The Complete Poetical Works of Percy Bysshe Shelley Part 201

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 ma.n.u.script (Loc.o.c.k); and (2) after neck (line 205), to indicate the true construction. Mrs. Sh.e.l.ley's text, 1839, has a semicolon after plumes (line 203), which Rossetti adopts. Forman (1892) departs from the pointing of Sh.e.l.ley'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 subst.i.tute 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.

Sh.e.l.ley'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 pa.s.s over the waves.'

7.

As King, and Lord, and G.o.d, 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. Loc.o.c.k, no point appears in the Bodleian ma.n.u.script.

8.

Black-winged demon forms, etc. (1 30 7.) The Bodleian ma.n.u.script exhibits the requisite hyphen here, and in golden-pinioned (32 2).

9.

1 31 2, 6. The 'three-dots' point, employed by Sh.e.l.ley to indicate a pause longer than that of a full stop, is introduced into these two lines on the authority of the Bodleian ma.n.u.script. In both cases it replaces a dash in the editio princeps. See list of punctual variations below. Mr. Loc.o.c.k reports the presence in the ma.n.u.script 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 ma.n.u.script has commotion (Loc.o.c.k)--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 ma.n.u.script,--where, moreover, the somewhat misleading but indubitably Sh.e.l.leyan comma after pa.s.sion (editio princeps, 40 4) is wanting (Loc.o.c.k). 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 subst.i.tute 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 pa.s.sage, is derived from the Bodleian ma.n.u.script (Loc.o.c.k).

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 ma.n.u.script, where, Mr. Loc.o.c.k 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 ma.n.u.script, antic.i.p.ated by Woodberry (1893). Rossetti (1870) had subst.i.tuted a comma for the period of editio princeps.

16.

Hymns which my soul had woven to Freedom, strong The source of pa.s.sion, whence they rose, to be; Triumphant strains, which, etc. (2 28 6-8.) The editio princeps, followed by Forman, has pa.s.sion whence (7). Mrs.

Sh.e.l.ley, "Poetical Works" 1839, both editions, prints: strong The source of pa.s.sion, whence they rose to be Triumphant strains, which, etc.

17.

But, pale, were calm with pa.s.sion--thus subdued, etc. (2 49 6.) With Rossetti, Dowden, Woodberry, I add a comma after But to the pointing of the editio princeps. Mrs. Sh.e.l.ley, "Poetical Works", 1839, both editions, prints: But pale, were calm.--With pa.s.sion thus subdued, etc.

18.

Methought that grate was lifted, etc. (3 25 1.) Sh.e.l.ley's and Mrs. Sh.e.l.ley'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. Sh.e.l.ley, "Poetical Works", 1839, both editions.

20.

Beneath whose spires, which swayed in the red flame, (5 54 6.) Sh.e.l.ley's and Mrs. Sh.e.l.ley'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 subst.i.tute after isle (7 9) a comma for the full stop of editions 1818, 1839 (retained by Rossetti). The pa.s.sage is obscure: perhaps Sh.e.l.ley 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 Sh.e.l.ley'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. Sh.e.l.ley'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 Sh.e.l.ley'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 Sh.e.l.ley's characteristics, and there seems to be no need for alteration here. Mrs.

Sh.e.l.ley (1839) and Rossetti follow the editio princeps.

27.

The s.h.i.+p 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. Sh.e.l.ley (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. Sh.e.l.ley (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 Sh.e.l.ley'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.