259 A Vision of the Sea.

TEXT: 7 mass Rossetti.

8 them, Rossetti.

sank Forman.

35 from 18391,2, Rossetti, Forman.

61 had 18392.

85 Burst 18391,2.

116 through | from 1820.

MS. Harvard.

267 The Cloud. Rossetti conjectures that this poem belongs to the year 1818 because of the reference to the Thames in Mrs. Shelley's Note, given with the next poem.

TEXT: 3 shades 18391,2.

59 with the 18391,2.

270 To a Skylark. Mrs. Shelley, 18391, I. xi. : “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."

Mrs. Shelley's Note, 18391, iv. 50: "In the spring we spent a week or two near Leghorn, borrowing the house of some friends, who were absent on a journey to England. It was on a beautiful summer evening while wandering among the lanes, whose myrtle hedges were the bowers of the fireflies, that we heard the carolling of the skylark, which inspired one of the most beautiful of his poems."

TEXT: 55 these all editions. The reading of the Harvard MS. seems plain, and is, poetically, to be preferred.

MS. Harvard.

274 Ode to Liberty. 66

'Shelley (from Leghorn) to Peacock, July 12, 1820: "I enclose two additional poems, to be added to those printed at the end of Prometheus; and I send them to you for fear Ollier might not know what to do in case he objected to some expressions in the fifteenth and sixteenth stanzas ; and that you would do me the favor to insert an aster

isk, or asterisks, with as little expense to the sense as may be. The other poem [not identified] I send you, not to make two letters." Peacock, Works, iii. 470. TEXT: i. 1 again: Alfred Forman conj.

2 Nations, Alfred Forman conj. The Harvard MS.

sustains the reading of the text.

9 inverse Rossetti.

iv. 5 melody 18391,2, Rossetti.

wild. 18391,2,
2. Rossetti.

vii. 2 "See the Baccha of Euripides," Shelley's Note. viii. 8 love 1820.

11 scattered Rossetti conj.

ix. 14 want 18391,2.

xiii. 13 us! Rossetti conj.

14 west impress, as Rossetti conj.

15 done Time, Rossetti conj. The lines contain a
twofold appeal: first, to the future, typified
in America; second, to the past, realized in
Spanish and English history, or, by paraphrase,
great ages that were and that Time will not
dare forget, stamp on man's mind, with the clear
and fixed impression of a seal, your image or
memory. The difficulty arises from the con-
densation involved in the sudden identification
of England and Spain with what they have
thought and done, as being ideally what they
essentially are, and in the abruptness with
which the immortal memory of that achieve-
ment is then stated. The words "all ye have
thought and done" are to be taken as in the case
of address, and the passage read - - “O England
and Spain, great with ages gone, a glory not
to be concealed, impress us with that greatness
which was,
and which still is your true greatness,
the source of faith and inspiration for your sons."

xv. 2 King.... 18391,2.

xvii. 9 Or 18392, Rossetti.

10 Diving 18391,2.

See also FRAGMENTS, iii. 423.

MS. Harvard, 1-21.

286 Arethusa.

TEXT: ii. 8 congealed Rossetti conj.

9 urns || rime Rossetti conj.

The passage is obscure from the rapidity of the description, which involves a kind of hiatus, but there is no reason to suspect any corruption. "It" is Erymanthus ; 66 urns is a fitting and finely poetical expression for the forms of mountain snow seen in masses; the meaning is that the bleak south wind, described as 66 concealed " or kept behind the snowfields, came down in tempest, and, together with the earthquake below and the thunder (which may better be taken as the general sound of the elemental commotion than in its exact signification), loosed the torrent, or, as the words stand, rent the bars of the springs. The word "wind" is to be taken as one of the subjects of "rend," but the verb feels the attraction of its nearer subject to a degree which nearly breaks the continuity of the sentence. 290 Hymn of Apollo. See next note.

291 Hymn of Pan. Mrs. Shelley, Footnote, 1824: “This and the former poem were written at the request of a friend [Williams], to be inserted in a drama on the subject of Midas. Apollo and Pan contended before Tmolus for the prize in music." TEXT: ii. 5 by | with 18391,2.

293 The Question. Signed z in The Literary Pocket-Book. TEXT: ii. 6 omit 18391,2.

7 heaven-collected Forman.

iv. 7 bulrushes and reeds, Harvard MS. || bulrushes, and reeds all editions.

MSS. Boscombe, Harvard, Ollier.

295 The Two Spirits.

TEXT: i. 2 would 1824.

iv. 7 moonlight 18392.

vi. 4 makes 18391,2.

297 Letter to Maria Gisborne. Mrs. Shelley's Note, 18391, iv. 50. "He addressed the letter to Mrs. Gisborne from this house [at Leghorn] which was hers; he had made his study of the workshop of her son, who

was an engineer. Mrs. Gisborne had been a friend of my father in her younger days. She was a lady of great accomplishments, and charming from her frank and affectionate nature. She had the most intense love of knowledge, a delicate and trembling sensibility, and preserved freshness of mind after a life of considerable adversity. As a favorite friend of my father we had sought her with eagerness, and the most open and cordial friendship was established between us."

Shelley (from Leghorn) to Peacock, June 5, 1818 : "We have made some acquaintance with a very amiable and accomplished lady, Mrs. Gisborne, who is the sole attraction in this most unattractive of cities. We had no idea of spending a month here, but she has made it even agreeable." Mrs. Shelley, Essays and Letters, ii. 123.

Shelley (from Leghorn) to Peacock, August 22, 1819: "Mrs. Gisborne is a sufficiently amiable and very accomplished woman; [she is dŋμокρaтin and αθεη how far she may be piλaveрwTMŋ I don't know, for] she is the antipodes of enthusiasm." Peacock, Works, iii. 464. Forman (Prose Works of Shelley, iv. 117) gives the bracketed lines.

Shelley (from Leghorn) to Peacock, July 12, 1820 : "We are just now occupying the Gisbornes' house at Leghorn, and I have turned Mr. Reveley's workshop into my study. The Libecchio here howls like a chorus of fiends all day, and the weather is just pleasant, not at all hot, the days being very misty, and the nights divinely serene." Peacock, Works, iii. 469. See also Memoir.

TEXT: Date, June, 1820, transcript.

13 must 18391,2.

24 Titans transcript.

27 philosophic 18391,2; councils 1824, 18391,2.

29 to ... salvation omit 18391.

36 With fishes 18392.

38 seldom 18391,2.

50 wood; Forman, Dowden. The transcript, and

all other editions have a comma, which, as the
sense is quite as good, need not be disturbed.

TEXT: 55 there be omit, transcript.

56 this || the transcript.

57 wind transcript.

61 lava-cry, 1824, 18391,2.

63 towns 18391,2.

68 In || 1 transcript.

74 I omit transcript.

75 boat-transcript, 1824, 18391,2; boat: For-
man, Dowden; boat, Rossetti. The "rude
idealism" and "the hollow screw
are the
same object; otherwise the words "idealism"
and "more mischief" below are without
meaning. The dash is as often used by Shel-
ley for a comma as for a colon or period.
79 Lie | See transcript.

84 green 18391,2.

92 old hooks Rossetti; old books 18392.

93 A || An 1824.

100 them 18391,2.

101 least 18391,2.

107 devilish || self-impelling transcript.

129 hear transcript.

140 know 18391,2.

144 acting 18391,2.

151 Treats 18391,2.

153 it well 18391,2.

158 believe; or 18391,2. The construction is imper-
fect in grammar, but the three verbs “blame,”
"anatomize," and "guess" are apparently
coördinate and simply describe the "shroud
of talk."