NOTES ON THE TEXT AND ITS PUNCTUATION.
In the case of every poem published during Shelley’s lifetime, the text of this edition is based upon that of the editio princeps or earliest issue. Wherever our text deviates verbally from this exemplar, the word or words of the editio princeps will be found recorded in a footnote. In like manner, wherever the text of the poems first printed by Mrs. Shelley in the “Posthumous Poems” of 1824 or the “Poetical Works” of 1839 is modified by manuscript authority or otherwise, the reading of the earliest printed text has been subjoined in a footnote. Shelley’s punctuation—or what may be presumed to be his—has been retained, save in the case of errors (whether of the transcriber or the printer) overlooked in the revision of the proof-sheets, and of a few places where the pointing, though certainly or seemingly Shelley’s, tends to obscure the sense or grammatical construction. In the following notes the more important textual difficulties are briefly discussed, and the readings embodied in the text of this edition, it is hoped, sufficiently justified. An attempt has also been made to record the original punctuation where it is here departed from.
1. THE DAEMON OF THE WORLD: PART 1.
The following paragraph, relating to this poem, closes Shelley’s “Preface” to “Alastor”, etc., 1816:—‘The Fragment entitled “The Daemon of the World” is a detached part of a poem which the author does not intend for publication. The metre in which it is composed is that of “Samson Agonistes” and the Italian pastoral drama, and may be considered as the natural measure into which poetical conceptions, expressed in harmonious language, necessarily fall.’
2. Lines 56, 112, 184, 288. The editor has added a comma at the end of these lines, and a period (for the comma of 1816) after by, line 279.
3. Lines 167, 168. The editio princeps has a comma after And, line 167, and heaven, line 168.
1. THE DAEMON OF THE WORLD: PART 2.
Printed by Mr. Forman from a copy in his possession of “Queen Mab”, corrected by Shelley’s hand. See “The Shelley Library”, pages 36-44, for a detailed history and description of this copy.
2.
Lines 436-438. Mr. Forman prints:—
Which from the exhaustless lore of human weal
Draws on the virtuous mind, the thoughts that rise
In time-destroying infiniteness, gift, etc.
Our text exhibits both variants—lore for ‘store,’ and Dawns for
‘Draws’—found in Shelley’s note on the corresponding passage of “Queen
Mab” (8 204-206). See editor’s note on this passage. Shelley’s comma
after infiniteness, line 438, is omitted as tending to obscure the
construction.
1. ALASTOR; OR THE SPIRIT OF SOLITUDE.
“Preface”. For the concluding paragraph see editor’s note on “The Daemon of the World”: Part 1.
2. Conducts, O Sleep, to thy, etc. (line 219.) The Shelley texts, 1816, 1824, 1839, have Conduct here, which Forman and Dowden retain. The suggestion that Shelley may have written ‘death’s blue vaults’ (line 216) need not, in the face of ‘the dark gate of death’ (line 211), be seriously considered; Conduct must, therefore, be regarded as a fault in grammar. That Shelley actually wrote Conduct is not impossible, for his grammar is not seldom faulty (see, for instance, “Revolt of Islam, Dedication”, line 60); but it is most improbable that he would have committed a solecism so striking both to eye and ear. Rossetti and Woodberry print Conducts, etc. The final s is often a vanishing quantity in Shelley’s manuscripts. Or perhaps the compositor’s hand was misled by his eye, which may have dropped on the words, Conduct to thy, etc., seven lines above.
3. Of wave ruining on wave, etc. (line 327.) For ruining the text of “Poetical Works”, 1839, both editions, has running—an overlooked misprint, surely, rather than a conjectural emendation. For an example of ruining as an intransitive (= ‘falling in ruins,’ or, simply, ‘falling in streams’) see “Paradise Lost”, 6 867-869:— Hell heard th’ insufferable noise, Hell saw Heav’n ruining from Heav’n, and would have fled Affrighted, etc. Ruining, in the sense of ‘streaming,’ ‘trailing,’ occurs in Coleridge’s “Melancholy: a Fragment” (Sibylline Leaves, 1817, page 262):— Where ruining ivies propped the ruins steep— “Melancholy” first appeared in “The Morning Post”, December 7, 1797, where, through an error identical with that here assumed in the text of 1839, running appears in place of ruining—the word intended, and doubtless written, by Coleridge.
4. Line 349. With Mr. Stopford Brooke, the editor substitutes here a colon for the full stop which, in editions 1816, 1824, and 1839, follows ocean. Forman and Dowden retain the full stop; Rossetti and Woodberry substitute a semicolon.
5.
And nought but gnarled roots of ancient pines
Branchless and blasted, clenched with grasping roots
The unwilling soil. (lines 530-532.)
Editions 1816, 1824, and 1839 have roots (line 530)—a palpable
misprint, the probable origin of which may be seen in the line which
follows. Rossetti conjectures trunks, but stumps or stems may have been
Shelley’s word.
6. Lines 543-548. This somewhat involved passage is here reprinted exactly as it stands in the editio princeps, save for the comma after and, line 546, first introduced by Dowden, 1890. The construction and meaning are fully discussed by Forman (“Poetical Works” of Shelley, edition 1876, volume 1 pages 39, 40), Stopford Brooke (“Poems of Shelley”, G. T. S., 1880, page 323), Dobell (“Alastor”, etc., Facsimile Reprint, 2nd edition 1887, pages 22-27), and Woodberry (“Complete P. W. of Shelley”, 1893, volume 1 page 413).
1. THE REVOLT OF ISLAM.
The revised text (1818) of this poem is given here, as being that which Shelley actually published. In order to reconvert the text of “The Revolt of Islam” into that of “Laon and Cythna”, the reader must make the following alterations in the text. At the end of the “Preface” add:—
‘In the personal conduct of my Hero and Heroine, there is one circumstance which was intended to startle the reader from the trance of ordinary life. It was my object to break through the crust of those outworn opinions on which established institutions depend. I have appealed therefore to the most universal of all feelings, and have endeavoured to strengthen the moral sense, by forbidding it to waste its energies in seeking to avoid actions which are only crimes of convention. It is because there is so great a multitude of artificial vices that there are so few real virtues. Those feelings alone which are benevolent or malevolent, are essentially good or bad. The circumstance of which I speak was introduced, however, merely to accustom men to that charity and toleration which the exhibition of a practice widely differing from their own has a tendency to promote. (The sentiments connected with and characteristic of this circumstance have no personal reference to the Writer.—[Shelley’s Note.]) Nothing indeed can be more mischievous than many actions, innocent in themselves, which might bring down upon individuals the bigoted contempt and rage of the multitude.’
2 21 1: I had a little sister whose fair eyes
2 25 2: To love in human life, this sister sweet,
3 1 1: What thoughts had sway over my sister’s slumber
3 1 3: As if they did ten thousand years outnumber
4 30 6: And left it vacant—’twas her brother’s face—
5 47 5: I had a brother once, but he is dead!—
6 24 8: My own sweet sister looked), with joy did quail,
6 31 6: The common blood which ran within our frames,
6 39 6-9:
With such close sympathies, for to each other
Had high and solemn hopes, the gentle might
Of earliest love, and all the thoughts which smother
Cold Evil’s power, now linked a sister and a brother.
6 40 1: And such is Nature’s modesty, that those
8 4 9: Dream ye that God thus builds for man in solitude?
8 5 1: What then is God? Ye mock yourselves and give
8 6 1: What then is God? Some moonstruck sophist stood
8 6 8, 9:
And that men say God has appointed Death
On all who scorn his will to wreak immortal wrath.
8 7 1-4:
Men say they have seen God, and heard from God,
Or known from others who have known such things,
And that his will is all our law, a rod
To scourge us into slaves—that Priests and Kings
8 8 1: And it is said, that God will punish wrong;
8 8 3, 4:
And his red hell’s undying snakes among
Will bind the wretch on whom he fixed a stain
8 13 3, 4:
For it is said God rules both high and low,
And man is made the captive of his brother;
9 13 8: To curse the rebels. To their God did they
9 14 6: By God, and Nature, and Necessity.
9 15. The stanza contains ten lines—lines 4-7 as follows:
There was one teacher, and must ever be,
They said, even God, who, the necessity
Of rule and wrong had armed against mankind,
His slave and his avenger there to be;
9 18 3-6:
And Hell and Awe, which in the heart of man
Is God itself; the Priests its downfall knew,
As day by day their altars lovelier grew,
Till they were left alone within the fane;
10 22 9: On fire! Almighty God his hell on earth has spread!
10 26 7, 8:
Of their Almighty God, the armies wind
In sad procession: each among the train
10 28 1: O God Almighty! thou alone hast power.
10 31 1: And Oromaze, and Christ, and Mahomet,
10 32 1: He was a Christian Priest from whom it came
10 32 4: To quell the rebel Atheists; a dire guest
10 32 9: To wreak his fear of God in vengeance on mankind
10 34 5, 6:
His cradled Idol, and the sacrifice
Of God to God’s own wrath—that Islam’s creed
10 35 9: And thrones, which rest on faith in God, nigh overturned.
10 39 4: Of God may be appeased. He ceased, and they
10 40 5: With storms and shadows girt, sate God, alone,
10 44 9:
As ‘hush! hark! Come they yet?
God, God, thine hour is near!’
10 45 8: Men brought their atheist kindred to appease
10 47 6: The threshold of God’s throne, and it was she!
11 16 1: Ye turn to God for aid in your distress;
11 25 7: Swear by your dreadful God.’—‘We swear, we swear!’
12 10 9: Truly for self, thus thought that Christian Priest indeed,
12 11 9: A woman? God has sent his other victim here.
12 12 6-8:
Will I stand up before God’s golden throne,
And cry, ‘O Lord, to thee did I betray
An Atheist; but for me she would have known
12 29 4: In torment and in fire have Atheists gone;
12 30 4: How Atheists and Republicans can die;
2. Aught but a lifeless clod, until revived by thee (Dedic. 6 9).
So Rossetti; the Shelley editions, 1818 and 1839, read clog, which is retained by Forman, Dowden, and Woodberry. Rossetti’s happy conjecture, clod, seems to Forman ‘a doubtful emendation, as Shelley may have used clog in its [figurative] sense of weight, encumbrance.’—Hardly, as here, in a poetical figure: that would be to use a metaphor within a metaphor. Shelley compares his heart to a concrete object: if clog is right, the word must be taken in one or other of its two recognized LITERAL senses—‘a wooden shoe,’ or ‘a block of wood tied round the neck or to the leg of a horse or a dog.’ Again, it is of others’ hearts, not of his own, that Shelley here deplores the icy coldness and weight; besides, how could he appropriately describe his heart as a weight or encumbrance upon the free play of impulse and emotion, seeing that for Shelley, above all men, the heart was itself the main source and spring of all feeling and action? That source, he complains, has been dried up—its emotions desiccated—by the crushing impact of other hearts, heavy, hard and cold as stone. His heart has become withered and barren, like a lump of earth parched with frost—‘a lifeless clod.’ Compare “Summer and Winter”, lines 11-15:— ‘It was a winter such as when birds die In the deep forests; and the fishes lie Stiffened in the translucent ice, which makes Even the mud and slime of the warm lakes A wrinkled clod as hard as brick;’ etc., etc.
The word revived suits well with clod; but what is a revived clog? Finally, the first two lines of the following stanza (7) seem decisive in favour of Roseetti’s word.
If any one wonders how a misprint overlooked in 1818 could, after twenty-one years, still remain undiscovered in 1839, let him consider the case of clog in Lamb’s parody on Southey’s and Coleridge’s “Dactyls” (Lamb, “Letter to Coleridge”, July 1, 1796):— Sorely your Dactyls do drag along limp-footed; Sad is the measure that hangs a clog round ’em so, etc., etc.
Here the misprint, clod, which in 1868 appeared in Moxon’s edition of the “Letters of Charles Lamb”, has through five successive editions and under many editors—including Fitzgerald, Ainger, and Macdonald—held its ground even to the present day; and this, notwithstanding the preservation of the true reading, clog, in the texts of Talfourd and Carew Hazlitt. Here then is the case of a palpable misprint surviving, despite positive external evidence of its falsity, over a period of thirty-six years.
3. And walked as free, etc. (Ded. 7 6).
Walked is one of Shelley’s occasional grammatical laxities. Forman well observes that walkedst, the right word here, would naturally seem to Shelley more heinous than a breach of syntactic rule. Rossetti and, after him, Dowden print walk. Forman and Woodberry follow the early texts.
4. 1 9 1-7. Here the text follows the punctuation of the editio princeps, 1818, with two exceptions: a comma is inserted (1) after scale (line 201), on the authority of the Bodleian manuscript (Locock); and (2) after neck (line 205), to indicate the true construction. Mrs. Shelley’s text, 1839, has a semicolon after plumes (line 203), which Rossetti adopts. Forman (1892) departs from the pointing of Shelley’s edition here, placing a period at the close of line 199, and a dash after blended (line 200).
5.
What life, what power, was, etc. (1 11 1.)
The editio princeps, 1818, wants the commas here.
6. …and now We are embarked—the mountains hang and frown Over the starry deep that gleams below, A vast and dim expanse, as o’er the waves we go. (1 23 6-9.) With Woodberry I substitute after embarked (7) a dash for the comma of the editio princeps; with Rossetti I restore to below (8) a comma which I believe to have been overlooked by the printer of that edition. Shelley’s meaning I take to be that ‘a vast and dim expanse of mountain hangs frowning over the starry deep that gleams below it as we pass over the waves.’
7. As King, and Lord, and God, the conquering Fiend did own,—(1 28 9.) So Forman (1892), Dowden; the editio princeps, has a full stop at the close of the line,—where, according to Mr. Locock, no point appears in the Bodleian manuscript.
8.
Black-winged demon forms, etc. (1 30 7.)
The Bodleian manuscript exhibits the requisite hyphen here, and in
golden-pinioned (32 2).
9. 1 31 2, 6. The ‘three-dots’ point, employed by Shelley to indicate a pause longer than that of a full stop, is introduced into these two lines on the authority of the Bodleian manuscript. In both cases it replaces a dash in the editio princeps. See list of punctual variations below. Mr. Locock reports the presence in the manuscript of what he justly terms a ‘characteristic’ comma after Soon (31 2).
10. …mine shook beneath the wide emotion. (1 38 9.) For emotion the Bodleian manuscript has commotion (Locock)—perhaps the fitter word here.
11. Deep slumber fell on me:—my dreams were fire— (1 40 1.) The dash after fire is from the Bodleian manuscript,—where, moreover, the somewhat misleading but indubitably Shelleyan comma after passion (editio princeps, 40 4) is wanting (Locock). I have added a dash to the comma after cover (40 5) in order to clarify the sense.
12. And shared in fearless deeds with evil men, (1 44 4.) With Forman and Dowden I substitute here a comma for the full stop of the editio princeps. See also list of punctual variations below (stanza 44).
13.
The Spirit whom I loved, in solitude
Sustained his child: (1 45 4, 5.)
The comma here, important as marking the sense as well as the rhythm of
the passage, is derived from the Bodleian manuscript (Locock).
14. I looked, and we were sailing pleasantly, Swift as a cloud between the sea and sky; Beneath the rising moon seen far away, Mountains of ice, etc. (1 47 4-7.) The editio princeps has a comma after sky (5) and a semicolon after away (6)—a pointing followed by Forman, Dowden, and Woodberry. By transposing these points (as in our text), however, a much better sense is obtained; and, luckily, this better sense proves to be that yielded by the Bodleian manuscript, where, Mr. Locock reports, there is a semicolon after sky (5), a comma after moon (6), and no point whatsoever after away (6).
15.
Girt by the deserts of the Universe; (1 50 4.)
So the Bodleian manuscript, anticipated by Woodberry (1893). Rossetti
(1870) had substituted a comma for the period of editio princeps.
16.
Hymns which my soul had woven to Freedom, strong
The source of passion, whence they rose, to be;
Triumphant strains, which, etc. (2 28 6-8.)
The editio princeps, followed by Forman, has passion whence (7). Mrs.
Shelley, “Poetical Works” 1839, both editions, prints: strong The source
of passion, whence they rose to be Triumphant strains, which, etc.
17. But, pale, were calm with passion—thus subdued, etc. (2 49 6.) With Rossetti, Dowden, Woodberry, I add a comma after But to the pointing of the editio princeps. Mrs. Shelley, “Poetical Works”, 1839, both editions, prints: But pale, were calm.—With passion thus subdued, etc.
18.
Methought that grate was lifted, etc. (3 25 1.)
Shelley’s and Mrs. Shelley’s editions have gate, which is retained by
Forman. But cf. 3 14 2, 7. Dowden and Woodberry follow Rossetti in
printing grate.
19.
Where her own standard, etc. (4 24 5.)
So Mrs. Shelley, “Poetical Works”, 1839, both editions.
20. Beneath whose spires, which swayed in the red flame, (5 54 6.) Shelley’s and Mrs. Shelley’s editions (1818, 1839) give red light here,—an oversight perpetuated by Forman, the rhyme-words name (8) and frame (9) notwithstanding. With Rossetti, Dowden, Woodberry, I print red flame,—an obvious emendation proposed by Fleay.
21. —when the waves smile, As sudden earthquakes light many a volcano-isle, Thus sudden, unexpected feast was spread, etc. (6 7 8, 9; 8 1.) With Forman, Dowden, Woodberry, I substitute after isle (7 9) a comma for the full stop of editions 1818, 1839 (retained by Rossetti). The passage is obscure: perhaps Shelley wrote ‘lift many a volcano-isle.’ The plain becomes studded in an instant with piles of corpses, even as the smiling surface of the sea will sometimes become studded in an instant with many islands uplifted by a sudden shock of earthquake.
22. 7 7 2-6. The editio princeps punctuates thus:— and words it gave Gestures and looks, such as in whirlwinds bore Which might not be withstood, whence none could save All who approached their sphere, like some calm wave Vexed into whirlpools by the chasms beneath; This punctuation is retained by Forman; Rossetti, Dowden, Woodberry, place a comma after gave (2) and Gestures (3), and—adopting the suggestion of Mr. A.C. Bradley—enclose line 4 (Which might…could save) in parentheses; thus construing which might not be withstood and whence none could save as adjectival clauses qualifying whirlwinds (3), and taking bore (3) as a transitive verb governing All who approached their sphere (5). This, which I believe to be the true construction, is perhaps indicated quite as clearly by the pointing adopted in the text—a pointing moreover which, on metrical grounds, is, I think, preferable to that proposed by Mr. Bradley. I have added a dash to the comma after sphere (5), to indicate that it is Cythna herself (and not All who approached, etc.) that resembles some calm wave, etc.
23. Which dwell in lakes, when the red moon on high Pause ere it wakens tempest;— (7 22 6, 7.) Here when the moon Pause is clearly irregular, but it appears in editions 1818, 1839, and is undoubtedly Shelley’s phrase. Rossetti cites a conjectural emendation by a certain ‘C.D. Campbell, Mauritius’:—which the red moon on high Pours eve it wakens tempest; but cf. “Julian and Maddalo”, lines 53, 54:— Meanwhile the sun paused ere it should alight, Over the horizon of the mountains. —and “Prince Athanase”, lines 220, 221:— When the curved moon then lingering in the west Paused, in yon waves her mighty horns to wet, etc.
24. —time imparted Such power to me—I became fearless-hearted, etc. (7 30 4, 5.) With Woodberry I replace with a dash the comma (editio princeps) after me (5)retained by Forman, deleted by Rossetti and Dowden. Shelley’s (and Forman’s) punctuation leaves the construction ambiguous; with Woodberry’s the two clauses are seen to be parallel—the latter being appositive to and explanatory of the former; while with Dowden’s the clauses are placed in correlation: time imparted such power to me that I became fearless-hearted.
25. Of love, in that lorn solitude, etc. (7 32 7.) All editions prior to 1876 have lone solitude, etc. The important emendation lorn was first introduced into the text by Forman, from Shelley’s revised copy of “Laon and Cythna”, where lone is found to be turned into lorn by the poet’s own hand.
26.
And Hate is throned on high with Fear her mother, etc. (8 13 5.)
So the editio princeps; Forman, Dowden, Woodberry, following the text of
“Laon and Cythna”, 1818, read, Fear his mother. Forman refers to 10 42
4, 5, where Fear figures as a female, and Hate as ‘her mate and foe.’
But consistency in such matters was not one of Shelley’s
characteristics, and there seems to be no need for alteration here. Mrs.
Shelley (1839) and Rossetti follow the editio princeps.
27.
The ship fled fast till the stars ‘gan to fail,
And, round me gathered, etc. (8 26 5, 6.)
The editio princeps has no comma after And (6). Mrs. Shelley (1839)
places a full stop at fail (5) and reads, All round me gathered, etc.
28. Words which the lore of truth in hues of flame, etc. (9 12 6.) The editio princeps, followed by Rossetti and Woodberry, has hues of grace [cf. note (20) above]; Forman and Dowden read hues of flame. For instances of a rhyme-word doing double service, see 9 34 6, 9 (thee…thee); 6 3 2, 4 (arms…arms); 10 5 1, 3 (came…came).
29.
Led them, thus erring, from their native land; (10 5 6.)
Editions 1818, 1839 read home for land here. All modern editors adopt
Fleay’s cj., land [rhyming with band (8), sand (9)].
30. 11 11 7. Rossetti and Dowden, following Mrs. Shelley (1839), print writhed here.
31. When the broad sunrise, etc. (12 34 3.) When is Rossetti’s cj. (accepted by Dowden) for Where (1818, 1839), which Forman and Woodberry retain. In 11 24 1, 12 15 2 and 12 28 7 there is Forman’s cj. for then (1818).
32. a golden mist did quiver Where its wild surges with the lake were blended,— (12 40 3, 4.) Where is Rossetti’s cj. (accepted by Forman and Dowden) for When (editions 1818, 1839; Woodberry). See also list of punctual variations below.
33.
Our bark hung there, as on a line suspended, etc. (12 40 5.)
Here on a line is Rossetti’s cj. (accepted by all editors) for one line
(editions 1818, 1839). See also list of punctual variations below.
34. LIST OF PUNCTUAL VARIATIONS. Obvious errors of the press excepted, our text reproduces the punctuation of Shelley’s edition (1818), save where the sense is likely to be perverted or obscured thereby. The following list shows where the pointing of the text varies from that of the editio princeps (1818) which is in every instance recorded here.
DEDICATION, 7. long. (9).
CANTO 1. 9. scale (3), neck (7). 11. What life what power (1). 22. boat, (8), lay (9). 23. embarked, (7), below A vast (8, 9). 26. world (1), chaos: Lo! (2). 28. life: (2), own. (9). 29. mirth, (6). 30. language (2), But, when (5). 31. foundations—soon (2), war— thrones (6), multitude, (7). 32. flame, (4). 33. lightnings (3), truth, (5), brood, (5), hearts, (8). 34. Fiend (6). 35. keep (8). 37. mountains— (8). 38. unfold, (1), woe: (4), show, (5). 39. gladness, (6) 40 fire, (1), cover, (5), far (6). 42. kiss. (9). 43. But (5). 44. men. (4), fame; (7). 45. loved (4). 47. sky, (5), away (6). 49. dream, (2), floods. (9). 50. Universe. (4), language (6). 54. blind. (4). 57. mine—He (8). 58. said— (5). 60. tongue, (9).
CANTO 2. 1. which (4). 3. Yet flattering power had (7). 4. lust, (6). 6. kind, (2). 11. Nor, (2). 13. ruin. (3), trust. (9). 18. friend (3). 22. thought, (6), fancies (7). 24. radiancy, (3). 25. dells, (8). 26. waste, (4) 28. passion (7). 31. yet (4). 32. which (3). 33. blight (8), who (8). 37. seat; (7). 39. not—‘wherefore (1). 40. good, (5). 41. tears (7). 43. air (2). 46. fire, (3). 47. stroke, (2). 49. But (6).
CANTO 3. 1. dream, (4). 3. shown (7), That (9). 4. when, (3). 5. ever (7). 7. And (1). 16. Below (6). 19. if (4). 25. thither, (2). 26. worm (2), there, (3). 27. beautiful, (8). 28. And (1). 30. As (1).
CANTO 4. 2. fallen—We (6). 3. ray, (7). 4. sleep, (5). 8. fed (6). 10. wide; (1), sword (7). 16. chance, (7). 19. her (3), blending (8). 23. tyranny, (4). 24. unwillingly (1). 26. blood; (2). 27. around (2), as (4). 31. or (4). 33. was (5).
CANTO 5. 1. flow, (5). 2. profound—Oh, (4), veiled, (6). 3. victory (1), face— (8). 4. swim, (5) 6. spread, (2), outsprung (5), far, (6), war, (8). 8. avail (5). 10. weep; (4), tents (8). 11. lives, (8). 13. beside (1). 15. sky, (3). 17. love (4). 20. Which (9). 22. gloom, (8). 23. King (6). 27. known, (4). 33. ye? (1), Othman— (3). 34. pure— (7). 35. people (1). 36. where (3). 38. quail; (2). 39. society, (8). 40. see (1). 43. light (8), throne. (9). 50. skies, (6). 51. Image (7), isles; all (9), amaze. When (9, 10), fair. (12). 51. 1: will (15), train (15). 51. 2: wert, (5). 51. 4: brethren (1). 51. 5: steaming, (6). 55. creep. (9).
CANTO 6. 1. snapped (9). 2. gate, (2). 5. rout (4), voice, (6), looks, (6). 6. as (1). 7. prey, (1), isle. (9). 8. sight (2). 12. glen (4). 14. almost (1), dismounting (4). 15. blood (2). 21. reins:—We (3), word (3). 22. crest (6). 25. And, (1), and (9). 28. but (3), there, (8). 30. air. (9). 32. voice:— (1). 37. frames; (5). 43. mane, (2), again, (7). 48. Now (8). 51. hut, (4). 54. waste, (7).
CANTO 7. 2. was, (5). 6. dreams (3). 7. gave Gestures and (2, 3), withstood, (4), save (4), sphere, (5). 8. sent, (2). 14. taught, (6), sought, (8). 17. and (6). 18. own (5), beloved:— (5). 19. tears; (2), which, (3), appears, (5). 25. me, (1), shapes (5). 27. And (1). 28. strength (1). 30. Aye, (3), me, (5). 33. pure (9). 38. wracked; (4), cataract, (5).
CANTO 8. 2. and (2). 9. shadow (5). 11. freedom (7), blood. (9). 13. Woman, (8), bond-slave, (8). 14. pursuing (8), wretch! (9). 15. home, (3). 21. Hate, (1). 23. reply, (1). 25. fairest, (1). 26. And (6). 28. thunder (2).
CANTO 9. 4. hills, (1), brood, (6). 5. port—alas! (1). 8. grave (2). 9. with friend (3), occupations (7), overnumber, (8). 12. lair; (5), Words, (6). 15. who, (4), armed, (5), misery. (9). 17. call, (4). 20. truth (9). 22. sharest; (4). 23. Faith, (8). 28. conceive (8). 30. and as (5), hope (8). 33. thoughts:—Come (7). 34. willingly (2). 35. ceased, (8). 36. undight; (4).
CANTO 10. 2. tongue, (1). 7. conspirators (6), wolves, (8). 8. smiles, (5). 9. bands, (2) 11. file did (5). 18. but (5). 19. brought, (5). 24. food (5). 29. worshippers (3). 32. west (2). 36. foes, (5). 38. now! (2). 40. alone, (5). 41. morn—at (1). 42. below, (2). 43. deep, (7), pest (8). 44. drear (8). 47. ‘Kill me!’ they (9). 48. died, (8).
CANTO 11. 4. which, (6), eyes, (8). 5. tenderness (7). 7. return—the (8). 8. midnight— (1). 10. multitude (1). 11. cheeks (1), here (4). 12. come, give (3). 13. many (1). 14. arrest, (4), terror, (6). 19. thus (1). 20. Stranger: ‘What (5). 23. People: (7).
CANTO 12. 3. and like (7). 7. away (7). 8. Fairer it seems than (7). 10. self, (9). 11. divine (2), beauty— (3). 12. own. (9). 14. fear, (1), choose, (4). 17. death? the (1). 19. radiance (3). 22. spake; (5). 25. thee beloved;— (8). 26. towers (6). 28. repent, (2). 29. withdrawn, (2). 31. stood a winged Thought (1). 32. gossamer, (6). 33. stream (1). 34. sunrise, (3), gold, (3), quiver, (4). 35. abode, (4). 37. wonderful; (3), go, (4). 40. blended: (4), heavens, (6), lake; (6).
1. PRINCE ATHANASE.
Lines 28-30. The punctuation here (“Poetical Works”, 1839) is supported by the Bodleian manuscript, which has a full stop at relief (line 28), and a comma at chief (line 30). The text of the “Posthumous Poems”, 1824, has a semicolon at relief and a full stop at chief. The original draft of lines 29, 30, in the Bodleian manuscript, runs:— He was the child of fortune and of power, And, though of a high race the orphan Chief, etc. —which is decisive in favour of our punctuation (1839). See Locock, “Examination”, etc., page 51.
2. Which wake and feed an ever-living woe,— (line 74.) All the editions have on for an, the reading of the Bodleian manuscript, where it appears as a substitute for his, the word originally written. The first draft of the line runs: Which nursed and fed his everliving woe. Wake, accordingly, is to be construed as a transitive (Locock).
3.
Lines 130-169. This entire passage is distinctly cancelled in the
Bodleian manuscript, where the following revised version of lines
125-129 and 168-181 is found some way later on:—
Prince Athanase had one beloved friend,
An old, old man, with hair of silver white,
And lips where heavenly smiles would hang and blend
With his wise words; and eyes whose arrowy light
Was the reflex of many minds; he filled
From fountains pure, nigh overgrown and [lost],
The spirit of Prince Athanase, a child;
And soul-sustaining songs of ancient lore
And philosophic wisdom, clear and mild.
And sweet and subtle talk they evermore
The pupil and the master [share], until
Sharing that undiminishable store,
The youth, as clouds athwart a grassy hill
Outrun the winds that chase them, soon outran
His teacher, and did teach with native skill
Strange truths and new to that experienced man;
So [?] they were friends, as few have ever been
Who mark the extremes of life’s discordant span.
The words bracketed above, and in Fragment 5 of our text, are cancelled
in the manuscript (Locock).
4.
And blighting hope, etc. (line 152.)
The word blighting here, noted as unsuitable by Rossetti, is cancelled
in the Bodleian manuscript (Locock).
5.
She saw between the chestnuts, far beneath, etc. (line 154.)
The reading of editions 1824, 1839 (beneath the chestnuts) is a palpable
misprint.
6. And sweet and subtle talk they evermore, The pupil and the master, shared; (lines 173, 174.) So edition 1824, which is supported by the Bodleian manuscript,—both the cancelled draft and the revised version: cf. note above. “Poetical Works”, 1839, has now for they—a reading retained by Rossetti alone of modern editors.
7. Line 193. The ‘three-dots’ point at storm is in the Bodleian manuscript.
8. Lines 202-207. The Bodleian manuscript, which has a comma and dash after nightingale, bears out James Thomson’s (‘B. V.’s’) view, approved by Rossetti, that these lines form one sentence. The manuscript has a dash after here (line 207), which must be regarded as ‘equivalent to a full stop or note of exclamation’ (Locock). Editions 1824, 1839 have a note of exclamation after nightingale (line 204) and a comma after here (line 207).
9. Fragment 3 (lines 230-239). First printed from the Bodleian manuscript by Mr. C.D. Locock. In the space here left blank, line 231, the manuscript has manhood, which is cancelled for some monosyllable unknown—query, spring?
10.
And sea-buds burst under the waves serene:— (line 250.)
For under edition 1839 has beneath, which, however, is cancelled for
under in the Bodleian manuscript (Locock).
11. Lines 251-254. This, with many other places from line 222 onwards, evidently lacks Shelley’s final corrections.
12.
Line 259. According to Mr. Locock, the final text of this line in the
Bodleian manuscript runs:—
Exulting, while the wide world shrinks below, etc.
13. Fragment 5 (lines 261-278). The text here is much tortured in the Bodleian manuscript. What the editions give us is clearly but a rough and tentative draft. ‘The language contains no third rhyme to mountains (line 262) and fountains (line 264).’ Locock. Lines 270-278 were first printed by Mr. Locock.
14. Line 289. For light (Bodleian manuscript) here the editions read bright. But light is undoubtedly the right word: cf. line 287. Investeth (line 285), Rossetti’s cj. for Investeth (1824, 1839) is found in the Bodleian manuscript.
15. Lines 297-302 (the darts…ungarmented). First printed by Mr. Locock from the Bodleian manuscript.
16.
Another Fragment (A). Lines 1-3 of this Fragment reappear in a modified
shape in the Bodleian manuscript of “Prometheus Unbound”, 2 4 28-30:—
Or looks which tell that while the lips are calm
And the eyes cold, the spirit weeps within
Tears like the sanguine sweat of agony;
Here the lines are cancelled—only, however, to reappear in a heightened
shape in “The Cenci”, 1 1 111-113:—
The dry, fixed eyeball; the pale quivering lip,
Which tells me that the spirit weeps within
Tears bitterer than the bloody sweat of Christ.
(Garnett, Locock.)
17. PUNCTUAL VARIATIONS. The punctuation of “Prince Athanase” is that of “Poetical Works”, 1839, save in the places specified in the notes above, and in line 60—where there is a full stop, instead of the comma demanded by the sense, at the close of the line.