P. 326.

"The trunks are crushed and scattered."

It seems clear that Shelley must have intended to rhyme, in this passage, "scattered" (or perhaps "battered") with "shattered." Hitherto, "shattered" has been printed twice over.

P. 328.

"Come with us, come with us, from Felsensee !" Mr. Garnett notifies the correction Felsensee" instead of Felunsee." In point of fact, "Felsensee" is not a strict proper name, but means "the Lake of Rocks, or Rocky Lake."

P. 331.
Parvenu.

To the name of this personage Shelley or some one else appended as a note (in The Liberal) "A sort of Fundholder." No such explanation is given in the German Faust in my hands: and it seems hardly worth "making a note of." Perhaps it was put into The Liberal as an editorial sly hit at English affairs.

P. 334.

"Are we so wise, and is Tegel still haunted?"

Göthe here speaks of a village named Tegel, in which a spectre had been seen about the time when he wrote. Shelley, not understanding "Tegel", wrote "the "When his translation was published in The Liberal, somebody filled up the blank with the word " pond. It is time to relieve Shelley's text from this accreted blunder.

P. 334.

"Tonight I shall make poor work of it."

This unmetrical line would be set right were we to read

"Tonight I shall but make " &c.

P. 335.

"It is as airy here as in a

Shelley has mistaken "lustig," jovial, for "luftig," airy. The original means "It is as jovial here as in the Prater." This is by no means the only misapprehension that can be detected in the translation from Faust, which is none the less a masterpiece.

P. 337.
Appendix.

For some general remarks on the compositions comprised in this Appendix, see my preface, p. xiii. It includes, besides merely juvenile writings, some others of an outlying kind-variations from the printed text of the poems, lines in Italian, &c. I add here a list of the sources whence the several items have been culled:

From Hogg's Life of Shelley. Verses on a Cat: Death, a Dialogue; Death Vanquished; The Tear; Bigotry's Victim; Love; To the Moonbeam; To a Star; Love's Rose.

From the Shelley Papers. Fragment.

From Medwin's Life of Shelley. Latin Verses, the Epitaph in Gray's Elegy; Fading; The Wandering Jew; Latin Verses, In Horologium; From Calderon's Cisma d'Ingalaterra; Ugolino, from Dante; Epithalamium: Buona

Notte.

From St. Irvyne. Victoria; Sister Rosa; The Lake Storm; Bereavement, St Irvyne's Tower; The Father's Spectre.

Copied out by Mr. Garnett. The Solitary; To- -; Eyes. Also verses on a Fête at Carlton House, which Mr. Garnett has taken down from the mouth of the Rev. Mr. Grove, a relative of Shelley.

From the Posthumous Fragments of Margaret Nicholson. The compositions beginning with that heading, down to Melody to a Scene of Former Times. From unpublished correspondence by Shelley, seen by myself. Kings; To Mary, who died in this Opinion; Mother and Son; The Mexican Revolution; To Ireland.

From a printed broadside preserved in the Record Office. The Devil's Walk.

From Mr. Browning's recitation. A Hate Song.

From the Alastor Volume, and from Shelley's revised Queen Mab, as printed by Mr. Forman. The Dæmon of the World, conclusion.

From Garnett's Relics of Shelley. Mont Blanc, cancelled passage; to William Shelley, cancelled passages; Julian and Maddalo, fragments; Ode to Liberty, cancelled passage; Epipsychidion, cancelled passages; Adonais, fragments; Hellas, fragments.

From the Collected Editions. Singing; Prometheus Unbound, variation. From Shelley's MS. book. The Indian Serenade, lines apparently belonging to that poem.

From the Times. Ode to the Assertors of Liberty, concluding stanza. From Mr. Forman's Edition. The Triumph of Life, cancelled opening. The titles given to the juvenile poems are supplied by myself, in most instances.

P. 337.
Verses on a Cat.

This is the earliest known effusion of Shelley, and very far from being the worst. Its exact date is uncertain, but would appear to be somewhere towards, or rather beyond, 1800, in which year the poet completed his eighth year. It is preserved in the autograph of his sister Elizabeth, "with a cat painted on the top of the sheet; it seems to be a tabby cat, for it has an indistinct brownishgrey coat." The final phrase "hold their jaw" was then, as Miss Shelley notices, "a favourite one of Bysshe's."

P. 338.
Fragment.

Medwin describes this as "one of Shelley's earliest effusions"; adding "it was indeed almost taken from the pseudo Rowley "-i.e., from the dirge in Ella (as Mr. Forman points out), of which it is a kind of travestie.

P. 338.

The Epitaph in Gray's Elegy.

I have corrected some manifest blunders in these Latin lines, and also in those which follow, as printed by Medwin: for instance, "Longivus" (instead of "Longius") stanza v. Medwin presumes the Epitaph to have been "probably a school-task."

P. 339.
Victoria.

Captain Medwin says that some of the poems introduced into Shelley's juve. nile romance of St. Irvyne, of which this is one, were "written a year or two before the date of the romance." I have assumed that the poems to which this observation applies are those which have no direct connexion with the story of St. Irvyne. These therefore I date 1858; the residue 1809, in which year that unspeakable work of fiction was probably written (published in 1810). "Three of them," says Medwin, "are in the metre of Walter Scott's Helvellyn, a poem he greatly admired, although the Lay of the Last Minstrel was little to his taste."

P. 344.
Fading.

This is a song in the early poem on the Wandering Jew, written by Shelley and Medwin: see notes, vol. i., p. 435. The succeeding few lines (headed The Wandering Jew) are also referred to by Medwin (Life of Shelley, vol. i., p. 58) as if they were Shelley's.

P. 346.

Latin Verses, In Horologium.

Mr. Mac Carthy has pointed out that these verses appear to be a translation from an English epigram published in the Oxford Herald of 16 September 1809. I should rather surmise that both the Latin and the English come from some common original.

P. 35T.

Posthumous Fragments of Margaret Nicholson.

See the Memoir, p. 20, as to the poems constituting this series. Mr. Hogg says that he and Shelley made the poems purposely absurd by various processes, "especially by giving them what we called a dithyrambic character, which was effected by cutting some lines in two, and joining the different parts together that would agree in construction, but were the most discordant in sense." I must confess that I have been unable to trace in the poems a single clear instance of this process: and, having had to transcribe the whole of them, I have necessarily given to their verbal minutiæ an amount of attention which other readers do not, and certainly need not, vouchsafe. The opening poem in the volume is omitted from our edition, because Mr. Hogg affirms that it was not Shelley's own work, but "confided to him by some rhymester of the day."

The name Fitzvictor, as pertaining to a supposititious nephew of Margaret Nicholson, was an invention of Shelley's; not more extravagant, however, than the name which her son did really adopt for a change, Daphne. Margaret attempted to kill George III. with a knife. A publican at the corner of Clare Market had in his window, "within the memory of a literary friend" (if we may believe the Gentleman's Magazine for March 1869), the announcement: "To be seen within, the fork belonging to the knife with which Margaret Nicholson attempted to stab his Majesty George III."

P. 357.

"It is not the Benshie's moan on the storm."

It seems clear that "not" ought to be inserted in this line: and I therefore introduce it.

P. 361.
The Tear.

Shelley forwarded these verses to Hogg on 6 January 1811, saying in his letter: "You see the subject of the foregoing; I send it because it may amuse you.' He had been most of the night pacing a churchyard." The reader of the present day will not perhaps find the "subject" very self-evident.

In Mr. Hogg's book the word is "in," not "o'er"; I presume, a misprint. The poem, if that is the proper word for such a performance, was written by Shelley when he conceived himself outraged by the intolerant bigotry of his family, and especially by its influence on his sister Elizabeth.

P. 365.

On a Fête at Carlton House.

See p. 439. This is the sole now known fragment from a poem of about fifty lines which Shelley wrote and printed on a fête which had taken place towards the beginning of the summer of 1811. A stream of water had been made to meander down a long table; and the extravagance of the affair generally had excited some murmurs. Shelley, it is said, amused himself with throwing copies of the poem into the carriages of persons going to Carlton House after the fête."

P. 365.
To a Star.

Shelley sent this to Hogg, along with the succeeding verses, Love's Rose; saying "I transcribe for you a strange mélange of maddened stuff which I wrote by the midnight moon last night.' It is not quite clear whether the two compositions are to be understood as consecutive or connected.

P. 366.
Kings.

These lines appear in a letter(now the property of Mr. Locker) addressed by Shelley to his early acquaintance Mr. Edward Graham. The precise date is not shown, but some expressions in the letter lead me towards June 1811. These lines might run on with those which conclude Death Vanquished, p. 350.

P. 367.

To Mary, who died in this Opinion.

Shelley sent this poem to Miss Hitchener from Keswick on the 23rd November 1811, saying: "I transcribe a little poem I found this morning. It was written some time ago; but, as it appears to show what I then thought of eternal life, I send it."-I do not know who Mary was.

P. 367.

Mother and Son.

"The subject is not fictitious," says Shelley on the 7th January 1812, writing from Keswick. It is worthy of observation that this effusion, which bears traces of a Wordsworthian influence, was indited when Shelley was in habits of intercourse with Southey. It more especially resembles Wordsworth's Female Vagrant, published in 1794 (now entitled Guilt and Sorrow)-being in the same metre, and partly alike in subject.

P. 368.

"If human, thou mightst then have learned to feel." Probably Shelley miswrote "feel," intending "grieve," which would rhyme with "live."

P. 369.

The Mexican Revolution.

These verses, and those which follow, To Ireland, were sent by Shelley in a letter from Dublin. He says: "Have you heard a new republic is set up in Mexico? I have just written the following short tribute to its success. ... These are merely sent as lineaments in the picture of my mind on these two topics. I find that I sometimes can write poetry when I feel, such as it is."

P. 371.
The Devil's Walk.

See the Memoir, p. 37, and the article in the Fortnightly Review there referred to. I am not aware that any printed copy of The Devil's Walk is VOL. III.

29

known to exist, except the one preserved in the Record Office, which I was fortunate enough to trace out, from information supplied to me. The exact date of this poem is uncertain, but not later than August 1812. It is generally modelled on The Devil's Thoughts, written by Coleridge, or The Devil's Walk, by Southey and Coleridge jointly. Only one stanza, however, the 18th, is directly appropriated-being reproduced, without verbatim accuracy, from one of Coleridge's stanzas.-I have seen a MS. of The Devil's Walk in an unpublished letter from Shelley-much less full, and differing in verbal detail.

P. 376.
Eyes.

This poem is extracted by Mr. Garnett fro.n a MS. book, and had never yet (1870) been published. He notes its date as not later than 1813: I have put 1812 conjecturally.

P. 376.

The Damon of the World-Conclusion.

As to this poem, a recast from Queen Mab, see my notes, vol. i. pp. 424-5. and 434. I give in the Appendix (1) the conclusion of the Damon of the World, such as that poem was printed in the Alastor volume. That conclusion, however, now forms merely the "Conclusion of Part I.," being supplemented by (2) extracts from Part II. of the Damon, as constituted by Shelley's MS. emendations to the two final sections of Queen Mab; these emendations appear in the revised copy of Queen Mab mentioned in my notes above-cited. Mr. Forman has published the whole (332 lines) of this Part II. of the Damon: I only give those lines or passages which differ in some substantial degree from the corresponding text of Queen Mab.

P. 381.
Singing.

The reader will observe that the first two lines of this snatch of verse were utilized by Shelley in the Prometheus (vol. ii. p. 107).

P. 382.
A Hate-Song.

Mr. Browning has favoured me with this amusing absurdity, retailed to him by Leigh Hunt. It seems that Hunt and Shelley were talking one day (probably in or about 1817) concerning Love-Songs; and Shelley said that he didn't see why Hate-Songs also should not be written, and that he could do them; and on the spot he improvised these lines of doggrel.

P. 383.

Ode to the Assertors of Liberty-Concluding Stanza added.

See p. 402.-The account of this matter given in the Times, in a review of various books, including Messrs. Routledge's illustrated edition of Shelley, is as follows:-"The collection of MSS. at the Bodleian Library, known as the Montagu Letters, contains a small piece of paper written over with a copy of the Ode to the Assertors of Liberty. The writing is of the peculiar small and fine hand which Shelley used when he wished to write neatly; and it would appear as though he had written out the poem on this small piece of paper, to send it in a letter to some friend."-The additional stanza is (I conceive) palpably genuine but I do not add it to the text of the Ode, as that was published. without this conclusion, in Shelley's lifetime.

P. 387.

"Father, our woes so great were yet the less."

The word given in Captain Medwin's book is "not" instead of "yet direct contrary of what Dante says.

: the