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2384096 the Complete Works of Percy Bysshe Shelley Complete by Shelley Percy Bysshe 17921822

2384096 the Complete Works of Percy Bysshe Shelley Complete by Shelley Percy Bysshe 17921822

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The Project Gutenberg Etext of The Complete Poetical Works of Percy ByssheShelley, by Percy Bysshe Shelley#7 in our series by Percy Bysshe ShelleyCopyright laws are changing all over the world. Be sure to check thecopyright laws for your country before downloading or redistributingthis or any other Project Gutenberg eBook.This header should be the first thing seen when viewing this ProjectGutenberg file. Please do not remove it. Do not change or edit theheader without written permission.Please read the "legal small print," and other information about theeBook and Project Gutenberg at the bottom of this file. Included isimportant information about your specific rights and restrictions inhow the file may be used. You can also find out about how to make adonation to Project Gutenberg, and how to get involved.**Welcome To The World of Free Plain Vanilla Electronic Texts****eBooks Readable By Both Humans and By Computers, Since 1971*******These eBooks Were Prepared By Thousands of Volunteers!*****Title: The Complete Poetical Works of Percy Bysshe Shelley Volume IAuthor: Percy Bysshe ShelleyEdited by Thomas Hutchinson, M. A.Release Date: December, 2003 [Etext #4800][Yes, we are more than one year ahead of schedule][This file was first posted on April 13, 2002]Edition: 10Language: EnglishCharacter set encoding: ASCII*** START OF THE PROJECT GUTENBERG ETEXT THE COMPLETE POETICAL WORKS ***Produced by Sue Asscher <asschers@dingoblue.net.au>THE COMPLETEPOETICAL WORKS
OFPERCY BYSSHE SHELLEYVOLUME 1OXFORD EDITION.INCLUDING MATERIALS NEVER BEFOREPRINTED IN ANY EDITION OF THE POEMS.EDITED WITH TEXTUAL NOTESBYTHOMAS HUTCHINSON, M. A.EDITOR OF THE OXFORD WORDSWORTH.1914.PREFACE.This edition of his "Poetical Works" contains all Shelley'sascertained poems and fragments of verse that have hitherto appearedin print. In preparing the volume I have worked as far as possible onthe principle of recognizing the editio princeps as the primarytextual authority. I have not been content to reprint Mrs. Shelley'srecension of 1839, or that of any subsequent editor of the "Poems".The present text is the result of a fresh collation of the earlyeditions; and in every material instance of departure from the wordingof those originals the rejected reading has been subjoined in afootnote. Again, wherever--as in the case of "Julian andMaddalo"--there has appeared to be good reason for superseding theauthority of the editio princeps, the fact is announced, and thesubstituted exemplar indicated, in the Prefatory Note. in the case ofa few pieces extant in two or more versions of debatable authority thealternative text or texts will be found at the [end] of the [relevantwork]; but it may be said once for all that this does not pretend tobe a variorum edition, in the proper sense of the term--the textualapparatus does not claim to be exhaustive. Thus I have not thought itnecessary to cumber the footnotes with every minute grammaticalcorrection introduced by Mrs. Shelley, apparently on her ownauthority, into the texts of 1839; nor has it come within the schemeof this edition to record every conjectural emendation adopted orproposed by Rossetti and others in recent times. But it is hoped that,up to and including the editions of 1839 at least, no importantvariation of the text has been overlooked. Whenever a reading has beenadopted on manuscript authority, a reference to the particular sourcehas been added below.I have been chary of gratuitous interference with the punctuation ofthe manuscripts and early editions; in this direction, however, somerevision was indispensable. Even in his most carefully finished "faircopy" Shelley under-punctuates (Thus in the exquisite autograph "HuntMS." of "Julian and Maddalo", Mr. Buxton Forman, the most conservativeof editors, finds it necessary to supplement Shelley's punctuation in
no fewer than ninety-four places.), and sometimes punctuatescapriciously. In the very act of transcribing his mind was apt tostray from the work in hand to higher things; he would lose himself incontemplating those airy abstractions and lofty visions of which alonehe greatly cared to sing, to the neglect and detriment of the merelyexternal and formal element of his song. Shelley recked little of thejots and tittles of literary craftsmanship; he committed many a smallsin against the rules of grammar, and certainly paid but a haltingattention to the nice distinctions of punctuation. Thus in the earlyeditions a comma occasionally plays the part of a semicolon; colonsand semicolons seem to be employed interchangeably; a semicolon almostinvariably appears where nowadays we should employ the dash; and,lastly, the dash itself becomes a point of all work, replacingindifferently commas, colons, semicolons or periods. Inadequate andsometimes haphazard as it is, however, Shelley's punctuation, so faras it goes, is of great value as an index to his metrical, or attimes, it may be, to his rhetorical intention--for, in Shelley'shands, punctuation serves rather to mark the rhythmical pause andonflow of the verse, or to secure some declamatory effect, than toindicate the structure or elucidate the sense. For this reason theoriginal pointing has been retained, save where it tends to obscure orpervert the poet's meaning. Amongst the Editor's Notes at the end ofthe Volume 3 the reader will find lists of the punctual variations inthe longer poems, by means of which the supplementary points now addedmay be identified, and the original points, which in this edition havebeen deleted or else replaced by others, ascertained, in the order oftheir occurrence. In the use of capitals Shelley's practice has beenfollowed, while an attempt has been made to reduce the number of hisinconsistencies in this regard.To have reproduced the spelling of the manuscripts would only haveserved to divert attention from Shelley's poetry to my own ingenuityin disgusting the reader according to the rules of editorialpunctilio. (I adapt a phrase or two from the preface to "The Revolt ofIslam".) Shelley was neither very accurate, nor always consistent, inhis spelling. He was, to say the truth, indifferent about all suchmatters: indeed, to one absorbed in the spectacle of a worldtravailing for lack of the gospel of "Political Justice", the study oforthographical niceties must have seemed an occupation for Bedlamites.Again--as a distinguished critic and editor of Shelley, ProfessorDowden, aptly observes in this connexion--'a great poet is not of anage, but for all time.' Irregular or antiquated forms such as'recieve,' 'sacrifize,' 'tyger,' 'gulph,' 'desart,' 'falshood,' andthe like, can only serve to distract the reader's attention, and marhis enjoyment of the verse. Accordingly Shelley's eccentricities inthis kind have been discarded, and his spelling reversed in accordancewith modern usage. All weak preterite-forms, whether indicatives orparticiples, have been printed with "ed" rather than "t", participialadjectives and substantives, such as 'past,' alone excepted. In thecase of 'leap,' which has two preterite-forms, both employed byShelley (See for an example of the longer form, the "Hymn to Mercury",18 5, where 'leaped' rhymes with 'heaped' (line 1). The shorter form,rhyming to 'wept,' 'adapt,' etc., occurs more frequently.)--one withthe long vowel of the present-form, the other with a vowel-change (Ofcourse, wherever this vowel-shortening takes place, whether indicatedby a corresponding change in the spelling or not, "t", not "ed" isproperly used--'cleave,' 'cleft,'; 'deal,' 'dealt'; etc. The formsdiscarded under the general rule laid down above are such as 'wrackt,'