nions of Woodville, it is possible to hear the voice of
Shelley. This paragraph, which is much expanded from _F of F--B_, may
be compared with the discussion of good and evil in _Julian and
Maddalo_ and with _Prometheus Unbound_ and _A Defence of Poetry_.

[60] In the revision of this passage Mathilda's sense of her pollution
is intensified; for example, by addition of "infamy and guilt was
mingled with my portion."

[61] Some phrases of self-criticism are added in this paragraph.

[62] In _F of F--B_ this quotation is used in the laudanum scene, just
before Level's (Woodville's) long speech of dissuasion.

[63] The passage "air, & to suffer ... my compassionate friend" is on
a slip of paper pasted across the page.

[64] This phrase sustains the metaphor better than that in _F of
F--B_: "puts in a word."

[65] This entire paragraph is added to _F of F--B_; it is in rough
draft in _S-R fr_.

[66] This is changed in the MS of _Mathilda_ from "a violent
thunderstorm." Evidently Mary decided to avoid using another
thunderstorm at a crisis in the story.

[67] The passage "It is true ... I will" is on a slip of paper pasted
across the page.

[68] In the revision from _F of F--B_ the style of this whole episode
becomes more concise and specific.

[69] An improvement over the awkward phrasing in _F of F--B_: "a
friend who will not repulse my request that he would accompany me."

[70] These two paragraphs are not in _F of F--B_; portions of them are
in _S-R fr_.

[71] This speech is greatly improved in style over that in _F of
F--B_, more concise in expression (though somewhat expanded), more
specific. There are no corresponding _S-R fr_ to show the process of
revision. With the ideas expressed here cf. Shelley, _Julian and
Maddalo_, ll. 182-187, 494-499, and his letter to Claire in November,
1820 (Julian _Works_, X, 226). See also White, _Shelley_, II, 378.

[72] This solecism, copied from _F of F--B_, is not characteristic of
Mary Shelley.

[73] This paragraph prepares for the eventual softening of Mathilda's
feeling. The idea is somewhat elaborated from _F of F--B_. Other
changes are necessitated by the change in the mode of presenting the
story. In _The Fields of Fancy_ Mathilda speaks as one who has already
died.

[74] Cf. Shelley's emphasis on hope and its association with love in
all his work. When Mary wrote _Mathilda_ she knew _Queen Mab_ (see
Part VIII, ll. 50-57, and Part IX, ll. 207-208), the _Hym