[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.
Garnett conjectures the title.

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.

448 A Satire on Satire. From the Boscombe MS. through Garnett. Shelley (from Pisa) to Hunt, January 25, 1822: "I began once a satire on satire, which I meant to be very severe; it was full of small knives, in the use of which practice would have soon made me very expert. Garnett, Relics, 190.

449 Ginevra. Mrs. Shelley's Note, 1824: "This fragment is part of a poem which Mr. Shelley intended to write founded on a story to be found in the first volume of a book entitled L'Osservatore Fiorentino." Garnett identified the passage L'Osservatore Fiorentino sugli edifizi della sua Patria, 1821, p. 119. In the story Ginevra revives. Compare Hunt, A Legend of Florence, where Shelley's poem is referred to in the preface.

TEXT: 27 even 18391,2.

37 Better 1824.

63 omit, 1824.

457 The Boat on the Serchio. Medwin, Life, ii. 122 : “I have heard Shelley often speak with rapture of the excursions they [Shelley and Williams] made together. The canal fed by the Serchio, of the clearest water, is so rapid that they were obliged to tow the boat up against the current; but the swift descent, through green banks enamelled with flowers and overhung with trees that mirrored themselves on its glassy surface, gave him a wonderful delight. He has left a record of these trips in a poem entitled The Boat on the Serchio, and calls Williams and himself Melchior and Lionel."

TEXT: 1 on in 1824.

14 Appennines' 18392.

46-51 Rossetti, Forman and Dowden give the first two lines to Lionel, the last four to Melchior.

58-61 18391,2 follow 1824.

61-67 Rossetti inserts these lines, by conjecture, be

tween 51, 52.

95 and stems omit 1824, 18391.

96 omit, 1824, 18391.

TEXT: 112 until 18391,2.

114 clear 18391,2.

117 fir 18391,2.

461 The Zucca.

TEXT: i. 7 poor 18391,2.

iii. 7 18391,2 follow 1824.

8 omit, 18392.

iv. 2 or 18391,2.

storm-benighted Rossetti conj.

8 sun sun or sea Boscombe MS. doubtful. v. 6 fresh grass 18391,2.

vi. 6 as 18391,2.

x. 2 sun and air 18391,2.

MS. Boscombe.

465 Lines. From the Boscombe MS.

5