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Journal articles on the topic 'Shelley's poetry'

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Published: 4 June 2021

Last updated: 16 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Lee, Monika. "Dream Shapes as Quest or Question in Shelley's Prometheus Unbound." Romantik: Journal for the Study of Romanticisms 5, no. 1 (December 1, 2016): 111. http://dx.doi.org/10.7146/rom.v5i1.26421.

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In Percy Bysshe Shelley’s Prometheus Unbound, the Oceanides – Asia, Panthea, and Ione – direct the evolution of poetic consciousness through their lyricism which expresses human intuition and what Shelley calls in his ‘Defence of Poetry’ (1820) ‘the before unapprehended relations of things’. Their presence in Shelley’s lyrical drama leads from both abstract transcendental and literalist perspectives on reality in Act I to a more flexible and creative inner perspective in Act 2. The internal spaces evoked by the language of the Oceanides, spaces of reverie and dream, are the locus of metaphor – the endowment of absence with meaning and the identification of disparate objects with one another. As in dream, the dissolution of metaphor is integral to its dynamic processes. Asia, her dreams, and the unconscious liberate Prometheus as consciousness from the fixed rigidity which kills both metaphor and purpose; dream unfurls a ‘nobler’ myth to replace the stagnant one. Although Prometheus Unbound cannot narrate its own apotheosis, it weaves the process or spell of metaphor-making: ‘These are the spells by which to reassume / An empire o’er the disentangled Doom’ (IV, 568–69). After the words have been spoken, meaning must be continually sought in the non-verbal reverberating echoes of the unconscious.

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12

Lachman, Lilach, and Stuart M. Sperry. ""Shelley's Major Verse": The Narrative and Dramatic Poetry." Poetics Today 10, no. 3 (1989): 652. http://dx.doi.org/10.2307/1772923.

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13

Ulmer, William A., and Stuart M. Sperry. "Shelley's Major Verse: The Narrative and Dramatic Poetry." South Atlantic Review 54, no. 4 (November 1989): 128. http://dx.doi.org/10.2307/3199811.

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14

ISOMAKI, R. "Shelley's Major Verse: The Narrative and Dramatic Poetry." Modern Language Quarterly 50, no. 1 (January 1, 1989): 69–72. http://dx.doi.org/10.1215/00267929-50-1-69.

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15

Keach, W. "Review. Shelley's Poetry: The Divided Self, S Haines." Essays in Criticism 48, no. 1 (January 1, 1998): 89–96. http://dx.doi.org/10.1093/eic/48.1.89.

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16

Shilstone, Frederick W. "Approaches to Teaching Shelley's "Frankenstein". Stephen C. Behrendt.Approaches to Teaching Shelley's Poetry. Spencer Hall." Wordsworth Circle 22, no. 4 (September 1991): 212–14. http://dx.doi.org/10.1086/twc24042693.

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17

Rudy, Jason R. "RAPTUROUS FORMS: MATHILDE BLIND'S DARWINIAN POETICS." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 443–59. http://dx.doi.org/10.1017/s1060150306051266.

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Inspired whilst on holiday in 1893, the poet and literary critic Mathilde Blind speculated on the potential for intimacy in great poetry: “The poet only truly lives when he feels the rapture of communion; when his soul mirrored in a sister soul is doubled like the moon glassed in the Lake of Nemi” (Commonplace book36; hereafterCB). Blind here alludes to the belief that from the shores of Lake Nemi, located just southeast of Rome, one might witness a perfect reflection of the moon upon the lake's still waters. Like the moon that casts its light down on the lake, Blind imagines the poet radiating outward toward her readers and experiencing with them “the rapture of communion,” a flash of sympathetic confederacy. It was an ideal Blind had considered from her first volume of poetry in 1867 to her recently publishedDramas in Miniature(1891), and it had determined most notablyThe Ascent of Man, Blind's 1889 poetic re-writing of Darwinian evolution. In her work as a literary critic as well as in her poetry, Blind singles out moments of passionate communication, such as lines of D. G. Rossetti that “set[] ones nerve tingling” (Correspondence; letter to Richard Garnett, 10 October 1881), and Shelley's poetry, which is like an “electric telegraph of thought flashing its fiery spark through the dull dense world of sense” (“Shelley” 97). At its best, poetry fuses an “intensity of feeling, [a] depth of thought, music, and form” (Correspondence; letter to Richard Garnett, 26 January 1870) so as to resonate most effectively with what Tennyson called “the deep heart of every living thing” (Poems1: 85).

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18

O'Neill, Michael. "A. C. Bradley's Views of Shelley's Poetry and Poetics." Romanticism 14, no. 1 (April 2008): 36–46. http://dx.doi.org/10.3366/e1354991x08000081.

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Critical reception is central to the existence of Romantic legacies, and, in turn, takes on the function of a legacy for subsequent interpreters. In what follows I seek to recover a sense of the contribution made by A. C. Bradley to our understanding of Shelley.1 Convinced that there is much value in reviewing and re-considering past criticism which is now relatively neglected, the essay embodies the hope that thinking about the ways in which an author was once considered will involve, at least implicitly, reflection on current critical modes.

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19

O'NEILL, MICHAEL. "‘Trying to Make It as Good as I Can’: Mary Shelley's Editing of Shelley's Poetry and Prose." Romanticism 3, no. 2 (July 1997): 185–97. http://dx.doi.org/10.3366/rom.1997.3.2.185.

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20

Duffy, Edward, Timothy Clark, and Michael O'Neill. "Embodying Revolution: The Figure of the Poet in Shelley's Poetry." Studies in Romanticism 31, no. 2 (1992): 260. http://dx.doi.org/10.2307/25600955.

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21

Pite, R. "The Human Mind's Imaginings: Conflict and Achievement in Shelley's Poetry; Percy Bysche Shelley: A Literary Life." English 40, no. 166 (March 1, 1991): 73–79. http://dx.doi.org/10.1093/english/40.166.73.

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22

Lewis, Dallin. "Prophesying the Present: Shelley's Critique of Malthus inA Defence of Poetry." European Romantic Review 25, no. 5 (August 5, 2014): 575–90. http://dx.doi.org/10.1080/10509585.2014.938228.

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23

Brown, Nathaniel. "Shelley's Major Verse: The Narrative and Dramatic Poetry. Stuart M. Sperry." Nineteenth-Century Literature 44, no. 2 (September 1989): 240–43. http://dx.doi.org/10.2307/3044952.

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24

Brown, Nathaniel. ": Shelley's Major Verse: The Narrative and Dramatic Poetry. . Stuart M. Sperry." Nineteenth-Century Literature 44, no. 2 (September 1989): 240–43. http://dx.doi.org/10.1525/ncl.1989.44.2.99p0239a.

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25

Dawson, P. M. S. "The Human Mind's Imaginings: Conflict and Achievement in Shelley's Poetry. Michael O'Neill." Wordsworth Circle 22, no. 4 (September 1991): 211–12. http://dx.doi.org/10.1086/twc24042692.

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26

Stern-Gillet, Suzanne. "On (mis)interpreting Plato's Ion." Phronesis 49, no. 2 (2004): 169–201. http://dx.doi.org/10.1163/1568528041475176.

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AbstractPlato's Ion, despite its frail frame and traditionally modest status in the corpus, has given rise to large exegetical claims. Thus some historians of aesthetics, reading it alongside page 205 of the Symposium, have sought to identify in it the seeds of the post-Kantian notion of 'art' as non-technical making, and to trace to it the Romantic conception of the poet as a creative genius. Others have argued that, in the Ion, Plato has Socrates assume the existence of a technē of poetry. In this article, these claims are challenged on exegetical and philosophical grounds. To this effect, Plato's use of poiētēs and poiēsis in the Symposium is analysed, the defining criteria of technē in the Ion and other dialogues are identified and discussed, and the 'Romantic' interpretation of the dialogue is traced to Shelley's tendentious translation of it. These critical developments lead to what is presented as a more faithful reading of the dialogue. In the Ion, it is claimed, Plato seeks to subvert the traditional status of poetry by having Socrates argue that poetry is both non-rational and non-cognitive in nature. In the third part of the article, suggestions are offered as to the contribution made by the Ion to the evolution of Plato's reflections on poetic composition, and particularly as to the reasons which later induced Plato to substitute the concept of mimesis for that of inspiration in his account of poetry.

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27

O'Neill, Michael. "Gleams and Dreams: Reflections on Romantic Rhyme." Romanticism 23, no. 2 (July 2017): 123–32. http://dx.doi.org/10.3366/rom.2017.0319.

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‘Gleam’ and ‘dream’: the rhyme performs a quintessential Romantic pairing and serves as a window opening on to the topic of rhyme in poetry of the period, not least through the serendipitous way in which it off-rhymes with the word ‘rhyme’ itself. Rhyme is a matter of spanning or failing to span abysses in Romantic poetry as much as it is an earnest of some ultimate harmony or fulfilment. The word ‘gleam’ suggests an intimations-inducing flash of light; ‘dream’, for its part, points towards a possibly insubstantial source or vehicle of embodiment or quest or longing. On the face of it, the coupling may seem as hackneyed as any scorner of Romantic verbal effects might wish. Yet Romantic poetry generates an ‘electric life’, in Shelley's words in A Defence of Poetry, from this and comparable verbal interknittings, The essay pays particular attention to the rhyme of ‘gleam’ and ‘dream’ in various poems, and then to rhyme's intratextual and intertextual effects in poems by Wordsworth and Coleridge; it returns at its close to themes of aspiration and affirmation often resonating through Romantic rhyme.

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28

Watkin, William. "Tabularity: Poetic Structure in Shelley, Agamben, Badiou, and Husserl." CounterText 3, no. 2 (August 2017): 187–202. http://dx.doi.org/10.3366/count.2017.0088.

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The recent history of the intense relationship between philosophy and poetry has concentrated on the poiesis of poetic language. Poiesis is the truth-revealing nature of poetic materiality and linguistic singularity. The ‘truth’ it reveals is that truth itself, as expressed by philosophy, is under erasure in a manner that cannot be expressed philosophically, and so must instead be performed poetically. At the same time, however, what has been neglected is the manner by which material poiesis, for example lineation, is located within a wider poetic structure. If a poem disrupts what Badiou calls dianoia, at the local or linear level, it constructs meanings at the ‘global’ level in the form of its structure. So that while poems may be gifted with truth-revealing poiesis, they are also dominated by truth-developing structures. So far a philosophical interaction with these structures is lacking. This article will consider the philosophical nature of a poem's structure as a means of generating local and global poetic meanings through a development of what will be called poetry's tabularity. Using Shelley's ‘Ode to the West Wind’, it will consider the work of Agamben, Badiou, and Husserl in relation to how meaning is generated across the poetic, two-dimensional, or tabular field.

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29

Tetreault, Ronald. ": Coleridge, Shelley, and Transcendental Inquiry: Rhetoric, Argument, Metapsychology. . John A. Hodgson. ; The Human Mind's Imaginings: Conflict and Achievement in Shelley's Poetry. . Michael O'Neill." Nineteenth-Century Literature 45, no. 3 (December 1990): 368–71. http://dx.doi.org/10.1525/ncl.1990.45.3.99p03257.

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30

Sandy, Mark. "‘Webbed with Golden Lines’: Saul Bellow's Romanticism." Romanticism 14, no. 1 (April 2008): 57–67. http://dx.doi.org/10.3366/e1354991x0800010x.

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Attaining prominence in the post-war era, Saul Bellow is one of the most widely read and intellectually eclectic novelists of the Jewish American School.1 Bellow's frequent references to Romanticism form a dominant design within his culturally diverse fiction.2 Taken from Bellow's Herzog, my title indicates the two levels on which Bellow's Romantic allusions operate. At one level, this ‘webbed’ pattern of ‘golden lines’ suggests how Bellow interlaces his own prose with the poetry and philosophy of British Romanticism to govern readers' responses to his portrayal of epiphanies. On another, Herzog's moment of inter-connected vision signals Bellow's investment in a Coleridgean and Wordsworthian imagination that reveals the all-pervasive spirit of the ‘[o]ne Life within us and abroad’3. This metaphysical dimension to Bellow's web of ‘golden lines’ finds a further affinity with Shelley's later notion of the ‘web of being’.4

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31

Shaw, W. David. "Lyric Displacement in the Victorian Monologue: Naturalizing the Vocative." Nineteenth-Century Literature 52, no. 3 (December 1, 1997): 302–25. http://dx.doi.org/10.2307/2933997.

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Though a venerable lyric tradition of apostrophizing the breeze, the dawn, or the nightingale celebrates the Romantic poet's words of power, only inmates of mental hospitals actually talk to birds, trees, or doors-much less to holes in a wall, as Pound's speaker does in "Marvoil." This essay shows how Victorian dramatic monologues substitute human auditors for nonhuman ones in an effort to naturalize a convention that nineteenth-century poets find increasingly obsolete and archaic. Instead of talking to the dawn, Tennyson's Tithonus addresses a beautiful woman, the goddess who becomes the silent auditor of his dramatic monologue. Like Coleridge's conversation poems, Browning's and Tennyson's monologues are poems of one-sided conversation in which a speaker's address to a silent auditor replaces Shelley's vocatives of direct address to the west wind or Keat's apostrophes to autumn. In recuperating an archaic convention of lyric apostrophe by humanizing the object addressed, the Victorian dramatic monologue illustrates John Keble's theory of the mechanisms by which genres are disturbed, displaced, and transformed. The dramatic monologue becomes an ascendant genre in post-Romantic literature partly because it is better equipped than lyric poetry to oppose the dogmas of a secular and scientific age in which an antiquated belief in "doing-by-saying" (including a belief in oracles, prophecies, and knowledge as divination) is in rapid and widespread retreat.

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32

Freer, Alexander. "A Genealogy of Narcissism: Percy Shelley’s Self-Love." Nineteenth-Century Literature 74, no. 1 (June 1, 2019): 1–29. http://dx.doi.org/10.1525/ncl.2019.74.1.1.

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Alexander Freer, “A Genealogy of Narcissism: Percy Shelley’s Self-Love” (pp. 1–29) Readers have long considered Percy Shelley narcissistic. They have good reason: his account of love is premised on a lover’s thirst for likeness. Yet Shelley’s idea of love also obliges us to rethink the concept of narcissism, and especially its relations to solipsism and selfishness. Shelley works through Plato’s accounts of love in his translation of The Symposium, titled The Banquet (1818), and the accompanying Discourse on the Manners of the Antient Greeks, before developing a related but distinct account of his own, in which lovers seek from each other the things that they already know but cannot otherwise enjoy. Ultimately, Shelley’s self-love is not a form of solitary satisfaction, but an ethical and aesthetic project that is dependent on the recognition of another. Tracing Shelley’s thinking on love from his engagement with Plato to his own poetry and prose, this essay develops an alternate, non-Freudian genealogy of narcissism.

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33

Phillips, Tom. "Unapprehended relations." Classical Receptions Journal 12, no. 1 (January 1, 2020): 109–27. http://dx.doi.org/10.1093/crj/clz024.

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Abstract This article addresses P.B. Shelley’s ‘Hymn to Mercury’ and allusions to classical literature in ‘Ode to Liberty’. Congruities emerge between Shelley’s poetic practice, his conception of poetry’s social role, and his understanding of the relationship between antiquity and the present. When translating and reshaping ancient Greek poetry, he brings to the surface morally significant features of that poetry which only emerge in the dialogues that his writing creates. In doing so, he enacts literary history as a process that both reflects and enables expansions of the moral imagination.

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34

Fortier, Jonathan. "Simon Haines, Shelley's Poetry: The Divided Self. Basingstoke: Macmillan; New York: St. Martin's Press, 1997. ISBN: 0-312-16551X. Price: £40/$59.95." Romanticism on the Net, no. 13 (1999): 0. http://dx.doi.org/10.7202/005840ar.

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35

Hajjari, Leila, and Zahra Soltani Sarvestani. "IMPERMANENCE / MUTABILITY: READING PERCY BYSSHE SHELLEY’S POETRY THROUGH BUDDHA." Littera Aperta. International Journal of Literary and Cultural Studies 5 (December 30, 2017): 19–37. http://dx.doi.org/10.21071/ltap.v5i5.13320.

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As an ongoing phenomenon, the impermanence of the world has been observed by many people, both in ancient and modern times, in the East and in the West. Two of these authors are Gautama Buddha (an ancient, eastern philosopher from the 6th-5th centuries B.C.) and Percy Bysshe Shelley (a modern Western poet: 1792-1822). The aim of this paper is to examine in the light of Buddhist philosophy what impermanence means or looks in a selection of Shelley’s poems, after considering that this philosophy was not alien to the Europeans of the 18th and 19th centuries. Buddhism, seeing impermanence (anicca) as the foundation of the world, both acquiesces to it and urges the individuals to sway with its ebb and flow. Shelley mainly falters in the incorporation of the phenomenon into his mindset and his poems. However, he often shows a casual acceptance of it; and even, in a few cases, he presents it with a positive assessment. Keywords: Buddhism, Shelley, impermanence, mutability, transience, anicca

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36

Connell, Philip. "‘A voice from over the Sea’: Shelley’s Mask of Anarchy, Peterloo, and the English Radical Press." Review of English Studies 70, no. 296 (September 1, 2019): 716–31. http://dx.doi.org/10.1093/res/hgz029.

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Abstract Shelley’s poetic response to the Peterloo massacre, The Mask of Anarchy, was crucially informed by printed news sources relating to the momentous events in Manchester of 16 August 1819. Hitherto our knowledge of those sources has been confined to Leigh Hunt’s Examiner newspaper. This article re-examines the available evidence and argues that Shelley may well also have drawn on the accounts of Peterloo written by the radical journalist and freethinker, Richard Carlile. It traces the connections between Carlile and the Shelley circle in London during 1819 (including Hunt, Thomas Love Peacock, William Godwin, and Thomas Jefferson Hogg), and identifies a number of suggestive verbal parallels between Shelley’s Mask and Carlile’s prose. But there were also important political differences between the two men; an appreciation of those differences throws new light on the Mask’s ambivalent attitude to the prospect of revolution, and Shelley’s strident advocacy of non-violent resistance to state-sponsored oppression.

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37

Austin, Linda M. "The Lament and the Rhetoric of the Sublime." Nineteenth-Century Literature 53, no. 3 (December 1, 1998): 279–306. http://dx.doi.org/10.2307/2903041.

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The appearance of melodramatic language and gesture in nineteenth-century lyric poetry was underwritten by two theories of ecstasis, the sense of losing oneself or going beyond the limits of comprehension. The first kind of ecstasis belonged to the sublime reaction, as Kant and Burke had imagined it. The second sort belonged to the picture of the disordered mind in the medical literature. A rhetoric of shock and loss in the melodramatic lyric bears the remains of the inchoate language and wild gestures in ancient lamentation but also refers to more recent performances of overpowering emotion on stage. Conventional reactions to sublime landscapes in painting, for example, employ expressions and gestures inventoried both in Longinus's treatise on the sublime and in acting manuals for tragedians. Percy Bysshe Shelley's "A Lament" (1821) and Richard Harris Barham's "Epigram" (1847) are performances of the sublime confrontation with the idea of death. Both poems were attempts to record ecstasis and to transcribe melodramatic acting. "Epigram," moreover, alludes to another interpretation of ecstasis in the lately popular Romantic ballet. This revolutionary technique created an illusion of bodilessness-a vision of the body losing itself and fading into nothing. The reformulations of the sublime in philosophy and medicine thus enabled a set of signifying practices that appear in transcriptions of lamentation and in dance. Both are efforts to perform the sublime moment.

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38

Stafford, Fiona. "Pastoral Elegy in the 1820s: The Shepherd's Calendar." Victoriographies 2, no. 2 (November 2012): 103–27. http://dx.doi.org/10.3366/vic.2012.0083.

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‘Adonais’ is often discussed in relation to other poems by Shelley or to other English elegies. This essay suggests that it may also illuminate other writings from the 1820s, by emphasising the traditional association of elegy with the pastoral mode. Both John Clare and James Hogg published collections entitled The Shepherd's Calendar in the 1820s and, though very different from ‘Adonais’, each can fruitfully be read as new versions of pastoral elegy. Although neither Clare's poems nor Hogg's prose stories commemorate the loss of an individual poet, both have strongly elegiac elements and explore questions often regarded as defining characteristics of the elegy, including the workings of memory and melancholy, inheritance and legacy, loss and renewal, the nature of poetry and responsibilities of the poet. The essay focuses on the poet-shepherds of the 1820s, who inherited the pastoral innovations of the later eighteenth century and contributed to the Romantic transformation of the ancient mode. Far from representing the tail-end of tradition, Hogg and Clare were following the examples of their predecessors by demonstrating the recuperative powers intrinsic to true pastoral. The Shepherds Calendars of the 1820s offer an alternative version of pastoral to Shelley's self-conscious neoclassical, post-Miltonic elegy. They adopt Gray's extension of the country elegy to an entire community and draw energy from Burns and Wordsworth, who adopted plainer language and local settings for their influential Romantic versions of pastoral. Hogg's stories drew on his local environment, but far from presenting a sentimental idyll, they exposed the presence of death in the sheep-farming communities of the Scottish Borders, even as they celebrated the distinctive way of life and thriving oral culture. Clare's poems similarly celebrate the rural world of his native Northamptonshire, but his vivid poems are intensified by a recurrent sense of loss and irreversible change. Both poet-shepherds offer a lament for a world under threat from modernity but, in doing so, they develop exciting new literary styles which are perfectly suited to the demands of a modern, predominantly urban reading public. The essay concludes with brief reference to the infusion of pastoral into the Victorian novel and the early work of one of the most significant heirs to Romantic pastoral, Thomas Hardy.

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Sandy, Mark. "‘Lines of Light’: Poetic Variations in Wordsworth, Byron, and Shelley." Romanticism 22, no. 3 (October 2016): 260–68. http://dx.doi.org/10.3366/rom.2016.0287.

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Recognising the importance of Wordsworth's sense of nascent light (elegised in his ‘Ode: Intimations of Immortality’), the essay traces how influential this idea was on later Romantic poetic treatments of light. Wordsworth's qualitative distinction between the ‘fountain light of all our day’ and the ‘light of common day’ reveals his alertness to the revelatory and blinding effects of light and establishes the terms of Byron's and Shelley's imaginative engagement with the transformative aspects of light in their depiction of Italian cityscapes and coastal scenes. This transformative quality of light, for Byron and Shelley, is inextricable from those utopian aspirations to recapture future edenic states, which are configured in terms that consign such future idylls to the irrecoverable past. Finally, Shelley's The Triumph of Life is read as avowing an apocalyptic, rather than transformative, light whose ‘severe excess’ is still reimagined in terms familiar to the reader of Wordsworth's ‘Ode’.

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Azcárate, Asunción López-Varela, and Estefanía Saavedra. "The Metamorphosis of the Myth of Alchemy: Mary Shelley’s Frankenstein." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (January 1, 2017): 108–27. http://dx.doi.org/10.7195/ri14.v15i1.1036.

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This article takes as starting point the myth of alchemy in Mary Shelley´s Frankenstein or the Modern Prometheus, often interpreted as a warning of the risks and dangers of science and technology demonized in the form of the creature. Set in the Romantic period, the paper argues that the novel stages an ambiguous relationship between the advances in natural science and the philosophical and spiritual concerns that Mary Shelley inherited from her father, the philosopher William Godwin, which she discussed with her husband, the poet Percy B. Shelley. In the context of contemporary interdisciplinary discourses that contemplate ‘consilience’ between the humanities and the sciences, this paper offers a reading of Frankenstein and of Percy B. Shelley’s essay “A Defence of Poetry” as critical of empirical science in their ambiguous positioning with regards to alchemy and contemporary science. Furthermore, the research seeks to establish links with eco-cybernetic theories which bring to the fore a renewed interest on humanistic aspects.

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Rhodes, Alice. "Radical Birdcalls: Avian Voices and the Politics of the Involuntary." Essays in Romanticism 27, no. 2 (October 1, 2020): 101–14. http://dx.doi.org/10.3828/eir.2020.27.2.2.

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This essay investigates Romantic-era treatments of bird calls as “unpremeditated”, spontaneous, and involuntary. Looking at parrots, starlings, mockingbirds, gamecocks, and skylarks in the work of writers including John Thelwall, Percy Shelley, Thomas Beddoes, and Helen Maria Williams, I explore the way in which talking and singing birds are often understood through reference to materialist philosophy and the associationism of David Hartley. Taking Thelwall’s King Chaunticlere and John Gilpin’s Ghost, and Shelley’s ‘To a Sky-Lark’ and A Defence of Poetry as my main focus, I argue that these writers use materialist metaphors of unconscious avian utterance to make nuanced claims about the seemingly ambiguous role of the will in political speech.

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Coffey, Bysshe Inigo. "Shelley’s Poetry of Air." Wordsworth Circle 50, no. 2 (March 2019): 219–36. http://dx.doi.org/10.1086/703688.

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Farizova, Nina. "Romantic Poetry and the TV Series Form: The Rhyme of John Logan’s Penny Dreadful." Adaptation 13, no. 2 (October 19, 2019): 176–93. http://dx.doi.org/10.1093/adaptation/apz026.

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Abstract The creator of the TV series Penny Dreadful John Logan has stated that he drew inspiration for the first three seasons (2014–16) from English Romantic poetry. Characters in the series read and recite Blake, Clare, Keats, Shelley, and Wordsworth; comment on the nature of poetry; and make emotional connections through poetic affinities. Simultaneously, the structure of the series is gradually revealed to the audience as a pattern of doublings and couplings, of mirrors and parallels—all of which can be associated with the poetic device of rhyme. Rhyming shapes the sensory and cognitive experiences of the audience of the series; it also reflects the order of the diegetic universe, be it a freakish correspondence of incongruous things or God’s plan. Since these aesthetic choices seem to be part of the creator’s highly self-conscious design, the series becomes an adaptation of Romantic poetry, not only directly using the historical Romantic texts, but re-enacting in its organization the epistemological practice that rhyme is for English poetry.

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Vujin, Bojana. "“THE SILKEN SKILLED TRANSMEMBERMENT OF SONG”: HART CRANE’S “VOYAGES”." Годишњак Филозофског факултета у Новом Саду 40, no. 1 (December 10, 2015): 31. http://dx.doi.org/10.19090/gff.2015.1.31-48.

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One of the crucial figures of American Modernist poetry, Hart Crane (1899–1932) is notorious for baffling both readers and critics with his nearly impenetrable rhetoric. The paper focuses on “Voyages”, a sextet of poems from the poet’s first collection, White Buildings (1926), aiming to prove that his so-called obscurity is often a result of a rather simplistic approach to poetry analysis, where the sound of the verses is dismissed in favour of a purely semantic analysis. Using some of the more recent criticism of Crane’s work, such as Reed’s and Tapper’s studies, the author argues that “Voyages” can be interpreted as a cyclical poetic rumination on the nature of love and poetry, dominated by the motif of the sea. Special attention is paid to the intertextual reading, wherein Crane’s poem is put firmly within the context of traditional love poetry by the authors such as Donne, Wordsworth, Shelley, Whitman and Rimbaud, with the last two poets providing another context, that of queer love poetry.

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Pappas, Nickolas. "Plato's Ion: The Problem of the Author." Philosophy 64, no. 249 (July 1989): 381–89. http://dx.doi.org/10.1017/s0031819100044727.

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Today Plato's Ion, thought one of his weaker works, gets little attention. But in the past it has had its admirers–in 1821, for example, Percy Bysshe Shelley translated it into English. Shelley, like other Romantic readers of Plato, was drawn to the Ion's account of divine inspiration in poetry. He recommended the dialogue to Thomas Love Peacock as a reply to the latter's Four Ages of Poetry: Shelley thought the Ion would refute Peacock's charge that poetry is useless in a practical world.

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Sympos1, Roman. "Enchanted Archive: Influence, Dissemination, and Media Transformation in Shelley’s “Ode to the West Wind”." Articles, no. 50 (June 5, 2008): 0. http://dx.doi.org/10.7202/018145ar.

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Abstract In “Ode to the West Wind” Percy Shelley represents the instability of the archive and the tenuousness of literary transmission through allusions, via Dante’s Divine Comedy and Virgil’s Aeneid, to a formative period in the history of the book: the period from roughly the first century BCE to the fourth century CE when the classical volumen or scroll was giving way to the codex of cut and sewn pages or “leaves.” By registering the poet’s own anxieties over the survival of his poetry and the perils of fragmentary dissemination through the image of “leaves dead” by which his two great precursors imagined the afterlives of departed souls, Shelley’s prophetic ode speaks to our own anxieties over the possibility of archival displacement and dispersion in a digital age while reaching back two millennia to the re-establishment of state religion, transformations in writing practices, and the founding myth of the Cumaen Sybil in Augustan Rome.

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Callaghan, Madeleine. "‘Chosen Comrades’: Yeats's Romantic Rhymes." Romanticism 23, no. 2 (July 2017): 155–65. http://dx.doi.org/10.3366/rom.2017.0322.

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Yeats's acute sense of the poet's labour, a labour that makes rhyme one of those ‘befitting emblems of adversity’ (‘My House’, Meditations in Time of Civil War, 30) energises his poetry. Rather than constricting poetry, rhyme can engender, if paradoxically, a kind of freedom for the poet; Yeats's choice of form reveals his Romantic influences while demonstrating his independence. Encompassing examples from Blake, Byron, Keats, and Shelley, this essay shows how Yeats learns from his chosen influences even as his mastery over their forms sponsors his ‘ghostly solitude’ (‘Nineteen Hundred and Nineteen’, 40). From his experimentation with trimeter to ottava rima and terza rima, Yeats's formal dexterity places rhyme centre stage as he emerges as a resolutely individual poet.

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Callaghan, Madeleine. "Byron and Shelley’s Poetry of 1816." Wordsworth Circle 48, no. 1 (January 2017): 26–32. http://dx.doi.org/10.1086/twc48010026.

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Sun, Emily. "Shelley’s Voice: Poetry, Internationalism, and Solidarity." European Romantic Review 30, no. 3 (May 4, 2019): 239–47. http://dx.doi.org/10.1080/10509585.2019.1612564.

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MacKenzie, Ian. "Poetry and formulaic language." Linguistic Approaches to Poetry 15 (December 31, 2001): 75–86. http://dx.doi.org/10.1075/bjl.15.06mac.

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Corpora show that people are less original in using language than is generally believed. We routinely employ an immense repertoire of semi-preconstructed phrases, though we also adapt them: creative extensions and adaptations of institutionalized locutions sometimes occur more frequently than the ordinary form. Corpora also reveal that fiction uses verbal idioms rarely found in other forms of writing or in conversation, which suggests that novelists draw on their own experience of stereotyped fictional dialogue more than on real-life conversation. Oral epic poetry, from Homer to Beowulf, was, of course, also formulaic, but the received view is that written poetry should be quite the opposite: it should consist of new combinations of words. While it is easy to find poetry that does contain fixed expressions and poetic transformations of them, such as the ‘conversational’ (and occasionally prosaic) poetry of Wordsworth, Frost, Auden and McDiarmid, it is harder to argue that the poetry of Shakespeare, Donne, Shelley, Keats, Hopkins, Stevens or Ashbery is made up of formulaic language. Conversely, however, it can be shown that canonical poetry is the source of hundreds of phrases in our active verbal lexicons.

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