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Queen Mab
Queen Mab
Queen Mab
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Queen Mab

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Queen Mab; A Philosophical Poem; With Notes, published in 1813 in nine cantos with seventeen notes, was the first large poetic work written by Percy Bysshe Shelley (1792–1822), the English Romantic poet.[2] After substantial reworking, a revised edition of a portion of the text was published in 1816 under the title The Daemon of the World. This poem was written early in Shelley's career and serves as a foundation to his theory of revolution. It was his first major poem. In this work, he depicts a two-pronged revolt involving necessary changes, brought on by both nature and the virtuousness of humans.
Shelley took William Godwin's idea of "necessity" and combined it with his own idea of ever-changing nature, to establish the theory that contemporary societal evils would dissolve naturally in time. This was to be coupled with the creation of a virtuous mentality in people who could envision the ideal goal of a perfect society. The ideal was to be reached incrementally, because Shelley (as a result of Napoleon's actions in the French Revolution), believed that the perfect society could not be obtained immediately through violent revolution. Instead it was to be achieved through nature's evolution and ever-greater numbers of people becoming virtuous and imagining a better society.
He set the press and ran 250 copies of this radical and revolutionary tract. Queen Mab was infused with scientific language and naturalising moral prescriptions for an oppressed humanity in an industrialising world. He intended the poem to be private and distributed it among his close friends and acquaintances. About 70 sets of the signatures were bound and distributed personally by Shelley, and the rest were stored at William Clark's bookshop in London. A year before his death, in 1821, one of the shopkeepers caught sight of the remaining signatures. The shopkeeper bound the remaining signatures, printed an expurgated edition, and distributed the pirated editions through the black market. The copies were–in the words of Richard Carlisle– "pounced upon," by the Society for the Prevention of Vice. Shelley was dismayed upon discovering the piracy of what he considered to be not just a juvenile production but a work that could potentially "injure rather than serve the cause of freedom." He sought an injunction against the shopkeeper, but since the poem was considered illegal, he was not entitled to the copyright. William Clark was imprisoned for 4 months for publishing and distributing Queen Mab.
LanguageEnglish
Release dateSep 6, 2015
ISBN9786050413373
Queen Mab
Author

Percy Bysshe Shelley

Percy Bysshe Shelley (1792-1822) was an English Romantic poet. Born into a prominent political family, Shelley enjoyed a quiet and happy childhood in West Sussex, developing a passion for nature and literature at a young age. He struggled in school, however, and was known by his colleagues at Eton College and University College, Oxford as an outsider and eccentric who spent more time acquainting himself with radical politics and the occult than with the requirements of academia. During his time at Oxford, he began his literary career in earnest, publishing Original Poetry by Victor and Cazire (1810) and St. Irvine; or, The Rosicrucian: A Romance (1811) In 1811, he married Harriet Westbrook, with whom he lived an itinerant lifestyle while pursuing affairs with other women. Through the poet Robert Southey, he fell under the influence of political philosopher William Godwin, whose daughter Mary soon fell in love with the precocious young poet. In the summer of 1814, Shelley eloped to France with Mary and her stepsister Claire Claremont, travelling to Holland, Germany, and Switzerland before returning to England in the fall. Desperately broke, Shelley struggled to provide for Mary through several pregnancies while balancing his financial obligations to Godwin, Harriet, and his own father. In 1816, Percy and Mary accepted an invitation to join Claremont and Lord Byron in Europe, spending a summer in Switzerland at a house on Lake Geneva. In 1818, following several years of unhappy life in England, the Shelleys—now married—moved to Italy, where Percy worked on The Masque of Anarchy (1819), Prometheus Unbound (1820), and Adonais (1821), now considered some of his most important works. In July of 1822, Shelley set sail on the Don Juan and was lost in a storm only hours later. His death at the age of 29 was met with despair and contempt throughout England and Europe, and he is now considered a leading poet and radical thinker of the Romantic era.

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    Queen Mab - Percy Bysshe Shelley

    Queen Mab

    by

    Percy Bysshe Shelley

    To the best of our knowledge, the text of this

    work is in the Public Domain.

    HOWEVER, copyright law varies in other countries, and the work may still be under

    copyright in the country from which you are accessing this website. It is your

    responsibility to check the applicable copyright laws in your country before

    downloading this work.

    Queen Mab.

    To Harriet

    Queen Mab.

    Shelley’s Notes.

    Note on Queen Mab, by Mrs. Shelley.

    Queen Mab.

    ECRASEZ L’INFAME!

    — Correspondance de Voltaire.

    Avia Pieridum peragro loca, nullius ante

    Trita solo; juvat integros accedere fonteis;

    Atque haurire: juvatque novos decerpere flores.

    . . .

    Unde prius nulli velarint tempora musae.

    Primum quod magnis doceo de rebus; et arctis

    Religionum animos nodis exsolvere pergo.

    — Lucret. lib. 4.

    Äïó ðïí óôï, êáé êïóìïí êéíåóï

    — Archimedes.

    To Harriet.

    Whose is the love that gleaming through the world,

    Wards off the poisonous arrow of its scorn?

    Whose is the warm and partial praise,

    Virtue’s most sweet reward?

    5

    Beneath whose looks did my reviving soul

    Riper in truth and virtuous daring grow?

    Whose eyes have I gazed fondly on,

    And loved mankind the more?

    HARRIET! on thine:— thou wert my purer mind;

    10

    Thou wert the inspiration of my song;

    Thine are these early wilding flowers,

    Though garlanded by me.

    Then press into thy breast this pledge of love;

    And know, though time may change and years may roll,

    15

    Each floweret gathered in my heart

    It consecrates to thine.

    3. Queen Mab.

    1.

    How wonderful is Death,

    Death and his brother Sleep!

    One, pale as yonder waning moon

    With lips of lurid blue;

    5

    The other, rosy as the morn

    When throned on ocean’s wave

    It blushes o’er the world:

    Yet both so passing wonderful!

    Hath then the gloomy Power

    10

    Whose reign is in the tainted sepulchres

    Seized on her sinless soul?

    Must then that peerless form

    Which love and admiration cannot view

    Without a beating heart, those azure veins

    15

    Which steal like streams along a field of snow,

    That lovely outline, which is fair

    As breathing marble, perish?

    Must putrefaction’s breath

    Leave nothing of this heavenly sight

    20

    But loathsomeness and ruin?

    Spare nothing but a gloomy theme,

    On which the lightest heart might moralize?

    Or is it only a sweet slumber

    Stealing o’er sensation,

    25

    Which the breath of roseate morning

    Chaseth into darkness?

    Will Ianthe wake again,

    And give that faithful bosom joy

    Whose sleepless spirit waits to catch

    30

    Light, life and rapture from her smile?

    Yes! she will wake again,

    Although her glowing limbs are motionless,

    And silent those sweet lips,

    Once breathing eloquence,

    35

    That might have soothed a tiger’s rage,

    Or thawed the cold heart of a conqueror.

    Her dewy eyes are closed,

    And on their lids, whose texture fine

    Scarce hides the dark blue orbs beneath,

    40

    The baby Sleep is pillowed:

    Her golden tresses shade

    The bosom’s stainless pride,

    Curling like tendrils of the parasite

    Around a marble column.

    45

    Hark! whence that rushing sound?

    ’Tis like the wondrous strain

    That round a lonely ruin swells,

    Which, wandering on the echoing shore,

    The enthusiast hears at evening:

    50

    ’Tis softer than the west wind’s sigh;

    ’Tis wilder than the unmeasured notes

    Of that strange lyre whose strings

    The genii of the breezes sweep:

    Those lines of rainbow light

    55

    Are like the moonbeams when they fall

    Through some cathedral window, but the tints

    Are such as may not find

    Comparison on earth.

    Behold the chariot of the Fairy Queen!

    60

    Celestial coursers paw the unyielding air;

    Their filmy pennons at her word they furl,

    And stop obedient to the reins of light:

    These the Queen of Spells drew in,

    She spread a charm around the spot,

    65

    And leaning graceful from the aethereal car,

    Long did she gaze, and silently,

    Upon the slumbering maid.

    Oh! not the visioned poet in his dreams,

    When silvery clouds float through the ‘wildered brain,

    70

    When every sight of lovely, wild and grand

    Astonishes, enraptures, elevates,

    When fancy at a glance combines

    The wondrous and the beautiful —

    So bright, so fair, so wild a shape

    75

    Hath ever yet beheld,

    As that which reined the coursers of the air,

    And poured the magic of her gaze

    Upon the maiden’s sleep.

    The broad and yellow moon

    80

    Shone dimly through her form —

    That form of faultless symmetry;

    The pearly and pellucid car

    Moved not the moonlight’s line:

    ’Twas not an earthly pageant:

    85

    Those who had looked upon the sight,

    Passing all human glory,

    Saw not the yellow moon,

    Saw not the mortal scene,

    Heard not the night-wind’s rush,

    90

    Heard not an earthly sound,

    Saw but the fairy pageant,

    Heard but the heavenly strains

    That filled the lonely dwelling.

    The Fairy’s frame was slight, yon fibrous cloud,

    95

    That catches but the palest tinge of even,

    And which the straining eye can hardly seize

    When melting into eastern twilight’s shadow,

    Were scarce so thin, so slight; but the fair star

    That gems the glittering coronet of morn,

    100

    Sheds not a light so mild, so powerful,

    As that which, bursting from the Fairy’s form,

    Spread a purpureal halo round the scene,

    Yet with an undulating motion,

    Swayed to her outline gracefully.

    105

    From her celestial car

    The Fairy Queen descended,

    And thrice she waved her wand

    Circled with wreaths of amaranth:

    Her thin and misty form

    110

    Moved with the moving air,

    And the clear silver tones,

    As thus she spoke, were such

    As are unheard by all but gifted ear.

    FAIRY:

    ‘Stars! your balmiest influence shed!

    115

    Elements! your wrath suspend!

    Sleep, Ocean, in the rocky bounds

    That circle thy domain!

    Let not a breath be seen to stir

    Around yon grass-grown ruin’s height,

    120

    Let even the restless gossamer

    Sleep on the moveless air!

    Soul of Ianthe! thou,

    Judged alone worthy of the envied boon,

    That waits the good and the sincere; that waits

    125

    Those who have struggled, and with resolute will

    Vanquished earth’s pride and meanness, burst the chains,

    The icy chains of custom, and have shone

    The day-stars of their age; — Soul of Ianthe!

    Awake! arise!’

    130

    Sudden arose

    Ianthe’s Soul; it stood

    All beautiful in naked purity,

    The perfect semblance of its bodily frame.

    Instinct with inexpressible beauty and grace,

    135

    Each stain of earthliness

    Had passed away, it reassumed

    Its native dignity, and stood

    Immortal amid ruin.

    Upon the couch the body lay

    140

    Wrapped in the depth of slumber:

    Its features were fixed and meaningless,

    Yet animal life was there,

    And every organ yet performed

    Its natural functions: ’twas a sight

    145

    Of wonder to behold the body and soul.

    The self-same lineaments, the same

    Marks of identity were there:

    Yet, oh, how different! One aspires to Heaven,

    Pants for its sempiternal heritage,

    150

    And ever-changing, ever-rising still,

    Wantons in endless being.

    The other, for a time the unwilling sport

    Of circumstance and passion, struggles on;

    Fleets through its sad duration rapidly:

    155

    Then, like an useless and worn-out machine,

    Rots, perishes, and passes.

    FAIRY:

    ‘Spirit! who hast dived so deep;

    Spirit! who hast soared so high;

    Thou the fearless, thou the mild,

    160

    Accept the boon thy worth hath earned,

    Ascend the car with me.’

    SPIRIT:

    ‘Do I dream? Is this new feeling

    But a visioned ghost of slumber?

    If indeed I am a soul,

    165

    A free, a disembodied soul,

    Speak again to me.’

    FAIRY:

    ‘I am the Fairy MAB: to me ’tis given

    The wonders of the human world to keep:

    The secrets of the immeasurable past,

    170

    In the unfailing consciences of men,

    Those stern, unflattering chroniclers, I find:

    The future, from the causes which arise

    In each event, I gather: not the sting

    Which retributive memory implants

    175

    In the hard bosom of the selfish man;

    Nor that ecstatic and exulting throb

    Which virtue’s votary feels when he sums up

    The thoughts and actions of a well-spent day,

    Are unforeseen, unregistered by me:

    180

    And it is yet permitted me, to rend

    The veil of mortal frailty, that the spirit,

    Clothed in its changeless purity, may know

    How soonest to accomplish the great end

    For which it hath its being, and may taste

    185

    That peace, which in the end all life will share.

    This is the meed of virtue; happy Soul,

    Ascend the car with me!’

    The chains of earth’s immurement

    Fell from Ianthe’s spirit;

    190

    They shrank and brake like bandages of straw

    Beneath a wakened giant’s strength.

    She knew her glorious change,

    And felt in apprehension uncontrolled

    New raptures opening round:

    195

    Each day-dream of her mortal life,

    Each frenzied vision of the slumbers

    That closed each well-spent day,

    Seemed now to meet reality.

    The Fairy and the Soul proceeded;

    200

    The silver clouds disparted;

    And as the car of magic they ascended,

    Again the speechless music swelled,

    Again the coursers of the air

    Unfurled their azure pennons, and the Queen

    205

    Shaking the beamy reins

    Bade them pursue their way.

    The magic car moved on.

    The night was fair, and countless stars

    Studded Heaven’s dark blue vault —

    210

    Just o’er the eastern wave

    Peeped the first faint smile of morn:—

    The magic car moved on —

    From the celestial hoofs

    The atmosphere in flaming sparkles flew,

    215

    And where the burning wheels

    Eddied above the mountain’s loftiest peak,

    Was traced a line of lightning.

    Now it flew far above a rock,

    The utmost verge of earth,

    220

    The rival of the Andes, whose dark brow

    Lowered o’er the silver sea.

    Far, far below the chariot’s path,

    Calm as a slumbering babe,

    Tremendous Ocean lay.

    225

    The mirror of its stillness showed

    The pale and waning stars,

    The chariot’s fiery track,

    And the gray light of morn

    Tinging those fleecy clouds

    230

    That canopied the dawn.

    Seemed it, that the chariot’s way

    Lay through the midst of an immense concave,

    Radiant with million constellations, tinged

    With shades of infinite colour,

    235

    And semicircled with a belt

    Flashing incessant meteors.

    The magic car moved on.

    As they approached their goal

    The coursers seemed to gather speed;

    240

    The sea no longer was distinguished; earth

    Appeared a vast and shadowy sphere;

    The sun’s unclouded orb

    Rolled through the black concave;

    Its rays of rapid light

    245

    Parted around the chariot’s swifter course,

    And fell, like ocean’s feathery spray

    Dashed from the boiling surge

    Before a vessel’s prow.

    The magic car moved on.

    250

    Earth’s distant orb appeared

    The smallest light that twinkles in the heaven;

    Whilst round the chariot’s way

    Innumerable systems rolled,

    And countless spheres diffused

    255

    An ever-varying glory.

    It was a sight of wonder: some

    Were horned like the crescent moon;

    Some shed a mild and silver beam

    Like Hesperus o’er the western sea;

    260

    Some dashed athwart with trains of flame,

    Like worlds to death and ruin driven;

    Some shone like suns, and, as the chariot passed,

    Eclipsed all other light.

    Spirit of Nature! here!

    265

    In this interminable wilderness

    Of worlds, at whose immensity

    Even soaring fancy staggers,

    Here is thy fitting temple.

    Yet not the lightest leaf

    270

    That quivers to the passing breeze

    Is less instinct with thee:

    Yet not the meanest worm

    That lurks in graves and fattens on the dead

    Less shares thy eternal breath.

    275

    Spirit of Nature! thou!

    Imperishable as this scene,

    Here is thy fitting temple.

    2.

    If solitude hath ever led thy steps

    To the wild Ocean’s echoing shore,

    And thou hast lingered there,

    Until the sun’s broad orb

    5

    Seemed resting on the burnished wave,

    Thou must have marked the lines

    Of purple gold, that motionless

    Hung o’er the sinking sphere:

    Thou must have marked the billowy clouds

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