Abstract
ABSTRACTThe amendments to Laon and Cythna following its withdrawal from publication in December 1817 are generally seen to sacrifice aesthetic merit for self-censorship. There remain, however, few detailed readings of these modifications. This article offers such a reading arguing that although some alterations are indeed functional, others serve aesthetic purposes. This article concludes that these revisions signal a transitioning point in Shelley’s thought. Whereas Queen Mab (1813) refers to ‘God’, later works like Prometheus Unbound (1820) prefer the term ‘Power’. That we see Shelley move from one to the other in the revised The Revolt of Islam is therefore significant.
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