11.  Deep slumber fell on me:—­my dreams were fire—­ (1 40 1.) The dash after fire is from the Bodleian manuscript,—­where, moreover, the somewhat misleading but indubitably Shelleyan comma after passion (editio princeps, 40 4) is wanting (Locock).  I have added a dash to the comma after cover (40 5) in order to clarify the sense.

12.  And shared in fearless deeds with evil men, (1 44 4.) With Forman and Dowden I substitute here a comma for the full stop of the editio princeps.  See also list of punctual variations below (stanza 44).

13. 
The Spirit whom I loved, in solitude
Sustained his child:  (1 45 4, 5.)
The comma here, important as marking the sense as well as the rhythm of
the passage, is derived from the Bodleian manuscript (Locock).

14. 
I looked, and we were sailing pleasantly,
Swift as a cloud between the sea and sky;
Beneath the rising moon seen far away,
Mountains of ice, etc. (1 47 4-7.)
The editio princeps has a comma after sky (5) and a semicolon after away
(6)—­a pointing followed by Forman, Dowden, and Woodberry.  By
transposing these points (as in our text), however, a much better sense
is obtained; and, luckily, this better sense proves to be that yielded
by the Bodleian manuscript, where, Mr. Locock reports, there is a
semicolon after sky (5), a comma after moon (6), and no point whatsoever
after away (6).

15.  Girt by the deserts of the Universe; (1 50 4.) So the Bodleian manuscript, anticipated by Woodberry (1893).  Rossetti (1870) had substituted a comma for the period of editio princeps.

16.  Hymns which my soul had woven to Freedom, strong The source of passion, whence they rose, to be; Triumphant strains, which, etc. (2 28 6-8.) The editio princeps, followed by Forman, has passion whence (7).  Mrs. Shelley, “Poetical Works” 1839, both editions, prints:  strong The source of passion, whence they rose to be Triumphant strains, which, etc.

17.  But, pale, were calm with passion—­thus subdued, etc. (2 49 6.) With Rossetti, Dowden, Woodberry, I add a comma after But to the pointing of the editio princeps.  Mrs. Shelley, “Poetical Works”, 1839, both editions, prints:  But pale, were calm.—­With passion thus subdued, etc.

18.  Methought that grate was lifted, etc. (3 25 1.) Shelley’s and Mrs. Shelley’s editions have gate, which is retained by Forman.  But cf. 3 14 2, 7.  Dowden and Woodberry follow Rossetti in printing grate.

19.  Where her own standard, etc. (4 24 5.) So Mrs. Shelley, “Poetical Works”, 1839, both editions.

20.  Beneath whose spires, which swayed in the red flame, (5 54 6.) Shelley’s and Mrs. Shelley’s editions (1818, 1839) give red light here,—­an oversight perpetuated by Forman, the rhyme-words name (8) and frame (9) notwithstanding.  With Rossetti, Dowden, Woodberry, I print red flame,—­an obvious emendation proposed by Fleay.