Percy Bysshe Shelley’s Queen Mab begins with French, Latin, and Greek epigraphs from, respectively, eighteenth century satirist Voltaire, first century b.c.e. poet Lucretius, and third century b.c.e. physicist Archimedes. After the epigraphs, which refer to crushing the infamous, eradicating superstition, and moving the world, respectively, Shelley includes a sixteen-line poem, “To Harriet *****,” a work dedicated to Harriet Westbrook Shelley, his first wife, whom he praises as his inspiration.
Writing without rhyme, except for one accidental couplet, and often using blank verse (unrhymed iambic pentameter), Shelley finished Queen Mab, but not its notes, in February, 1813. By the end of June he had printed Queen Mab and its notes in a well-manufactured volume, possibly with the help of his publisher Thomas Hookham, who chose not to have his name on the work because he believed it violated the law forbidding blasphemy. Instead of actually publishing the volume, Shelley sent about 70 of the 250 printed copies to those he thought would like the theme, having first cut out his name and address as the printer and, in many instances, having also removed the short dedicatory poem. Despite the technically private distribution of Queen Mab, it had become so well known by 1817 that it figured in the Chancery Court’s decision to deny Shelley the custody of his two children by his first wife, whom he had left in 1814 in favor of Mary Godwin and who had drowned herself in December, 1816.
To the poem itself, Shelley had attached seventeen endnotes, each devoted to a separate passage in the poem. Several of the notes are so long that they have footnotes themselves. The notes, which also feature the quotes of other authors—in Greek, Latin, French, and English—include topics such as astronomy, war, economics, Necessity, Christianity, time, and vegetarianism....
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College Music Symposium
College Music Symposium, the interdisciplinary journal of The College Music Society, serves as a vehicle for the dissemination of information and ideas on music in higher education. The content of the publication highlights concerns of general interest and reflects the work of the music and higher education community in all areas of music. Although its content consists primarily of formal, refereed articles, Symposium also presents reviews and commentaries of appropriate substance and length. The journal's content reflects the broad interests of the Society's membership in two ways. First, the journal presents articles that have a narrow individual focus but which collectively represent the breadth of the spectrum of specialized interests throughout the music field. Second, the journal presents articles that cross traditional boundaries between areas of music, as well as articles addressing topics of significance to broad segments of the membership. Symposium is published annually, released in the fall.
Coverage: 1961-2009 (Vol. 1 - Vol. 49/50)
The "moving wall" represents the time period between the last issue available in JSTOR and the most recently published issue of a journal. Moving walls are generally represented in years. In rare instances, a publisher has elected to have a "zero" moving wall, so their current issues are available in JSTOR shortly after publication.
Note: In calculating the moving wall, the current year is not counted.
For example, if the current year is 2008 and a journal has a 5 year moving wall, articles from the year 2002 are available.
- Terms Related to the Moving Wall
- Fixed walls: Journals with no new volumes being added to the archive.
- Absorbed: Journals that are combined with another title.
- Complete: Journals that are no longer published or that have been combined with another title.
Subjects: Education, Social Sciences, Music, Arts
Collections: Arts & Sciences VIII Collection, Music Collection