even seem to have been written for her (God forbid that I should see her play it-it would tear my nerves to pieces); and in all respects it is fitted only for Covent Garden. The chief male character I confess I should be very unwilling that any one but Kean should play. That is impossible, and I must be contented with an inferior actor.' The play was accordingly sent to Mr. Harris. He pronounced the subject to be so objectionable that he could not even submit the part to Miss O'Neil for perusal, but expressed his desire that the author would write a tragedy on some other subject, which he would gladly accept. Shelley printed a small edition at Leghorn, to ensure its correctness; as he was much annoyed by the many mistakes that crept into his text when distance prevented him from correcting the press. as Universal approbation soon stamped The Cenci as the best tragedy of modern times. Writing concerning it, Shelley said: 'I have been cautious to avoid the introducing faults of youthful composition; diffuseness, a profusion of inapplicable imagery, vagueness, generality, and, Hamlet says, words, words.' There is nothing that is not purely dramatic throughout; and the character of Beatrice, proceeding, from vehement struggle, to horror, to deadly resolution, and lastly to the elevated dignity of calm suffering, joined to passionate tenderness and pathos, is It is touched with hues so vivid and so beautiful that the poet seems to have read intimately the secrets of the noble heart imaged in the lovely countenance of the unfortunate girl. The Fifth Act is a masterpiece. It is the finest thing he ever wrote, and may claim proud comparison not only with any contemporary, but preceding, poet. The varying feelings of Beatrice are expressed with passionate, heart-reaching eloquence. Every character has a voice that echoes truth in its tones. curious, to one acquainted with the written story, to mark the success with which the poet has inwoven the real incidents of the tragedy into his scenes, and yet, through the power of poetry, has obliterated all that would otherwise have shown too harsh or too hideous in the picture. 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. 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 MSS. are extant: a transcript by Mrs. Shelley with Shelley's autograph corrections, known as the 'Hunt MS.'; 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 MS.'). Mrs. Shelley's copy was sent to Leigh Hunt in 1819 with a view to its publication in The Examiner; hence the name Hunt MS.' A facsimile of the Wise MS. was published by the Shelley Society in 1887. Sources of the text are (1) the Hunt MS.; (2) the Wise MS.; (3) the editio princeps, ed. Leigh Hunt, 1832; (4) Mrs. Shelley's two edd. (Poetical Works) of 1839. Of the two MSS. Mrs. Shelley's transcript is the later and more authoritative.] 15 Like Eldon Hunt MS.; Like Lord Eldon Wise MS. ermined Hunt MS., Wise MS., ed. 1832; ermine edd. 1839. Wise MS. only. 23 shadows] shadow edd. 1839 only. 29 or] and 35 And in his grasp Hunt MS., ed. 1832; In his hand Wise MS., Hunt MS. cancelled, ed. 1839. 36 On his] And on his cd. 1882 only. Then she lay down in the street, 95 100 Lawyers and priests, a motley crowd, To the earth their pale brows bowed; 51 the Hunt MS., ed. 1832; that Wise MS. 56 tempestuous] tremendous edd. 1839 only. 58 For with pomp] For from... Hunt MS., Wise MS. 71 God] Law edd. 1839 only. 79 rightly Wise MS.; nightly Hunt MS., edd. 1832, 1839. 93 Fumbling] Trembling edd. 1839 only. With step as soft as wind it passed XXXVII That they knew the presence there,Men of England, heirs of Glory, And looked, but all was empty Heroes of unwritten story. air. XXXI 121 145 Nurslings of one mighty Mother, XXXVIII Rise like Lions after slumber XXXIX 'What is Freedom ?-ye can tell 105 a vale Hunt MS, Wise MS.; the vale edd. 1832, 1839. 1839 only. 116 its Wise MS., Hunt MS.; it edd. 1832, 1839. and Hunt MS., edd. 1832, 1839. 155 113 as] like edd. 121 but Wise MS.; 146 had 122 May's footstep Wise MS., Hunt MS.; the footstep ed. 1882; May's footsteps edd. 1839. 132-4 omit Wise MS. cried Hunt MS., edd, 1832, 1839; cried out Wise MS, 155 omit ed. 1832 only. 182 of] from Wise MS. only. 186 wills Hunt MS., edd. 1832, 1839; will Wise MS. 198 their Wise MS., Hunt MS., edd. 1839; the ed. 1832. 216 cave Wise MS., Hunt MS., edd. 1839; caves ed. 1832, Hunt MS. cancelled. 220 In Wise MS., edd. 1832, 1839 ; To Hunt MS. 1 The following stanza is found in the Wise MS. and in edd. 1839, but is wanting in the Hunt MS. and in ed. 1832 : 6 Horses, oxen, have a home, When from daily toil they come ; Household dogs, when the wind roars, |