P. 2.

"And on their lids, whose texture fine

Scarce hides the dark-blue orbs beneath "

(D. W.) "On their translucent lids, whose texture fine
Scarce hides the dark blue orbs that burn below
With unapparent fire."

P. 3.

"Tis like a wondrous strain that sweeps," to
Floating on waves of music and of light."

(Q. M.) "Tis like the wondrous strain
That round a lonely ruin swells,

Which, wandering on the echoing shore,
The enthusiast hears at evening.
"Tis softer than the west wind's sigh,
"Tis wilder than the unmeasured notes
Of that strange lyre whose strings
The genii of the breezes sweep.

Those lines of rainbow light

Are like the moonbeams when they fall
Through some cathedral window; but the teints
Are such as may not find

Comparison on earth."

P. 3.

"Behold the chariot of the Fairy Queen," to
"Upon the slumbering maid."

(D. W.) "The chariot of the Dæmon of the World
Descends in silent power.

Its shape reposed within.

Four shapeless shadows bright and beautiful
Draw that strange car of glory; reins of light
Check their unearthly speed. They stop, and fold

Their wings of braided air.

The Dæmon, leaning from the etherial car,

Gazed on the slumbering maid."

These I regard as better lines than the corresponding ones in Q. M.: but the terms "Damon of the World," "four shapeless shadows," &c., are inadmissible into our text-being proper to a different context.-The word "pennons" in the Q. M. passage is Shelley's own, evidently used as equivalent to "pinions:" I almost think it would have been justifiable to alter this word in our edition.

P. 3.

"Human eye hath ne'er beheld," to

"Hung like a mist of light."

(Q. M.) "Oh! not the visioned poet in his dreams,
When silvery clouds float through the wildered brain,
When every sight of lovely, wild, and grand,
Astonishes, enraptures, elevates-

When fancy at a glance combines

The wondrous and the beautiful

These verses are not in the D. W.-I doubt whether their omission from Q. M. would be any detriment: but as the sequence of lines in the D. W. is somewhat altered from Q. M., and cannot be exactly reproduced in our text, it might perhaps be urged that the verses in question were dropped out rather than purposely rejected from the D. W., and I therefore do not presume to meddle with them here.

is followed in Q. M. by the following

"From her celestial car

The Fairy Queen descended,

And thrice she waved her wand

Circled with wreaths of amaranth."

But these lines are omitted in the D. W., and superseded by one on our p. 3, thence adopted

"Waving a starry wand."

P. 4.

"Such sounds as breathed around like odorous winds

Of wakening Spring arose,

Filling the chamber and the midnight sky."

(Q.M.) "And the clear silver tones,

As thus she spoke, were such

As are unheard by all but gifted ear.'

P. 4.

"Maiden, the world's supremest Spirit," to

"Earth's unsubstantial mimicry."

This rhymed lyric-the best thing, to my apprehension, in either form of the poem

-is from the D. W.

Instead of it, Q. M. gives:

"Stars! your balmiest influence shed!
Elements! your wrath suspend!
Sleep, Ocean, in the rocky bounds
That circle thy domain !

Let not a breath be seen to stir

Around yon grass-grown ruin's height,-
Let even the restless gossamer

Sleep on the moveless air!

Soul of Ianthe, thou

Judged alone worthy of the envied boon

That waits the good and the sincere; that waits
Those who have struggled, and with resolute will
Vanquished earth's pride and meanness, burst the chains,
The icy chains, of custom, and have shone
The day-stars of their age ;-soul of Ianthe!

Awake, arise!"

P. 5.

"It ceased: and from the mute and moveless frame
A radiant Spirit rose,

All beautiful in naked purity."

"Instinct with inexpressible beauty and grace," to

"The Fairy and the Soul proceeded." (P. 6.)

The whole of this passage is omitted from the D. W. I cannot profess that the poetical reader would lose much if it had vanished also from our Q. M.: but parts of it are manifestly an integral portion of the longer poem, not rightly omissible, and on the whole it has appeared to me best to leave the entire passage untouched.

P. 6.

"The silver clouds disparted," to
"Bade them pursue their way."

(D. W.) "Disparting as it went the silver clouds,
It moved towards the car, and took its seat

Beside the Dæmon shape.
Obedient to the sweep of airy song,

The mighty ministers

Unfurled their prismy wings."

"From the celestial hoofs."

(D. W.) "From the swift sweep of wings."

It will be observed throughout that, in Q. M., the car is drawn by horses; in the D. W., by undefined spirits of some sort.

P. 7.

"That cradled in their folds the infant dawn."

(Q. M.) "That canopied the dawn."

P. 7.

"Appeared a vast and shadowy sphere," to
"Its rays of rapid light."

(D. W.) "Appeared a vast and shadowy sphere, suspended
In the black concave of heaven

With the sun's cloudless orb,
Whose rays of rapid light," &c.

P. 8.

"It was a sight of wonder: some," to
"Like worlds to death and ruin driven."

Some were horned,

(D. W.) "It was a sight of wonder.
And like the moon's argentine crescent hung
In the dark dome of heaven: some did shed
A clear mild beam, like Hesperus while the sea
Yet glows with fading sunlight: others dashed
Athwart the night with trains of bickering fire,
Like sphered worlds to death and ruin driven."

P. 8.

"Thou must have marked the braided webs of gold
That without motion hang

"When those far clouds of feathery purple gleam."
(Q.M.) "When those far clouds of feathery gold,
Shaded with deepest purple, gleam."

P. 9.

"That gleam amid yon flood of purple light."
(Q. M.) "Gleaming in yon flood of light."

P. 9.

"That canopy the sun's resplendent couch.'

(Q. M.) "Stretching o'er the sun's bright couch."

P. 9.

"As Mab's etherial palace could afford."

In the D. W., the line corresponding to the above is followed by four which have no equivalents in Q. M., and which appear to me of dubious benefit:

"The elements of all that human thought

Can frame of lovely or sublime did join
To rear the fabric of the fane, nor aught
Of earth may image forth its majesty."

P. 9.

"Its vast and azure dome."

Here follows, in Q. M., the couplet

Its fertile golden islands

Floating on a silver sea."

This is omitted in the D. W.: indeed, the meaning of the couplet is not very clear.

P. 9.

"And, on the verge of that obscure abyss," to
"Their lustre through its adamantine gates."

(Q. M.) "Whilst suns their mingling beamings darted
Through clouds of circumambient darkness,

And pearly battlements around

Looked o'er the immense of heaven."

P. 9.

"Floated to strains of thrilling melody

Through the vast columns and the pearly shrines.”
(Q. M.) "Floating to strains of thrilling melody
Through that unearthly dwelling,

Yielded to every movement of the will.

Upon their passive swell the Spirit leaned ;
And, for the varied bliss that pressed around,

Used not the glorious privilege

Of virtue and of wisdom."

P. 10

"Pursued its wondrous way."

This line is in the D. W., as well as in Q. M.: then follows the passage printed in our Appendix, vol. ii., p. 530: and with that ends the D. W.

P. 12.

"A tyrant's slave."

I suspect this should stand "a tyrant slave"-i.e., a tyrant who is "a slave Even to the basest appetites," as we have it on p. 15, and elsewhere passim in Shelley.

P. 18.

"The virtuous man,

As great in his humility as kings

Are little in their grandeur,

when he falls,

His mild eye beams benevolence no more."

The text stands, not " ‘as great," but "who, great," &c. Every reader who follow s out the thread of the sentence will see that "who, great" has no proper syntactical sequence. That Shelley wrote it I raise no question: but, as I have also not the least doubt that he would have altered it if the blunder had caught his far from punctilious eye, I have ventured to make the slight change obviously needed for construction's sake.

P. 27.

Section iv.

According to Mr. Middleton, this section closes in the annotated copy, with the following added lines: