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The Annotated Edition

POSTSCRIPT IN SECOND EDITION OF 1839. by Percy Bysshe Shelley

Summary, meaning, line-by-line analysis & FAQ.

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This isn’t a poem in the usual way; it's a brief prose note by Mary Shelley from 1839.

Poet
Percy Bysshe Shelley
Themes
art, identity, love
The PoemFull text

POSTSCRIPT IN SECOND EDITION OF 1839.

Percy Bysshe Shelley

In revising this new edition, and carefully consulting Shelley’s scattered and confused papers, I found a few fragments which had hitherto escaped me, and was enabled to complete a few poems hitherto left unfinished. What at one time escapes the searching eye, dimmed by its own earnestness, becomes clear at a future period. By the aid of a friend, I also present some poems complete and correct which hitherto have been defaced by various mistakes and omissions. It was suggested that the poem “To the Queen of my Heart” was falsely attributed to Shelley. I certainly find no trace of it among his papers; and, as those of his intimate friends whom I have consulted never heard of it, I omit it. Two poems are added of some length, “Swellfoot the Tyrant” and “Peter Bell the Third”. I have mentioned the circumstances under which they were written in the notes; and need only add that they are conceived in a very different spirit from Shelley’s usual compositions. They are specimens of the burlesque and fanciful; but, although they adopt a familiar style and homely imagery, there shine through the radiance of the poet’s imagination the earnest views and opinions of the politician and the moralist. At my request the publisher has restored the omitted passages of “Queen Mab”. I now present this edition as a complete collection of my husband’s poetical works, and I do not foresee that I can hereafter add to or take away a word or line. Putney, November 6, 1839.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

This isn’t a poem in the usual way; it's a brief prose note by Mary Shelley from 1839. In it, she explains the revisions she made to the second edition of her late husband Percy Bysshe Shelley's collected works. She talks about discovering new fragments, finishing unfinished poems, removing a poem she couldn’t confirm as his, and including two longer satirical pieces. She ends by stating that the collection is finally complete.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. In revising this new edition, and carefully consulting Shelley's scattered and confused papers...

    Editor's note

    Mary begins by discussing the editorial process — sorting through Shelley's chaotic manuscripts. The phrase "dimmed by its own earnestness" is poignant: she acknowledges that grief and devotion can cause you to overlook details, and that time offers a more objective perspective. This is a candid, self-reflective statement from someone who has spent years immersed in this archive.

  2. It was suggested that the poem 'To the Queen of my Heart' was falsely attributed to Shelley...

    Editor's note

    Here, Mary takes on the role of a diligent scholar rather than simply a grieving widow. She discovers that there is no manuscript evidence for the poem and points out that none of Shelley's closest friends had ever heard of it, leading her to decide to exclude it. This may seem like a minor moment, but it’s important: she prioritizes the integrity of his legacy over emotional ties, opting for accuracy instead of completeness.

  3. Two poems are added of some length, 'Swellfoot the Tyrant' and 'Peter Bell the Third'...

    Editor's note

    Mary provides context for the two satirical works she's adding, pointing out that they differ from Shelley's typical lyrical style. She describes them as "burlesque and fanciful" while also highlighting "earnest views of the politician and the moralist." This captures the complexity of Shelley's character, where playful wit and fierce idealism coexist.

  4. At my request the publisher has restored the omitted passages of 'Queen Mab'...

    Editor's note

    "Queen Mab" was published in a censored version due to its radical, atheistic themes. Mary's determination to reinstate the omitted sections reflects a subtle act of defiance and loyalty—she is providing readers with the complete, unfiltered Shelley, even when it was politically risky. Her closing sentence, stating that she cannot imagine adding or removing a single word, serves as both a mark of finality and a goodbye.

§04Tone & mood

How this poem feels

The tone is measured, dignified, and quietly tender. Mary Shelley writes with the calm authority of someone who has spent years intimately connected to this work, now finally putting it onto the page. There’s no self-pity, but there’s a palpable weight — the weight of someone who understands she is closing a door. The scholarly precision, with specific poem citations and explanations of omissions, coexists with a deeply personal undertone that lingers just beneath the surface.

§05Symbols & metaphors

Symbols & metaphors

Scattered and confused papers
Shelley's manuscripts reflect the man himself — brilliant yet fragmented, hard to piece together. Mary's editorial efforts symbolize the challenging task of truly understanding or preserving someone else's essence.
The searching eye, dimmed by its own earnestness
This image captures grief as a form of blindness. When love and urgency overwhelm us, they can hide what's right in front of our eyes; sometimes, we need distance and time to see things clearly.
The restored passages of Queen Mab
The text that was censored and then restored represents the struggle against suppression and the eventual freedom of radical ideas. Mary's decision to restore it is a bold act of defiance against those who sought to silence Shelley while he was alive.
The final declaration of completeness
Mary's closing statement—that she can't imagine adding or removing another word—acts like a monument. It signifies the conclusion of her role as the archive's keeper and indicates a sense of release.

§06Historical context

Historical context

Percy Bysshe Shelley drowned in 1822 at just 29, leaving behind a substantial amount of unfinished work. His wife, Mary Shelley—who is best known for writing *Frankenstein*—spent much of the next twenty years editing and publishing his poetry. This was not just a labor of love; it was also about preserving his literary legacy. The first collected edition of his work came out in 1839, and a postscript accompanied the second edition released later that same year. This was a politically charged time: Shelley's radical views and atheism had made some of his pieces controversial, leading to the censorship of poems like *Queen Mab*. Mary had to carefully balance honoring his complete vision while dealing with the social pressures of Victorian England. Her choices as an editor significantly influenced how future generations would understand Shelley.

§07FAQ

Questions readers ask

It isn't exactly a poem — it's more of a prose preface or editorial note. This piece appears in collections of Shelley's works because Mary Shelley included it in the published volume, and some editors have chosen to feature her introductory writings alongside the poetry. The title "Postscript" clearly indicates that it's a note rather than a poem.

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