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LIST OF REFERENCES

EDITIONS

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** COMPLETE WORKS, 8 volumes, edited by H. Buxton Forman, 1876'79, new edition, 1882.- POETICAL WORKS, 3 volumes, edited from the original editions by R. H. Shepherd, 1888. POETICAL WORKS, 4 volumes, edited by G. E. Woodberry, The Houghton, Mifflin Co., 1892 (Centenary Edition). POETICAL WORKS, 5 volumes, edited by H. Buxton Forman, 1892 (Aldine Edition). - COMPLETE WORKS, 8 volumes, edited by N. H. Dole, 1904 (Laurel Edition). -* POETICAL WORKS, 1 volume, edited by Edward Dowden, 1890 (Globe Edition). * POETICAL WORKS, 1 volume, edited by G. E. Woodberry, 1901 (Cambridge Edition). - ** POETICAL WORKS, 1 volume, edited by Thomas Hutchinson, with textual notes and new material, 1904 (Oxford Edition). - *LETTERS, collected and edited by Roger Ingpen, 2 volumes, 1909.

BIOGRAPHY

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MEDWIN (Thomas), Life of Shelley, 1847. HOGG (T. J.), Life of Shelley, 1858. MIDDLETON (C. S.), Shelley and his Writings, 1858. - SHELLEY MEMORIALS, edited by Lady Shelley, 1859. - GARNETT (Richard), Relics of Shelley, 1862. ROSSETTI (W. M.), Life of Shelley (prefixed to his edition of Shelley's Works), 1870. SMITH (G. B.), Shelley, A Critical Biography, 1877.-** SYMONDS (J. A.), Shelley (English Men of Letters Series), 1878. JEAFFRESON (J. C.), The Real Shelley, 1885. — DOWDEN (Edward), Life of Shelley (The standard biography, but not altogether satisfactory. Lacking both in frankness and in sympathy), 1886. RABBE (Félix), Shelley, sa Vie et ses Œuvres, 1887; translated, 1888. SHARP (William), Shelley (Great Writers Series), 1887. SALT (H. S.), Shelley, A Biographical Study, 1896. CLUTTON-BROCK (A.), Shelley: The Man and the Poet, 1909. (See also Mrs. Shelley's Notes to the Poems, Moore's Life of Byron, C. Kegan Paul's William Godwin, his Friends and Contemporaries, and Mrs. F. A. Marshall's The Life and Letters of Mary W. Shelley.)

REMINISCENCES AND EARLY CRITICISM

*TRELAWNEY (E. J.), Recollections of Shelley and Byron. - HUNT (Leigh), Byron and some of his Contemporaries. HUNT (Leigh), Autobiography. MEDWIN (Thomas), Shelley Papers. MITFORD (Mary Russell), Recollections of a Literary Life. DE QUINCEY (T.), Essays on Poets. PEACOCK (Thomas Love), Memoirs of Percy Bysshe Shelley. —— MILLER (A. B.), Leigh Hunt in his Relations with Byron, Keats and Shelley.

LATER CRITICISM

BATES (E. S.), A Study of Shelley's Cenci, 1908. - *BAGEHOT (Walter), Literary Studies, 1879. * BOURGET (Paul), Études et portraits. - BRADLEY (A. C.), Oxford Lectures on Poetry, 1909. — BRANDES (G. M. C.), Shelley und Lord Byron:

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Zwei litterarische Charakterbilder, 1904. - BROOKE (S. A.), Studies in Poetry, 1907 - *BROWNING (Robert), On the Poet, objective and subjective; and on Shelley as man and poet, 1852, 1881. CALVERT (G. H.), Coleridge, Shelley, Goethe, 1880. DOWDEN (Edward), French Revolution and English Literature: Essay VI, 1897. DOWDEN (Edward), Transcripts and Studies, 1888. DOWDEN (Edward), Studies in Literature: Transcendental Movement and Literature; French Revolution and Literature, 1878. - GARNETT (Richard), Essays of an Ex-Librarian: Shelley and Lord Beaconsfield, 1901. GOSSE (E.), Questions at Issue, 1893. HUTTON (R. H.), Literary Essays, 1871, 1888. - LANG (Andrew), Letters to Dead Authors, 1886. — MACDONALD (George), Imagination and Other Essays (1883), 1886. — Masson (David), Wordsworth, Shelley, Keats, and Other Essays, 1874. — PAYNE (W. M.), The Greater English Poets of the Nineteenth Century, 1907. SCUDDER (V. D.), The Greek Spirit in Shelley and Browning. SHAIRP (J. C.), Aspects of Poetry, 1881. SHELLEY SOCIETY, Papers, 1888. SLICER (T. R.), Shelley, an Appreciation. STEPHEN (Leslie), Hours in a Library, Vol. III: Godwin and Shelley, 1879, 1892. — SWINBURNE (A. C.), in Chambers's Cyclopædia of English Literature, Vol. III, new edition, 1904. – SWINBURNE (A. C.), Essays and Studies, 1875: Notes on the Text of Shelley. SYMONS (A.), The Romantic Movement in English Poetry, 1909. THOMSON (James), Biographical and Critical Studies, 1896. *THOMPSON (Francis), Shelley, 1909; from the Dublin Review, July, 1908. TODHUNTER (John), A Study of Shelley, 1880. — *TRENT (W. P.), Authority of Criticism: A propos of Shelley, 1899. -*WOODBERRY (G. E.), Makers of Literature (1890), 1900. WOODBERRY (G. E.), The Torch, 1905. YEATS (W. B)., Ideas of Good and Evil: The Philosophy of Shelley, 1903. ARNOLD (M.), Essays in Criticism, Second Series, 1888. CAINE (T. Hall), Cobwebs of Criticism, 1883. — Dawson (W. J.), Makers of English Poetry (1890), 1906. — DE VERE (Aubrey), Essays, Chiefly on Poetry, 1887 - HANCOCK (A. E.), French Revolution and the English Poets, 1899. - JOHNSON (C. F.), Three Americans and three Englishmen, - LANG (Andrew), Poets' Country, 1907.- MORE (Paul E.), Shelburne Essays, Seventh Series, 1910. — ZANELLA (G.), Paralleli letterari: Shelley, Leopardi, 1885.

1886.

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TRIBUTES IN VERSE

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*BROWNING, Memorabilia; Pauline; etc. - BOURGET (Paul), Sur un Volume de Shelley. AGANOOR, Leggenda Eterna: Pel Monumento a Shelley, 1900. — PALGRAVE (F. T.), Lyrical Poems: Two Graves at Rome. - FORMAN (Alfred), Sonnets: Two Sonnets to Shelley. LANG (A.), Lines on the Inaugural Meeting of the Shelley Society. *THOMSON (James), Shelley, a Poem. *ROSSETTI (D. G.), Five English Poets: Percy Bysshe Shelley. *ROSSETTI (W. M.), Shelley's Heart. DE VERE (Aubrey), Lines composed at Lerici. HUNT (Leigh), Sonnet to Shelley. LANGFORD (J. A.), Shelley. *TABB (J. B.), Shelley, a Sonnet. - HAYNE (P. H.), Poems, 1855: Shelley. - PIKE (Albert), Tribute to Shelley, 1835. TAYLOR (Bayard), Ode to Shelley. ROBERTS (C. G. D.), Ave! An Ode for the Shelley Centenary. *WOODBERRY (G. E.), Poems: Shelley, a Sonnet; Shelley's House. *WATSON (William), *Shelley's Centenary; To Edward Dowden on his Life of Shelley; Quatrain to Harriet Shelley. — CARMAN (Bliss), By the Aurelian Wall: The White Gull. PARKES (B. R.), Gabriel (a poem on the Life of Shelley), 1856. — *Carducci (G.), Odi barbare: Presso di l'Urna di Shelley; translated, in The Independent, December, 1906. VAN DYKE (Henry), The White Bees, 1909: Two Sonnets; from the Atlantic, November, 1906. DUCLO (Estelle), Shelley; in Book News, April, 1908. THOMAS (Edith M.), The Guest at the Gate, 1909: Bion and Adonaïs; from the Century, 1906. — SCHEFFAUER (H.), Looms of Life, 1909: The Fire Funeral.

BIBLIOGRAPHY

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*FORMAN (H. B.), The Shelley Library; an Essay in Bibliography, 1886. SALEM PUBLIC LIBRARY, Special Reading List. ANDERSON (J. P.), Appendix to Sharp's Life of Shelley

SHELLEY

STANZAS-April, 18141

AWAY! the moor is dark beneath the moon,

Rapid clouds have drank the last pale beam of even:

Away! the gathering winds will call the darkness soon,

And profoundest midnight shroud the serene lights of heaven.

Pause not! The time is past! Every voice cries, Away!

Tempt not with one last tear thy friend's ungentle mood:

Thy lover's eye, so glazed and cold, dares not entreat thy stay:

Duty and dereliction guide thee back to solitude.

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ΔΑΚΡΥΣΙ ΔΙΟΙΣΩ ΠΟΤΜΟΝ ΑΠΟΤΜΟΝ

OH! THERE are spirits of the air,

And genii of the evening breeze,
And gentle ghosts, with eyes as fair
As star-beams among twilight trees :—

Away, away! to thy sad and silent Such lovely ministers to meet

home;

Pour bitter tears on its desolated

hearth;

Watch the dim shades as like ghosts they go and come,

And complicate strange webs of melancholy mirth.

The leaves of wasted autumn woods shall float around thine head: The blooms of dewy spring shall gleam beneath thy feet:

But thy soul or this world must fade in the frost that binds the dead, Ere midnight's frown and morning's smile, ere thou and peace may meet.

The cloud shadows of midnight possess their own repose,

For the weary winds are silent, or the moon is in the deep: Some respite to its turbulence unresting ocean knows;

1 See Dowden's Life of Shelley, Vol. I., pp. 410-411.

Oft hast thou turned from men thy lonely feet.

With mountain winds, and babbling springs,

And moonlight seas, that are the voice Of these inexplicable things

When they did answer thee; but they Thou didst hold commune, and rejoice Cast, like a worthless boon, thy love away.

And thou hast sought in starry eyes

Beams that were never meant for thine,

1 The poem beginning "Oh, there are spirits in the air" was addressed in idea to Coleridge, whom he never knew; and at whose character he could only guess imperfectly, through his writings, and accounts he heard of him from some who knew him well. He regarded his change of opinions as rather an act of will than he would be haunted by what Shelley considered conviction, and believed that in his inner heart

the better and holier aspirations of his youth. (From Mrs. Shelley's Note on the Early Poems.) See also Dowden's Life of Shelley, Vol. I., p. 47% and note.

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THE poem entitled Alastor may be considered as allegorical of one of the most interesting situations of the human mind. It represents a youth of uncorrupted feelings and adventurous genius led forth by an imagination inflamed and purified through familiarity with all that is excellent and majestic, to the contemplation of the universe. He drinks deep of the fountains of knowledge, and is still insatiate. The magnificence and beauty of the external world sinks profoundly into the frame of his conceptions, and affords to their modifications a variety not to be exhausted. So long as it is possible for his desires to point towards objects thus infinite and unmeasured, he is joyous, and tranquil, and selfpossessed. But the period arrives when these objects cease to suffice. His mind is at length suddenly awakened and thirsts for intercourse with an intelligence similar to itself. He images to himself the Being whom he loves. Conversant with speculations of the sublimest and most perfect natures, the vision in which he embodies his own imaginations unites all of wonderful, or wise, or beautiful, which the poet,

the philosopher, or the lover could depicture The intellectual faculties, the imagination, the functions of sense, have their respective requisi tions on the sympathy of corresponding powers in other human beings. The Poet is represented as uniting these requisitions, and attaching them to a single image. He seeks in vain for a proto type of his conception. Blasted by his disap pointment, he descends to an untimely grave.

The picture is not barren of instruction to ac tual men. The Poet's self-centred seclusion was avenged by the furies of an irresistible passion pursuing him to speedy ruin. But that Power which strikes the luminaries of the world with sudden darkness and extinction, by awakening them to too exquisite a perception of its influ ences, dooms to a slow and poisonous decay those meaner spirits that dare to abjure its dominion. Their destiny is more abject and inglorious as their delinquency is more contemptible and pernicious. They who, deluded by no generous error, instigated by no sacred thirst of doubtful knowledge, duped by no illustrious superstition, loving nothing on this earth, and cherishing no hopes beyond, yet keep aloof from sympathies with their kind, rejoicing neither in human joy nor mourning with human grief; these, and such as they, have their apportioned curse. They languish, because none feel with them their common nature. They are morally dead. They are neither friends, nor lovers, nor fathers, nor citizens of the world, nor benefactors of their country. Among those who attempt to exist without human sympathy, the pure and tenderhearted perish through the intensity and passion of their search after its communities, when the vacancy of their spirit suddenly makes itself felt. All else, selfish, blind, and torpid, are those unforeseeing multitudes who constitute, together with their own, the lasting misery and loneliness of the world. Those who love not their fellow-beings live unfruitful lives, and prepare for their old age a miserable grave.

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Staking his very life on some dark hope, Have I mixed awful talk and asking looks

With my most innocent love, until strange tears

Uniting with those breathless kisses, made

Such magic as compels the charmed night

To render up thy charge: . . . and, though ne'er yet

Thou hast unveiled thy inmost sanctuary,

Enough from incommunicable dream, And twilight phantasms, and deep noonday thought,

Has shone within me, that serenely now And moveless, as a long-forgotten lyre Suspended in the solitary dome

Of some mysterious and deserted fane, I wait thy breath, Great Parent, that my strain

May modulate with murmurs of the air, And motions of the forests and the sea, And voice of living beings, and woven hymns

Of night and day, and the deep heart of

man.

There was a Poet whose untimely tomb

No human hands with pious reverence reared,

But the charmed eddies of autumnal winds

Built o'er his mouldering bones a pyramid

Of mouldering leaves in the waste wilderness:A lovely youth,decked

-no mourning maiden

With weeping flowers, or votive cypress wreath,

The lone couch of his everlasting sleep :

Gentle, and brave, and generous, -no lorn bard

Breathed o'er his dark fate one melodious sigh:

He lived, he died, he sung, in solitude. Strangers have wept to hear his passionate notes,

And virgins, as unknown he passed, have pined

And wasted for fond love of his wild eyes.

The fire of those soft orbs has ceased to

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