The Complete Poetical Works of Percy Bysshe Sh.e.l.ley.

by Percy Bysshe Sh.e.l.ley.

PREFACE.

This edition of his "Poetical Works" contains all Sh.e.l.ley's ascertained poems and fragments of verse that have hitherto appeared in print. In preparing the volume I have worked as far as possible on the principle of recognizing the editio princeps as the primary textual authority. I have not been content to reprint Mrs. Sh.e.l.ley's recension of 1839, or that of any subsequent editor of the "Poems".

The present text is the result of a fresh collation of the early editions; and in every material instance of departure from the wording of those originals the rejected reading has been subjoined in a footnote. Again, wherever--as in the case of "Julian and Maddalo"--there has appeared to be good reason for superseding the authority of the editio princeps, the fact is announced, and the subst.i.tuted exemplar indicated, in the Prefatory Note. in the case of a few pieces extant in two or more versions of debatable authority the alternative text or texts will be found at the [end] of the [relevant work]; but it may be said once for all that this does not pretend to be a variorum edition, in the proper sense of the term--the textual apparatus does not claim to be exhaustive. Thus I have not thought it necessary to c.u.mber the footnotes with every minute grammatical correction introduced by Mrs. Sh.e.l.ley, apparently on her own authority, into the texts of 1839; nor has it come within the scheme of this edition to record every conjectural emendation adopted or proposed by Rossetti and others in recent times. But it is hoped that, up to and including the editions of 1839 at least, no important variation of the text has been overlooked. Whenever a reading has been adopted on ma.n.u.script authority, a reference to the particular source has been added below.

I have been chary of gratuitous interference with the punctuation of the ma.n.u.scripts and early editions; in this direction, however, some revision was indispensable. Even in his most carefully finished "fair copy" Sh.e.l.ley under-punctuates (Thus in the exquisite autograph "Hunt MS." of "Julian and Maddalo", Mr. Buxton Forman, the most conservative of editors, finds it necessary to supplement Sh.e.l.ley's punctuation in no fewer than ninety-four places.), and sometimes punctuates capriciously. In the very act of transcribing his mind was apt to stray from the work in hand to higher things; he would lose himself in contemplating those airy abstractions and lofty visions of which alone he greatly cared to sing, to the neglect and detriment of the merely external and formal element of his song. Sh.e.l.ley recked little of the jots and t.i.ttles of literary craftsmans.h.i.+p; he committed many a small sin against the rules of grammar, and certainly paid but a halting attention to the nice distinctions of punctuation. Thus in the early editions a comma occasionally plays the part of a semicolon; colons and semicolons seem to be employed interchangeably; a semicolon almost invariably appears where nowadays we should employ the dash; and, lastly, the dash itself becomes a point of all work, replacing indifferently commas, colons, semicolons or periods. Inadequate and sometimes haphazard as it is, however, Sh.e.l.ley's punctuation, so far as it goes, is of great value as an index to his metrical, or at times, it may be, to his rhetorical intention--for, in Sh.e.l.ley's hands, punctuation serves rather to mark the rhythmical pause and onflow of the verse, or to secure some declamatory effect, than to indicate the structure or elucidate the sense. For this reason the original pointing has been retained, save where it tends to obscure or pervert the poet's meaning. Amongst the Editor's Notes at the end of the Volume 3 the reader will find lists of the punctual variations in the longer poems, by means of which the supplementary points now added may be identified, and the original points, which in this edition have been deleted or else replaced by others, ascertained, in the order of their occurrence. In the use of capitals Sh.e.l.ley's practice has been followed, while an attempt has been made to reduce the number of his inconsistencies in this regard.

To have reproduced the spelling of the ma.n.u.scripts would only have served to divert attention from Sh.e.l.ley's poetry to my own ingenuity in disgusting the reader according to the rules of editorial punctilio. (I adapt a phrase or two from the preface to "The Revolt of Islam".) Sh.e.l.ley was neither very accurate, nor always consistent, in his spelling. He was, to say the truth, indifferent about all such matters: indeed, to one absorbed in the spectacle of a world travailing for lack of the gospel of "Political Justice", the study of orthographical niceties must have seemed an occupation for Bedlamites.

Again--as a distinguished critic and editor of Sh.e.l.ley, Professor Dowden, aptly observes in this connexion--'a great poet is not of an age, but for all time.' Irregular or antiquated forms such as 'recieve,' 'sacrifize,' 'tyger,' 'gulph,' 'desart,' 'falshood,' and the like, can only serve to distract the reader's attention, and mar his enjoyment of the verse. Accordingly Sh.e.l.ley's eccentricities in this kind have been discarded, and his spelling reversed in accordance with modern usage. All weak preterite-forms, whether indicatives or participles, have been printed with "ed" rather than "t", participial adjectives and substantives, such as 'past,' alone excepted. In the case of 'leap,' which has two preterite-forms, both employed by Sh.e.l.ley (See for an example of the longer form, the "Hymn to Mercury", 18 5, where 'leaped' rhymes with 'heaped' (line 1). The shorter form, rhyming to 'wept,' 'adapt,' etc., occurs more frequently.)--one with the long vowel of the present-form, the other with a vowel-change (Of course, wherever this vowel-shortening takes place, whether indicated by a corresponding change in the spelling or not, "t", not "ed" is properly used--'cleave,' 'cleft,'; 'deal,' 'dealt'; etc. The forms discarded under the general rule laid down above are such as 'wrackt,'

'prankt,' 's.n.a.t.c.ht,' 'kist,' 'opprest,' etc.) like that of 'crept'

from 'creep'--I have not hesitated to print the longer form 'leaped,'

and the shorter (after Mr. Henry Sweet's example) 'lept,' in order clearly to indicate the p.r.o.nunciation intended by Sh.e.l.ley. In the editions the two vowel-sounds are confounded under the one spelling, 'leapt.' In a few cases Sh.e.l.ley's spelling, though unusual or obsolete, has been retained. Thus in 'aethereal,' 'paean,' and one or two more words the "ae" will be found, and 'airy' still appears as 'aery'. Sh.e.l.ley seems to have uniformly written 'lightening': here the word is so printed whenever it is employed as a trisyllable; elsewhere the ordinary spelling has been adopted. (Not a little has been written about 'uprest' ("Revolt of Islam", 3 21 5), which has been described as a nonce-word deliberately coined by Sh.e.l.ley 'on no better warrant than the exigency of the rhyme.' There can be little doubt that 'uprest' is simply an overlooked misprint for 'uprist'--not by any means a nonce-word, but a genuine English verbal substantive of regular formation, familiar to many from its employment by Chaucer.

True, the corresponding rhyme-words in the pa.s.sage above referred to are 'nest,' 'possessed,' 'breast'; but a laxity such as 'nest'--'uprist' is quite in Sh.e.l.ley's manner. Thus in this very poem we find 'midst'--'shed'st' (6 16), 'mist'--'rest'--'blest' (5 58), 'loveliest'--'mist'--kissed'--'dressed' (5 53). Sh.e.l.ley may have first seen the word in "The Ancient Mariner"; but he employs it more correctly than Coleridge, who seems to have mistaken it for a preterite-form (='uprose') whereas in truth it serves either as the third person singular of the present (='upriseth'), or, as here, for the verbal substantive (='uprising').

The editor of Sh.e.l.ley to-day enters upon a goodly heritage, the acc.u.mulated gains of a series of distinguished predecessors. Mrs.

Sh.e.l.ley's two editions of 1839 form the nucleus of the present volume, and her notes are here reprinted in full; but the arrangement of the poems differs to some extent from that followed by her--chiefly in respect of "Queen Mab", which is here placed at the head of the "Juvenilia", instead of at the forefront of the poems of Sh.e.l.ley's maturity. In 1862 a slender volume of poems and fragments, ent.i.tled "Relics of Sh.e.l.ley", was published by Dr. Richard Garnett, C.B.--a precious sheaf gleaned from the ma.n.u.scripts preserved at Bos...o...b.. Manor. The "Relics" const.i.tute a salvage second only in value to the "Posthumous Poems" of 1824. To the growing ma.s.s of Sh.e.l.ley's verse yet more material was added in 1870 by Mr. William Michael Rossetti, who edited for Moxon the "Complete Poetical Works" published in that year.

To him we owe in particular a revised and greatly enlarged version of the fragmentary drama of "Charles I". But though not seldom successful in restoring the text, Mr. Rossetti pushed revision beyond the bounds of prudence, freely correcting grammatical errors, rectifying small inconsistencies in the sense, and too lightly adopting conjectural emendations on the grounds of rhyme or metre. In the course of an article published in the "Westminster Review" for July, 1870, Miss Mathilde Blind, with the aid of material furnished by Dr. Garnett, 'was enabled,' in the words of Mr. Buxton Forman, 'to supply omissions, make authoritative emendations, and controvert erroneous changes' in Mr. Rossetti's work; and in the more cautiously edited text of his later edition, published by Moxon in 1878, may be traced the influence of her strictures.

Six years later appeared a variorum edition in which for the first time Sh.e.l.ley's text was edited with scientific exactness of method, and with a due respect for the authority of the original editions. It would be difficult indeed to over-estimate the gains which have accrued to the lovers of Sh.e.l.ley from the strenuous labours of Mr.

Harry Buxton Forman, C.B. He too has enlarged the body of Sh.e.l.ley's poetry (Mr. Forman's most notable addition is the second part of "The Daemon of the World", which he printed privately in 1876, and included in his Library Edition of the "Poetical Works" published in the same year. See the "List of Editions", etc. at the end of Volume 3.); but, important as his editions undoubtedly are, it may safely be affirmed that his services in this direction const.i.tute the least part of what we owe him. He has vindicated the authenticity of the text in many places, while in many others he has succeeded, with the aid of ma.n.u.scripts, in restoring it. His untiring industry in research, his wide bibliographical knowledge and experience, above all, his accuracy, as invariable as it is minute, have combined to make him, in the words of Professor Dowden, 'our chief living authority on all that relates to Sh.e.l.ley's writings.' His name stands securely linked for all time to Sh.e.l.ley's by a long series of notable words, including three successive editions (1876, 1882, 1892) of the Poems, an edition of the Prose Remains, as well as many minor publications--a Bibliography ("The Sh.e.l.ley Library", 1886)and several Facsimile Reprints of the early issues, edited for the Sh.e.l.ley Society.

To Professor Dowden, whose authoritative Biography of the poet, published in 1886, was followed in 1890 by an edition of the Poems (Macmillans), is due the addition of several pieces belonging to the juvenile period, incorporated by him in the pages of the "Life of Sh.e.l.ley". Professor Dowden has also been enabled, with the aid of the ma.n.u.scripts placed in his hands, to correct the text of the "Juvenilia" in many places. In 1893 Professor George E. Woodberry edited a "Centenary Edition of the Complete Poetical Works", in which, to quote his own words, an attempt is made 'to summarize the labours of more than half a century on Sh.e.l.ley's text, and on his biography so far as the biography is bound up with the text.' In this Centenary edition the textual variations found in the Harvard College ma.n.u.scripts, as well as those in the ma.n.u.scripts belonging to Mr.

Frederickson of Brooklyn, are fully recorded. Professor Woodberry's text is conservative on the whole, but his revision of the punctuation is drastic, and occasionally sacrifices melody to perspicuity.

In 1903 Mr. C.D. Loc.o.c.k published, in a quarto volume of seventy-five pages, the fruits of a careful scrutiny of the Sh.e.l.ley ma.n.u.scripts now lodged in the Bodleian Library. Mr. Loc.o.c.k succeeded in recovering several inedited fragments of verse and prose. Amongst the poems chiefly concerned in the results of his "Examination" may be named "Marenghi", "Prince Athanase", "The Witch of Atlas", "To Constantia", the "Ode to Naples", and (last, not least) "Prometheus Unbound". Full use has been made in this edition of Mr. Loc.o.c.k's collations, and the fragments recovered and printed by him are included in the text.

Variants derived from the Bodleian ma.n.u.scripts are marked "B." in the footnotes.

On the state of the text generally, and the various quarters in which it lies open to conjectural emendation, I cannot do better than quote the following succinct and luminous account from a "Causerie" on the Sh.e.l.ley ma.n.u.scripts in the Bodleian Library, contributed by Dr.

Richard Garnett, C.B., to the columns of "The Speaker" of December 19, 1903:--

'From the textual point of view, Sh.e.l.ley's works may be divided into three cla.s.ses--those published in his lifetime under his own direction; those also published in his lifetime, but in his absence from the press; and those published after his death. The first cla.s.s includes "Queen Mab", "The Revolt of Islam", and "Alastor" with its appendages, published in England before his final departure for the continent; and "The Cenci" and "Adonais", printed under his own eye at Leghorn and Pisa respectively. Except for some provoking but corrigible misprints in "The Revolt of Islam" and one crucial pa.s.sage in "Alastor", these poems afford little material for conjectural emendation; for the Alexandrines now and then left in the middle of stanzas in "The Revolt of Islam" must remain untouched, as proceeding not from the printer's carelessness but the author's. The second cla.s.s, poems printed during Sh.e.l.ley's lifetime, but not under his immediate inspection, comprise "Prometheus Unbound" and "Rosalind and Helen", together with the pieces which accompanied them, "Epipsychidion", "h.e.l.las", and "Swellfoot the Tyrant". The correction of the most important of these, the "Prometheus", was the least satisfactory. Sh.e.l.ley, though speaking plainly to the publisher, rather hints than expresses his dissatisfaction when writing to Gisborne, the corrector, but there is a pretty clear hint when on a subsequent occasion he says to him, "I have received 'h.e.l.las', which is prettily printed, and with fewer mistakes than any poem I ever published." This also was probably not without influence on his determination to have "The Cenci" and "Adonais" printed in Italy...Of the third cla.s.s of Sh.e.l.ley's writings--those which were first published after his death--sufficient facsimiles have been published to prove that Trelawny's graphic description of the chaotic state of most of them was really in no respect exaggerated...The difficulty is much augmented by the fact that these pieces are rarely consecutive, but literally disiecti membra poetae, scattered through various notebooks in a way to require piecing together as well as deciphering.

The editors of the Posthumous Poems, moreover, though diligent according to their light, were neither endowed with remarkable ac.u.men nor possessed of the wide knowledge requisite for the full intelligence of so erudite a poet as Sh.e.l.ley, hence the perpetration of numerous mistakes. Some few of the ma.n.u.scripts, indeed, such as those of "The Witch of Atlas", "Julian and Maddalo", and the "Lines at Naples", were beautifully written out for the press in Sh.e.l.ley's best hand, but their very value and beauty necessitated the ordeal of transcription, with disastrous results in several instances. An entire line dropped out of the "Lines at Naples", and although "Julian and Maddalo" was extant in more than one very clear copy, the printed text had several such sense-destroying errors as "least" for "lead".

'The corrupt state of the text has stimulated the ingenuity of numerous correctors, who have suggested many acute and convincing emendations, and some very specious ones which sustained scrutiny has proved untenable. It should be needless to remark that success has in general been proportionate to the facilities of access to the ma.n.u.scripts, which have only of late become generally available. If Sh.e.l.ley is less fortunate than most modern poets in the purity of his text, he is more fortunate than many in the preservation of his ma.n.u.scripts. These have not, as regards a fair proportion, been destroyed or dispersed at auctions, but were protected from either fate by their very character as confused memoranda. As such they remained in the possession of Sh.e.l.ley's widow, and pa.s.sed from her to her son and daughter-in-law. After Sir Percy Sh.e.l.ley's death, Lady Sh.e.l.ley took the occasion of the erection of the monument to Sh.e.l.ley at University College, Oxford, to present [certain of] the ma.n.u.scripts to the Bodleian Library, and verse and sculpture form an imperishable memorial of his connection with the University where his residence was so brief and troubled.' (Dr. Garnett proceeds:--'The most important of the Bodleian ma.n.u.scripts is that of "Prometheus Unbound", which, says Mr. Loc.o.c.k, has the appearance of being an intermediate draft, and also the first copy made. This should confer considerable authority on its variations from the accepted text, as this appears to have been printed from a copy not made by Sh.e.l.ley himself. "My 'Prometheus'," he writes to Ollier on September 6, 1819, "is now being transcribed," an expression which he would hardly have used if he had himself been the copyist. He wished the proofs to be sent to him in Italy for correction, but to this Ollier objected, and on May 14, 1820, Sh.e.l.ley signifies his acquiescence, adding, however, "In this case I shall repose trust in your care respecting the correction of the press; Mr.

Gisborne will revise it; he heard it recited, and will therefore more readily seize any error." This confidence in the accuracy of Gisborne's verbal memory is touching! From a letter to Gisborne on May 26 following it appears that the offer to correct came from him, and that Sh.e.l.ley sent him "two little papers of corrections and additions," which were probably made use of, or the fact would have been made known. In the case of additions this may satisfactorily account for apparent omissions in the Bodleian ma.n.u.script. Gisborne, after all, did not prove fully up to the mark. "It is to be regretted," writes Sh.e.l.ley to Ollier on November 20, "that the errors of the press are so numerous," adding, "I shall send you the list of errata in a day or two." This was probably "the list of errata written by Sh.e.l.ley himself," from which Mrs. Sh.e.l.ley corrected the edition of 1839.')

In placing "Queen Mab" at the head of the "Juvenilia" I have followed the arrangement adopted by Mr. Buxton Forman in his Library Edition of 1876. I have excluded "The Wandering Jew", having failed to satisfy myself of the sufficiency of the grounds on which, in certain quarters, it is accepted as the work of Sh.e.l.ley. The shorter fragments are printed, as in Professor Dowden's edition of 1890, along with the miscellaneous poems of the years to which they severally belong, under t.i.tles which are sometimes borrowed from Mr. Buxton Forman, sometimes of my own choosing. I have added a few brief Editor's Notes, mainly on textual questions, at the end of the book. Of the poverty of my work in this direction I am painfully aware; but in the present edition the ordinary reader will, it is hoped, find an authentic, complete, and accurately printed text, and, if this be so, the princ.i.p.al end and aim of the OXFORD Sh.e.l.lEY will have been attained.

I desire cordially to acknowledge the courtesy of Mr. H. Buxton Forman, C.B., by whose kind sanction the second part of "The Daemon the World" appears in this volume. And I would fain express my deep sense of obligation for manifold information and guidance, derived from Mr. Buxton Forman's various editions, reprints and other publications--especially from the monumental Library Edition of 1876.

Acknowledgements are also due to the poet's grandson, Charles E.J.

Esdaile, Esq., for permission to include the early poems first printed in Professor Dowden's "Life of Sh.e.l.ley"; and to Mr. C.D. Loc.o.c.k, for leave to make full use of the material contained in his interesting and stimulating volume. To Dr. Richard Garnett, C.B., and to Professor Dowden, cordial thanks are hereby tendered for good counsel cheerfully bestowed. To two of the editors of the Sh.e.l.ley Society Reprints, Mr.

Thomas J. Wise and Mr. Robert A. Potts--both generously communicative collectors--I am deeply indebted for the gift or loan of scarce volumes, as well as for many kind offices in other ways. Lastly, to the staff of the Oxford University Press my heartiest thanks are owing, for their unremitting care in all that relates to the printing and correcting of the sheets.

THOMAS HUTCHINSON.

December, 1904.

POSTSCRIPT.

In a valuable paper, 'Notes on Pa.s.sages in Sh.e.l.ley,' contributed to "The Modern Language Review" (October, 1905), Mr. A.C. Bradley discussed, amongst other things, some fifty places in the text of Sh.e.l.ley's verse, and indicated certain errors and omissions in this edition. With the aid of these "Notes" the editor has now carefully revised the text, and has in many places adopted the suggestions or conclusions of their accomplished author.

June, 1913.

PREFACE BY MRS. Sh.e.l.lEY

TO FIRST COLLECTED EDITION, 1839.

Obstacles have long existed to my presenting the public with a perfect edition of Sh.e.l.ley's Poems. These being at last happily removed, I hasten to fulfil an important duty,--that of giving the productions of a sublime genius to the world, with all the correctness possible, and of, at the same time, detailing the history of those productions, as they sprang, living and warm, from his heart and brain. I abstain from any remark on the occurrences of his private life, except inasmuch as the pa.s.sions which they engendered inspired his poetry. This is not the time to relate the truth; and I should reject any colouring of the truth. No account of these events has ever been given at all approaching reality in their details, either as regards himself or others; nor shall I further allude to them than to remark that the errors of action committed by a man as n.o.ble and generous as Sh.e.l.ley, may, as far as he only is concerned, be fearlessly avowed by those who loved him, in the firm conviction that, were they judged impartially, his character would stand in fairer and brighter light than that of any contemporary. Whatever faults he had ought to find extenuation among his fellows, since they prove him to be human; without them, the exalted nature of his soul would have raised him into something divine.

The qualities that struck any one newly introduced to Sh.e.l.ley were,--First, a gentle and cordial goodness that animated his intercourse with warm affection and helpful sympathy. The other, the eagerness and ardour with which he was attached to the cause of human happiness and improvement; and the fervent eloquence with which he discussed such subjects. His conversation was marked by its happy abundance, and the beautiful language in which he clothed his poetic ideas and philosophical notions. To defecate life of its misery and its evil was the ruling pa.s.sion of his soul; he dedicated to it every power of his mind, every pulsation of his heart. He looked on political freedom as the direct agent to effect the happiness of mankind; and thus any new-sprung hope of liberty inspired a joy and an exultation more intense and wild than he could have felt for any personal advantage. Those who have never experienced the workings of pa.s.sion on general and unselfish subjects cannot understand this; and it must be difficult of comprehension to the younger generation rising around, since they cannot remember the scorn and hatred with which the partisans of reform were regarded some few years ago, nor the persecutions to which they were exposed. He had been from youth the victim of the state of feeling inspired by the reaction of the French Revolution; and believing firmly in the justice and excellence of his views, it cannot be wondered that a nature as sensitive, as impetuous, and as generous as his, should put its whole force into the attempt to alleviate for others the evils of those systems from which he had himself suffered. Many advantages attended his birth; he spurned them all when balanced with what he considered his duties. He was generous to imprudence, devoted to heroism.

These characteristics breathe throughout his poetry. The struggle for human weal; the resolution firm to martyrdom; the impetuous pursuit, the glad triumph in good; the determination not to despair;--such were the features that marked those of his works which he regarded with most complacency, as sustained by a lofty subject and useful aim.

In addition to these, his poems may be divided into two cla.s.ses,--the purely imaginative, and those which sprang from the emotions of his heart. Among the former may be cla.s.sed the "Witch of Atlas", "Adonais", and his latest composition, left imperfect, the "Triumph of Life". In the first of these particularly he gave the reins to his fancy, and luxuriated in every idea as it rose; in all there is that sense of mystery which formed an essential portion of his perception of life--a clinging to the subtler inner spirit, rather than to the outward form--a curious and metaphysical anatomy of human pa.s.sion and perception.

The second cla.s.s is, of course, the more popular, as appealing at once to emotions common to us all; some of these rest on the pa.s.sion of love; others on grief and despondency; others on the sentiments inspired by natural objects. Sh.e.l.ley's conception of love was exalted, absorbing, allied to all that is purest and n.o.blest in our nature, and warmed by earnest pa.s.sion; such it appears when he gave it a voice in verse. Yet he was usually averse to expressing these feelings, except when highly idealized; and many of his more beautiful effusions he had cast aside unfinished, and they were never seen by me till after I had lost him. Others, as for instance "Rosalind and Helen" and "Lines written among the Euganean Hills", I found among his papers by chance; and with some difficulty urged him to complete them. There are others, such as the "Ode to the Skylark and The Cloud", which, in the opinion of many critics, bear a purer poetical stamp than any other of his productions. They were written as his mind prompted: listening to the carolling of the bird, aloft in the azure sky of Italy; or marking the cloud as it sped across the heavens, while he floated in his boat on the Thames.

No poet was ever warmed by a more genuine and unforced inspiration.

His extreme sensibility gave the intensity of pa.s.sion to his intellectual pursuits; and rendered his mind keenly alive to every perception of outward objects, as well as to his internal sensations.

Such a gift is, among the sad vicissitudes of human life, the disappointments we meet, and the galling sense of our own mistakes and errors, fraught with pain; to escape from such, he delivered up his soul to poetry, and felt happy when he sheltered himself, from the influence of human sympathies, in the wildest regions of fancy. His imagination has been termed too brilliant, his thoughts too subtle. He loved to idealize reality; and this is a taste shared by few. We are willing to have our pa.s.sing whims exalted into pa.s.sions, for this gratifies our vanity; but few of us understand or sympathize with the endeavour to ally the love of abstract beauty, and adoration of abstract good, the to agathon kai to kalon of the Socratic philosophers, with our sympathies with our kind. In this, Sh.e.l.ley resembled Plato; both taking more delight in the abstract and the ideal than in the special and tangible. This did not result from imitation; for it was not till Sh.e.l.ley resided in Italy that he made Plato his study. He then translated his "Symposium" and his "Ion"; and the English language boasts of no more brilliant composition than Plato's Praise of Love translated by Sh.e.l.ley. To return to his own poetry. The luxury of imagination, which sought nothing beyond itself (as a child burdens itself with spring flowers, thinking of no use beyond the enjoyment of gathering them), often showed itself in his verses: they will be only appreciated by minds which have resemblance to his own; and the mystic subtlety of many of his thoughts will share the same fate. The metaphysical strain that characterizes much of what he has written was, indeed, the portion of his works to which, apart from those whose scope was to awaken mankind to aspirations for what he considered the true and good, he was himself particularly attached.

There is much, however, that speaks to the many. When he would consent to dismiss these huntings after the obscure (which, entwined with his nature as they were, he did with difficulty), no poet ever expressed in sweeter, more heart-reaching, or more pa.s.sionate verse, the gentler or more forcible emotions of the soul.

A wise friend once wrote to Sh.e.l.ley: 'You are still very young, and in certain essential respects you do not yet sufficiently perceive that you are so.' It is seldom that the young know what youth is, till they have got beyond its period; and time was not given him to attain this knowledge. It must be remembered that there is the stamp of such inexperience on all he wrote; he had not completed his nine-and-twentieth year when he died. The calm of middle life did not add the seal of the virtues which adorn maturity to those generated by the vehement spirit of youth. Through life also he was a martyr to ill-health, and constant pain wound up his nerves to a pitch of susceptibility that rendered his views of life different from those of a man in the enjoyment of healthy sensations. Perfectly gentle and forbearing in manner, he suffered a good deal of internal irritability, or rather excitement, and his fort.i.tude to bear was almost always on the stretch; and thus, during a short life, he had gone through more experience of sensation than many whose existence is protracted. 'If I die to-morrow,' he said, on the eve of his unantic.i.p.ated death, 'I have lived to be older than my father.' The weight of thought and feeling burdened him heavily; you read his sufferings in his attenuated frame, while you perceived the mastery he held over them in his animated countenance and brilliant eyes.

He died, and the world showed no outward sign. But his influence over mankind, though slow in growth, is fast augmenting; and, in the ameliorations that have taken place in the political state of his country, we may trace in part the operation of his arduous struggles.

His spirit gathers peace in its new state from the sense that, though late, his exertions were not made in vain, and in the progress of the liberty he so fondly loved.

He died, and his place, among those who knew him intimately, has never been filled up. He walked beside them like a spirit of good to comfort and benefit--to enlighten the darkness of life with irradiations of genius, to cheer it with his sympathy and love. Any one, once attached to Sh.e.l.ley, must feel all other affections, however true and fond, as wasted on barren soil in comparison. It is our best consolation to know that such a pure-minded and exalted being was once among us, and now exists where we hope one day to join him;--although the intolerant, in their blindness, poured down anathemas, the Spirit of Good, who can judge the heart, never rejected him.

In the notes appended to the poems I have endeavoured to narrate the origin and history of each. The loss of nearly all letters and papers which refer to his early life renders the execution more imperfect than it would otherwise have been. I have, however, the liveliest recollection of all that was done and said during the period of my knowing him. Every impression is as clear as if stamped yesterday, and I have no apprehension of any mistake in my statements as far as they go. In other respects I am indeed incompetent: but I feel the importance of the task, and regard it as my most sacred duty. I endeavour to fulfil it in a manner he would himself approve; and hope, in this publication, to lay the first stone of a monument due to Sh.e.l.ley's genius, his sufferings, and his virtues:--

Se al seguir son tarda, Forse avverra che 'l bel nome gentile Consacrero con questa stanca penna.

POSTSCRIPT IN SECOND EDITION OF 1839.

In revising this new edition, and carefully consulting Sh.e.l.ley's scattered and confused papers, I found a few fragments which had hitherto escaped me, and was enabled to complete a few poems. .h.i.therto left unfinished. What at one time escapes the searching eye, dimmed by its own earnestness, becomes clear at a future period. By the aid of a friend, I also present some poems complete and correct which hitherto have been defaced by various mistakes and omissions. It was suggested that the poem "To the Queen of my Heart" was falsely attributed to Sh.e.l.ley. I certainly find no trace of it among his papers; and, as those of his intimate friends whom I have consulted never heard of it, I omit it.

Two poems are added of some length, "Swellfoot the Tyrant" and "Peter Bell the Third". I have mentioned the circ.u.mstances under which they were written in the notes; and need only add that they are conceived in a very different spirit from Sh.e.l.ley's usual compositions. They are specimens of the burlesque and fanciful; but, although they adopt a familiar style and homely imagery, there s.h.i.+ne through the radiance of the poet's imagination the earnest views and opinions of the politician and the moralist.

At my request the publisher has restored the omitted pa.s.sages of "Queen Mab". I now present this edition as a complete collection of my husband's poetical works, and I do not foresee that I can hereafter add to or take away a word or line.