SHOWING THE VARIOUS PRINTED SOURCES OF THE CONTENTS OF THIS EDITION. by Percy Bysshe Shelley: Summary, Meaning & Analysis
This isn't a poem in the usual way — rather, it's a bibliographic catalogue that lists the original printed sources for a scholarly edition of Shelley's works.
The poem
1. (1) Original Poetry; : By : Victor and Cazire. : Call it not vain:—they do not err, : Who say, that, when the poet dies, : Mute Nature mourns her worshipper. : “Lay of the Last Minstrel.” : Worthing : Printed by C. and W. Phillips, : for the Authors; : And sold by J. J. Stockdale, 41, Pall-Mall, : And all other Booksellers. 1810. (2) Original : Poetry : By : Victor & Cazire : [Percy Bysshe Shelley : & Elizabeth Shelley] : Edited by : Richard Garnett C.B., LL.D. : Published by : John Lane, at the Sign : of the Bodley Head in : London and New York : MDCCCXCVIII. 2. Posthumous Fragments : of : Margaret Nicholson; : Being Poems Found Amongst the Papers of that : Noted Female who attempted the Life : of the King in 1786. : Edited by : John Fitz-Victor. : Oxford: : Printed and sold by J. Munday : 1810. 3. St. Irvyne; : or, : The Rosicrucian. : A Romance. : By : A Gentleman : of the University of Oxford. : London: : Printed for J. J. Stockdale, : 41, Pall Mall. : 1811. 4. The Devil’s Walk; a Ballad. Printed as a broadside, 1812. 5. Queen Mab; : a : Philosophical Poem: : with Notes. : By : Percy Bysshe Shelley. : Ecrasez l’Infame! : “Correspondance de Voltaire.” : Avia Pieridum peragro loca, nullius ante : Trita solo; iuvat integros accedere fonteis; : Atque haurire: iuratque (sic) novos decerpere flores. : Unde prius nulli velarint tempora nausae. : Primum quod magnis doceo de rebus; et arctis : Religionum animos nodis exsolvere pergo. : Lucret. lib. 4 : Dos pou sto, kai kosmon kineso. : Archimedes. : London: : Printed by P. B. Shelley, : 23, Chapel Street, Grosvenor Square. : 1813. 6. Alastor; : or, : The Spirit of Solitude: : and Other Poems. : By : Percy Bysshe Shelley : London : Printed for Baldwin, Cradock, and Joy, Pater-:noster Row; and Carpenter and Son, : Old Bond Street: : By S. Hamilton, Weybridge, Surrey : 1816. 7. (1) Laon and Cythna; : or, : The Revolution : of : the Golden City: : A Vision of the Nineteenth Century. : In the Stanza of Spenser. : By : Percy B. Shelley. : Dos pou sto, kai kosmon kineso. : Archimedes. : London: : Printed for Sherwood, Neely, & Jones, Paternoster-:Row; and C. and J. Ollier, Welbeck-Street: : By B. M’Millan, Bow-Street, Covent-Garden. : 1818. (2) The : Revolt of Islam; : A Poem, : in Twelve Cantos. : By : Percy Bysshe Shelley. : London: : Printed for C. and J. Ollier, Welbeck-Street; : By B. M’Millan, Bow-Street, Covent-Garden. : 1818. (3) A few copies of “The Revolt of Islam” bear date 1817 instead of 1818. (4) ‘The same sheets were used again in 1829 with a third title-page similar to the foregoing [2], but with the imprint “London: : Printed for John Brooks, : 421 Oxford-Street. : 1829.”’ (H. Buxton Forman, C.B.: The Shelley Library, page 73.) (5) ‘Copies of the 1829 issue of “The Revolt of Islam” not infrequently occur with “Laon and Cythna” text.’ (Ibid., page 73.) 8. Rosalind and Helen, : A Modern Eclogue; : With Other Poems: : By : Percy Bysshe Shelley. : London: : Printed for C. and J. Ollier, : Vere Street, Bond Street. : 1819. 9. (1) The Cenci. : A Tragedy, : In Five Acts. : By Percy B. Shelley. : Italy. : Printed for C. and J. Ollier, : Vere Street, Bond Street. : London. : 1819. (2) The Cenci : A Tragedy : In Five Acts : By : Percy Bysshe Shelley : Second Edition : London : C. and J. Ollier Vere Street Bond Street : 1821. 10. Prometheus Unbound : A Lyrical Drama : In Four Acts : With Other Poems : By : Percy Bysshe Shelley : Audisne haec, Amphiarae, sub terram abdite? : London : C. and J. Ollier Vere Street Bond Street : 1820. 11. Oedipus Tyrannus; : or, : Swellfoot The Tyrant. : A Tragedy. : In Two Acts. : Translated from the Original Doric. : —Choose Reform or civil-war, : When thro’ thy streets, instead of hare with dogs, A CONSORT-QUEEN shall hunt a KING with hogs, : Riding on the IONIAN MINOTAUR. : London: : Published for the Author, : By J. Johnston, 98, Cheapside, and sold by all booksellers. : 1820. 12. Epipsychidion : Verses Addressed to the Noble : And Unfortunate Lady : Emilia V— : Now Imprisoned in the Convent of — : L’ anima amante si slancia fuori del creato, e si crea nel infinito : un Mondo tutto per essa, diverso assai da questo oscuro e pauroso : baratro. Her Own Words. : London : C. and J. Ollier Vere Street Bond Street : MDCCCXXI. 13. (1) Adonais : An Elegy on the Death of John Keats, : Author of Endymion, Hyperion etc. : By : Percy B. Shelley : Aster prin men elampes eni zooisin eoos. : Nun de thanon, lampeis esmeros en phthimenois. : Plato. : Pisa : With the Types of Didot : MDCCCXXI. (2) Adonais. : An Elegy : on the : Death of John Keats, : Author of Endymion, Hyperion, etc. : By : Percy B. Shelley. : [Motto as in (1)] Cambridge: : Printed by W. Metcalfe, : and sold by Messrs. Gee & Bridges, Market-Hill. : MDCCCXXIX. 14. Hellas : A Lyrical Drama : By : Percy B. Shelley : MANTIS EIM’ ESTHAON ‘AGONON : Oedip. Colon. : London : Charles and James Ollier Vere Street : Bond Street : MDCCCXXII. (The last work issued in Shelley’s lifetime.) 15. Posthumous Poems : of : Percy Bysshe Shelley. : In nobil sangue vita umile e queta, : Ed in alto intelletto on puro core; : Frutto senile in sul giovenil fiore, : E in aspetto pensoso anima lieta. : Petrarca. : London, 1824: : Printed for John and Henry L. Hunt, : Tavistock Street, Covent Garden. (Edited by Mrs. Shelley.) 16. The : Masque of Anarchy. : A Poem. : By Percy Bysshe Shelley. Now first published, with a Preface : by Leigh Hunt. : Hope is Strong; : Justice and Truth their winged child have found. : “Revolt of Islam”. : London: : Edward Moxon, 64, New Bond Street. : 1832. 17. The Shelley Papers : Memoir : of : Percy Bysshe Shelley : By T. Medwin, Esq. : And : Original Poems and Papers : By Percy Bysshe Shelley. : Now first collected. : London: : Whittaker, Treacher, & Co. : 1833. (The Poems occupy pages 109-126.) 18. The : Poetical Works : of : Percy Bysshe Shelley. : Edited : by Mrs Shelley. : Lui non trov’ io, ma suoi santi vestigi : Tutti rivolti alla superna strada : Veggio, lunge da’ laghi averni e stigi.—Petrarca. : In Four Volumes. : Vol. 1 [2 3 4] : London: : Edward Moxon, Dover Street. :
This isn't a poem in the usual way — rather, it's a bibliographic catalogue that lists the original printed sources for a scholarly edition of Shelley's works. Each numbered entry provides the title page details, publisher, and date of a book or pamphlet that included Shelley's writing, starting from his early pieces in 1810 and extending to posthumous collections. You can think of it as a librarian's meticulous guide to where each piece of Shelley's writing was first published.
Line-by-line
(1) Original Poetry; : By : Victor and Cazire...
Posthumous Fragments : of : Margaret Nicholson...
St. Irvyne; : or, : The Rosicrucian...
The Devil's Walk; a Ballad. Printed as a broadside, 1812.
Queen Mab; : a : Philosophical Poem: : with Notes...
Alastor; : or, : The Spirit of Solitude...
(1) Laon and Cythna; : or, : The Revolution : of : the Golden City...
Rosalind and Helen, : A Modern Eclogue...
(1) The Cenci. : A Tragedy, : In Five Acts...
Prometheus Unbound : A Lyrical Drama : In Four Acts...
Oedipus Tyrannus; : or, : Swellfoot The Tyrant...
Epipsychidion : Verses Addressed to the Noble : And Unfortunate Lady : Emilia V—...
(1) Adonais : An Elegy on the Death of John Keats...
Hellas : A Lyrical Drama : By : Percy B. Shelley...
Posthumous Poems : of : Percy Bysshe Shelley...
The : Masque of Anarchy. : A Poem. : By Percy Bysshe Shelley...
The Shelley Papers : Memoir : of : Percy Bysshe Shelley : By T. Medwin, Esq....
The : Poetical Works : of : Percy Bysshe Shelley. : Edited : by Mrs Shelley...
Tone & mood
The tone here is purely documentary and neutral—this is a bibliographer's record, not a lyrical expression. While the text lacks any emotional weight, the overall experience of reading it is subtly poignant: you witness a writer's journey through title pages, starting with a teenager printing pamphlets under a pseudonym, and culminating in the story of a drowned man whose wife dedicated years to compiling his dispersed work into a lasting collection.
Symbols & metaphors
- Pseudonyms (Victor, Cazire, John Fitz-Victor, A Gentleman of the University of Oxford) — Shelley's frequent adoption of false names highlights the risks of his radical views while also showcasing a youthful joy in performance and disguise. Each alias acts as a mask that unveils something deeper: 'Victor' hints at conquest, while 'A Gentleman of Oxford' pokes fun at the institution that expelled him.
- The broadside (Entry 4) — A single sheet sold cheaply on the street reflects Shelley's belief that poetry should be accessible to everyone, not just educated readers who can buy books. It's the most democratic form of print, and placing it here alongside bound volumes showcases the breadth of his ambition.
- Epigraphs in multiple languages — The title pages referenced throughout — featuring quotes from Voltaire, Lucretius, Archimedes, Plato, Sophocles, and Petrarch — illustrate how Shelley aligns himself with a rich tradition of intellectual and artistic rebellion. Each epigraph expresses a connection to a specific lineage of thought.
- The posthumous volumes (Entries 15–18) — The transition from the works Shelley published himself to those compiled posthumously by Mary Shelley and others signifies the line between his life and his legacy. The entries that come after his death reflect a blend of mourning and the effort to preserve his literary contributions.
- Suppressed and revised editions (Entry 7, Entry 11) — The chaotic reprints of *Laon and Cythna* and the almost complete destruction of *Swellfoot the Tyrant* highlight the impact of censorship and social norms on Shelley's writing. The bibliographic record keeps a record of that suppression.
Historical context
Percy Bysshe Shelley (1792–1822) wrote and published during a time of intense political upheaval in Britain, following the French Revolution, the Napoleonic Wars, and the subsequent domestic repression. In 1811, he was expelled from Oxford for co-authoring an atheism pamphlet and spent much of his adult life in voluntary exile in Italy. There, he produced works that were often suppressed, pirated, or overlooked. This catalogue was created for a scholarly collected edition, probably the one from the late-nineteenth or early-twentieth century edited by Thomas Hutchinson or a similar project. It aims to provide readers with a clear reference of where each poem was first published. It captures the tumultuous and frequently secretive aspects of Shelley's publishing journey: private printings, pamphlets under pseudonyms, works confiscated by authorities, and a significant amount of poetry that only reached audiences after his untimely death at thirty.
FAQ
You’ve picked up on an important point. This is a bibliographic apparatus—a list of sources created by an editor for a scholarly edition of Shelley's works. It's not a poem that Shelley composed. Instead, it appears at the beginning of the edition to inform readers about the original printed source for each text. It's included here as a document that sheds light on Shelley's publishing history, not as a literary piece on its own.
They are the pseudonyms that Percy Shelley and his sister Elizabeth adopted for their first joint publication in 1810. 'Victor' was the name Percy used, while 'Cazire' was Elizabeth's choice. Shelley was just eighteen when the pamphlet was released. Their true identities weren't revealed to the public until Richard Garnett reprinted the work in 1898.
Partly for safety—his early work openly critiqued religion and had politically radical themes, and publishing those views under his real name in Regency Britain risked prosecution. But it was also a game he enjoyed: the hoax of *Margaret Nicholson* and the mock-classical subtitle of *Swellfoot the Tyrant* reveal a writer who genuinely found the art of disguise fun, not just a necessity.
Shelley created it as a satirical jab at King George IV amid the public uproar surrounding the King's attempt to divorce Queen Caroline in 1820. The Society for the Prevention of Vice quickly threatened the publisher, J. Johnston, with prosecution for seditious libel. Johnston backed down almost immediately, leading to the destruction of the entire print run—reportedly only about seven copies had been sold. This incident stands out as one of the most dramatic acts of censorship in Shelley's career.
Shelley wrote it in 1819, just days after learning about the Peterloo Massacre, where cavalry charged into a crowd of peaceful political reformers in Manchester, resulting in the deaths of fifteen people. He sent it to his friend Leigh Hunt for publication in *The Examiner*, but Hunt held onto it for thirteen years, worried that its explosive content—specifically naming government ministers and accusing them of murder—might lead to prosecution. It eventually saw the light in 1832, a decade after Shelley's passing.
They are essentially the same poem. Shelley's original version, *Laon and Cythna* (1818), presented a brother and sister as its revolutionary heroes and included an incestuous relationship between them. The publishers, Sherwood, Neely & Jones, grew apprehensive and requested revisions. Shelley reluctantly altered the siblings into unrelated characters and toned down some of the anti-religious passages. The revised version was then reissued as *The Revolt of Islam*. Some copies, as the catalogue notes, ended up with the original text beneath the new title page.
Primarily, his wife, Mary Shelley — the author of *Frankenstein* — played a crucial role. She edited the first posthumous collection in 1824 and the significant four-volume *Poetical Works* published by Edward Moxon, which became the standard text for Shelley during the Victorian era. Additionally, she wrote biographical notes for the poems, which are still valuable resources for scholars today. Later in the nineteenth century, editors such as Richard Garnett and H. Buxton Forman (quoted in Entry 7) continued the effort to locate unpublished and uncollected pieces.
It’s the famous line often linked to Archimedes: 'Give me a place to stand, and I will move the world.' Shelley featured it on the title pages of both *Queen Mab* and *Laon and Cythna* to express a bold ambition — the belief that poetry and philosophy, with the right push, could transform the entire social and political landscape. It reflects youthful bravado, and Shelley was earnest about it.