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Relevant bibliographies by topics / Shelley's poetry

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Academic literature on the topic 'Shelley's poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Shelley's poetry"

1

Rawes, Alan. "Shelley's ‘compelling rhyme schemes’ in The Triumph of Life." Romanticism 22, no. 1 (April 2016): 76–89. http://dx.doi.org/10.3366/rom.2016.0258.

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Many critics have noted The Triumph of Life's contradictory understandings of ‘life’, interpreting these contradictions as the product of thematic intention or thematic uncertainty. Drawing on a few deconstructive concepts about language and applying these to Shelley's rhymes in The Triumph of Life, this essay argues that in Shelley's poem rhymes create and disseminate equivocality of meaning but also offer Shelley a means of engaging creatively with that equivocality, and it is this interplay between form and poet that produces the poem's contradictory readings of ‘life’. It also suggests that paying attention to this interplay working itself out does not just tell us something fundamental about The Triumph of Life but also a great deal about Shelley's more general sensitive responsiveness to what he describes in A Defence of Poetry as the ‘relations’ between ‘sounds’ and the ‘uniform and harmonious recurrence of sound’, without which poetry, for Shelley, ‘were not poetry’.

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Lindstrom, Eric. "Mourning Life: William Wordsworth and Percy Bysshe Shelley." Romanticism 23, no. 1 (April 2017): 38–52. http://dx.doi.org/10.3366/rom.2017.0305.

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What does it mean that Shelley publicly mourns the death a living Wordsworth in his poetry? This essay argues that Percy Bysshe Shelley's renunciation of a narrow concept of selfhood not only informs, but germinates, his psychological and political principles, and in the process shapes his response to William Wordsworth—not as an “egotistical” poet, but as one who paradoxically and enviably escapes mutability by being ontologically identified with forms of non-life. I argue that Shelley brilliantly (and correctly) attributes this position to Wordsworth's poetic thought through his own poetic thinking in works such as Peter Bell the Third, and that Shelley also finds such an alignment incomprehensible. His construction of Wordsworth is a skeptical dialectician's disavowal of mute or dull inclusion. The essay attends to Shelley's treatment of Wordsworth in connection to Shelley's performative speech acts of inversion: life-death; heaven-hell; blessing-curse. Shelley abjures Wordsworth for excessive love for otherwise inanimate things; for ‘ma[king] alive | The things it wrought on’ and awakening slumberous ‘thought in sense’.

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O'Neill, Michael. "Shelley's Defences of Poetry." Wordsworth Circle 43, no. 1 (January 2012): 20–25. http://dx.doi.org/10.1086/twc24045511.

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Quayle, Jonathan. "Directing the ‘Unfinished Scene’: Utopia and the Role of the Poet in Shelley's Hellas." Romanticism 26, no. 3 (October 2020): 280–91. http://dx.doi.org/10.3366/rom.2020.0478.

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Hellas; A Lyrical Drama (1822) reveals profound tensions in Shelley's thinking about the role that poets play in writing the future. In the Preface, Shelley invokes his ‘poet's privilege’ to imagine the outcome of the ‘unfinished scene’ – the ongoing Greek War of Independence – but the final chorus, which begins by triumphantly announcing the return of a ‘great age’, also voices an anxiety that it may be impossible to imagine a future that is unbound by the failures of the past. This essay examines the ways in which Shelley imagines the outcome of the Greek War in Hellas, especially in dialogue with the claims he makes for poetry and poets in A Defence of Poetry (comp. 1821). I argue that what emerges in Hellas is a fraught form of utopian thought that is defined by hazardous struggle, but which may ultimately direct humanity towards a better future.

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Fraistat, Neil. "The Workshop of Shelley's Poetry." Romanticism on the Net, no. 19 (2000): 0. http://dx.doi.org/10.7202/005929ar.

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Donnelly, Hugo, and Simon Haines. "Shelley's Poetry: The Divided Self." Studies in Romanticism 38, no. 3 (1999): 483. http://dx.doi.org/10.2307/25601406.

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Aryan, Ayaz Ahmad, Liaqat Iqbal, and Rafiq Nawab. "Moral and Political System as Objects of Aesthetic Beauty and the Case of Shelly." Global Language Review V, no. II (June 30, 2020): 72–82. http://dx.doi.org/10.31703/glr.2020(v-ii).08.

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Researchers and critics, most of the time, have drawn the poets of revolutionary and political ideologies and ideals to the description of aesthetics qualification. Percy Bysshe Shelley's aesthetics of Romanticism tackles a new dimension in appraising and understanding the Romantic spur of poetry. The aspect is aesthetics as a moral and political system of Romantic poetry. In this study, Shelley has been studied from the lens of moral and political dimensions as to how through moral and political engagements, he resisted the prevailed system. The method used for such investigation was textual analysis. Shelley's works hold reformist, moral, political, and radical bases, thus motivating his people from within. In a similar pattern, the poet tries to shape his work in a way that intensely substantiates his idealism for the transformation of sustained rigid structure prevailed that time throughout England, especially, and Europe in general.

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Woodman, Ross. "Shelley's Dizzy Ravine: Poetry and Madness." Studies in Romanticism 36, no. 3 (1997): 307. http://dx.doi.org/10.2307/25601237.

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Kabitoglou, E. Douka. "Shelley's Dialogic Poetry: Julian and Maddalo." Orbis Litterarum 47, no. 2 (June 1992): 303–14. http://dx.doi.org/10.1111/j.1600-0730.1992.tb01172.x.

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Underwood, T. "The Science in Shelley's Theory of Poetry." Modern Language Quarterly 58, no. 3 (January 1, 1997): 299–321. http://dx.doi.org/10.1215/00267929-58-3-299.

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Dissertations / Theses on the topic "Shelley's poetry"

1

Lee, Su-Yong. "The aesthetic politics of poetic language : language and representation in Shelley's dramatic poetry." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396616.

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Seegmullser, Rainer Karl. "Shelley and architecture : Romanticism and the semiotics of the architectural descriptions in Shelley's letters from Italy." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306809.

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Fortier, Jonathan. "Shelley's unquiet republics : freedom and the inner self." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365557.

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San, Martín Varela Pablo. "Myth and enlightenment : necessity, history, and agency in Shelley's poetry and prose." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25846.

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This thesis traces the changing conceptions and uses of myth in the poetry and prose of Percy Shelley. Its main argument is framed from a critical-theoretical perspective inspired by Dialectic of Enlightenment by Theodor Adorno and Max Horkheimer. From this methodological standpoint, the study of myth can be related to other aspects of Shelley’s work, like his understanding of history and the problem of necessity and agency. The body of the dissertation is divided into three main parts, each of which is constituted by a series of shorter chapters. The first part deals with the mutually constituting negation of myth by enlightenment, where simultaneously several different but related conceptions of myth are produced and the preliminary principles of enlightenment advanced. Shelley’s earlier conceptions and uses of myth are identified (personification, euhemerism, and allegory), and compared to those of his probable sources as well as of useful analogues, among whom David Hume, William Godwin, the Baron d’Holbach, and John Frank Newton are given special attention. These conceptions of myth are also situated in their intellectual contexts in the fields of eighteenth- and early-nineteenth-century mythography and theological debate. At the same time, the philosophical underpinnings of Shelley’s earlier writings (naturalism, scientism, and necessitarianism) are brought to light, and interpreted as having been strategically advanced in his critique of myth and religion. The main subject of the second part is the partial reification of enlightenment as a narrative of natural history. The interaction of theological debate and natural history of religion is explored in the light of literary form and pragmatic situation. Shelley’s political and social writings are described as a natural history of civil society based on political economy, and are situated within the historiographical tradition developed in the Scottish Enlightenment by authors like William Robertson, Adam Smith, Adam Ferguson, and John Millar. These narratives contained embedded within themselves an early concept of sociological necessity, and developed in opposition not only to sacred history but also to the classical narratives of individual political agency. I argue that this historiographical framework became problematic for Shelley in the wake of the Manchester massacre, since it was at odds with his pacifist values and utopian expectations. The final part treats of the reincorporation of some elements originally suppressed in the critique of myth. Shelley’s later mythical dramas are read as an alternative representation of history to that of natural history, where a new conception of collective political agency was developed. Simultaneously, a new concept of truth as praxis is identified as emerging in some of Shelley’s political writings, whereby the truth value of myth and poetry could be reassessed as that of a guide for political action. Finally, I argue that Shelley’s debate with Thomas Love Peacock concerning the social function of poetry catalysed the process by which the attributes of myth were transferred to poetry, and the latter was set against science and other expressions of the calculating faculty.

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Quayle, Jonathan Alexander Dickon. "Utopia unbound : imagined futures in Shelley’s poetry." Thesis, University of Newcastle upon Tyne, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.742535.

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This thesis re-evaluates the importance of Shelley’s utopianism, tracing the emergence and development of utopian currents of thought across Iris oeuvre. Through close readings of several major poems, I examine the evolution of Shelley’s utopian thought, from the anticipated crisis moment of his recently rediscovered Poetical Essay (1811), and the ecstatic, timeless utopia of Queen Mab (1813), to the dynamic, unfinished “utopia” of Prometheus Unbound (1820), and the still more challenging, ambivalent vision of the future in Hellas (1822). What emerges is a poet who, despite having moved beyond a vision of utopia that is trapped by its own finished perfection, struggles to imagine a future that is uncorrupted by the failures of the past. Although Shelley’s visions of the future have often been described as ‘utopias’, there has been little investigation into the complexities of his utopian drought, or his place within a broader utopian tradition. While M. H. Scrivener’s Radical Shelley: The Philosophical Anarchism and Utopian Thought of Percy Bysshe Shelley (1982) treats Shelley’s utopianism as one aspect of his political radicalism, this thesis offers a rigorous exploration of Shelley’s multifaceted engagement with the concept of utopia, and what it means to take him seriously as a utopian thinker. The opening chapter investigates the utopian impulse in three eighteenth-century texts— Pope’s Essay on Man (1733-4), Gibbon’s Decline and Fall of the Roman Empire (1776-88), and Godwin’s Political Justice (1793)—which inform Shelley’s exploration of the relationship between the past, present, and future. The subsequent three chapters analyse the utopian aspects of Shelley’s poetry, focussing on their anticipatory qualities, the notion of a ‘utopian crisis’, the nature of resistance, and how he conceives the relationship between poetry and utopian thinking. I conclude by calling for a reassessment of Shelley’s place within a nineteenth-century utopian tradition.

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Boyle, Catherine. "Shelley in 1819 : poetry, publishing and radicalism." Thesis, Roehampton University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267363.

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Bradley, Arthur Humphrey. "Reading Shelley negatively : mysticism and deconstruction." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263790.

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Abdul-Razāk, Hanāʼ Muḥammad. "Keats, Shelley and Byron in Nāzik al-Malāʼikah's poetry." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/4959/.

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The main purpose of this thesis is to trace the impact of the English Romantic poets, especially Keats, Shelley and Byron, on Arab/Iraqi Romantic poetry and thought, in particular that of Nazik al-Mala'ikah. The thesis is divided into two volumes. The first volume consists of three chapters, each divided into short sections. The first chapter is a detailed introduction to the three other chapters. It discusses the problem of defining the term 'Romanticism'. It studies comparatively the four fundamentals of the English and Arabic Romantic theories. It traces the origin and the development of Arabic/Iraqi Romanticism. It also traces the sources of Nazik's knowledge of world literature: Arabic, English, American, French, German, Greek, Latin and Scandinavian. Nazik's poems and those of other Arabic Romantic poets, such as Iliyya Abu Madi, Ali Mahmud Taha, and Abu 'l-Qasim 'l-Shabbi are compared. The importance of the poems that appear in The Golden Treasury to Arabic poetry in general and to Nazik's poetry in particular is highlighted. A list of English poets, such as Shakespeare, Milton, Gray, Coleridge, Wordsworth, Keats, Shelley and Byron, whose poems and thoughts are influential on Nazik's poetry and critical works, is arranged chronologically with a short introduction to each poet, and his posit ion in Arabic/Iraqi poetry in general and in Nazik's literary works in particular. Abdul-Hai's bibliography of the Arabic versions of English poetry and Jlhan's Ra'uf's bibliography of the Arabic versions of Shelley's poetry are given, in order to indicate the earliest possible date of Arabic translation from English poetry. The second chapter is divided into two parts. These parts are preceded by a short introduction on Arabic translation of English poetry, followed by a section on Nazik's motives in translating English poetry. In the first part, Arabic versions of Gray's Elegy by Andraus, Mahmud, al-Muttalibi and Nazik are analysed comparatively to establish whether Nazik's version is original or dependent on the other earlier Arabic versions. In the final section, the influence of Gray's Elegy on Nazik's themes and imagery is traced. In the second part of this chapter, Nazik's version of Byron's address to the ocean in the fourth canto of Childe Harold's Pilgrimage is fully analysed, preceded by a list of Arabic versions of Byron's poems. Nazik's version is studied independently from other Arabic versions, because most of the versions found are of different parts of Byron's poem. A section is devoted to Nazik's and Byron's relationship with the sea. In the last section, the impact of this passage on Nazik's poetry is traced and compared to that of Gray's Elegy. The third chapter traces the presence of Keats's odes in Nazik's poetry. This chapter is introduced by a definition of the term 'Ode'. The second section traces the impact of the themes and imagery of Keats's odes on Nazik' s poetry. Four sections are devoted to establishing the common contrasting themes in Keats's and Nazik's poetry. The following sections are devoted to the natural elements common to the poetry of Nazik and Keats: the birds, the wind, the river, the sun and the moon. The final sections study comparatively Nazik's and Keats's common literary devices: Personification, Synaesthesia and Compound adjectives. The second volume consists of the fourth chapter, the tables and the bibliography. This chapter studies the allusions in Nazik's poetry, and traces their sources in Keats, Shelley, Byron and Anatole France. A section is devoted to names alluded to in Nazik's poetry. The significance of The Golden Bough in Arabic is highlighted in a separate section, followed by a section on Nazik's mythological themes and symbols. Two sections are devoted to the relations of the Jinniyyah to poetry and to god. The appearance and functions of Nazik's Jinniyyah are compared to those of similar figures in Anatole France and Shelley. Nazik's Jinniyyah is seen as the synthesis of a complex mythological tradition. Many examples are given to discuss her relations to: (1) male and female mythological, religious and cultural characters, such as: Adam, Cain, Abel, Prometheus, Christ, Muhammad, Paphnutius, Midas, Plutus, Eve, Thais, Adonis, Cupid, Narcissus, Nessus, Ares, Magdalen, Thais, Venus, Diana, Rabiah al-Adawiyyah, the Sleeping Beauty, Demeter, Rapunzel and Shahrazad; (2) supernatural creatures, such as: the serpent, the demon, the spider, the sirens, the giant fish, the ghosts and the ghoul; (3) mythological things, such as: the Labyrinth, Lethe, Eldorado, Pactolus and al-Kawthar. A section is devoted to the symbol of Gold in Nazik's and in English poetry. Nine tables are supplied, setting out the common mythological names that occur in Nazik's, Keats's, Shelley's and Byron's poetry. A bibliography of primary and secondary Arabic and English sources is given. This bibliography contains the works cited throughout and other relevant secondary sources. The former are marked with an asterisk.

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9

Wallace, Jennifer. "Shelley and Hellenism : the ambiguous image of Greece in the poetry of Percy Bysshe Shelley." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259531.

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Miyamoto, Nahoko. "Strange truths in undiscovered lands, Shelley's poetic development and romantic geography." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0014/NQ59099.pdf.

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Books on the topic "Shelley's poetry"

1

Haines, Simon. Shelley's Poetry. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230376854.

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Shelley's poetry of involvement. New York: St. Martin's Press, 1988.

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Shelley's poetry of involvement. Basingstoke: Macmillan, 1988.

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Shelley's poetry: The divided self. New York: St. Martin's Press, 1997.

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Shelley's ambivalence. New York: St. Martin's Press, 1989.

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Gallant, Christine. Shelley's ambivalence. Basingstoke: Macmillan, 1989.

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Shelley, Percy Bysshe. Shelley's poetry and prose: Authoritative texts, criticism. 2nd ed. New York: Norton, 2002.

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8

Weinberg, Alan M. Shelley's Italian experience. New York: St. Martin's Press, 1991.

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Shelley's Italian experience. London: Macmillan, 1990.

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Sperry, Stuart M. Shelley's major verse: The narrative and dramatic poetry. Cambridge, Mass: Harvard University Press, 1988.

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Book chapters on the topic "Shelley's poetry"

1

Haines, Simon. "The Case of Shelley." In Shelley's Poetry, 1–55. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230376854_1.

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Haines, Simon. "Shelley’s Views of Poetry." In Shelley's Poetry, 56–95. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230376854_2.

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Haines, Simon. "Shelley’s Poetry, 1811–17." In Shelley's Poetry, 96–126. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230376854_3.

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Haines, Simon. "Shelley’s Poetry, 1818–20." In Shelley's Poetry, 127–62. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230376854_4.

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Haines, Simon. "Shelley’s Poetry, 1818–20 (continued)." In Shelley's Poetry, 163–93. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230376854_5.

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Haines, Simon. "Shelley’s Poetry, 1821–2." In Shelley's Poetry, 194–239. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230376854_6.

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Haines, Simon. "Conclusion: The Divided Self." In Shelley's Poetry, 240–46. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230376854_7.

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Eisner, Eric. "Shelley’s Glamour." In Nineteenth-Century Poetry and Literary Celebrity, 91–114. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230250840_5.

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Ruston, Sharon. "‘The Poetry of Life’." In Shelley and Vitality, 157–80. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230505186_6.

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Duerksen, Roland A. "Introduction." In Shelley’s Poetry of Involvement, 1–7. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19631-9_1.

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