pursued by Alpheus, was changed by Artemis into the fountain of Arethusa, but the god continued to pursue her under the sea, and attempted to mingle his stream with the fountain in Ortygia.”

The reader will note the resemblance of this poem to The Cloud in general character and in versification.

195 3. Acroceraunian mountains: Acroceraunia was the ancient name of a promontory in Epirus, formed by the western extremity of a chain known as the Ceraunii Montes.

195 24. Erymanthus: a mountain of Arcadia in the Peloponnesus. 195 25-27. The south wind which Erymanthus concealed behind its snowy peaks.

196 52-53.

with note. 197 60.

For the rhyme, cf. Hymn to Intellectual Beauty, 11. 50-51,

unvalued inestimable ; cf. “thy unvalu’d book” in Milton's Epitaph on Shakespeare.

197 74. Enna see note on Prometheus, III, iii, 43.

197 87. Ortygian: see introductory note on this poem.

198 9. 198 10.

THE QUESTION.

wind-flowers: see note on The Sensitive Plant, l. 17.

Arcturi: Arcturus was the name of the constellation of the Little Bear, or of a star in it. This constellation never sets; hence the ever-blooming daisies are called Arcturi (cf. To Jane — The Invitation, 1. 58). 198 13. The reference in "that tall flower" which drops dew upon the earth is uncertain; "the most likely suggestions are imperial,' large campanula, and tulip. See The Sensitive Plant: 'The pied wind-flowers and the tulip tall’” (Miss M. A. Wood's Third Poetry Book).

'crown

199 15. heaven's collected: so the existing MS. copies read, as also the text published in the poet's lifetime. Mrs. Shelley's edition reads

heaven-collected, and she is followed by Forman.

SONG OF PROSERPINE.

Proserpine was the daughter of Demeter (the latter name probably signifies mother-earth), the goddess of the earth. Proserpine was carried off by the god of the lower world, but returned to spend a por

tion of each year with her mother. The story is told in Ovid's Metamorphoses, V. Proserpine probably symbolizes the seed-corn, which is buried, but comes again to life.

Enna: see note on Arethusa, 1. 4.

HYMN OF APOLLO.

This and the Hymn of Pan were written to be inserted in a drama by Edward Williams. Apollo and Pan were represented as contending before Tmolus for the prize in music. In this hymn Apollo appears as the sun god.

HYMN OF PAN.

Pan was the god of flocks and shepherds; he was the inventor of the shepherd's flute, which he constructed from a reed.

202 11. Tmolus: the god of Mount Tmolus in Lydia; he is said to have been judge of a musical contest between Apollo and Pan.

202 13-15. Peneus, Tempe, Pelion: a river, a valley, and a mountain in Thessaly.

203 18. Sileni (satyrs) in Greek mythology were followers of Bacchus; they dwelt in forests and partook somewhat of the nature of lower animals. Fauns were similar creatures of Latin mythology. Sylvans, spirits of the forest.

203 26. dædal: marvellously wrought; see on Prometheus, Act III, i, 26.

203 30. Menalus: a mountain in Arcadia sacred to Pan.

LETTER TO MARIA GISBORNE.

This was written as a friendly letter, probably without the slightest idea of its ever becoming public, and exhibits Shelley in an easy, familiar vein. It was first printed in the Posthumous Poems of 1824, but certain passages were omitted. A transcript in Mrs. Shelley's writing is in existence; as also, at Boscombe, a very illegible draft in Shelley's hand. Mrs. Shelley says: “He addressed the letter to Mrs. Gisborne from this house [at Leghorn], which was hers; he made a study of the

workshop of her son, who was an engineer. Mrs. Gisborne had been a friend of my father in her younger days. She was a lady of great 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. swink: work; a common word in earlier English.

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).

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, Il. 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.

of Shelley.

Peacock: Thomas Love Peacock, poet, novelist, and friend

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."

212 286. Contadino: an Italian peasant.

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 Eolus, the name of the god of the winds. 214 26. Baian ocean: the neighboring part of the Mediterranean ; 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 Xíuvn is applied to Lake Avernus, which, according to ancient story, was connected with the lower world. Hence, "Aornos" may here mean Hades, as opposed to Elysium in 1. 42.