The Annotated Edition
D., was issued by John Lane, in 1898. The punctuation of the original by Percy Bysshe Shelley
A young Shelley pens a whimsical, meandering poem about the struggle of putting thoughts on paper in a coherent way.
- Core theme
- Art
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Here I sit with my paper, my pen and my ink, / First of this thing, and that thing, and t'other thing think;
Editor's note
The opening stanza captures the scene with a humorous touch. The speaker sits down to write and quickly encounters a familiar obstacle: thoughts flood in all at once, completely jumbled, and the more you try to catch them, the more entangled they become. The lively, bouncing rhythm—almost reminiscent of a nursery rhyme—reflects the chaos being portrayed. By line 10, the proposed solution is patience: arrange your thoughts like a line of servants before allowing them onto the page.
My wit too's so copious, it flows like a river, / But disperses its waters on black and white never;
Editor's note
Here, the speaker gets a bit self-deprecating. He insists that the wit is present — it just doesn't seem to come through on the page. The river metaphor is amusing because a river that never reaches the sea serves no purpose, and the smoke comparison that follows makes a similar point: it's brilliant and free, yet disappears before anyone can grasp it. The stanza wraps up with the dramatic act of tossing paper and pens into the fire, a gesture that any frustrated writer will relate to.
But come, try again—you never must despair, / Our Murray's or Entick's are not all so rare,
Editor's note
The tone changes from despair to practical encouragement. Murray's *English Grammar* and Entick's *Dictionary* were the go-to reference books of the time, and the speaker suggests them like a helpful tutor. The humor lies in the idea that these books will support you without any judgment — no sneering expressions, no sarcastic *'O fie! tush!'* The stanza wraps up with a playful fantasy: stick to the rules, and your writing could find its place on the same shelf as Socrates, Demosthenes, or Plato.
But stop—a mad author I mean not to turn, / Nor with thirst of applause does my heated brain burn,
Editor's note
Just as the poem appears to be striving for literary greatness, the speaker takes a step back. Fame isn't the goal here. Instead, the true aim is simple and heartfelt: clarity, a touch of humor, and the ability to write honestly to friends. This shift from lofty classical references to straightforward personal communication is the emotional core of the poem.
Hark! futurity calls! it loudly complains, / It bids me step forward and just hold the reins,
Editor's note
The speaker envisions future generations questioning why she (the voice feels female, likely representing the friend being addressed or a persona) didn't write more. The reply comes in the form of a humorous overview of the literary scene: the world is already flooded with writers—wits, prudes, flamboyant poets, Grub Street hacks, and sermon-writers. This list is satirical, playfully mocking every type of writer that emerged during the era.
And now my good friends—who come after I mean, / As I ne'er wore a cassock, or dined with a dean.
Editor's note
The speaker rules herself out of every category mentioned. She’s not a clergyman, a cobbler-mender of ancient texts, a lyric poet, or a prude. The tone is light and self-aware. By excluding herself from these established roles, she creates a modest space for herself: someone who simply wants to write in a clear and warm manner.
I've heard your complaint—my answer I've made, / And since to your calls all the tribute I've paid,
Editor's note
The poem concludes its frame story, which was originally a reply to a friend who struggled with writing. The core advice is simple: be brave, write without restraint, and then revisit your work to correct the grammar. In the last lines, a second voice emerges (or the speaker realizes her own limits), calling the poem tedious and insisting it wrap up. This creates a clever meta-joke about the challenge of knowing when to stop writing.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The river
- Wit that flows freely but never quite makes it to the page. The image reflects the struggle between having ideas and expressing them — all that energy spreading out aimlessly instead of carving a clear path.
- Smoke
- Thoughts that seem free and independent vanish before they can be captured. Smoke may look striking but leaves no trace, much like unwritten ideas.
- Murray's and Entick's
- The grammar book and the dictionary are essential tools for writing—patient, non-judgmental resources that quietly help transform raw ideas into clear prose. They feel like supportive friends who never make you feel less than capable.
- The fire
- The frustrated writer's urge to obliterate their work instead of refining it. Throwing paper and pens into the fire marks a dramatic low point before the poem shifts to a more uplifting tone.
- The shelf with Socrates and Plato
- Literary immortality is presented as a humorous fantasy. The speaker introduces the concept of lasting greatness but quickly undercuts it — that's not the real aim in this case.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Who is this poem actually written to?
The poem is written for a friend who expressed difficulty in organizing their thoughts while writing. Shelley takes that complaint and turns it into a humorous piece of advice, presented as a verse letter. The identity of the friend remains unknown.
What are Murray's and Entick's?
Murray's is Lindley Murray's English Grammar, which first appeared in 1795 and became the go-to grammar textbook of its time. Entick's is John Entick's New Spelling Dictionary, released in 1764. Both were essential resources for anyone looking to learn proper writing in late eighteenth-century Britain.
Why does the poem mention Socrates, Demosthenes, and Plato?
They are often seen as the gold standard of great writing and oratory from ancient times. The humor lies in how the speaker builds up to this impressive comparison — suggesting your writing could be on the same shelf as Plato! — only to immediately deflate it by saying that’s not what she’s really aiming for. It’s a clever comic bait-and-switch.
What does 'Grub Street' mean?
Grub Street was an actual street in London that came to symbolize low-paid, hack writing—where individuals cranked out inexpensive pamphlets and rewrote others' work merely to make ends meet. Referring to someone as a 'Grub Street writer' was a derogatory term suggesting they lacked original ideas.
Is this poem typical of Shelley's work?
Not at all. This is juvenile Shelley, likely penned in his early teens. His later poetry — Ozymandias, Ode to the West Wind, Adonais — is ambitious, politically charged, and technically advanced. This poem reads more like a light, humorous letter, resembling a clever school exercise rather than the radical Romanticism he became known for.
What is the metre of the poem?
The poem primarily uses anapestic couplets — a lively, galloping rhythm that features two unstressed syllables followed by a stressed one (da-da-DUM). This metre is common in comic and light verse, making it a great fit for the playful, self-deprecating tone. The rhythm reflects the chaotic, tumbling rush of thoughts that the poem captures.
Who is 'Junius' mentioned in line 35?
Junius was the pseudonym of an anonymous writer whose pointed political letters appeared in a London newspaper from 1769 to 1772. These letters criticized the government with remarkable precision and humor, creating a national stir. The true identity of Junius was never revealed, adding to the intrigue surrounding the name. Shelley refers to it as a shorthand for sharp, incisive writing.
What is the poem's main piece of advice?
Write first, fix it later. The speaker encourages the friend to stop getting stuck on grammar and to just put their thoughts down — 'dashing, easy, and free' — and then revisit the grammar book to tidy up the tenses. This advice echoes what writing teachers share today, and it comes across with genuine warmth rather than a condescending tone.
Citation
Cite this poem
MLA
Shelley, Percy Bysshe. "D., was issued by John Lane, in 1898. The punctuation of the original." Storgy, https://storgy.com/poems/d-was-issued-by-john-lane-in-1898-the-punctuation-of-the-original-percy-bysshe-shelley/.
APA
Shelley, P. B. (n.d.). D., was issued by john lane, in 1898. the punctuation of the original. Storgy. https://storgy.com/poems/d-was-issued-by-john-lane-in-1898-the-punctuation-of-the-original-percy-bysshe-shelley/
Row A — Thesis
1 ptIn this mock-epistolary verse letter, Shelley stages the act of writing as a comedy of defeat that secretly argues for its own necessity: by cataloguing every grammatical humiliation the would-be writer suffers — tenses scrambled, wit …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
- Common student errors
Available on any Storgy plan — model paragraphs, band callouts, and common student errors for every poem.
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