This great elegy was prompted by the news of the death of John Keats in Rome, and by Shelley’s belief that Keats’s illness was caused by the hostile notices his work had been given in the Quarterly Review. Shelley had the poem printed in Pisa under his own supervision, thereby ensuring its speedy appearance and its textual accuracy.
This copy of Adonais, still in its original blue wrappers, belonged to Mary Shelley. Late in life Lady Shelley recalled Mary's final moments: ‘She turned her beautiful great grey eyes on us and towards her desk so often with a longing and beseeching look in them as if she wanted to speak and tell us something.' A year later, she and Sir Percy opened the desk, and for the first time learned its contents. ‘There we found the private journal kept by her and Shelley from 1814, together with other precious relics.' There was also this copy of Adonais, with one of the leaves torn loose and folded into four. 'We opened it reverently and found ashes – dust– and we then knew what Mary had so longed to tell us: all that was left of Shelley's heart lay thereâ'.
Though imperfect (the first four leaves are missing) this copy of Adonais was valued as a treasured relic, if not as something to read. A loosely inserted note, in Lady Shelley's hand, reads: 'Between the leaves of this Copy of the Adonais were placed some of the ashes of Shelley – they are now at rest with his son'.
Owners
Mary Shelley; (bequest, 1851) Sir Percy and Lady Shelley; (bequest, 1889) Lady Shelley; (bequest, 1899) John C.E. Shelley (later Sir John Shelley-Rolls); (bequest, 1961) Bodleian.
References
Maud Rolleston, Talks with Lady Shelley, London, 1938, pp. 31-2; Shelley’s Guitar, no. 134.
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