much augmented by the fact that these pieces are rarely consecutive, but literally disiecti membra poetae, scattered through various notebooks in a way to require piecing together as well as deciphering. The editors of the Posthumous Poems, moreover, though diligent according to their light, were neither endowed with remarkable acumen nor possessed of the wide knowledge requisite for the full intelligence of so erudite a poet as Shelley, hence the perpetration of numerous mistakes. Some few of the manuscripts, indeed, such as those of "The Witch of Atlas", "Julian and Maddalo", and the "Lines at Naples", were beautifully written out for the press in Shelley's best hand, but their very value and beauty necessitated the ordeal of transcription, with disastrous results in several instances. An entire line dropped out of the "Lines at Naples", and although "Julian and Maddalo" was extant in more than one very clear copy, the printed text had several such sense-destroying errors as "least" for "lead". 'The corrupt state of the text has stimulated the ingenuity of numerous correctors, who have suggested many acute and convincing emendations, and some very specious ones which sustained scrutiny has proved untenable. It should be needless to remark that success has in general been proportionate to the facilities of access to the manuscripts, which have only of late become generally available. If Shelley is less fortunate than most modern poets in the purity of his text, he is more fortunate than many in the preservation of his manuscripts. These have not, as regards a fair proportion, been destroyed or dispersed at auctions, but were protected from either fate by their very character as confused memoranda. As such they remained in the possession of Shelley's widow, and passed from her to her son and daughter-in-law. After Sir Percy Shelley's death, Lady Shelley took the occasion of the erection of the monument to Shelley at University College, Oxford, to present [certain of] the manuscripts to the Bodleian Library, and verse and sculpture form an imperishable memorial of his connection with the University where his residence was so brief and troubled.' (Dr. Garnett proceeds:--'The most important of the Bodleian manuscripts is that of "Prometheus Unbound", which, says Mr. Locock, has the appearance of being an intermediate draft, and also the first copy made. This should confer considerable authority on its variations from the accepted text, as this appears to have been printed from a copy not made by Shelley himself. "My 'Prometheus'," he writes to Ollier on September 6, 1819, "is now being transcribed," an expression which he would hardly have used if he had himself been the copyist. He wished the proofs to be sent to him in Italy for correction, but to this Ollier objected, and on May 14, 1820, Shelley signifies his acquiescence, adding, however, "In this case I shall repose trust in your care respecting the correction of the press; Mr.