7.  The following list of punctual variations indicates the places where our pointing departs from that of the standard text of 1821, and records in each instance the pointing of that edition:—­

Act 1, Scene 2:—­Ah!  No, 34; Scene 3:—­hope, 29; Why 44;
                 love 115; thou 146; Ay 146.

Act 2, Scene 1:—­Ah!  No, 13; Ah!  No, 73; courage 80; nook 179;
       Scene 2:—­fire, 70; courage 152.

Act 3, Scene 1:—­Why 64; mock 185; opinion 185; law 185; strange 188;
                 friend 222;
       Scene 2:—­so 3; oil, 17.

Act 4, Scene 1:—­wrong 41; looked 97; child 107;
       Scene 3:—­What 19; father, (omit quotes) 32.

Act 5, Scene 2:—­years 119;
       Scene 3:—­Ay, 5; Guards 94;
       Scene 4:—­child, 145.

THE MASK OF ANARCHY.

Our text follows in the main the transcript by Mrs. Shelley (with additions and corrections in Shelley’s hand) known as the ’Hunt manuscript.’  For the readings of this manuscript we are indebted to Mr. Buxton Forman’s Library Edition of the Poems, 1876.  The variants of the ‘Wise manuscript’ (see Prefatory Note) are derived from the Facsimile edited in 1887 for the Shelley Society by Mr. Buxton Forman.

1.  Like Eldon, an ermined gown; (4 2.) The editio princeps (1832) has Like Lord E—­ here.  Lord is inserted in minute characters in the Wise manuscript, but is rejected from our text as having been cancelled by the poet himself in the (later) Hunt manuscript.

2.  For he knew the Palaces Of our Kings were rightly his; (20 1, 2.) For rightly (Wise manuscript) the Hunt manuscript and editions 1832, 1839 have nightly which is retained by Rossetti and in Forman’s text of 1876.  Dowden and Woodberry print rightly which also appears in Forman’s latest text ("Aldine Shelley”, 1892).

3.  In a neat and happy home. (54 4.) For In (Wise manuscript, editions 1832, 1839) the Hunt manuscript reads To a neat, etc., which is adopted by Rossetti and Dowden, and appeared in Forman’s text of 1876.  Woodberry and Forman (1892) print In a neat, etc.

4.  Stanzas 70 3, 4; 71 1.  These form one continuous clause in every text save the editio princeps, 1832, where a semicolon appears after around (70 4).

5.  Our punctuation follows that of the Hunt manuscript, save in the following places, where a comma, wanting in the manuscript, is supplied in the text:—­gay 47; came 58; waken 122; shaken 123; call 124; number 152; dwell 163; thou 209; thee 249; fashion 287; surprise 345; free 358.  A semicolon is supplied after earth (line 131).

PETER BELL THE THIRD.

Thomas Brown, Esq., the Younger, H. F., to whom the “Dedication” is addressed, is the Irish poet, Tom Moore.  The letters H. F. may stand for ‘Historian of the Fudges’ (Garnett), Hibernicae Filius (Rossetti), or, perhaps, Hibernicae Fidicen.  Castles and Oliver (3 2 1; 7 4 4) were government spies, as readers of Charles Lamb are aware.  The allusion in 6 36 is to Wordsworth’s “Thanksgiving Ode on The Battle of Waterloo”, original version, published in 1816:—­ But Thy most dreaded instrument, In working out a pure intent, Is Man—­arrayed for mutual slaughter, —­Yea, Carnage is Thy daughter!