ABSTRACT
The textual history of this lyric variation on the traditional theme of love decayed is involved and complicated. S. transcribed the fair copy, the text of which is given below, on Mary’s letter of 7 March 1820 sent from Pisa to Sophia Stacey in Rome, evidently without Mary seeing it. (For S.’s relations with Sophia Stacey, see the headnotes to Thou art fair, and few are fairer, Goodnight and Time Long Past (Longman iii 246–7, no. 275).) A note on the letter introduces the poem thus:
I promised you what I cannot perform; a song on singing: — there are only two subjects remaining. I have a few old stanzas on one which though simple & rude, look as if they were dictated by the heart. — And so — if you tell no one whose they are you are welcome to them.
The note continues after the poem:Pardon these dull verses from one who is dull — but who is not the less ever your’s PBS. When you come to Pisa, continue to see us. Casa Frassi Lung’Arno.
(See ‘Text from’ below) S.’s remarks indicate that while Sophia was in Florence he had engaged to write a series of songs on different topics for her — which no doubt she was to sing — one of which, on singing itself, he was unable to execute. See To —— (I fear thy kisses, gentle maiden). The series would presumably have included the three other lyrics named above, which he had given her on 28 December 1819. Taking his assertion at face value, On a Dead Violet had been composed long enough ago to be considered ‘old stanzas’ which, although not written as one of the promised songs, nonetheless treated one of the subjects agreed upon. The poem he sends, although unpolished, was inspired by genuine feeling. He wishes to share it with her, but she must not reveal him as the author.