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Notes and References Notes and References Chapter One 1. General authorities for Shelley's family background and early life are: Newman I. White, Shelley (New York, 1940), the standard biog­ raphy; Kenneth Neill Cameron, The Young Shelley (New York, 1950); Roger Ingpen, Shelley in England (London, 1917); The Letters of Percy Bysshe Shelley, ed. Frederick L. Jones (Oxford, 1964). 2. Cameron, Young Shelley, p. 40. 3. Humbert Wolfe, ed., The Life of Percy Bysshe Shelley (London, 1933), II, 326-27. This clergyman, hitherto unidentified, was Evan Edwards (1751?-1839). His nickname was "Taffy," and some measure of his influence on Shelley is suggested by Shelley's mention of him in his letter to Elizabeth Hitchener, ?December 10, 1811 (Letters, I, 200). 4. Humbert Wolfe, ed., Life of PBS, I, 30. 5. Letters, I, 2-4. The correct date of the first letter is probably, as Cameron suggested in Young Shelley (p. 295, note 46), January 10, 1809, not 1808. 6. The novel is dated 1811, but see Letters, I, 26. 7. On the authorship, dating, and publication of these two works, see Cameron, Young Shelley, pp. 304-06,307-13. 8. See Kenneth Neill Cameron, Shelley and his Circle (Cambridge, Mass., 1961), I, 35-38. 9. See Shelley and his Circle, II, 475-540. 10. Letters, I, 219n. See also Southey to Charles Danvers, January 13, 1812, New Letters of Robert Southey, ed. Kenneth Curry (New York and London, 1965), II, 19-22. 11. See Kenneth Neill Cameron, "Shelley vs. Southey: New Light on an Old Quarrel," Publications of the Modem Language Association, LVII (June 1942), 489-512. 12. Denis Florence MacCarthy, Shelley's Early Life (London, 1872),pp.240-43. 13. Later in the century, however, the Letter to Lord Ellenborough 163 164 PERCY BYSSHE SHELLEY gained some currency among radicals and was at least twice reprinted upon similar infringements of freedom of the press (Cameron, Young Shelley, p. 186). 14. Letters, I, 336. See also Letters, I, 331n, and White, Shelley, I, 238-42,262-65,645-46. 15. Cameron, Young Shelley, pp.187-91. 16. Letters, I, 355n-56n. 17. Cameron, Young Shelley, pp. 205-14; H. M. Dowling, Keats­ Shelley Memorial Bulletin, XII (1961), 28-36; and White, Shelley, I, 281-85. 18. The best discussions of this important but little-known work are: Cameron, Young Shelley, pp. 274-87, and C. E. Pulos, The Deep Truth: A Study of Shelley's Scepticism (Lincoln, Nebraska, 1954), pp. 91-97. 19. See, for example, Letters, I, 315-16 (to Godwin, July 29, 1812). 20. Harry Buxton Forman, The Shelley Library (London, 1886), PP· 35-58. 21. The Esdaile Notebook: A Volume of Early Poems by Percy Bysshe Shelley (New York, 1964). 22. Of the poems in the notebook, six are sonnets, two are in Spen­ serian stanzas; and there appear sixteen other rhymed stanzaic pat­ terns of from six to twelve lines (besides unrhymed and irregularly rhymed poems and poems in quatrains). Chapter Two I. For an interpretation by an acknowledged partisan of Harriet, see Louise Schutz Boas, Harriet Shelley: Five Long Years (London and New York, 1962). 2. See Letters, I, 423n and, especially, F. L. Jones's essay in Shelley and his Circle, III, 423-34. 3. Louise Schutz Boas, "'Erasmus Perkins' and Shelley," Modern Language Notes, LXX (June 1955), 408-13. 4. Edward Dowden, The Life of Percy Bysshe Shelley (London, 1886), I, 525-30; Humbert Wolfe, ed., Life of PBS, II, 340-41. 5. Harold Bloom, The Visionary Company (Garden City, N.Y., 1961), p. 280. 6. "Love," for Shelley, is eros, a desire for the possession of good qualities not found in the lover but in the beloved; love is based on inequality. 7. "Youth" refers to the young poet who is the protagonist; "Poet" refers to the persona of Shelley who speaks the two invocations and the concluding lines of Alastor. 8. See Joseph Raben, "Shelley's Prometheus Unbound: Why the In­ dian Caucasus?" Keats-Shelley Journal, XII (1963), 95-106. Raben, Notes and References 165 while explaining Shelley's use of the Hindu Kush (Indian Caucasus} in Prometheus, doubts that the same mountains were the goal of the Youth in Alastor; but the geography of Alastor indicates that the In­ dian, not the European range, is intended. 9. Irene H. Chayes, "Plato's Statesman Myth in Shelley and Blake," Comparative Literature, XIII (Fall 1961}, 358-69. 10. Again the analogue is the myth in Plato's Statesman; the progress of the boat can be seen, geographically, as an ascent of the Oxus River from the Aral Sea to its source in the Hindu Kush range (the Indian Caucasus). 11. Pine trees also symbolize this struggle in "Mont Blanc" ( 20-24, 109-11) and other poems. 12. Leslie Marchand, Byron: A Biography (New York, 1957}, II, 603-08. Chapter Three 1. See Fanny's letters in Shelley and Mary, I, 93-95, 104-13, 140- 42, 143-46. For other interpretations of this tragedy, see White, Shel­ ley, I, 470-71, and Burton R. Pollin, "Fanny Godwin's Suicide Re-examined," Etudes Anglaises, XVIII (Fall1965), 258-68. 2. White, Shelley, I, 480-85; cf. Cameron, "The Last Days of Har­ riet Shelley," Shelley and his Circle, IV, 769-802. 3. Boas, Harriet Shelley, pp. 197-98. 4. C. Kegan Paul, William Godwin: His Friends and Contemporaries (Boston, 1876), II, 246. 5. For the facts and problems relating to the publication of this pamphlet, see White, Shelley, I, 544-46, 7 44 (note 70). 6. E.g., Wordswmth's theory of diction in the Preface to Lyrical Bal­ lads ( 1800; amended 1802) and Coleridge's in Biographia Literaria (1817}. 7. In the notebook in which he began composing his poem, Shelley wrote: "Is this an imitation of Ld. Byron's poem? It is certainly written in the same metre. Coleridge and Wordsworth to be considered" (Verse and Prose from the Manuscripts of Percy Bysshe Shelley, ed. John C. E. Shelley-Rolls and Roger Ingpen [London, 1934], p. 12). There are also verbal echoes of "The Rime of the Ancient Mariner" and "The Prisoner of Chillon" in Canto III of The Revolt, and the poem uses ideas and techniques drawn both from Wordsworth's early poems and from The White Doe of Rylstone. 8. The woman probably alludes here to the Youth of Alastor, thus making The Revolt of Islam, in a sense, a sequel to the earlier poem. 9. See Kenneth Neill Cameron, "A Major Source of The Revolt of Islam," Publications of the Modern Language Association, LVI (March 166 PERCY BYSSHE SHELLEY 1941), 175-206, for the influence of Volney's Ruins of Empire on this and many other passages of the poem. 10. The Poetical Works of Percy Bysshe Shelley, ed. H. Buxton Forman (London, 1876), I, 97. 11. See Titus I.15. That Shelley was, in part, reacting to charges that he, Byron, Mary, and Claire had formed a "league of incest" at Lake Geneva seems clear from his disclaimer in a footnote to the Pref­ ace: "The sentiments connected with and characteristic of this circum­ stance have no personal reference to the Writer" (Poetical Works, ed. Forman, I, 98). Certainly Shelley was foolhardy, in view of the per­ sonal slanders centering on this very question, to fly into the face of public opinion; as it was, the Tory Quarterly Review obtained a copy of Laon and Cythna in its unexpurgated form and in reviewing it made capital of Shelley's defense of incest. 12. Book X; Loeb Classical Library Edition (Cambridge, Mass., 1961), III, 303-05. 13. For a full account of Shelley's recurring use of earthquakes, vol­ canoes, and other terrestrial disturbances as symbols of the uprising of the human spirit against tyranny, see G. M. Matthews, "A Volcano's Voice in Shelley," Journal of English Literary History, XXIV ( 1957), 191-228. 14. This apocalyptic horse is at once a symbol of destiny and of un­ corrupted nature. Shelley's handling of its relationship to the theme owes much to Wordsworth's White Doe of Rylstone (1815). 15. Thomas Medwin, The Life of Percy Bysshe Shelley, ed. H. Bux­ ton Forman (London, 1913), pp. 178-79. 16. Julian, VI, 227-52. Chapter Four 1. See Mary's note on the poem (OSA, pp. 188-89) and Letters, II, 29, 31 and note. 2. The holograph draft of "On Love" comes just before that of the "Discourse on the manners of the Antient Greeks relative to the subject of Love" in Bodleian MS Shelley adds. e. 11: "On Love," pp. 1-9; "Dis­ course," pp. 17-41. 3. Letters, II, 32-38; White, Shelley, II, 29. 4. Published with Rosalind and Helen ( 1819). See Donald H. Rei­ man, "Structure, Symbol, and Theme in 'Lines written among the Euganean Hills,'" Publications of the Modern Language Association, LXXVII (September 1962), 404-13. 5. See "Boat on the Serchio," 26-27, the only other use of the word "rooks" in Shelley's poetry. 6. Shelley, II, 42-50. 7. Dowden, Life of Percy Bysshe Shelley, II, 238; Baker, Shelley's Notes and References 167 Mafor Poetry, pp. 124-38; G. M. Matthews, "'Julian and Maddalo': The Draft and the Meaning," Studia Neophilologica, XXXV (1963), 57-84. 8. For adverse comments on Byron, see Shelley to Peacock, Decem­ ber 17 or 18, 1818 (Letters, II, 57-58). Chapter Five I. The only account mentioning the Shelleys' stay in Naples (except their own letters and laconic journal entries) is that by Charles Mac­ Farlane (1799-1858), Reminiscences of a Literary Life, intro. John F. Tattersall (New York, 1917), pp.
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