Mrs. Gisborne had been a
She was a lady of great

workshop of her son, who was an engineer. friend of my father in her younger days. accomplishments, and charming from her frank and affectionate nature." For further particulars in regard to Mrs. Gisborne, see the Introduction, p. lxii, and Dowden's Life, Vol. II, p. 206.

203 1-14. Shelley represents himself as engaged in weaving poems, not to catch present applause, but lasting fame in the future.

204 13.

must is the reading of the Boscombe MS., but most of Mrs. Shelley's transcript and the edition of 1824.

204 17.

Archimedean: Archimedes of Syracuse (287-212 B.C.) was a famous mathematician and inventor of various mechanical appliances. 204 24. Ixion or the Titan: the Titan is Prometheus; both he and Ixion were submitted to tortures by Jupiter.

204 25. St. Dominic: a Spaniard who flourished in the beginning of the thirteenth century and founded the order of Dominican Friars; in the text there is reference to the part he took in the crusade against heretics.

204 27-43. The reference is to instruments of torture sent by the Spaniards in the Armada.

204 33-34. Referring to the uprisal in Spain in 1820; see notes on the Ode to Liberty, p. 343.

204 34. Empire is apparently used here as a trisyllable; cf. Prometheus, Act I, i, 15.

204 35.

With is to be construed with "giving," 1. 30.

205 59. 206 75. Forman and Dowden put a colon at the end of this line, without authority, and to the injury of the sense. The "hollow screw" is the "idealism of a paper boat"; otherwise, as Professor Woodberry notes, the word "mischief" (1. 80) is without application. Shelley was addicted to sailing paper boats on streams and ponds (see the Introduction, p. lvii).

swink: work; a common word in earlier English.

206 81. them: the "bills and calculations" (1. 79).

206 93-95. Treatises by various mathematical writers, from Saunderson to Laplace, are strewed about. Laplace, distinguished French mathematician (1749–1827); Saunderson, a blind mathematician, professor at Cambridge in the early part of the last century; Sims, a mathematical instrument maker of the time (Ellis's Concordance); Baron de Tott, a diplomatist, traveller, and author, 1733-93.

206 103. as Spenser says: this clause applies to "with many mo," "mo being a form of more frequently found in Spenser and other elder writers.

207 106-112. These lines refer to the opposition which Shelley's writings stirred up among the orthodox in literature and theology. 207 114. Libeccio: Italian name for the southwest wind.

208 146-7.

Almost the same lines occur in Epipsychidion, ll. 41–42. 208 164. Mr. Forman paraphrases this line, "when we shall again be as once we were but no longer are,” but adds that he is morally certain that Shelley meant to write, "when we shall be no longer as we are."

209 175-6.

indued: put on, acquired; Mrs. Gisborne instructed

Shelley in Spanish.

209 181.

Calderon: the greatest of Spanish dramatists (1600-81). 209 197. Godwin: the father of Mrs. Shelley, author of Political Justice, a book which exercised a profound influence upon Shelley's views (see the Introduction, pp. xxxii ff.).

210 209.

Shelley.

210 213.

Hunt: Leigh Hunt, the well-known writer and friend of

Shout: according to Mr. Forman, an obscure manufacturer of casts in London at the time.

210 226. Hogg: Jefferson Hogg, the college friend and biographer of Shelley.

210 233. Peacock: Thomas Love Peacock, poet, novelist, and friend of Shelley.

his mountain fair: his mountain beauty, i.e., the Welsh lady whom Peacock had this year married.

210 234. Turned into a Flamingo: Shelley, playing upon the name of his friend, says that he has turned from a peacock into a flamingo, because the latter is a shy bird, and since his marriage Peacock has scarcely allowed himself to be seen by his friends.

210 239.

Snowdonian Antelope: again, Mrs. Peacock; Snowdon is the well-known Welsh mountain.

211 240. cameleopard: perhaps, as is suggested in Ellis's Shelley Concordance, a figurative expression for a tall, handsome person.

211 250. Horace Smith, another of Shelley's friends, was a wealthy London stock-broker with literary predilections; along with his brother James he wrote the famous Rejected Addresses which parodied the styles of various poets.

211 253. The writer now begins a description of the external scenes visible, at the moment, to Mrs. Gisborne and himself, respectively. The editor is unable to identify "the yellow-haired

211 272.

Pollonia."

213 312. Shelley was subject to nervous attacks for which he took laudanum (see Dowden's Life, Vol. I, pp. 226, 433).

213 316-7. Helicon a mountain in Boeotia, sacred to the Muses. Himeros: ""Iμepos, from which the river Himera was named, is, with some slight shade of difference, a synonym for Love" (Shelley's note). In these lines the poet seems to say that he will not soothe his nerves either with poetry or with love.

213 322. This is the last line of Milton's Lycidas.

ODE TO NAPLES.

The events which occasioned this ode are mentioned in the diary of Miss Clairmont, who was living with the Shelleys at the time, under date July 16, 1820: "Report of the Revolution at Naples. The people assembled round the palace [July 2] demanding a constitution; the king ordered his troops to fire and disperse the crowd; they refused, and he has now promised a constitution. The head of them is the Duke of Campo Chiaro. This is glorious, and is produced by the Revolution in Spain" (Dowden's Life, Vol. II, p. 342).

Mr. Swinburne says in regard to the designation of the parts of the ode as epodes, strophes, etc.: They are, as far as I can see, hopelessly muddled; beginning with an Epode (after-song!)."

213 1. the city disinterred: Pompeii.

213 4. The Mountain: Vesuvius.

214 11. The light reflected from the surface of the Mediterranean, between the sky above and its image in the water below.

214 24. close: a musical cadence.

་

214 25. Æolian sound: perhaps with a sound like an Æolian harp.' "Æolian" is itself derived from Æolus, the name of the god of the winds. Baian ocean: the neighboring part of the Mediterranean;

214 26.

see note on The Sensitive Plant, III, 1. 3.

214 32. It: the reference is not clear, perhaps to "Power divine" (1. 21).

214 33. whose refers to "Angel."

214 35-43. These lines state in metaphorical terms that the poet is carried away by poetic inspiration.

214 40. Aornos: "Aopvos Xíμvn is applied to Lake Avernus, which, according to ancient story, was connected with the lower world. Hence,

66

'Aornos" may here mean Hades, as opposed to Elysium in 1. 42.

215 44. that Typhæan mount, Inarime: Inarime is a name of the island of Ischia, northwest of the Bay of Naples. It contained an active volcano; hence the monster Typhæus or Typhon was said to lie buried beneath it, as Enceladus beneath Ætna.

215 57. Cf. "Lost Angel of a ruined Paradise" in Adonais, 1. 88. 215 58-61. These lines refer to the recent bloodless revolution.

216 77. Cimmerian Anarchs: the Cimmerii, according to Greek myth, dwelt in a land of perpetual darkness to the north; hence the fitness of applying the epithet here to the tyrannical governments of Europe, Austria, etc.

216 81. Actæon a huntsman who saw Artemis (Diana) bathing and was thereupon pursued and devoured by his own hounds.

216 82. Basilisk. This mythical monster was able to slay by the look merely. The word is derived from the Greek word for 'king'; hence the epithet "imperial."

217 102. See introductory notes to this poem and to the Ode to Liberty. 217 110. Doria: Andrea Doria, a great Genoese admiral, who in the earlier part of the sixteenth century victoriously fought for the independence of the republic of Genoa.

217 124. Philippi's shore: the reference is to the battle of Philippi (42 B C.), where Brutus and Cassius, the representatives of republican principles, were defeated by Octavius.

217 127. Earth-born Forms: the Titans, who were children of the Earth, and made war on the gods.

218 137. The Anarchs of the North: Austria and other northern powers. The language of the context is doubtless suggested by the invasions of ancient Italy by northern barbarians.

218 149 ff. An appeal to the Spirit of Love and Beauty which the poet so often treats as a real entity.

This song first appeared in The Literary Pocket-Book for 1822. It was one of the poems given to Miss Stacey in December, 1820; this MS. still exists, and exhibits several variations from the version in this text.

219 1. Stacey MS. reads: "Good-night?" No, love, the night is ill. 219 5. Stacey MS. reads: How were the night without thee good?

219 9.

219 11-12.

Stacey MS. reads: The hearts that on each other beat.
Stacey MS. reads: Have nights as good as they are sweet,
But never say "good-night."

THE WORLD'S WANDERERS.

Mr. Forman conjectures that a stanza is lacking, of which the last line would have rhymed with "billow.”

TIME LONG PAST.

221 17. Beauty comes from the past, as well as memories.

SONNET ("Ye hasten to the grave").

This sonnet was first published in The Literary Pocket-Book for 1823. Two MSS. exist: one at Harvard; the other was sold among the Ollier MSS.

221 1. grave in the Ollier MS. dead, the reading of the earlier editions, is scored out, and grave substituted.

221 5. pale Expectation: the reading of the Ollier MS.; elsewhere anticipation.

TO NIGHT.

223 1. over in the Harvard MS. the reading o'er is found, which is adopted by Woodberry; this makes the versification correspond to that of the first lines in the other stanzas.

224 19. his: Mr. Rossetti makes the plausible emendation her, on the ground that "Day" in stanza ii is a feminine impersonation. It is quite likely, however, that the conception of Day in the poet's mind had changed; the masculine personification seems more suitable to the context here.