POSTSCRIPT IN SECOND EDITION OF 1839. by Percy Bysshe Shelley: Summary, Meaning & Analysis
This isn’t a poem in the usual way; it's a brief prose note by Mary Shelley from 1839.
The poem
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.
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.
Line-by-line
In revising this new edition, and carefully consulting Shelley's scattered and confused papers...
It was suggested that the poem 'To the Queen of my Heart' was falsely attributed to Shelley...
Two poems are added of some length, 'Swellfoot the Tyrant' and 'Peter Bell the Third'...
At my request the publisher has restored the omitted passages of 'Queen Mab'...
Tone & mood
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.
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.
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.
FAQ
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.
Mary Shelley is the author. Percy passed away in 1822, seventeen years prior to this edition. As his editor and widow, Mary expresses her thoughts in her own voice, detailing the decisions she made while compiling his collected works.
*Queen Mab* (1813) stands out as one of Shelley's boldest early poems, critiquing religion, monarchy, and commerce. Its atheistic and politically charged themes made it risky to publish entirely, leading to the removal of some of its most controversial parts in earlier editions. Mary insisted that the publisher include those passages in this 1839 edition.
*Swellfoot the Tyrant* (1820) is a satirical burlesque that takes aim at King George IV and the trial of Queen Caroline. *Peter Bell the Third* (1819) is a comic parody of Wordsworth's poem *Peter Bell*, poking fun at what Shelley viewed as Wordsworth's political conservatism. Both works stand out in Shelley's collection for their humor and timely satire.
She couldn't find any manuscript evidence that Shelley wrote it, and none of his close friends recognized it as his work. Instead of including a poem that might be misattributed, she chose to leave it out — putting accuracy ahead of a more complete collection.
She suggests that when you care too much about something — whether it's grief or devotion pushing you to look too closely — you might overlook what's right in front of you. She's recognizing that her earlier editions might have had gaps not due to carelessness but because of the heavy emotional burden of the task.
Mary thought this note marked the moment, and she states that clearly. Since then, scholars have kept finding manuscripts and discussing who wrote what. However, the 1839 edition had a huge impact and helped define the Shelley canon throughout much of the 19th century.
It illustrates a person who merges profound personal commitment with real intellectual diligence. She isn’t just a mourning widow holding onto memories — she’s making tough editorial decisions, discarding poems she can’t confirm, reinstating censored material, and providing context for works that challenge the typical perception of her husband. In every way, she stands as his first and most significant critic.