His affair with Harriet Grove was not the ephemeral thing that William Sharp deems it, in his biography of the poet. For even when married to Harriet Westbrook, he was still chagrined about the first Harriet. When Miss Grove married a cousin in the fall of 1811, a few months after his own marriage, the poet wrote to her brother, asking how he liked his brother-in-law, and added sarcastically and bitterly, "A new brother as well as a new cousin must be an invaluable acquisition." This was in October 28, 1811. Harriet Grove's conduct had caused him to spend many sleepless nights, and only a few months before his marriage to Miss Westbrook he had suicidal thoughts. He wrote sad love verses and a complaint against love's perfidy. Captain Kennedy describes Shelley, in June, 1813, as playing on the piano a favourite tune which Harriet Grove used to play for him. (Dowden's _Life of Shelley_, p. 390.) It was in the next year that he sketched the poem, _Julian and Maddalo_, and while it is likely that in the final version, which was written four years later though published after his death, unconscious emotions regarding Harriet Westbrook were fused into the poem along with the indignation at Harriet Grove. The reference to the tomb for which the lady addressed in the poem deserted the poet, may have been suggested by the dead Harriet Westbrook; but this fact is not sufficient reason for regarding her the subject of the poem, as Miss Shore and Mr. Salt do. We should look for truth beyond such incidental references. The pain in this poem is the memory of a far greater and earlier agony than that Shelley experienced by Harriet Westbrook's infidelity; rather of the grief that Harriet Grove caused him. The passages in the letters to Hogg prove that the poet's sorrow was too keen for him to forget; he could not help but put them unconsciously in this poem. There are references to Harriet Grove in _Epipsychidion_ written in the early winter of 1821. Mr. Flea, in an article on _The Story of Shelley's Life in Epipsychidion_, contends correctly that Harriet Grove is the "one with the voice which was envenomed melody," from whose cheeks flew a killing air which lay upon the leaves of the poet's heart and made him feel the ruins of age. The bitterness of this passage is equal to that in _Julian and Maddalo_, and hence the lines do not refer to some vulgar affair as some critics think. Shelley had written some of his earliest sad and lugubrious love poems to Harriet Grove, and they appeared in 1810, in the volume _Victor and Cazir_, a copy of which book the poet presented to Harriet Grove. In the November of the same year, when he was losing her, he published _Posthumous fragments of Margaret Nicholson_, and the concluding poem, "Melody to a Scene of Former Times," has all the pain of the Maniac's soliloquy in _Julian and Maddalo_, and was, no doubt, written to Harriet Grove. It has passages of reproach like those in that poem.