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Updated: June 14, 2025
The beautiful Marianna Rum-punch The Palazzo Albrizzi A play at the Fenice The sick Ballerina The gondola Praise of Italy Beppo Childe Harold Riding on the Lido The inquisitive English Shelley in Venice Julian and Maddalo The view from the Lido The madhouse The Ducal prisons.
I do but hide Under these words, like embers, every spark Of that which has consumed me. Quick and dark The grave is yawning; as its roof shall cover My limbs with dust and worms, under and over, So let oblivion hide this grief. Julian and Maddalo.
Oliphant's Literary History of England, 18th-19th Centuries. London: Macmillan & Co., 1883. Wordsworth's Poems. Chosen and edited by Matthew Arnold. London, 1879. Poetry of Byron. Chosen and arranged by Matthew Arnold. London, 1881. Shelley. Julian and Maddalo, Prometheus Unbound, The Cenci, Lyrical Pieces. Landor. Pericles and Aspasia. Coleridge. De Quincey.
This paragraph, which is much expanded from F of F B, may be compared with the discussion of good and evil in Julian and Maddalo and with Prometheus Unbound and A Defence of Poetry. In the revision of this passage Mathilda's sense of her pollution is intensified; for example, by addition of "infamy and guilt was mingled with my portion." Some phrases of self-criticism are added in this paragraph.
Include Julian and Maddalo, written in 1818, The Witch of Atlas, 1820, The Triumph of Life, 1822, and many other compositions and translations. The Masque of Anarchy and Peter Bell the Third, both written by Shelley in 1819, were published later on; also various minor poems, complete or fragmentary. Peter Bell the Third has a certain fortuitous connexion with Keats.
Professor White believed that Shelley recorded this estrangement only "in veiled terms" in Julian and Maddalo or in poems that he did not show to Mary, and that Mary acknowledged it only after Shelley's death, in her poem "The Choice" and in her editorial notes on his poems of that year.
To this latter class of poets, although in The Cenci and Julian and Maddalo he is eminent as a "fashioner," Shelley conspicuously belongs.
I looked, and saw between us and the sun A building on an island, such a one As age to age might add, for uses vile, A windowless, deformed, and dreary pile; And on the top an open tower, where hung A bell, which in the radiance swayed and swung, We could just hear its coarse and iron tongue: The broad sun sank behind it, and it tolled In strong and black relief "What we behold Shall be the madhouse and its belfry tower," Said Maddalo; "and ever at this hour, Those who may cross the water hear that bell, Which calls the maniacs, each one from his cell, To vespers."
He has left us a fine and discriminating portrait of Byron in the 'Count Maddalo' of his poem Julian and Maddalo, written in 1818. At times however Shelley felt and expressed great indignation against Byron, especially in reference to the ungenerous and cruel conduct of the latter towards Miss Clairmont. See some brief reference to this matter at p. 9.
The house was cheerful and pleasant; a vine-trellised walk, a pergola, as it is called in Italian, led from the hall-door to a summer-house at the end of the garden, which Shelley made his study, and in which he began the "Prometheus"; and here also, as he mentions in a letter, he wrote "Julian and Maddalo". A slight ravine, with a road in its depth, divided the garden from the hill, on which stood the ruins of the ancient castle of Este, whose dark massive wall gave forth an echo, and from whose ruined crevices owls and bats flitted forth at night, as the crescent moon sunk behind the black and heavy battlements.
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