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Books on the topic 'Shelley's poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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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9

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

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10

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

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11

Shelley's visual imagination. Cambridge: Cambridge University Press, 2011.

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12

The human mind's imaginings: Conflict and achievement in Shelley's poetry. Oxford: Clarendon Press, 1989.

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13

Duffy, Edward T. The constitution of Shelley's poetry: The argument of language in Prometheus unbound. London: Anthem Press, 2009.

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14

Duffy, Edward T. The constitution of Shelley's poetry: The argument of language in Prometheus unbound. London: Anthem Press, 2009.

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15

The constitution of Shelley's poetry: The argument of language in Prometheus unbound. London: Anthem Press, 2009.

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16

Shelley's goddess: Maternity, language, subjectivity. New York: Oxford University Press, 1992.

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17

Shelley's eye: Travel writing and aesthetic vision. Aldershot, Hants, England: Ashgate, 2004.

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18

Shelley's mirrors of love: Narcissism, sacrifice, and sorority. Albany, N.Y: State University of New York Press, 1999.

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19

Gladden, Samuel Lyndon. Shelley's textual seductions: Plotting Utopia in the erotic and political works. New York: Routledge, 2002.

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20

Campbell, Denlinger Elizabeth, ed. Shelley's ghost: Reshaping the image of a literary family. Oxford: Bodleian Library, 2010.

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21

Shelley, Percy Bysshe. Percy Bysshe Shelley.: Including Percy Bysshe Shelley's holographs and copies in the hand of Mary W. Shelley ... as well as the holograph draft of Keats's Robin Hood. New York: Garland, 1997.

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22

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

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23

Shelley, Percy Bysshe. "Shelley's last notebook": Bodleian MS. Shelley adds. e. 20 (including fair copy for A Defence of poetry and drafts for Adonais and other poems in English and Italian) ; together with Bodleian MS. Shelley adds. e. 15 (drafts for Peter Bell the Third) ; and, Bodleian MS. Shelley adds. c. 4, folios 212-246 (conclusion of the holograph fair copy of A defence of poetry). New York: Garland, 1990.

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24

Ferber, Michael. The poetry of Shelley. London: Penguin, 1993.

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25

Weisman, Karen A. Imageless truths: Shelley's poetic fictions. Philadelphia: University of Pennsylvania Press, 1994.

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26

Roach, Julian. Shelley's boat. York: Harbour Pub., 2006.

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27

Shelley, Percy Bysshe. A facsimile of Bodleian MS. Shelley d. 1: Including drafts of Speculations on morals and metaphysics, A defence of poetry, Ode to Naples, The witch of Atlas, Epipsychidion, and Mary Wollstonecraft Shelley's The fields of fancy/Mathilda, together with minor poems, fragments, and prose writings. New York: Garland, 1988.

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28

Hawkins, Desmond. Shelley's first love. London: Kyle Cathie, 1992.

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29

Poetic lives: Shelley. London: Hesperus, 2009.

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30

Hahn, Daniel. Poetic lives: Shelley. London: Hesperus, 2009.

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31

Catlin, Alan. Shelley and the romantics: Prose poems. Easthampton, Mass: Adastra Press, 1994.

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32

Shelley, Percy Bysshe. Shelley. New York: Knopf, 1993.

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33

Shelley, Percy Bysshe. Shelley. Topsfield, Ma: Salem House, 1987.

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34

Shelley, Percy Bysshe. The complete poetry of Percy Bysshe Shelley. Baltimore, Md: Johns Hopkins University Press, 2000.

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35

Shelley, Percy Bysshe. Percy Bysshe Shelley: Selected poetry and prose. London: Routledge, 1991.

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36

Boyle, Catherine. Shelley in 1819: Poetry, publishing and radicalism. [Guildford]: University of Surrey, 1998.

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37

Derek, Guiton, ed. Shelley's venomed melody. Cambridge: Cambridge University Press, 1986.

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38

Baker, Carlos. Shelley's Major Poetry. Princeton University Press, 2015.

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39

Baker, Carlos. Shelley's Major Poetry. Princeton University Press, 2015.

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40

Baker, Carlos. Shelley's Major Poetry. Princeton University Press, 2016.

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41

Shelley, Percy Bysshe. Shelley's Poetry and Prose. Digireads.com, 2015.

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42

Bodleian Manuscript Shelley Adds, d.7: Mary Shelley's Copybook of Shelley's Poems. Routledge, 1987.

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43

1942-, Hall Spencer, ed. Approaches to teaching Shelley's poetry. New York: Modern Language Association of America, 1990.

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44

Shelley, Mary Wollstonecraft. The Choice: A Poem on Shelley's Death. Classic Books, 2000.

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45

Baker, C. H. Shelley's Major Poetry the Fabric of a Vision. Russell&Russell Pub, 2000.

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46

Callaghan, Madeleine. Shelley’s Living Artistry: Letters, Poems, Plays. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940247.001.0001.

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This study of the poetry and drama of Percy Bysshe Shelley reads the letters and their biographical contexts to shed light on the poetry, tracing the ambiguous and shifting relationship between the poet’s art and life. For Shelley, both life and art are transfigured by their relationship with one another, where the ‘poet participates in the eternal, the infinite, and the one’, but is equally bound up with and formed by the society in which he lives and the past that he inherits. Callaghan shows that the distinctiveness of Shelley’s work comes to rest on its wrong-footing of any neat division of life and art. The dazzling intensity of Shelley’s poetry and drama lies in its refusal to separate the twain as Shelley explores and finally explodes the boundaries between what is personal and what is poetic. Arguing that the critic, like the artist, cannot ignore the conditions of the poet’s life, Callaghan reveals how Shelley’s artistry reconfigures and redraws the actual in his poetry. The book shows how Shelley’s poetic daring lies in troubling the distinction between poetry as aesthetic work hermetically sealed against life, and poetry as a record of the emotional life of the poet.

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47

Callaghan, Madeleine. Introduction: ‘A poem is the very image of life’. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940247.003.0100.

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A clear distinction between the poet and the man, the art and the life, is misrepresentative in the case of Shelley. Though the boundary between life and art is often a fraught question for poets and their critics, Shelley’s oeuvre is fascinated by and explorative of the ways in which the man’s life can form, to varying degrees in each work, the raw material for the poet’s art. Shelley’s poetic daring lies in troubling the distinction between poetry as aesthetic work hermetically sealed against private feeling and poetry as a record of the emotional life of the poet. The repeated slippage between the emotional and personal life of the poet and his aesthetic and eternal preoccupations is a defining yet never fully definable signature of Shelley’s work.

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48

Callaghan, Madeleine. ‘In a style very different’. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940247.003.0005.

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Shelley’s preoccupation with embodying power struggle in language remains constant in The Cenci and Prometheus Unbound. This chapter argues that instead of reading Prometheus Unbound and The Cenci as antinomies, there is a difficult doubling between the poetical dramas. Shelley’s letter to Thomas Love Peacock of 6 November 1818 offers a suggestive perspective on the dramas through its fascination with the poet’s response to tyranny. The corruption of poets by a tyrannical society in Shelley’s Defence of Poetry is Beatrice’s destruction at her father’s hands writ large, and in Prometheus Unbound, Prometheus combines poetic with political power as he grows into his role as poet. This chapter reads experimentation as not merely formal but as ethical. Embodiment rather than description becomes the hallmark of Shelleyan drama

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49

Callaghan, Madeleine. ‘That such a man should be such a poet!’. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940247.003.0004.

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‘To Wordsworth’, ‘Verses Written on Receiving a Celandine in a Letter from England’, and Julian and Maddalo show Shelley responding to other poets as he shapes his discrete poetic voice. Wordsworth, who had been Shelley’s leader found, was becoming, in Shelley’s eyes, a leader lost. This chapter explores the complicated and nuanced poetry of relationship that Shelley makes out of his political disappointment in his older peer. Like Shelley’s open address to Wordsworth, Julian and Maddalo seems to speak to the relationship between Shelley and Byron. The poem seems to stage a Shelley-Byron conversation where Shelley places their ideological clash at the forefront of his dialogic poem. Yet even as Shelley seems to provide the reader with symbolic footholds, the poem resists such identifications. If Shelley, in these poems, is a poet among others, he remains carefully apart by virtue of his nuanced and mobile response to his peers.

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50

Vatalaro, Paul Anthony. Re-making home: A study of isolation, love and community in Shelley's poetry. 1986.

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