Life at Tanyrallt was smooth and studious, except for the diversion caused by the peril to the embankment.  We hear of Harriet continuing her Latin studies, reading Odes of Horace, and projecting an epistle in that language to Hogg.  Shelley, as usual, collected many books around him.  There are letters extant in which he writes to London for Spinoza and Kant, Plato, and the works of the chief Greek historians.  It appears that at this period, under the influence of Godwin, he attempted to conquer a strong natural dislike of history.  “I am determined to apply myself to a study which is hateful and disgusting to my very soul, but which is above all studies necessary for him who would be listened to as a mender of antiquated abuses,—­I mean, that record of crimes and miseries—­history.”  Although he may have made an effort to apply himself to historical reading, he was not successful.  His true bias inclined him to metaphysics coloured by a glowing fancy, and to poetry penetrated with speculative enthusiasm.  In the historic sense he was deficient; and when he made a serious effort at a later period to compose a tragedy upon the death of Charles I, this work was taken up with reluctance, continued with effort, and finally abandoned.

In the same letters he speaks about a collection of short poems on which he was engaged, and makes frequent allusions to “Queen Mab”.  It appears, from his own assertion, and from Medwin’s biography, that a poem on Queen Mab had been projected and partially written by him at the early age of eighteen.  But it was not taken seriously in hand until the spring of 1812; nor was it finished and printed before 1813.  The first impression was a private issue of 250 copies, on fine paper, which Shelley distributed to people whom he wished to influence.  It was pirated soon after its appearance, and again in 1821 it was given to the public by a bookseller named Clarke.  Against the latter republication Shelley energetically protested, disclaiming in a letter addressed to “The Examiner”, from Pisa, June 22, 1821, any interest in a production which he had not even seen for several years.  “I doubt not but that it is perfectly worthless in point of literary composition; and that in all that concerns moral and political speculation, as well as in the subtler discriminations of metaphysical and religious doctrine, it is still more crude and immature.  I am a devoted enemy to religious, political and domestic oppression; and I regret this publication, not so much from literary vanity as because I fear it is better fitted to injure than to serve the sacred cause of freedom.”  This judgment is undoubtedly severe; but, though exaggerated in its condemnation, it, like all Shelley’s criticisms on his own works, expresses the truth.  We cannot include “Queen Mab”, in spite of its sonorous rhetoric and fervid declamation, in the canon of his masterpieces.  It had a succes de scandale on its first appearance, and fatally injured Shelley’s reputation.  As a work of art it lacks maturity and permanent vitality.