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His spoils were strewed beneath the soil1 of Rome,

Whose flowers now star the dark earth near his tomb:

It's airs and plants received the mortal part,

His spirit beats within his mother's heart.

Infant immortal! chosen for the sky!

No grief upon thy brow's young purity
Entrenched sad lines, or blotted with its might
The sunshine of thy smile's celestial light;-
The image shattered, the bright spirit fled,
Thou shin'st the evening star among the dead.2

And thou, his playmate, whose deep lucid eyes,
Were a reflection of these bluest skies;

Child of our hearts, divided in ill hour,
We could not watch the bud's expanding flower,
Now thou art gone, one guileless victim more,
To the black death that rules this sunny shore.3

Companion of my griefs! thy sinking frame
Had often drooped, and then erect again

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With shews of health had mocked forebodings dark;— 105
Watching the changes of that quivering spark,
I feared and hoped, and dared to trust at length,

1 This and the following line are printed as they originally stood in the MS. The words soil, earth, and land are written in and cancelled in such a way as to leave a doubt which were finally adopted land is in line 87, in Hunt's writing.

2 William Shelley died at Rome in 1819, while Shelley was engaged in composing The Cenci,-a tragic inter

ruption of his tragedy, which, as Lady Shelley says (Memorials, p. 115),"drove the broken-hearted parents to the neighbourhood of Leghorn, where they took a small house (Villa Valsovano), about half way between the city and Monte Nero."

3 This refers to Allègra, or Alba, as she is sometimes called the daughter of Miss Claire Clairmont and Byron.

Thy very weakness was my tower of strength.
Methought thou wert a spirit from the sky,
Which struggled with it's chains, but could not die,
And that destruction had no power to win

From out those limbs the soul that burnt within.-
Tell me, ye ancient walls, and weed-grown1 towers,
Ye Roman airs and brightly painted flowers,
Does not his spirit visit that recess

Which built of love enshrines his earthly dress?
-No more! no more!-what though that form be fled,
My trembling hand shall never write thee-dead-
Thou liv'st in Nature, Love, my Memory,

With deathless faith for aye adoring thee,

The wife of Time no more, I wed Eternity.

'Tis thus the Past-on which my spirit leans, Makes dearest to my soul Italian scenes.

In Tuscan fields the winds in odours steeped

From flowers and cypresses, when skies have wept,
Shall, like the notes of music once most dear,
Which brings the unstrung voice upon my ear
Of one beloved, to memory display

Past scenes, past hopes, past joys, in long array.
Pugnano's trees, beneath whose shade he stood,
The pools reflecting Pisa's old pine wood,
The fire-flies'2 beams, the aziola's cry

All breathe his spirit which can never die.

Such memories have linked these hills and caves,

1 No hyphen in the MS.

2 Fire flics in the MS.

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These woodland paths, and streams, and knelling waves 135 Fast to each sad pulsation of my breast,

And made their melancholy arms the haven of my rest.

Here will I live, within a little dell,

Which but a month ago1 I saw full well:

A dream then pictured forth the solitude
Deep in the shelter of a lovely wood;

A voice then whispered a strange prophecy,

My dearest, widowed friend,2 that thou and I
Should there together pass the weary day,

As we before have done in Spezia's bay,

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As through long hours we watched the sails that neared O'er the far sea, their3 vessel ne'er appeared;

One pang of agony, one dying gleam

Of hope led us along, beside the ocean stream,
But keen-eyed fear, the while all hope departs,
Stabbed with a million stings our heart of hearts.
The sad revolving year has not allayed
The poison of those bleeding wounds, or made
The anguish less of that corroding thought
Which has with grief each single moment fraught.
Edward, thy voice was hushed-thy noble heart

1 This would seem to indicate that the poem was composed within two or three weeks of Shelley's death,—in which case, sad revolving year, in line 152, must be taken merely as referring to the lapse of time, not the lapse of

a year.

2 Mrs. Williams,-the "Jane" of Shelley's exquisite song, "The keen stars were twinkling."

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3 That originally, but altered to their in Mrs. Shelley's writing.

4 Williams, who was drowned with Shelley.

5 Leigh Hunt suggests as an emendation, thou too! thou too!... for thy voice was hushed; but, as the pen has not been drawn through either of the readings, I leave Mrs. Shelley's in the text.

With aspiration heaves no more-a part
Of1 heaven-resumèd past thou art become,
Thy spirit waits with his in our far home.2

1 The word the is inserted after Of in Hunt's writing: it does not seem to me an improvement.

2 I cannot find a more appropriate place than the present in which to give the little poem by Mrs. Shelley, originally published in The Keepsake for 1831, and entitled

A DIRGE.

BY THE AUTHOR OF "FRANKENSTEIN."

This morn, thy gallant bark, love,
Sail'd on the sunny sea;
"Tis noon, and tempests dark, love,
Have wreck'd it on the lee.

Ah, woe! ah, woe! ah, woe!
By spirits of the deep
He's cradled on the billow,
To his unwaking sleep!

Thou liest upon the shore, love, Beside the swelling surge;

But sea-nymphs ever more, love,
Shall sadly chant thy dirge.

O come! O come! O come
Ye spirits of the deep!
While near his sea-weed pillow,
My lonely watch I keep.
From far across the sea, love,

I hear a wild lament,
By Echo's voice, for thee, love,
From ocean's caverns sent:-
O list! O list! O list!
The spirits of the deep-
Loud sounds their wail of sorrow,
While I for ever weep!

In her first collected edition of Shelley's Poetical Works (1839), Mrs. Shelley headed the Notes to the Poems of 1822 with a revised version of this Dirge; varying sufficiently from the original to make it quite worth while to rescue the earlier version.

ALASTOR, OR THE SPIRIT OF SOLITUDE,

&c.

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