ix. 76, 77: That mental bondage which is freedom's self And borrows from sensation's purest tie. 76-92 MS. cancelled. 97 field MS. cancelled || waste MS. 93-102 MS. cancelled. vi. 72-103 Reprinted with Alastor 1816 as Superstition, except 102, 103, which read : Converging, thou didst give it name, and form, Intelligence, and unity, and power. 395 Prince Athanase. Shelley's Note on I. : "The Author was pursuing a fuller development of the ideal character of Athanase, when it struck him that in an attempt at extreme refinement and analysis, his conceptions might be betrayed into the assuming a morbid character. The reader will judge whether he is a loser or gainer by the difference." Mrs. Shelley, 1824. Mrs. Shelley's Note on II. 18392, p. 199: "The idea Shelley had formed of Prince Athanase was a good deal modelled on Alastor. In the first sketch of the poem, he named it Pandemos and Urania. Athanase seeks through the world the One whom he may love. He meets, in the ship in which he is embarked, a lady who appears to him to embody his ideal of love and beauty. But she proves to be Pandemos, or the earthly and unworthy Venus; who, after disappointing his cherished dreams and hopes, deserts him. Athanase, crushed by sorrow, pines and dies. 'On his deathbed, the lady who can really reply to his soul comes and kisses his lips.' (The Deathbed of Athanase.) The poet describes her [ii. 155-160]. This slender note is all we have to aid our imagination in shaping out the form of the poem, such as its author imagined." TEXT: 10 blush James Thomson conj. I. 28 relief; 1824, Forman. 30 chief. 1824, Forman. II. 28 blighting || flitting or fleeting Rossetti conj. 36 gentle omit, 1824. 39 omit, 1824. 50 and master 1824. 69 reeling through the storm || wrecked . . . 1824. 83 here! Rossetti. 105 dark forgetfulness omit, 1824. 155-160 omit 1824, 18391,2. 407 The Woodman and the Nightingale. TEXT: 19 waters, — 1824, 18391,2, Forman, Dowden; waters, Rossetti. 410 Otho. Mrs. Shelley's Note, 18391, iii. 70: “He had this year also projected a poem on the subject of Otho, inspired by the pages of Tacitus. I find one or two stanzas only which were to open the subject." Forman joins with these the lines Once more descend and Inspiration given in this edition, iv. 86, 87. TEXT: ii. 5 buy 18392. 411 Tasso. Shelley (from Milan) to Peacock, April 20, 1818: "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." Mrs. Shelley, Essays and Letters, ii. 118, 119. Shelley (from Milan) to a friend [probably Horace Smith], April 30, 1818: "I have been studying the history of Tasso's life, with some idea of making a drama of his adventures and misfortunes . . . Such a subject would suit English poetry." Dowden, ii. 201 [Garnett conjectures that Shelley abandoned the subject in consequence of Byron's Lament of Tasso.] Shelley's Notes for intended scenes [from the Boscombe MS.]: "Scene where he reads the sonnet which he wrote to Leonora to herself as composed at the request of another. His disguising himself in the habit of a shepherd, and questioning his sister in that disguise concerning himself, and then unveiling himself.” Garnett, Shelley's Select Letters, p. 245. 414 Marenghi. Mrs. Shelley's Note, 1824 : “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." Rossetti identifies the reference in Sismondi (Paris, 1826, viii. 142, 143), and from it corrects the name, given as Mazenghi throughout by Mrs. Shelley, who also gives Vada for Vado. Rossetti derived the text from the Boscombe MS., through Garnett, and adds "December" to Mrs. Shelley's date "Naples, 1818.” TEXT: xiii. 2 cold and toil 1824, 18391,2. 421 Lines written for Julian and Maddalo. From the Boscombe MS. Garnett conjectures the title. TEXT: 12 our || not Forman, Dowden. 422 Lines written for Prometheus Unbound. Misplaced by Mrs. Shelley among the poems of 1821. 422 Lines written for Mont Blanc. From the Boscombe MS. 423 Lines written for the Indian Serenade. combe MS. containing Charles I. tures the title. From the BosRossetti conjec 423 Lines written for the Ode to Liberty. From the Boscombe MS. 423 Stanza written for the Ode written October, 1819. From the Montagu MS. in the Bodleian Library. 424 Lines connected with Epipsychidion. Mrs. Shelley entitled the portion published by her To- ; Garnett incorporated this in the lines published by him from the Boscombe MS., and entitled the poem To His Genius, and then gave separately from the same source the remainder as four cancelled fragments of Epipsychidion. It is to be inferred that a poem, substantially Epipsychidion, was in Shelley's mind before his meeting with Emilia Viviani, and that she was less the inspiration of it than the occasion of the form it took. See also note on Fiordispina. TEXT: Rossetti's conjecture, 67, is accepted by Garnett, whose text agrees with Mrs. Shelley, but the authority of the MS. is not alleged. Rossetti divides the fragments like Garnett, and strikes out of To His Genius the lines repeated in Epipsychidion. 430 Lines written for Adonais. From the Boscombe MS. Garnett, Relics, p. 50: "Several cancelled passages of the Adonais have been met with in Shelley's notebooks. He appears to have originally framed his conception on a larger scale than he eventually found practicable. The passage in which the contemporary minstrels are introduced, as mourning for Adonais, would have been considerably extended, and the characteristics of each delineated at some length. It must, however, have occurred to him that the parenthesis would be too long, and would tend to distract the reader's attention from the main subject. Nothing, therefore, of the original draft was allowed to subsist but the four incomparable stanzas descriptive of himself. A fifth was cancelled, which ran as follows [first fragment]. Several stanzas relating to Byron and Moore are too imperfect for publication. The following refers to the latter [second fragment]. Leigh Hunt was thus described [third fragment]. The following lines were also written for the Adonais [remaining fragments].” Forman conjectures that Coleridge is described in the last fragment. Lines written for Hellas. From the Boscombe MS. 438 Orpheus. Garnett, Relics, p. 20: "No trace of this poem appears in Shelley's notebooks; 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 endeavor to embank the 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 several 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. Assuredly this poem, though containing many felicitous passages, hardly attains his usual standard, either of thought or expression. It may be a translation from the Italian." TEXT: 102 his Garnett. 442 Fiordispina. Garnett, Relics, p. 29: "Fiordispina and the piece which I have ventured to entitle To His Genius (using the latter word in the sense of daiμwv) may be regarded as preliminary, though unconscious studies, for this crowning work [Epipsychidion]. 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. Most of these have been omitted from the poem as now published; but some instances will be observed in the second, which 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, who is also the Ginevra of the poem thus entitled." Mrs. Shelley misplaces the lines published by her among the poems of 1821. Garnett prints from the Boscombe MS. TEXT: 11 to Rossetti, Forman, Dowden. 20 ever 18391,2. 25 sense 18391,2. 445 The Birth of Pleasure. From the Boscombe MS. 446 Love, Hope, Desire and Fear. From the Boscombe MS. |