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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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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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Morris, Lorraine Anne. "All that faith creates, or love desires : Shelley's poetic vision of being." Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4602/.
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This thesis explores the nature of creativity in the poetic vision of Percy Bysshe Shelley. "Poetic vision" is chosen for its complex connotations, which include creative imaginings, dreams and intimations of futurity. I examine questions that Shelley raises concerning perception, existence and the fabric of reality. To develop a conceptual framework that has an ontological basis, I draw on the theories of two twentieth-century non-dualist thinkers: David Bohm, who combines science, philosophy and art, and the existential thought of Martin Heidegger. I also investigate ways in which literary expression and life become interwoven and suggest that this reciprocity is explicable through a dynamically creative vision of existence. In Chapter One Shelley's reflections on the creative capacity of poetic visions to influence states of being, and his holistic apprehension of existence in On Life, provide the thesis with a conceptual paradigm which is in contradistinction to the Cartesian schism between mind and matter. A Defence of Poetry is contrasted with Peacock's The Four Ages of Poetry to show that the contention between the two writers' visions springs from questions relating to being. Shelley's declaration that the poetic impulse is central to life is examined in the light of Heidegger’s notion of the poetic as disclosing being and Bohm's quantum concepts of creativity. In Chapter Two Alastor is interpreted as a poem which raises questions about existence and I provide a counter-approach to critical positions of scepticism. Heidegger's concepts of "Being- in-the-world" and "Being-towards-death" provide the basis for an existential analysis of die Poet’s impassioned quest. A comparison between the Poet's dream of his feminine counterpart and Shelley's own vision of his ideal beloved reveals connections between artistic vision and human experience. In Chapter Three on Laon and Cythna. poetic vision is shown to operate from a metaphysical basis of thought, passion, and the human will to enact a radical transformation in consciousness. The poem's investigation of freedom is linked to Heidegger's concept of being absorbed in the "they." Chapter Four continues my extended reading of Laon and Cythna. Shelley's notion of creativity collapses the demarcations between imaginative vision and the physical world. Here his view of reality is contrasted with the psychological investigations of Jean Piaget. The poem’s vision of human empowerment is compared with Peacock's fatahsm in Ahrimanes. Chapter Five investigates challenges to Shelley's optimism. Julian and Maddalo is the major poem interpreted in a chapter v*ere the keynote is the contention between theories about the nature of reality and their validity to human life. Shelley's anxiety about communicating visions of despair is analyzed with regard to the Maniac's tragic predicament. Chapter Six interprets Prometheus Unbound as a dramatic engagement with the spiritual, imaginative, emotional and sensuous planes of being. Existence is seen to be poised on a mobile nexus of thought and emotions. Asia has a dynamic role and, through consideration of her journey with Panthea to Demogorgon, I examine Shelley's complex negotiation between free will and determinism. Spinoza's monism is discussed in relation to "Love's Philosophy. In Chapter Seven on Hellas, "Thought", "Passion", "Will", "Reason" and the "Imagination” are shown to have creative powers which determine futurity. Questions about the structure of reality are explored in the drama's dynamic interchange between the magician-like Ahasuerus and the Turkish tyrant Mahmud. Dreams are given significance as avenues of perception to realms beyond conscious experience and in relation to unfolding the future. Finally, in Chapter Eight Shelley's ideas about poetic creativity are explored through his poems to 'Jane Williams. Whilst composing these lyrics Shelley used the figure of Rousseau, in the Triumph of Life, to suggest a reciprocity between art and life. I examine the similarities between Rousseau's fictional creation of Julie in La Nouvelle Hélose and his subsequent love for Sophie d'Houdetot. Shelley's lyrics to Jane Williams communicate desire at different levels of conscious awareness, from trance-like mesmerism to overt invitation.
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Dietrich, Bryan D. (Bryan David). "The Monstrance: A Collection of Poems." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277686/.
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These poems deconstruct Mary Shelley's monster from a spiritually Chthonian, critically post-structuralist creative stance. But the process here is not simple disruption of the original discourse; this poetry cycle transforms the monster's traditional body, using what pieces are left from reception/vivisection to reconstruct, through gradual accretion, new authority for each new form, each new appendage.
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Roberts, Merrilees Fay. "Poetical and philosophical reticence in the major poetry of Percy Bysshe Shelley." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30945.
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This thesis explores how Shelley's poetic reticence characteristically produces hermeneutical and ethical aporias within received ways of thinking. These aporias elicit critiques of the philosophical and social discourses that support them. Shelley's poetry employs narratological ambiguity, omission and above all communicative reserve to make the reader more aware of his or her interpretative responsibility to engage with or resolve these strategic gaps. His reticence also allows his reader to conceptualise an enlarged constitution of the Subject. I develop a phenomenological approach to reading Shelley's major verse inspired by Wolfgang Iser's work on the productive functioning of textual gaps and blanks. I show how Shelley's poems, by destabilising their own processes, produce dynamic intersubjective experience. As in Sartre's phenomenological aesthetics, (upon which Iser's work is based) where the world is productively re-constituted through an act of imagination, Shelley's reticence makes visible the dialectical relations between world and consciousness. To some extent each uses the other to supply its content. But whereas textual self-reflexivity is normally seen as resulting in intellectualised meta-phenomena (such as irony), the self-critique generated by Shelley's reticence paradoxically results in a positive hermeneutic that challenges influential deconstructive readings of Shelley's aporias as figuring moments of philosophical limitation. Reticence, therefore, has a double function in Shelley's work: it marks areas of uncertainty, scepticism and psychological anguish; it also provides ways of choosing to become knowingly seduced by temporary self-representations that satisfy nostalgia for a more essentialist conception of identity or meaning. This doubleness creates a dialectic that is never resolved, and which continually drives the hermeneutic tensions in Shelley's texts and thought. Shelley's reader is left with the possibility of choosing nostalgia in a generous spirit of self-parody; but nevertheless, reticence also keeps such illusions of fixity, however satisfying, feeling illusory.
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Roberts, Hugh. ""The boundless realm of unending change" : Shelley and the politics of poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28525.
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This thesis argues that in the De Rerum Natura of Lucretius Shelley found an insight into the role of contingency in physical and historical process which allowed him to go beyond the limitations of an intellectual inheritance divided between post-Kantian Romanticism and the sceptical revolutionary Enlightenment. This insight entails radical implications for our understanding of the political role of the literary text. Shelley conceives society in evolutionary terms, making poetry a revolutionary clinamen (or mutation) in the iterative cycles of social reproduction. Models drawn from contemporary chaos theory help us to understand how this entropic tendency to disorder can work simultaneously as a negentropic motor of social innovation. Building on the work of Michel Serres, who demonstrates that Lucretius anticipates the recent scientific interest in "determinate indeterminacy," this thesis shows that Shelley's understanding of historical process and the role of the poet in social reproduction has anticipated some of the implications of contemporary "chaos science" in ways that suggest models for the general application of this new paradigm of contemporary scientific thought to literary and political issues.
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Anderson, Mark Richard. "Theatres of contention : vital instability in the poetry of Byron and Shelley." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12477/.
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This thesis explores the poetry of Byron and Shelley, emphasising their individual responses to shared poetic challenges. In particular, it examines the phenomenon of ‘instability’ of meaning in their work, arguing that such instability takes expressive forms more various and subtle than has hitherto been explored. Broadly but not restrictively formalist in approach, the thesis offers a reading of the poems as, in part, enactive explorations of the possibilities and constraints of poetic making, to an extent which sets Byron and Shelley apart from other Romantic poets. Building on and, when appropriate, offering a critique of the work of critics fascinated by the poets’ language, particularly those writing in a New Critical and post-structuralist tradition, the thesis contends that by viewing the poems as explorations of the paradoxical possibilities of poetic limitation we might more readily see the ways in which they assert resistance to some of the critical characterisations ascribed to them. By placing the two poets in a single study the thesis seeks to show patterns of affinity and difference. Its structure and organisation support this aim. The Introduction describes the method and contents of the thesis. Chapters One and Two examine enactments of instability within, respectively, the early cantos of Childe Harold’s Pilgrimage and three Shelleyan lyrics. Chapter Three focuses on water and ruin as figurative vehicles for Byron’s complex attitude to substantiality, identity and relation. Chapters Four and Five examine how instability is explored through image-making in Alastor and Epipsychidion, and text-making in Don Juan’s middle cantos. Chapter Six examines Prometheus Unbound’s relation with relation itself; it also examines the lyrical drama’s treatment of articulation and non-articulation, concepts central to the new reading of Don Juan’s English cantos offered in Chapter Seven, as Byron responds to the encroaching limitations of mobility and poetic expression.
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Hewitt, Ben. "Poetry belonging to the principle of evil : Goethe's faust I and the drama and poetry of byron and P B Shelley." Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531746.
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Lacey, Andrew. "The philosophy of death in the poetry of William Wordsworth and Percy Bysshe Shelley." Thesis, University of Newcastle Upon Tyne, 2012. http://hdl.handle.net/10443/2637.
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The one aim of those who practice philosophy in the proper manner’, says Socrates in Phaedo, ‘is to practice for dying and death’. From its earliest beginnings, philosophy has sought to illuminate the phenomenon of death, and there is a rich body of writing on the subject. William Wordsworth and Percy Bysshe Shelley are, I posit, the most death-facing of the Romantics, and that both expressed a desire to write ‘philosophical poetry’ at various stages in their poetic careers sets them somewhat apart from their peers. Fundamentally, this thesis explores Wordsworth’s and Shelley’s rich and varied philosophical thinking on the common subject of death over the period 1798-1821. More theoretically, and advancing the view that reading poetry and philosophy in parallel is of mutually illuminating benefit, it makes new cross-connections between traditionally separate categories (death in poetry, and death in philosophy), and thus attests to an often underappreciated commonality of traditions. In Chapters 1 and 2, on Wordsworth, I trace a death-focused intellectual trajectory from Lyrical Ballads (1798-1800) to The Excursion (1814), and find the progression, from typically ‘earlier’ to ‘later’ thinking, to be both distinct and fairly linear. In Chapters 3 and 4, I read Queen Mab; A Philosophical Poem: with Notes (1813), Alastor; or, The Spirit of Solitude: and Other Poems (1816), and Adonais (1821), and show Shelley’s always-impassioned attitudes towards death to be in a state of marked flux over the course of eight highly productive years. I identify a hitherto overlooked circularity in Shelley’s thinking on death which is not present in Wordsworth’s, and conclude by stressing, in light of my readings of the poems, the particular appropriateness of the poetic form as a means of exploring the phenomenon of death.
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Shelley, Bryan Keith. "The interpreting angel : Shelley and scripture." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329000.
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Callaghan, Madeleine Francesca. "'The life we image' : chaos and control in the poetry of Byron, Shelley, and Yeats." Thesis, Durham University, 2010. http://etheses.dur.ac.uk/138/.
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The tension between experiential chaos and artistic control is a constant if varying presence, and acts as a fertile, dangerous, but ultimately enriching principle, in the poetry of Byron, Shelley, and Yeats. Each poet is highly self-conscious about this tension, a self-consciousness traceable to their Romantic and post-Romantic understanding of the nature of poetry. Situating itself in the present post-McGannian critical landscape, my thesis looks at poetry through the lens of a new formalism. The thesis valorises aesthetic subtleties and lays emphasis on poetry’s performative intelligence. The Introduction describes in detail the approach, method, and contents of the thesis. Section one examines the poetics of Byron, Shelley and Yeats, focusing on how each poet figures his attempted control of the potentially chaotic text. The first chapter, on Byron’s poetics, centres on Don Juan, Beppo and Childe Harold’s Pilgrimage and argues for the presence of a coherent poetics in his oeuvre. Chapter two, on Shelley’s poetics, examines A Defence of Poetry and its relationship with Shelley’s poetry, giving particular attention to Alastor and “Mont Blanc.” Chapter three examines the self-consciousness of Yeats’s poetics, and explores the way in which he makes poetry express his effort towards mastery while retaining the chaos that permits creative freedom in The Wanderings of Oisin, the Byzantium poems, and “Easter 1916.” The struggle to assert poetic control is a form of heroism, and the second section examines the concept of the hero in works by each of the poets. I illustrate how traditional critical accounts of the poets underestimate the complexity that governs their versions of heroism. Chapter four, on Cain and The Giaour, and chapter five, on Don Juan and Childe Harold’s Pilgrimage, trace Byron’s evolving challenge to any straightforward notion of heroism. Chapter six views Shelley’s Epipsychidion as a climactic exploration of the poet-as-hero, while chapter seven explores Adonais’s radical refiguring of the heroic and the elegiac. Chapters eight and nine focus on “The Tower,” on Yeats’s creation of a uniquely personal, yet carefully impersonal, poetic monument to the poet-hero. The chaos of the actual, from which Byron, Shelley, and Yeats create their poetry, wars constantly with, but also paradoxically enables, the control they attempt to establish. It is their staging of the quarrel between chaos and control that not only provides them with the material out of which they make poetry but also means that their practice foreshadows and at times outflanks our critical constructions.
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Harries, Natalie Tal. "Abstruse research and visioned wanderings : Neoplatonism and Hinduism in the poetry of Coleridge and Shelley." Thesis, University of Aberdeen, 2018. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=238335.
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The metaphysical poetry of the English Romantics is characterised by an interest in esoteric wisdom, and the exploration of Hinduism and Neoplatonism during the period formed a significant part of this 'abstruse research'. This thesis will investigate the role of two central strands of 'Romantic esotericism', Neoplatonism and Hinduism, in the work of Samuel Taylor Coleridge and Percy Bysshe Shelley, and examine how it is manifested in their poetry, philosophy and expression of visionary experience and spiritual transcendence. This study considers the way in which Coleridge and Shelley drew upon the ideas, symbols, mythology, theology and philosophy contained in the earliest English translations of Hindu sacred texts and Thomas Taylor's Neoplatonic translations, during their poetic explorations of transcendental experience. It will demonstrate how this material was a significant source of inspiration to both Coleridge and Shelley when formulating their own poetic vocabulary capable of expressing the ineffable divine. The first chapter deals with the early influence of Hinduism and Neoplatonism on Coleridge's poetic output from 1793-1802, and the second chapter considers his shifting response from this point onwards, which coincides with his poetic development and the apparent loss of his former visionary insight. His expression of visionary experience in his early work is evidently influenced by both Hindu and Neoplatonic texts and, despite his later criticism, Coleridge continues to make use of their 'symbolic potential' before dismissing them entirely in his later years. Shelley shares Coleridge's preoccupation with the esoteric unknown and the final chapter examines the influence of Hinduism and Taylor's Neoplatonic translations, as well as the symbolic legacy of Coleridge, on Shelley's poetical explorations of visionary pursuit and divine insight. Like Coleridge, Shelley synthesises Neoplatonic and Hindu influences to create his own divine symbolism, and both poets were greatly inspired by their engagement with these ancient traditions.
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Suret, Emma. ""Among the unseen voices" : the influence of Shelley and Keats on the poetry of Wilfred Owen." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/19658/.
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This thesis explores the influence of Percy Bysshe Shelley and John Keats on the poetry of Wilfred Owen. Scholars who have noted the influence of Shelley and Keats on Owen's poetry routinely argue that Owen becomes disenchanted with Romanticism following his front-line experience during the First World War. However, Owen's poetry reveals an unwavering debt to the work of Shelley and Keats throughout his poetic career. Examining Owen's early poetry and his war elegies, this thesis charts his poetic maturation through the approach of new formalism, revealing the intricacies in his developing poetic technique and providing a detailed analysis of his use of allusion. The first chapter compares Keats and Owen's response to poetic influence through readings of Keats's The Fall of Hyperion and Owen's 'To Poesy'. The second chapter reveals how Keats and Owen use the sonnet form as a site of poetic experimentation through an analysis of poems that include Keats's 'If by dull rhymes our English must be chained' and Owen's 'Futility'. The third chapter explores how Shelley and Owen depict sympathy and empathy in Shelley's The Triumph of Life, and Owen's 'The Show' and 'Strange Meeting'. Chapter four discusses how Shelley and Owen manipulate the aesthetic conventions of the elegy through readings of Shelley's Adonais and Owen's 'I saw his round mouth's crimson', 'Greater Love', and 'Mental Cases'. The final chapter shows how Owen blends the influence of Shelley and Keats in his approach to the pastoral genre. Owen makes explicit the influence of Shelley and Keats through a generous use of allusion throughout his oeuvre. Owen relishes the challenges of his poetic inheritance, figuring it as an experience that involves struggle and exhilaration in equal measure, and he balances his duty as a Romantic heir with his drive to assert his own unique poetic voice.
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Stokoe, Leanne. ""Poetry (...) concealed by (...) facts and calculating processes" : political economy in the prose of Percy Bysshe Shelley." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/3076.
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This thesis focuses exclusively on Shelley’s prose works. Firstly, it asks why few of those critics who admire Shelley’s poetry have analysed his prose in detail. Secondly, it explores Shelley’s engagement with political economy, with a view to questioning assumptions that he was hostile towards this discipline. Such a reading is indebted to the work of Connell (2001) and Bronk (2009), who argued that Malthusian and Benthamite doctrines may be aligned with literary concerns. However, my thesis extends these arguments by suggesting that Shelley refused to separate economic and aesthetic categories. Chapter One focuses upon Shelley’s early economic interests, culminating in a reading of his Notes to Queen Mab. These include Smith’s moral philosophy and Spence’s use of poetry to promote agrarian ideas. Such influences inspired Shelley to explore not only contemporary economic theories, but also the way that these were expressed. Chapter Two, which addresses Shelley’s essays on vegetarianism and political reform, discusses his interest in the ways in which metropolitan reformers like Hunt addressed economic issues in aesthetic language, whilst provincial writers like Cobbett incorporated poetry into their criticism of contemporary hardship. This affinity between political economy and literature can be seen as influencing a term that Shelley introduces in his major essays: – ‘Poetry’. Chapter Three, on A Philosophical View of Reform, explores how Shelley defines this capitalised word as encompassing all enlightening disciplines, not simply a literary genre. Chapter Four culminates in an analysis of Shelley’s treatment of utilitarianism in A Defence of Poetry. By engaging with the theories of Mill and Ricardo, it shows that Shelley saw political economy as containing qualities that were ‘concealed’, yet could be revealed within its ‘calculating processes’. Through exploring the way that political economy thus shaped, and was shaped by, his definition of ‘Poetry’, I present Shelley as a distinctive contributor to nineteenth-century economic thought.
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Steyaert, Kris Omer Eli Antoon Sebastiaan. "Selective affinities and poetic appropriation : Percy Bysshe Shelley and Willem Kloos." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271494.
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Sultana, Fehmida. "Romantic orientalism and Islam : Southey, Shelley, Moore, and Byron /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1989.
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Thesis (Ph.D.)--Tufts University, 1989.Submitted to the Dept. of English. Includes bibliographical references (leaves 209-215). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Laniel-Musitelli, Sophie. "Science et poésie dans l'oeuvre de Percy Bysshe Shelley." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030109.
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L’époque romantique marque un tournant décisif dans les relations entre création littéraire et connaissance scientifique. Le discours scientifique se dote progressivement d’un langage et d’une méthode spécifiques, rompant avec la philosophie naturelle, qui conjuguait jusqu’alors considérations physiques et métaphysiques, observation et célébration de la nature. À l’heure où William Wordsworth lance l’aphorisme « we murder to dissect », déclaration d’indépendance de la parole poétique vis-à-vis du discours scientifique, Percy Bysshe Shelley (1792-1822) étudie avec assiduité les sciences à Eton puis à Oxford, avant d’entreprendre une formation médicale au Saint Bartholomew’s Hospital de Londres. Cette thèse met en évidence la transfiguration poétique des concepts et théories scientifiques dont Shelley avait pris connaissance à travers ses lectures et sa formation, ainsi que le saut imaginatif qui subvertit ces représentations en les intégrant aux réseaux des métaphores que le texte tisse selon ses propres lois. En une métamorphose féconde, Shelley déploie les soubassements mythiques et imaginaires, ainsi que les prolongements éthiques et métaphysiques des écrits scientifiques sur lesquels il se pencha. Cette étude se situe à la rencontre de deux ambitions heuristiques, de deux exigences formelles. Science et poésie sont à la recherche des harmonies cachées qui sous-tendent le monde des apparences. Soumettre l’absolu à la mesure, soumettre la beauté à la métrique poétique, soumettre la complexité infinie du monde naturel au calcul mathématique : telles sont les entreprises parallèles de la poésie de Shelley et de la science de son tempsThe Romantic era was a time of tremendous change in the relationship between literary creation and scientific knowledge. Scientists framed a specific language and distinctive methods as they moved away from natural philosophy, which had thus far combined physics with metaphysics and united the observation of nature with its celebration. While William Wordsworth stated that « we murder to dissect », thus declaring the secession of poetic writing from scientific discourse, Percy Bysshe Shelley (1792-1822) was steadily studying science at Eton and then at Oxford, before embarking on a medical training at Saint Bartholomew’s Hospital in London. This thesis explores the poetic transfiguration of the scientific theories and concepts that Shelley came across in his readings and during his studies. It focuses on the way science is subverted by the poet’s imagination, as scientific representations undergo a fruitful metamorphosis, and become pa! rt of the webs of metaphors woven by the text according to its own laws. Shelley recreates the mythical and imaginary foundations as well as the ethical and metaphysical implications which lie dormant in the scientific writings he looks into. This study examines the encounter of two heuristic endeavours, of two highly formalised ways of writing. Science and poetry are in search of the hidden harmonies which underlie appearances. Measuring the measureless, encompassing absolute beauty within poetic metrics, subsuming the infinite richness of the natural world within the rules of mathematical calculation, such are the parallel endeavours of Shelley’s poetry and the science of his age
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Reno, Seth T. "Amorous Aesthetics: The Concept of Love in British Romantic Poetry and Poetics." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306247314.
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Mushakavanhu, Tinashe. "Anarchies of the mind : a contrapuntal reading of the poetry and prose of Percy Bysshe Shelley and Dambudzo Marechera." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/69686/.
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The thesis examines the historical and contemporary engagements of philosophical anarchism in the selected writings of Percy Bysshe Shelley and Dambudzo Marechera in a bid to establish an anarchic poetics that emerges between them. Both use poetry and prose to express opposition to values and relations characterising authoritarian societies while also expressing alternative social, political and personal values. The unusual pairing of two writers who wrote and lived in very different times inevitably prompts an enquiry into the various trajectories of philosophical anarchism, Romanticism and postcoloniality in world literature. The aim is to blur the stereotypical nature of writers and writings from specific regions of the world and instead argue for an interliterary and intertextuality tradition as the new critical idiom. This thesis also analyses the social functioning of poetry and fiction in social reform and political revolution. Juxtaposing the perspectives of and writings from different spatio- temporal and cultural locations is necessary to emphasise the continuity of ideas, the evolution of theory and philosophy and the historical interconnectedness of humanity as explained by Edward Said's notion of 'contrapuntal juxtaposition.' The writings of Shelley and Marechera do raise important questions about society and the state and continue to address serious political issues. As will be demonstrated, the literature of Shelley and Marechera is not static, it grows and develops with each new reading, it is continually changing, and for this reason it is essentially moving. This study contributes to the fields of literary anarchist theory, postcolonialism as well as Romantic studies by extending a conceptual bridge between the political and literary histories of ideas in which Shelley and Marechera are both ambassadors.
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Cherry, Thomas Hamilton. "Variation Within Uniformity: The English Romantic Sonnet." TopSCHOLAR®, 2014. http://digitalcommons.wku.edu/theses/1396.
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The English Romantic poets of the early nineteenth century wrote numerous poems from genres and styles all across the poetic spectrum. From the epics of ancient origin concerning kings and fanciful settings to the political odes on fallen leaders and even the anthropological histories of what it meant to live in their time, these poets stretched their stylistic legs in many ways. One of the most interesting is their use of the short and rule-bound sonnet form that enjoyed a reemergence during their time. Though stylized throughout its existence, the sonnet most often falls into a specific form with guidelines and rule. What makes the Romantic interest in this form noteworthy is that like the other forms, they found new ways to use the sonnet as a means of poetic experimentation and creative expression. Exploring the various internal and external variations, those changes that took place within the lines and phrases of the sonnet and those that form the organizing and rhyming portions of the poem, this study seeks to establish the ways the Romantics took the uniform techniques of the sonnet and stretched its bounds to find new means of creativity. Close reading of the poems of William Wordsworth, John Keats, and Percy Bysshe Shelley reveals the variant use of caesura, creative dissonance, as well as original organization and rhyme scheme to accomplish purely Romantic goals within the uniformity of the sonnet form.
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Haines, Simon F. E. "A critical study of the poetry and prose of Percy Bysshe Shelley : illustrating the limiting effect of his ideas on his imagination." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303534.
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Bleasdale, John. "Shelly and laughter." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366700.
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Paterson, Adrian. "'Words for music perhaps' : W.B. Yeats and musical sense." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:d288984c-254a-40bc-b13d-b8790cc8226c.
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‘Poetry’ insisted Ezra Pound, ‘is a composition of words set to music’: his Cantos remembered ‘Uncle Willie’ downstairs composing, singing poetry to himself. This study examines the nature and effects of W.B.Yeats’s idiosyncratic but profound sense of music. For his poems were compositions set to music. They were saturated with musical themes; syntactically he professed to write for the ear rather than the eye; and he flung himself repeatedly into the breach between music and words, composing ballads, songs, and plays with music, and performing poetry with musical instruments. My thesis is that nature of poetry, spoken, read or sung, obsessed Yeats, and I hold it self evident that such an acutely self-conscious poetry will articulate this obsession: to use his own imagery, will bear the scars of its own birth. What follows is a study of meaning, obsession, and influence, beginning with what Yeats knew and how he came to poetry: his father’s and his own vocalizations of the musical preoccupations of Scott and Shelley, viewed through the annotations of ‘the first book [he] knew Shelley in’ and the solipsistic singers and instrumentalists of his early verse. The theme of chapter two is Ireland: the musical resonances of Anglo Irish ballads and Irish verse are viewed through Yeats’s aurally-oriented canon-formation, as we examine his instinctual recitations and deliberate approach to Irish folksong through the mediation of Douglas Hyde. The aesthetics of Wagner, Pater, and the French symbolistes frame the third chapter, which describes how poetry might approach the condition of music in the motivic organization of The Wind Among the Reeds. In chapter four the impact of Nietzsche’s profoundly musical philosophy is correlated for the first time with the exact moments of Yeats’s discovery of his texts, as Yeats’s plays and poetry move from ‘Apollonian’ languor to ‘Dionysian’ energy, from dream to song and dance. My final chapter uncovers the long history of the practical experiments Yeats made to perform poetry with a ‘psaltery’, and their resonating afterlife in subsequent poetry and poets. No musician himself, Yeats’s musical sense has until now been entirely dismissed: this study shows how central it is to his art and to an understanding of the dominant aesthetic of the age.
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Ogden, Rebecca Lee Jensen. "Merit Beyond Any Already Published: Austen and Authorship in the Romantic Age." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2417.
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In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.
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Balvín, Tomáš. "Shelleyho vyjednávání metafyziky." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-436349.
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This thesis aims to understand Percy Bysshe Shelley's attitude towards the role of the poet in society as an usher of progressive change. To do this, it examines his metaphysics, chiefly his contact with the doctrines of idealism, which crystallised at the dawn of his life through his intimate relationship with the works of Plato, the early engagement with French materialists, English philosophers like Priestley and Hume & a later one with Lucretian materialism, and his deep entanglement with the first modern proponent of anarchism, William Godwin - who could be described as a perfectionist by some or as utilitarianist by others. By doing that the thesis seeks to shed light on how these doctrines influenced Shelley and how he conversed with and critiqued them, revealing the intricacies of his work because, in Shelley's philosophy, the nature of differentiation between the two, that is between materialism and idealism, is notoriously problematic. The beginning of the thesis serves to engage with Shelley's early contact with materialist doctrines, their fast repudiation in their pure form and his later critique in "Cloud" and response to them. The materialist influences of Shelley are pondered, as well as some of the possibilities of interpreting Shelley in a materialist way. Next, Shelley's...
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"History and the form of the dream vision: Shelley's poetic confrontations with material reality." Tulane University, 1998.
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Throughout his career, Percy Bysshe Shelley experimented with the genre of the dream vision in attempts to identify and resolve conflicts between his poetic and political ambitions. Though critics have neglected the importance of the dream vision in the development of Shelley's thought and art, major poems such as Queen Mab, Laon and Cythna, and The Triumph of Life share formal and thematic characteristics that qualify them as adaptations of the genre. This genre study thus aims to close a lacuna in the criticism by reading certain poems of Shelley as examples of a specific kind of narrative that dramatizes visionary insight but places the experience in the context of a paradoxical fixation on materiality. As a pseudo-historical discourse, the dream vision also provides a medium for analyzing assumptions that govern historical discourse and its claims to truth and authority. This study asserts that the formal problems of interpretation in Shelley's visionary narratives disclose the poet's critical orientation to history and reveal an affinity between the dream vision and the contemporaneous emergence of the historical novel in the work of Walter Scott. Because Shelley's dream visions engage the same set of aesthetic dilemmas essential to Scott's formulation of the historical novel, this project argues for the importance of Shelley's generally uncredited contribution to the rise of realism as a dominant mode of expression in nineteenth-century literatureacase@tulane.edu