In 1841 Edward Moxon was found guilty of the publication of a blasphemous libel (Shelley's Queen Mab), the prosecution having been instituted by Henry Hetherington, who had previously been condemned to four months' imprisonment for a similar offence, and wished to test the law under which he was punished.
For other countries in the Levant there are Canon Tristram's Fauna and Flora of Palestine (4to, 1884) and Captain Shelley's Handbook to the Birds of Egypt (8vo, 1872).
Shelley's tragedy is well known as a magnificent piece of writing, although the author adopts a purely fictitious version of the story.
Gadow has more recently treated of this family, reducing the number of both genera and species, though adding a new genus discovered since the publication of Shelley's work.
Another question with which the textual critic of modern authors must be prepared to deal is the relative importance of different editions, each of which may have a prima facie claim to be considered authentic. Thus Shakespearean criticism must decide between the evidence of the first folio and the quartos: the critic of Shelley's poems must consider what weight is to be attached to the readings in the posthumous edition by Mrs Shelley, and in unpublished transcripts of various poems. Where there is great or complicated divergence between the editions, as in the case of Marlowe's Faustus, the production of a resultant text which may be relied upon to represent the ultimate intention of the author is well-nigh impossible.
In Shelley's Prometheus Unbound, ii.
In Shelley's Julian and Maddalo, 40, - "(talk) such as once, so poets tell, I The devils held within the dales of Hell I Concerning God, freewill and destiny," - vales has been suggested to make it harmonize with the passage of Milton to which reference is made: but the argument is not conclusive.
The copy from which Shelley's Julian and Maddalo was printed was written on very narrow paper, and the punctuation marks at the ends of the lines were frequently omitted.
(a) Examples of confusion of capital letters from Shelley's poems are: Prometheus, i.
Shelley's Cenci, v.
Shelley's Prometheus, iii.
Other kinds of repetition are Shelley's Witch of Atlas, 6 i i seq., "Like one asleep in a green hermitage, I With gentle sleep about its eyelids playing" (sleep for smiles has come from the previous line); Revolt of Islam, 4749, "Where" for "When" appears to have come from "Where" in 4750 or 4751.
In Shelley's lines, When the lamp is shattered, vv.
In Shelley's "Evening: Ponte al Mare, Pisa," 20, "By darkest barriers of enormous cloud" for "cinereous"; " Hymn to Mercury" (trans.), 57, "And through the tortoise's hard strong skin" for "stony."
Shelley's "The Boat on the Serchio," 117, "woods of stunted fir" for "pine" which the rhyme requires; Prince Athanase, 250, "And sea buds burst beneath the waves serene" for "under."
Transpose Laban and Pharao, are generally to a more usual order, as in Shelley's Witch of Atlas, 65, "She first was changed" to "she was first changed."
An instance of transposition of words in part is in Shelley's "Invocation to Misery," 1.27, "And mine arm shall be thy pillow," where the 1st ed.
Chaucer's House of Fame, iii., 1975, "Of good or misgovernement" which should be "mis (i.e., bad) governement"; Shelley's Prometheus, iii.
Examples: Shelley's Rosalind and Helen, 63, "A sound from thee, Rosalind dear" instead of there; Mask of Anarchy, 280 seq., "the daily strife I With common wants and common cares I Which sow the human heart with tares," for "sows."
Some examples from Shelley's poems are Prometheus, ii.
He was not, moreover, too proud to accept £loon from his son-in-law, and after the reconciliation following on Shelley's marriage in 1816, he continued to demand money until Shelley's death.
It is, however, to be noted that Shelley's "Letter to Maria Gisborne" (1820), Keats's "Epistle to Charles Clarke" (1816), and Landor's "To Julius Hare" (1836), in spite of their romantic colouring, are genuine Horatian epistles and of the pure Augustan type.