And their lips moved; one seemed to speak,
When suddenly the mountain crackt,
And through the chasm the floor did break
With an earth-uplifting cataract:
The statues gave a joyous scream,
And on its wings the pale thin dream
Lifted the Lady from the stream.

The dizzy flight of that phantom pale Waked the fair Lady from her sleep, And she arose, while from the veil

Of her dark eyes the dream did creep; And she walked about as one who knew That sleep has sights as clear and true As any waking eyes can view.

MARLOW, 1817.

TO CONSTANTIA SINGING.

THUS to be lost and thus to sink and die,
Perchance were death indeed!-Constantia, turn!
In thy dark eyes a power like light doth lie,
Even though the sounds which were thy voice,
which burn

Between thy lips, are laid to sleep;

Within thy breath, and on thy hair, like odour it And from thy touch like fire doth leap. [is yet, Even while I write, my burning cheeks are wet, Alas, that the torn heart can bleed, but not forget! A breathless awe, like the swift change

Unseen but felt in youthful slumbers, Wild, sweet, but uncommunicably strange, Thou breathest now in fast ascending numbers. The cope of heaven seems rent and cloven By the enchantment of thy strain, And on my shoulders wings are woven, To follow its sublime career, Beyond the mighty moons that wane

Upon the verge of nature's utmost sphere, Till the world's shadowy walls are past and disappear.

Her voice is hovering o'er my soul—it lingers

O'ershadowing it with soft and lulling wings, The blood and life within those snowy fingers

Teach witchcraft to the instrumental strings. My brain is wild, my breath comes quickThe blood is listening in my frame, And thronging shadows, fast and thick, Fall on my overflowing eyes;

My heart is quivering like a flame;

As morning dew, that in the sunbeam dies,
I am dissolved in these consuming ecstacies.

I have no life, Constantia, now, but thee,
Whilst, like the world-surrounding air, thy song
Flows on, and fills all things with melody.-
Now is thy voice a tempest swift and strong,
On which, like one in trance upborne,
Secure o'er rocks and waves I sweep,
Rejoicing like a cloud of morn.

Now 'tis the breath of summer night,
Which, when the starry waters sleep,

Round western isles, with incense-blossoms bright, Lingering, suspends my soul in its voluptuous flight.

I MET a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed;
And on the pedestal these words appear:
"My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away.

LINES.

THAT time is dead for ever, child, Drowned, frozen, dead for ever!

We look on the past,

And stare aghast

THE very illness that oppressed, and the aspect of death which had approached so near Shelley, appears to have kindled to yet keener life the Spirit of Poetry in his heart. The restless thoughts kept awake by pain clothed themselves in verse. Much was composed during this year. "Revolt of Islam," written and printed, was a great effort" Rosalind and Helen" was begun— and the fragments and poems I can trace to the same period, show how full of passion and reflection were his solitary hours.

The

In addition to such poems as have an intelligible aim and shape, many a stray idea and transitory emotion found imperfect and abrupt expression, and then again lost themselves in silence. As he never wandered without a book, and without implements of writing, I find many such in his manuscript books, that scarcely bear record; while some of them, broken and vague as they are, will appear valuable to those who love Shelley's mind, and desire to trace its workings. Thus in the same book that addresses "Constantia, Singing," I find these lines:

My spirit like a charmed bark doth swim

Upon the liquid waves of thy sweet singing,
Far away into the regions dim

Of rapture as a boat with swift sails winging
Its way adown some many-winding river.

And this apostrophe to Music:

No, Music, thou art not the God of Love, Unless Love feeds upon its own sweet self, Till it becomes all music murmurs of.

In another fragment he calls it

The silver key of the fountain of tears,
Where the spirit drinks till the brain is wild;
Softest grave of a thousand fears,

Where their mother, Care, like a drowsy child,
Is laid asleep in flowers.

And then again this melancholy trace of the sad thronging thoughts, which were the well whence he drew the idea of Athanase, and express the restless, passion-fraught emotions of one whose sensibility, kindled to too intense a life, perpetually preyed upon itself :

To thirst and find no fill-to wail and wander
With short unsteady steps-to pause and ponder--
To feel the blood run through the veins and tingle
Where busy thought and blind sensation mingle;
To nurse the image of unfelt caresses
Till dim imagination just possesses
The half created shadow.

In the next page I find a calmer sentiment, better fitted to sustain one whose whole being was love:

Wealth and dominion fade into the mass
Of the great sea of human right and wrong,
When once from our possession they must pass;
But love, though misdirected, is among
The things which are immortal, and surpass
All that frail stuff which will be-or which was.

In another book, which contains some passionate outbreaks with regard to the great injustice that he endured this year, the poet writes:

My thoughts arise and fade in solitude,

The verse that would invest them melts away
Like moonlight in the heaven of spreading day :
How beautiful they were, how firm they stood,
Flecking the starry sky like woven pearl!

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:

OTHO.

Thou wert not, Cassius, and thou couldst not be,
Last of the Romans, though thy memory claim
From Brutus his own glory-and on thee
Rests the full splendour of his sacred fame;

Nor he who dared make the foul tyrant quail,
Amid his cowering senate with thy name,
Though thou and he were great-it will avail
To thine own fame that Otho's should not fail.

"Twill wrong thee not-thou wouldst, if thou couldst feel,
Abjure such envious fame-great Otho died
Like thee-he sanctified his country's steel,
At once the tyrant and tyrannicide,

In his own blood-a deed it was to buy
Tears from all men-though full of gentle pride,
Such pride as from impetuous love may spring,
That will not be refused its offering.

I insert here also the fragment of a song, though I do not know the date when it was written,-but it was early :

ΤΟ

Yet look on me-take not thine eyes away, Which feed upon the love within mine own, Which is indeed but the reflected ray

Of thine own beauty from my spirit thrown.

Yet speak to me-thy voice is as the tone

Of my heart's echo, and I think I hear That thou yet lovest me; yet thou alone

Like one before a mirror, without care

Of aught but thine own features, imaged there;
And yet I wear out life in watching thee;
A toil so sweet at times, and thou indeed
Art kind when I am sick, and pity me.

He projected also translating the Hymns of Homer; his version of several of the shorter ones remain, as well as that to Mercury, already published in the Posthumous Poems. His readings this year were chiefly Greek. Besides the Hymns of Homer and the Iliad, he read the Dramas of Eschylus and Sophocles, the Symposium of Plato, and Arrian's Historia Indica. In Latin, Apuleius alone is named. In English, the Bible was his

constant study; he read a great portion of it aloud in the evening. Among these evening readings, I find also mentioned the Fairy Queen, and other modern works, the production of his contemporaries, Coleridge, Wordsworth, Moore, and Byron.

His life was now spent more in thought than action—he had lost the eager spirit which believed it could achieve what it projected for the benefit of mankind. And yet in the converse of daily life Shelley was far from being a melancholy man. He was eloquent when philosophy, or politics, or taste, were the subjects of conversation. He was playful-and indulged in the wild spirit that mocked itself and others--not in bitterness, but in sport. The Author of "Nightmare Abbey" seized on some points of his character and some habits of his life when he painted Scythrop. He was not addicted to "port or madeira," but in youth he had read of "Illuminati and Eleutherachs," and believed that he possessed the power of operating an immediate change in the minds of men and the state of society. These wild dreams had faded; sorrow and adversity had struck home; but he struggled with despondency as he did with physical pain. There are few who remember him sailing paper boats, and watching the navigation of his tiny craft with eagernessor repeating with wild energy the "Ancient Mariner," and Southey's "Old Woman of Berkeley," but those who do, will recollect that it was in such, and in the creations of his own fancy, when that was most daring and ideal, that he sheltered himself from the storms and disappointments, the pain and sorrow, that beset his life.