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TO WILLIAM SHELLEY.

I.

THE billows on the beach are leaping around it ;
The bark is weak and frail;

The sea looks black, and the clouds that bound it
Darkly strew the gale.

Come with me, delightful child,

Come with me! Though the wave is wild,
And the winds are loose, we must not stay,
Or the slaves of the law may rend thee away.

II.

They have taken thy brother and sister dear,
They have made them unfit for thee;
They have withered the smile and dried the tear
Which should have been sacred to me.

To a blighting faith and a cause of crime

They have bound them slaves in youthly prime;
And they will curse my name and thee

Because we fearless are and free.

III.

Come thou, beloved as thou art !
Another sleepeth still

Near thy sweet mother's anxious heart,
Which thou with joy shalt fill,

With fairest smiles of wonder thrown
On that which is indeed our own,
And which in distant lands will be
The dearest playmate unto thee.

IV.

Fear not the tyrants will rule for ever,
Or the priests of the evil faith;
They stand on the brink of that raging river

Whose waves they have tainted with death.
It is fed from the depth of a thousand dells,
Around them it foams and rages and swells;
And their swords and their sceptres I floating see,
Like wrecks, on the surge of eternity.

V.

Rest, rest, shriek not, thou gentle child!

The rocking of the boat thou fearest,
And the cold spray and the clamour wild?
There! sit between us two, thou dearest,--
Me and thy mother. Well we know
The storm at which thou tremblest so,
With all its dark and hungry graves,
Less cruel than the savage slaves
Who hunt us o'er these sheltering waves.

VI.

This hour will in thy memory

Be a dream of days forgotten long ;
We soon shall dwell by the azure sea
Of serene and golden Italy,

Or Greece the mother of the free.

And I will teach thine infant tongue
To call upon those heroes old

In their own language, and will mould
Thy growing spirit in the flame

Of Grecian lore; that by such name
A patriot's birthright thou mayst claim.

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At the spectres, wailing, pale and ghast,
Of hopes which thou and I beguiled
To death on life's dark river.

The stream we gazed on then rolled by ;
Its waves are unreturning ;

But we yet stand

In a lone land,

Like tombs to mark the memory
Of hopes and fears which fade and fly
In the light of life's dim morning.

5 November.

ON FANNY GODWIN.'

HER voice did quiver as we parted;
Yet knew I not that heart was broken
From which it came, and I departed

Heeding not the words then spoken.
Misery-O Misery,

This world is all too wide for thee!

LINES TO A CRITIC.

I.

HONEY from silkworms who can gather,
Or silk from the yellow bee?

The grass may grow in winter-weather
As soon as hate in me.

December.

II.

Hate men who cant, and men who pray,

And men who rail, like thee;

An equal passion to repay

They are not coy like me.

III.

Or seek some slave of power and gold
To be thy dear heart's mate;
Thy love will move that bigot cold
Sooner than me thy hate.

IV.

A passion like the one I prove
Cannot divided be;

I hate thy want of truth and love

How should I then hate thee?

NOTE ON POEMS OF 1817, BY MRS. SHELLEY.

THE very illness that oppressed, and the aspect of death which had approached so near, Shelley, appear to have kindled to yet keener life the Spirit of Poetry in his heart. The restless thoughts kept awake by pain clothed themselves in verse. Much was composed during this year. The Revolt of Islam, written and printed, was a great effort-Rosalind and Helen was begun-and the fragments and poems I can trace to the same period show how full of passion and reflection were his solitary hours.

In addition to such poems as have an intelligible aim and shape, many a stray idea and transitory emotion found imperfect and abrupt expression, and then again lost themselves in silence. As he never wandered without a book and without implements of writing, I find many such, in his manuscript books, that scarcely bear record; while some of them, broken and vague as they are, will appear valuable to those who love Shelley's mind, and desire to trace its workings.

He projected also translating the Hymns of Homer; his version of several of the shorter ones remains, as well as that to Mercury already published in the Posthumous Poems. His readings this year were chiefly Greek. Besides the Hymns of Homer and the Iliad, he read the Dramas of Eschylus and Sophocles, the Symposium of Plato, and Arrian's Historia Indica. Ín Latin, Apuleius alone is named. In English, the Bible was his constant study; he read a great portion of it aloud in the evening. Among these evening reading I find also mentioned the Faerie Queen; and other modern works, the production of his contemporaries, Coleridge, Wordsworth, Moore, and Byron.

His life was now spent more in thought than action-he had lost the eager spirit which believed it could achieve what it projected for the benefit of mankind. And yet in the converse of daily life Shelley was far from being a melancholy man. He was eloquent when philosophy or politics or taste were the subjects of conversation. He was playful; and indulged in the wild spirit that mocked itself and others--not in bitterness, but in sport. The author of Nightmare Abbey seized on some points of his character and some habits of his life when he painted Scythrop. He was not addicted to "port or madeira," but in youth he had read of "Illuminati and Eleutherarchs," and believed that he possessed the power of operating an immediate change in the minds of men and the state of society. These wild dreams had faded; sorrow and adversity had struck home; but he struggled with despondency as he did with physical pain. There are few who remember him sailing paper boats, and watching the navigation of his tiny craft with eagerness-or repeating with wild energy The Ancient Mariner, and Southey's Old Woman of Berkeley; but those who do will recollect that it was in such, and in the creations of his own fancy when that was most daring and ideal, that he sheltered himself from the storms and disappointments, the pain and sorrow, that beset his life. No words can express the anguish he felt when his elder children were torn from him. In his first resentment against the Chancellor, on the passing of the decree, he had written a curse, in which there breathes, besides haughty indignation, all the tenderness of a father's love, which could imagine and fondly dwell upon its loss and the consequences.

At one time, while the question was still pending, the Chancellor had said some words that seemed to intimate that Shelley should not be permitted the care of any of his children, and for a moment he feared that our infant son would be torn from us. He did not hesitate to resolve, if such were menaced, to abandon country, fortune, everything, and to escape with his child; and I find some unfinished stanzas addressed to this son, whom afterwards we lost at Rome, written under the idea that we might suddenly be forced to cross the sea, so to preserve him. This poem, as well as the one previously quoted, were not written to exhibit the pangs of distress to the public; they were the spontaneous

outbursts of a man who brooded over his wrongs and woes, and was impelled to shed the grace of his genius over the uncontrollable emotions of his heart. I ought to observe that the fourth verse of this effusion is introduced in Rosalind and Helen. When afterwards this child died at Rome, he wrote, àpropos of the English burying-ground in that city: "This spot is the repository of a sacred loss, of which the yearnings of a parent's heart are now prophetic; he is rendered immortal by love, as his memory is by death. My beloved child lies buried here. I envy death the body far less than the oppressors the minds of those whom they have torn from me. The one can only kill the body, the other crushes the affections."

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