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. Lines 547-549 (6 18 5; 19 1, 2). These lines evidently form a continuous clause. The full stop of the editio princeps at rocks, line 547, has therefore been deleted, and a semicolon substituted for the original comma at the close of line 546.
2. ‘Ay—and at last desert me too.’ (line 603.) Rossetti, who however follows the editio princeps, saw that these words are spoken—not by Peter to his soul, but—by his soul to Peter, by way of rejoinder to the challenge of lines 600-602:—‘And I and you, My dearest Soul, will then make merry, As the Prince Regent did with Sherry.’ In order to indicate this fact, inverted commas are inserted at the close of line 602 and the beginning of line 603.
3. The punctuation of the editio princeps, 1839, has been throughout revised, but—with the two exceptions specified in notes (1) and (2) above—it seemed an unprofitable labour to record the particular alterations, which serve but to clarify—in no instance to modify—the sense as indicated by Mrs. Shelley’s punctuation.
Letter to Maria Gisborne
Our text mainly follows Mrs. Shelley’s transcript, for the readings of which we are indebted to Mr. Buxton Forman’s Library Edition of the Poems, 1876. The variants from Shelley’s draft are supplied by Dr. Garnett.
1. Lines 197-201. These lines, which are wanting in editions 1824 and 1839 (1st edition), are supplied from Mrs. Shelley’s transcript and from Shelley’s draft (Boscombe manuscript). In the 2nd edition of 1839 the following lines appear in their place:— Your old friend Godwin, greater none than he; Though fallen on evil times, yet will he stand, Among the spirits of our age and land, Before the dread tribunal of To-come The foremost, whilst rebuke stands pale and dumb.
2. Line 296. The names in this line are supplied from the two manuscripts. In the “Posthumous Poems” of 1824 the line appears:—Oh! that H— — and — were there, etc.
3. The following list gives the places where the pointing of the text varies from that of Mrs. Shelley’s transcript as reported by Mr. Buxton Forman, and records in each case the pointing of that original:—Turk 26; scorn 40; understood, 49; boat— 75; think, 86; believe; 158; are; 164; fair 233; cameleopard; 240; Now 291.
The Witch of Atlas
1. The following list gives the places where our text departs from the pointing of the editio princeps (“Dedication”, 1839; “Witch of Atlas”, 1824), and records in each case the original pointing:— DEDIC.—pinions, 14; fellow, 41; Othello, 45. WITCH OF ATLAS.—bliss; 164; above. 192; gums 258; flashed 409; sunlight, 409; Thamondocana. 424; by. 432; engraven. 448; apart, 662; mind! 662.
Epipsychidion
1. The following list gives the places where our text departs from the pointing of the editio princeps, 1821, with the original point in each case:—love, 44; pleasure; 68; flowing 96; where! 234; passed 252; dreamed, 278; Night 418; year), 440; children, 528.
Adonais
1. The following list indicates the places in which the punctuation of this edition departs from that of the editio princeps, of 1821, and records in each instance the pointing of that text:—thou 10; Oh 19; apace, 65; Oh 73; flown 138; Thou 142; Ah 154; immersed 167; corpse 172; tender 172; his 193; they 213; Death 217; Might 218; bow, 249; sighs 314; escape 320; Cease 366; dark 406; forth 415; dead, 440; Whilst 493.
Hellas
A Reprint of the original edition (1822) of “Hellas” was edited for the Shelley Society in 1887 by Mr. Thomas J. Wise. In Shelley’s list of Dramatis Personae the Phantom of Mahomet the Second is wanting. Shelley’s list of Errata in edition 1822 was first printed in Mr. Buxton Forman’s Library Edition of the Poems, 1876 (4 page 572). These errata are silently corrected in the text.
1. For Revenge and Wrong bring forth their kind, etc. (lines 728-729.) ‘“For” has no rhyme (unless “are” and “despair” are to be considered such): it requires to rhyme with “hear.” From this defect of rhyme, and other considerations, I (following Mr. Fleay) used to consider it almost certain that “Fear” ought to replace “For”; and I gave “Fear” in my edition of 1870…However, the word in the manuscript [“Williams transcript”] is “For,” and Shelley’s list of errata leaves this unaltered—so we must needs abide by it.’—Rossetti, “Complete Poetical Works of P. B. S.”, edition 1878 (3 volumes), 2 page 456.
2. Lines 729-732. This quatrain, as Dr. Garnett (“Letters of Shelley”, 1884, pages 166, 249) points out, is an expansion of the following lines from the “Agamemmon” of Aeschylus (758-760), quoted by Shelley in a letter to his wife, dated ‘Friday, August 10, 1821’:— to dussebes— meta men pleiona tiktei, sphetera d’ eikota genna.
3. Lines 1091-1093. This passage, from the words more bright to the close of line 1093, is wanting in the editio princeps, 1822, its place being supplied by asterisks. The lacuna in the text is due, no doubt, to the timidity of Ollier, the publisher, whom Shelley had authorised to make excisions from the notes. In “Poetical Works”, 1839, the lines, as they appear in our text, are restored; in Galignani’s edition of “Coleridge, Shelley, and Keats” (Paris, 1829), however, they had already appeared, though with the substitution of wise for bright (line 1091), and of unwithstood for unsubdued (line 1093). Galignani’s reading—native for votive—in line 1095 is an evident misprint. In Ascham’s edition of Shelley (2 volumes, fcp. 8vo., 1834), the passage is reprinted from Galignani.
4. The following list shows the places in which our text departs from the punctuation of the editio princeps, 1822, and records in each instance the pointing of that edition:—dreams 71; course. 125; mockery 150; conqueror 212; streams 235; Moslems 275; West 305; moon, 347; harm, 394; shame, 402; anger 408; descends 447; crime 454; banner. 461; Phanae, 470; blood 551; tyrant 557; Cydaris, 606; Heaven 636; Highness 638; man 738; sayest 738; One 768; mountains 831; dust 885; consummation? 902; dream 921; may 923; death 935; clime. 1005; feast, 1025; horn, 1032; Noon, 1045; death 1057; dowers 1094.
Charles the First
To Mr. Rossetti we owe the reconstruction of this fragmentary drama out of materials partly published by Mrs. Shelley in 1824, partly recovered from manuscript by himself. The bracketed words are, presumably, supplied by Mr. Rossetti to fill actual lacunae in the manuscript; those queried represent indistinct writing. Mr. Rossetti’s additions to the text are indicated in the footnotes. In one or two instances Mr. Forman and Dr. Garnett have restored the true reading. The list of Dramatis Personae is Mr. Forman’s.
The Triumph of Life
1. Lines 131-135. This grammatically incoherent passage is thus conjecturally emended by Rossetti:— Fled back like eagles to their native noon; For those who put aside the diadem Of earthly thrones or gems…, Whether of Athens or Jerusalem, Were neither mid the mighty captives seen, etc. In the case of an incomplete poem lacking the author’s final corrections, however, restoration by conjecture is, to say the least of it, gratuitous.
2. Line 282. The words, ‘Even as the deeds of others, not as theirs.’ And then—are wanting in editions 1824, 1839, and were recovered by Dr. Garnett from the Boscombe manuscript. Mrs. Shelley’s note here runs:—‘There is a chasm here in the manuscript which it is impossible to fill. It appears from the context that other shapes pass and that Rousseau still stood beside the dreamer.’ Mr. Forman thinks that the ‘chasm’ is filled up by the words restored from the manuscript by Dr. Garnett. Mr. A.C. Bradley writes: ‘It seems likely that, after writing “I have suffered…pain”, Shelley meant to strike out the words between “known” [276] and “I” [278], and to fill up the gap in such a way that “I” would be the last word of the line beginning “May well be known”.’
Miscellaneous Poems
1. TO —. Mrs. Shelley tentatively assigned this fragment to 1817. ‘It seems not improbable that it was addressed at this time [June, 1814] to Mary Godwin.’ Dowden, “Life”, 1 422, Woodberry suggests that ‘Harriet answers as well, or better, to the situation described.’
2. ON DEATH. These stanzas occur in the Esdaile manuscript along with others which Shelley intended to print with “Queen Mab” in 1813; but the text was revised before publication in 1816.
3. TO —. ‘The poem beginning “Oh, there are spirits in the air,” was addressed in idea to Coleridge, whom he never knew’—writes Mrs. Shelley. Mr. Bertram Dobell, Mr. Rossetti and Professor Dowden, however, incline to think that we have here an address by Shelley in a despondent mood to his own spirit.
4. LINES. These appear to be antedated by a year, as they evidently allude to the death of Harriet Shelley in November, 1816.
5. ANOTHER FRAGMENT TO MUSIC. To Mr. Forman we owe the restoration of the true text here—‘food of Love.’ Mrs. Shelley printed ‘god of Love.’
6. MARENGHI, lines 92, 93. The 1870 (Rossetti) version of these lines is:— White bones, and locks of dun and yellow hair, And ringed horns which buffaloes did wear— The words locks of dun (line 92) are cancelled in the manuscript. Shelley’s failure to cancel the whole line was due, Mr. Locock rightly argues, to inadvertence merely; instead of buffaloes the manuscript gives the buffalo, and it supplies the ‘wonderful line’ (Locock) which closes the stanza in our text, and with which Mr. Locock aptly compares “Mont Blanc”, line 69:— Save when the eagle brings some hunter’s bone, And the wolf tracks her there.
7. ODE TO LIBERTY, lines 1, 2. On the suggestion of his brother, Mr. Alfred Forman, the editor of the Library Edition of Shelley’s Poems (1876), Mr. Buxton Forman, printed these lines as follows:— A glorious people vibrated again: The lightning of the nations, Liberty, From heart to heart, etc. The testimony of Shelley’s autograph in the Harvard College manuscript, however, is final against such a punctuation.
8. Lines 41, 42. We follow Mrs. Shelley’s punctuation (1839). In Shelley’s edition (1820) there is no stop at the end of line 41, and a semicolon closes line 42.
9. ODE TO NAPLES. In Mrs. Shelley’s editions the various sections of this Ode are severally headed as follows:—‘Epode 1 alpha, Epode 2 alpha, Strophe alpha 1, Strophe beta 2, Antistrophe alpha gamma, Antistrophe beta gamma, Antistrophe beta gamma, Antistrophe alpha gamma, Epode 1 gamma, Epode 2 gamma. In the manuscript, Mr. Locock tells us, the headings are ‘very doubtful, many of them being vaguely altered with pen and pencil.’ Shelley evidently hesitated between two or three alternative ways of indicating the structure and corresponding parts of his elaborate song; hence the chaotic jumble of headings printed in editions 1824, 1839. So far as the “Epodes” are concerned, the headings in this edition are those of editions 1824, 1839, which may be taken as supported by the manuscript (Locock). As to the remaining sections, Mr. Locock’s examination of the manuscript leads him to conclude that Shelley’s final choice was:—‘Strophe 1, Strophe 2, Antistrophe 1, Antistrophe 2, Antistrophe 1 alpha, Antistrophe 2 alpha.’ This in itself would be perfectly appropriate, but it would be inconsistent with the method employed in designating the “Epodes”. I have therefore adopted in preference a scheme which, if it lacks manuscript authority in some particulars, has at least the merit of being absolutely logical and consistent throughout.
Mr. Locock has some interesting remarks on the metrical features of this complex ode. On the 10th line of Antistrophe 1a (line 86 of the ode)—Aghast she pass from the Earth’s disk—which exceeds by one foot the 10th lines of the two corresponding divisions, Strophe 1 and Antistrophe 1b, he observes happily enough that ‘Aghast may well have been intended to disappear.’ Mr. Locock does not seem to notice that the closing lines of these three answering sections—(1) hail, hail, all hail!—(2) Thou shalt be great—All hail!—(3) Art Thou of all these hopes.—O hail! increase by regular lengths—two, three, four iambi. Nor does he seem quite to grasp Shelley’s intention with regard to the rhyme scheme of the other triple group, Strophe 2, Antistrophe 2a, Antistrophe 2b. That of Strophe 2 may be thus expressed:—a-a-bc; d-d-bc; a-c-d; b-c. Between this and Antistrophe 2a (the second member of the group) there is a general correspondence with, in one particular, a subtle modification. The scheme now becomes a-a-bc; d-d-bc; a-c-b; d-c: i.e. the rhymes of lines 9 and 10 are transposed—God (line 9) answering to the halfway rhymes of lines 3 and 6, gawd and unawed, instead of (as in Strophe 2) to the rhyme-endings of lines 4 and 5; and, vice versa, fate (line 10) answering to desolate and state (lines 4 and 5), instead of to the halfway rhymes aforesaid. As to Antistrophe 2b, that follows Antistrophe 2a, so far as it goes; but after line 9 it breaks off suddenly, and closes with two lines corresponding in length and rhyme to the closing couplet of Antistrophe 1b, the section immediately preceding, which, however, belongs not to this group, but to the other. Mr. Locock speaks of line 124 as ‘a rhymeless line.’ Rhymeless it is not, for shore, its rhyme-termination, answers to bower and power, the halfway rhymes of lines 118 and 121 respectively. Why Mr. Locock should call line 12 an ‘unmetrical line,’ I cannot see. It is a decasyllabic line, with a trochee substituted for an iambus in the third foot—Around: me gleamed: many a: bright se: pulchre.
10. THE TOWER OF FAMINE.—It is doubtful whether the following note is Shelley’s or Mrs. Shelley’s: ‘At Pisa there still exists the prison of Ugolino, which goes by the name of “La Torre della Fame”; in the adjoining building the galley-slaves are confined. It is situated on the Ponte al Mare on the Arno.’
11. GINEVRA, line 129: Through seas and winds, cities and wildernesses. The footnote omits Professor Dowden’s conjectural emendation—woods—for winds, the reading of edition 1824 here.
12. THE LADY OF THE SOUTH. Our text adopts Mr. Forman’s correction—drouth for drought—in line 3. This should have been recorded in a footnote.
13. HYMN TO MERCURY, line 609. The period at now is supported by the Harvard manuscript.
Juvenilia
Queen Mab
1. Throughout this varied and eternal world Soul is the only element: the block That for uncounted ages has remained The moveless pillar of a mountain’s weight Is active, living spirit. (4, lines 139-143.) This punctuation was proposed in 1888 by Mr. J. R. Tutin (see “Notebook of the Shelley Society”, Part 1, page 21), and adopted by Dowden, “Poetical Works of Shelley”, Macmillan, 1890. The editio princeps (1813), which is followed by Forman (1892) and Woodberry (1893), has a comma after element and a full stop at remained.
2.
Guards…from a nation’s rage Secure the crown, etc. (4, lines 173-176.)
So Mrs. Shelley (“Poetical Works”, 1839, both editions), Rossetti, Forman, Dowden. The editio princeps reads Secures, which Woodberry defends and retains.
3. 4, lines 203-220: omitted by Mrs. Shelley from the text of “Poetical Works”, 1839, 1st edition, but restored in the 2nd edition of 1839. See above, “Note on Queen Mab, by Mrs. Shelley”.
4. All germs of promise, yet when the tall trees, etc. (5, line 9.) So Rossetti, Dowden, Woodberry. In editions 1813 (editio princeps) and 1839 (“Poetical Works”, both editions) there is a full stop at promise which Forman retains.
5. Who ever hears his famished offspring’s scream, etc. (5, line 116.) The editio princeps has offsprings—an evident misprint.
6. 6, lines 54-57, line 275: struck out of the text of “Poetical Works”, 1839 (1st edition), but restored in the 2nd edition of that year. See Note 3 above.
7. The exterminable spirit it contains, etc. (7, line 23.) Exterminable seems to be used here in the sense of ‘illimitable’ (N. E. D.). Rossetti proposes interminable, or inexterminable.
8. A smile of godlike malice reillumed, etc. (7, line 180.) The editio princeps and the first edition of “Poetical Works”, 1839, read reillumined here, which is retained by Forman, Dowden, Woodberry. With Rossetti, I follow Mrs. Shelley’s reading in “Poetical Works”, 1839 (2nd edition).
9. One curse alone was spared—the name of God. (8, line 165.) Removed from the text, “Poetical Works”, 1839 (1st edition); restored, “Poetical Works”, 1839 (2nd edition). See Notes 3 and 6 above.
10. Which from the exhaustless lore of human weal Dawns on the virtuous mind, etc. (8, lines 204-205.) With some hesitation as to lore, I reprint these lines as they are given by Shelley himself in the note on this passage (supra). The text of 1813 runs:— Which from the exhaustless store of human weal Draws on the virtuous mind, etc. This is retained by Woodberry, while Rossetti, Forman, and Dowden adopt eclectic texts, Forman and Dowden reading lore and Draws, while Rossetti, again, reads store and Dawns. Our text is supported by the authority of Dr. Richard Garnett. The comma after infiniteness (line 206) has a metrical, not a logical, value.
11. Nor searing Reason with the brand of God. (9, line 48.) Removed from the text, “Poetical Works”, 1839 (1st edition), by Mrs. Shelley, who failed, doubtless through an oversight, to restore it in the second edition. See Notes 3, 6, and 9 above.
12. Where neither avarice, cunning, pride, nor care, etc. (9, line 67.) The editio princeps reads pride, or care, which is retained by Forman and Woodberry. With Rossetti and Dowden, I follow Mrs. Shelley’s text, “Poetical Works”, 1839 (both editions).
Notes to Queen Mab
1. The mine, big with destructive power, burst under me, etc. (Note on 7 67.) This is the reading of the “Poetical Works” of 1839 (2nd edition). The editio princeps (1813) reads burst upon me. Doubtless under was intended by Shelley: the occurrence, thrice over, of upon in the ten lines preceding would account for the unconscious substitution of the word here, either by the printer, or perhaps by Shelley himself in his transcript for the press.
2. …it cannot arise from reasoning, etc. (Note on 7 135.) The editio princeps (1813) has conviction for reasoning here—an obvious error of the press, overlooked by Mrs. Shelley in 1839, and perpetuated in his several editions of the poems by Mr. H. Buxton Forman. Reasoning, Mr. W.M. Rossetti’s conjectural emendation, is manifestly the right word here, and has been adopted by Dowden and Woodberry.
3.
Him, still from hope to hope, etc. (Note on 8 203-207.)
See editor’s note 10 on “Queen Mab” above.
1. A DIALOGUE.—The titles of this poem, of the stanzas “On an Icicle”, etc., and of the lines “To Death”, were first given by Professor Dowden (“Poetical Works of P. B. S.”, 1890) from the Esdaile manuscript book. The textual corrections from the same quarter (see footnotes passim) are also owing to Professor Dowden.
2. ORIGINAL POETRY BY VICTOR AND CAZIRE.—Dr. Garnett, who in 1898 edited for Mr. John Lane a reprint of these long-lost verses, identifies “Victor’s” coadjutrix, “Cazire”, with Elizabeth Shelley, the poet’s sister. ‘The two initial pieces are the only two which can be attributed to Elizabeth Shelley with absolute certainty, though others in the volume may possibly belong to her’ (Garnett).
3. SAINT EDMOND’S EVE. This ballad-tale was “conveyed” in its entirety by “Cazire” from Matthew Gregory Lewis’s “Tales of Terror”, 1801, where it appears under the title of “The Black Canon of Elmham; or, Saint Edmond’s Eve”. Stockdale, the publisher of “Victor and Cazire”, detected the imposition, and communicated his discovery to Shelley—when ‘with all the ardour natural to his character he [Shelley] expressed the warmest resentment at the imposition practised upon him by his coadjutor, and entreated me to destroy all the copies, of which about one hundred had been put into circulation.’
4.
TO MARY WHO DIED IN THIS OPINION.—From a letter addressed by Shelley to
Miss Hitchener, dated November 23, 1811.
5. A TALE OF SOCIETY.—The titles of this and the following piece were first given by Professor Dowden from the Esdaile manuscript, from which also one or two corrections in the text of both poems, made in Macmillan’s edition of 1890, were derived.
Notes
7. (1) Laon and Cythna;: or,: The Revolution: of: the Golden City:: A Vision of the Nineteenth Century.: In the Stanza of Spenser.: By: Percy B. Shelley.: Dos pou sto, kai kosmon kineso.: Archimedes.: London:: Printed for Sherwood, Neely, & Jones, Paternoster-:Row; and C. and J. Ollier, Welbeck-Street:: By B. M’Millan, Bow-Street, Covent-Garden.: 1818.
(2) The: Revolt of Islam;: A Poem,: in Twelve Cantos.: By: Percy Bysshe Shelley.: London:: Printed for C. and J. Ollier, Welbeck-Street;: By B. M’Millan, Bow-Street, Covent-Garden.: 1818.
(3) A few copies of “The Revolt of Islam” bear date 1817 instead of 1818.
(4) ‘The same sheets were used again in 1829 with a third title-page similar to the foregoing [2], but with the imprint “London:: Printed for John Brooks,: 421 Oxford-Street.: 1829.”’ (H. Buxton Forman, C.B.: The Shelley Library, page 73.)
(5) ‘Copies of the 1829 issue of “The Revolt of Islam” not infrequently occur with “Laon and Cythna” text.’ (Ibid., page 73.)
8.
Rosalind and Helen,: A Modern Eclogue;: With Other Poems:: By: Percy
Bysshe Shelley.: London:: Printed for C. and J. Ollier,: Vere Street,
Bond Street.: 1819.
9.
(1) The Cenci.: A Tragedy,: In Five Acts.: By Percy B. Shelley.:
Italy.: Printed for C. and J. Ollier,: Vere Street, Bond Street.:
London.: 1819.
(2) The Cenci: A Tragedy: In Five Acts: By: Percy Bysshe Shelley: Second Edition: London: C. and J. Ollier Vere Street Bond Street: 1821.
10. Prometheus Unbound: A Lyrical Drama: In Four Acts: With Other Poems: By: Percy Bysshe Shelley: Audisne haec, Amphiarae, sub terram abdite? : London: C. and J. Ollier Vere Street Bond Street: 1820.
12. Epipsychidion: Verses Addressed to the Noble: And Unfortunate Lady: Emilia V—: Now Imprisoned in the Convent of —: L’ anima amante si slancia fuori del creato, e si crea nel infinito: un Mondo tutto per essa, diverso assai da questo oscuro e pauroso: baratro. Her Own Words.: London: C. and J. Ollier Vere Street Bond Street: MDCCCXXI.
13. (1) Adonais: An Elegy on the Death of John Keats,: Author of Endymion, Hyperion etc.: By: Percy B. Shelley: Aster prin men elampes eni zooisin eoos.: Nun de thanon, lampeis esmeros en phthimenois.: Plato.: Pisa: With the Types of Didot: MDCCCXXI.
(2) Adonais.: An Elegy: on the: Death of John Keats,: Author of Endymion, Hyperion, etc.: By: Percy B. Shelley.: [Motto as in (1)] Cambridge:: Printed by W. Metcalfe,: and sold by Messrs. Gee & Bridges, Market-Hill.: MDCCCXXIX.
14. Hellas: A Lyrical Drama: By: Percy B. Shelley: MANTIS EIM’ ESTHAON ‘AGONON: Oedip. Colon.: London: Charles and James Ollier Vere Street : Bond Street: MDCCCXXII. (The last work issued in Shelley’s lifetime.)
15. Posthumous Poems: of: Percy Bysshe Shelley.: In nobil sangue vita umile e queta,: Ed in alto intelletto on puro core;: Frutto senile in sul giovenil fiore,: E in aspetto pensoso anima lieta.: Petrarca.: London, 1824:: Printed for John and Henry L. Hunt,: Tavistock Street, Covent Garden. (Edited by Mrs. Shelley.)
16. The: Masque of Anarchy.: A Poem.: By Percy Bysshe Shelley. Now first published, with a Preface: by Leigh Hunt.: Hope is Strong;: Justice and Truth their winged child have found.: “Revolt of Islam”.: London:: Edward Moxon, 64, New Bond Street.: 1832.
17. The Shelley Papers: Memoir: of: Percy Bysshe Shelley: By T. Medwin, Esq.: And: Original Poems and Papers: By Percy Bysshe Shelley.: Now first collected.: London:: Whittaker, Treacher, & Co.: 1833. (The Poems occupy pages 109-126.)
18. The: Poetical Works: of: Percy Bysshe Shelley.: Edited: by Mrs Shelley.: Lui non trov’ io, ma suoi santi vestigi: Tutti rivolti alla superna strada: Veggio, lunge da’ laghi averni e stigi.—Petrarca.: In Four Volumes.: Vol. 1 [2 3 4]: London:: Edward Moxon, Dover Street.: MDCCCXXXIX.
19. (1) The: Poetical Works: of: Percy Bysshe Shelley: London.: Edward Moxon, Dover Street.: 1839. (This is the engraved title-page. The printed title-page runs:—)
(2) The: Poetical Works: of Percy Bysshe Shelley.: Edited: By Mrs. Shelley.: [Motto from Petrarch as in 18] London:: Edward Moxon, Dover Street.: M.DCCC.XL. (Large octavo, printed in double columns. The Dedication is dated 11th November, 1839.)
20. Essays,: Letters from Abroad,: Translations and Fragments,: By: Percy Bysshe Shelley.: Edited: By Mrs. Shelley.: [Long prose motto translated from Schiller]: In Two Volumes.: Volume 1 [2]: London:: Edward Moxon, Dover Street.: MDCCCXL.
21.
Relics of Shelley.: Edited by: Richard Garnett.: [Lines 20-24 of “To
Jane”: ‘The keen stars,’ etc.]: London:: Edward Moxon & Co., Dover
Street.: 1862.
22. The: Poetical Works: of: Percy Bysshe Shelley:: Including Various Additional Pieces: From Manuscript and Other Sources.: The Text carefully revised, with Notes and: A Memoir,: By William Michael Rossetti.: Volume 1 [2]: [Moxon’s Device.]: London:: E. Moxon, Son, & Co., 44 Dover Street, W.: 1870.
23. The Daemon of the World: By: Percy Bysshe Shelley: The First Part: as published in 1816 with “Alastor”: The Second Part: Deciphered and now First Printed from his own Manuscript: Revision and Interpolations in the Newly Discovered: Copy of “Queen Mab”: London: Privately printed by H. Buxton Forman: 38 Marlborough Hill: 1876.
24.
The Poetical Works: of: Percy Bysshe Shelley: Edited by: Harry
Buxton Forman: In Four Volumes: Volume 1 [2 3 4] London: Reeves and
Turner 196 Strand: 1876.
25. The Complete: Poetical Works: of: Percy Bysshe Shelley.: The Text carefully revised with Notes and: A Memoir,: by: William Michael Rossetti.: In Three Volumes.: Volume 1 [2 3] London:: E. Moxon, Son, And Co.,: Dorset Buildings, Salisbury Square, E.C.: 1878.
26. The Poetical Works: of Percy Bysshe Shelley: Given from His Own Editions and Other Authentic Sources: Collated with many Manuscripts and with all Editions of Authority: Together with Prefaces and Notes: His Poetical Translations and Fragments: and an Appendix of: Juvenilia : Edited by Harry Buxton Forman: In Two Volumes. : Volume 1 [2] London: Reeves and Turner, 196, Strand: 1882.
27.
The: Poetical Works: of: Percy Bysshe Shelley: Edited by: Edward
Dowden: London: Macmillan and Co, Limited: New York: The Macmillan
Company: 1900.
28.
The Poetical Works of: Percy Bysshe Shelley: Edited with a Memoir by:
H. Buxton Forman: In Five Volumes Volume 1 [2 3 4
5] London: George Bell and Sons: 1892.
29. The: Complete Poetical Works: of: Percy Bysshe Shelley: The Text newly collated and revised: and Edited with a Memoir and Notes: By George Edward Woodberry: Centenary Edition: In Four Volumes: Volume 1 [2 3 4] London: Kegan Paul, Trench, Trubner and Co.: Limited: 1893.
30. An Examination of the: Shelley Manuscripts: In the Bodleian Library: Being a collation thereof with the printed: texts, resulting in the publication of: several long fragments hitherto unknown,: and the introduction of many improved: readings into “Prometheus Unbound”, and: other poems, by: C.D. Locock, B.A.: Oxford: At the Clarendon Press: 1903.
The early poems from the Esdaile manuscript book, which are included in this edition by the kind permission of the owner of the volume, Charles E.J. Esdaile, Esq., appeared for the first time in Professor Dowden’s “Life of Percy Bysshe Shelley”, published in the year 1887.
One poem from the same volume; entitled “The Wandering Jew’s Soliloquy”, was printed in one of the Shelley Society Publications (Second Series, No. 12), a reprint of “The Wandering Jew”, edited by Mr. Bertram Dobell in 1887.