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Romanticism on the Net
A scholarly delight.
Writing to his publisher in 1813, Shelley expressed the hope that two of his major works "should form one volume"; nearly two centuries later, the second volume of the Johns Hopkins edition of The Complete Poetry fulfills that wish for the first time. This volume collects two important pieces: Queen Mab and The Esdaile Notebook. Privately issued in 1813, Queen Mab was perhaps Shelley's most intellectually ambitious work, articulating his views of science, politics, history, religion, society, and individual human...
Writing to his publisher in 1813, Shelley expressed the hope that two of his major works "should form one volume"; nearly two centuries later, the second volume of the Johns Hopkins edition of The Complete Poetry fulfills that wish for the first time. This volume collects two important pieces: Queen Mab and The Esdaile Notebook. Privately issued in 1813, Queen Mab was perhaps Shelley's most intellectually ambitious work, articulating his views of science, politics, history, religion, society, and individual human relations. Subtitled A Philosophical Poem: With Notes, it became his most influential—and pirated—poem during much of the nineteenth century, a favorite among reformers and radicals. The Esdaile Notebook, a cycle of fifty-eight early poems, exhibits an astonishing range of verse forms. Unpublished until 1964, this sequence is vital in understanding how the poet mastered his craft.
As in the acclaimed first volume, these works have been critically edited by Donald H. Reiman and Neil Fraistat. The poems are presented as Shelley intended, with textual variants included in footnotes. Following the poems are extensive discussions of the circumstances of their composition and the influences they reflect; their publication or circulation by other means; their reception at the time of publication and in the decades since; their re-publication, both authorized and unauthorized; and their place in Shelley's intellectual and aesthetic development.
Johns Hopkins University Press
A scholarly delight.
— Morton D. Paley
— Susan Morgan
— Steven E. Jones
— Christoph Bode
Once it is completed, this will be the definitive critical edition of the complete poetry of P.B. Shelley that the scholarly community has been awaiting for such a long time. We can already say: it will have been worth the wait.
An indispensable reference work for all who study Shelley... Auspiciously inaugurates Shelley studies for a new millennium.
A more comprehensive collation of relevant materials, or a more sensitive, sensible, and reader-friendly presentation of evidence, is inconceivable. All Shelleyans owe Reiman and Fraistat a debt of gratitude.
Will almost certainly be the standard in Shelley scholarship... It is more than a reader hopes for in editorial scholarship.
A monumental edition—the Shelley edition for our time.
In gathering together all his earliest pieces, including some that have been unavailable in standard editions of the collected poetry, Donald Reiman and Neil Fraistat's meticulously edited volume brings out the aims Shelley had for his verse, and the effects he sought, which remained surprisingly uniform.
This edition will undoubtedly be indispensable for the serious study of Shelley's poetry.
These youthful poems prove that Shelley's enthusiasm for political solutions to moral problems was neither intellectual fakery nor aristocratic affection.
If ever an edition deserved the chimerical epithet 'definitive' this is it. A more comprehensive collation of relevant materials, or a more sensitive, sensible, and reader-friendly presentation of evidence, is inconceivable. All Shelleyans owe Reiman and Fraistat a debt of gratitude. The edition this volume inaugurates will be an essential acquisition for academic libraries and should become the standard scholarly reference for all citations of Shelley's poems.
|List of Illustrations||xi|
|Letter  ("Here I sit with my paper, my pen and my ink")||7|
|Letter  (To Miss _ From Miss _)||9|
|Song. ("Cold, cold is the blast when December is howling")||11|
|Song. ("Come _! sweet is the hour")||13|
|Song. Translated from the Italian||17|
|Song. Translated from the German||18|
|The Irishman's Song||18|
|Song. ("Fierce roars the midnight storm")||19|
|Song. To _ ("Ah! sweet is the moonbeam that sleeps on yon fountain")||20|
|Song. To _ ("Stern, stern is the voice of fate's fearfull command")||21|
|Saint Edmond's Eve||22|
|Ghasta; or, The Avenging Demon!!!||30|
|Fragment, or The Triumph of Conscience||37|
|The Wandering Jew; or, The Victim of the Eternal Avenger||39|
|Posthumous Fragments of Margaret Nicholson; Being Poems Found Amongst the Papers of that Noted Female who Attempted the Life of the King in 1786||89|
|"Ambition, power, and avarice, now have hurl'd"||93|
|Fragment. Supposed to be an Epithalamium of Francis Ravaillac and Charlotte Corde||95|
|Fragment. ("Yes! all is past--swift time has fled away")||100|
|The Spectral Horseman||101|
|Melody to a Scene of Former Times||102|
|Poems from St. Irvyne; or, The Rosicrucian: A Romance||105|
|"'T was dead of the night, when I sat in my dwelling"||109|
|"Ghosts of the dead! have I not heard your yelling"||110|
|Ballad. ("The death-bell beats!_")||111|
|Song. ("How swiftly through heaven's wide expanse")||114|
|Song. ("How stern are the woes of the desolate mourner")||115|
|Song. ("Ah! faint are her limbs, and her footstep is weary")||116|
|The Devil's Walk||119|
|The Devil's Walk, a Ballad||123|
|Supplement: Letter Version of The Devil's Walk||128|
|Ten Early Poems (1809-1814)||131|
|"A Cat in distress"||135|
|"How swiftly through Heaven's wide expanse"||136|
|"Oh wretched mortal, hard thy fate!"||138|
|To Mary who died in this opinion||138|
|"Why is it said thou canst but live"||139|
|"As you will see I wrote to you" [1st letter to E. F. Graham]||140|
|"Dear dear dear dear dear dear Graeme!" [2nd letter to E. F. Graham]||142|
|"Sweet star! which gleaming oer the darksome scene"||144|
|"Bear witness Erin! when thine injured isle"||145|
|"Thy dewy looks sink in my breast"||145|
|The Wandering Jew; or, The Victim of the Eternal Avenger||189|
|Posthumous Fragments of Margaret Nicholson||235|
|Poems from St. Irvyne; or, The Rosicrucian||261|
|The Devil's Walk||281|
|Ten Early Poems (1809-1814)||295|
|The Wandering Jew; or, The Victim of the Eternal Avenger||355|
|Posthumous Fragments of Margaret Nicholson||375|
|Poems from St. Irvyne; or, The Rosicrucian||387|
|The Devil's Walk||403|
|Ten Early Poems (1809-1814)||411|
|A.||Latin School Exercises||435|
|B.||Prose Treated as Poems||438|
|"The Ocean rolls between us"||438|
|Satirical Poem on "L'infame"||443|
|Poetical Essay on the Existing State of Things||444|
|On a Fete at Carlton House||448|
|Essay on War||451|
|God Save the King||452|
|Poems in the Oxford University and City Herald||453|
|Ode, to the Breath of Summer||455|
|The Grape. From the Greek Anthologia||455|
|Epigram, from the Greek Anthologia. ("We that were wont")||456|
|Translation of an Epigram of Vincent Bourne's||457|
|On Old Age, from the Greek Anthology||458|
|Venus and the Muses, from the Same||458|
|Unattributed Epigraphs to St. Irvyne||458|
|Sadak the Wanderer. A Fragment||460|
|Epigraph: "If Satan had never fallen"||469|
|Lines, Addressed to His Royal Highness The Prince of Wales, on His Being Appointed Regent||469|
|The Modern Minerva; or, The Bat's Seminary for Young Ladies. A Satire on Female Education||478|
|Anecdotes of Father Murdo||480|
|To the Queen of My Heart||482|
|Index of Titles||487|
|Index of First Lines||491|