Of the two
manuscripts
Mrs.
Shelley
His success was a
double triumph; and often after he was earnestly entreated to write
again in a style that commanded popular favour, while it was not less
instinct with truth and genius. But the bent of his mind went the
other way; and, even when employed on subjects whose interest depended
on character and incident, he would start off in another direction,
and leave the delineations of human passion, which he could depict in
so able a manner, for fantastic creations of his fancy, or the
expression of those opinions and sentiments, with regard to human
nature and its destiny, a desire to diffuse which was the master
passion of his soul.
***
THE MASK OF ANARCHY.
WRITTEN ON THE OCCASION OF THE MASSACRE AT MANCHESTER.
[Composed at the Villa Valsovano near Leghorn--or possibly later,
during Shelley's sojourn at Florence--in the autumn of 1819, shortly
after the Peterloo riot at Manchester, August 16; edited with Preface
by Leigh Hunt, and published under the poet's name by Edward Moxon,
1832 (Bradbury & Evans, printers). Two manuscripts are extant: a
transcript by Mrs. Shelley with Shelley's autograph corrections, known
as the 'Hunt manuscript'; and an earlier draft, not quite complete, in
the poet's handwriting, presented by Mrs. Shelley to (Sir) John
Bowring in 1826, and now in the possession of Mr. Thomas J. Wise (the
'Wise manuscript'). Mrs. Shelley's copy was sent to Leigh Hunt in 1819
with view to its publication in "The Examiner"; hence the name 'Hunt
manuscript. ' A facsimile of the Wise manuscript was published by the
Shelley Society in 1887. Sources of the text are (1) the Hunt
manuscript; (2) the Wise manuscript; (3) the editio princeps, editor
Leigh Hunt, 1832; (4) Mrs. Shelley's two editions ("Poetical Works")
of 1839.
Of the two manuscripts Mrs. Shelley's transcript is the later
and more authoritative. ]
1.
As I lay asleep in Italy
There came a voice from over the Sea,
And with great power it forth led me
To walk in the visions of Poesy.
2.
I met Murder on the way-- _5
He had a mask like Castlereagh--
Very smooth he looked, yet grim;
Seven blood-hounds followed him:
3.
All were fat; and well they might
Be in admirable plight, _10
For one by one, and two by two,
He tossed them human hearts to chew
Which from his wide cloak he drew.
4.
Next came Fraud, and he had on,
Like Eldon, an ermined gown; _15
His big tears, for he wept well,
Turned to mill-stones as they fell.
5.
And the little children, who
Round his feet played to and fro,
Thinking every tear a gem, _20
Had their brains knocked out by them.
6.
Clothed with the Bible, as with light,
And the shadows of the night,
Like Sidmouth, next, Hypocrisy
On a crocodile rode by. _25
7.
And many more Destructions played
In this ghastly masquerade,
All disguised, even to the eyes,
Like Bishops, lawyers, peers, or spies.
8.
double triumph; and often after he was earnestly entreated to write
again in a style that commanded popular favour, while it was not less
instinct with truth and genius. But the bent of his mind went the
other way; and, even when employed on subjects whose interest depended
on character and incident, he would start off in another direction,
and leave the delineations of human passion, which he could depict in
so able a manner, for fantastic creations of his fancy, or the
expression of those opinions and sentiments, with regard to human
nature and its destiny, a desire to diffuse which was the master
passion of his soul.
***
THE MASK OF ANARCHY.
WRITTEN ON THE OCCASION OF THE MASSACRE AT MANCHESTER.
[Composed at the Villa Valsovano near Leghorn--or possibly later,
during Shelley's sojourn at Florence--in the autumn of 1819, shortly
after the Peterloo riot at Manchester, August 16; edited with Preface
by Leigh Hunt, and published under the poet's name by Edward Moxon,
1832 (Bradbury & Evans, printers). Two manuscripts are extant: a
transcript by Mrs. Shelley with Shelley's autograph corrections, known
as the 'Hunt manuscript'; and an earlier draft, not quite complete, in
the poet's handwriting, presented by Mrs. Shelley to (Sir) John
Bowring in 1826, and now in the possession of Mr. Thomas J. Wise (the
'Wise manuscript'). Mrs. Shelley's copy was sent to Leigh Hunt in 1819
with view to its publication in "The Examiner"; hence the name 'Hunt
manuscript. ' A facsimile of the Wise manuscript was published by the
Shelley Society in 1887. Sources of the text are (1) the Hunt
manuscript; (2) the Wise manuscript; (3) the editio princeps, editor
Leigh Hunt, 1832; (4) Mrs. Shelley's two editions ("Poetical Works")
of 1839.
Of the two manuscripts Mrs. Shelley's transcript is the later
and more authoritative. ]
1.
As I lay asleep in Italy
There came a voice from over the Sea,
And with great power it forth led me
To walk in the visions of Poesy.
2.
I met Murder on the way-- _5
He had a mask like Castlereagh--
Very smooth he looked, yet grim;
Seven blood-hounds followed him:
3.
All were fat; and well they might
Be in admirable plight, _10
For one by one, and two by two,
He tossed them human hearts to chew
Which from his wide cloak he drew.
4.
Next came Fraud, and he had on,
Like Eldon, an ermined gown; _15
His big tears, for he wept well,
Turned to mill-stones as they fell.
5.
And the little children, who
Round his feet played to and fro,
Thinking every tear a gem, _20
Had their brains knocked out by them.
6.
Clothed with the Bible, as with light,
And the shadows of the night,
Like Sidmouth, next, Hypocrisy
On a crocodile rode by. _25
7.
And many more Destructions played
In this ghastly masquerade,
All disguised, even to the eyes,
Like Bishops, lawyers, peers, or spies.
8.
