Selected Poetry by Percy Bysshe Shelley

Total Page：16

File Type：pdf, Size：1020Kb

ALMA CLASSICS NEW BOOK INFORMATION GREAT POETS SERIES • £7.99 Selected Poetry by Percy Bysshe Shelley SELLING POINTS: • Unique selection of Shelley’s poetry • Thoroughly annotated and presented in chronological order • Enriched by an extensive critical apparatus, notes and extra reading material, as well as a selection of photographs. DESCRIPTION: During his short and restless life, Percy Bysshe Shelley produced a great number of poems, three verse plays and numerous prose works, as well as many essays in which he propounded his philosophical views and radical political ideas. These, together with his highly unconventional itinerant life and his literary connections, make him one of the most important and intriguing figures in British Romanticism. SERIES: Alma Classics This volume provides a generous selection of his poetry, from the sonnet ‘Ozymandias’ Great Poets Series to famous lyrics such as ‘Ode to the West Wind’ and ‘Lines Written among the 21st October 2021 Euganean Hills’, to the longer poems of his maturity, Adonais and Epipsychidion, all £7.99 thoroughly annotated and presented in chronological order. 9781847498670 288 pp • PB ‘My name is Ozymandias, King of Kings: Subject: DCF Rights: World English Look on my works, ye mighty, and despair!’ The Prelude and Other Poems 9781847497505 £7.99 The Rime of the Ancient Mariner and Other Poems 9781847497529 £7.99 Complete Poems 9781847497567 £9.99 Paradise Lost 9781847498038 £7.99 Sonnets 9781847496089 £4.99 Leaves of Grass 9781847497550 £8.99 Selected Poems 9781847494412 £8.99 Selected Poetical Works 9781847498212 £7.99 ABOUT THE AUTHOR: A political firebrand and an unorthodox thinker during his lifetime, Percy Bysshe Shelley (1792–1822) was the author of a large body of poetical works that left a deep mark in his own and later generations of writers. TO PLACE YOUR ORDER, PLEASE CONTACT: Macmillan Distribution Ltd, Cromwell Place, Hampshire International Business Park, Lime Tree Way, Basingstoke, Hampshire RG24 8YJ Tel: 01256 302 692 or Fax: 01256 812 521 FOR SALES ENQUIRIES, PLEASE CONTACT: Bloomsbury Publishing Plc, 50 Bedford Square, London WC1B 3DP Tel: 0207 631 5600 or Fax: 0207 631 5800 For more information about Alma Classics, please visit: www.almabooks.com.

Copy Link

Recommended publications

Select Letters of Percy Bysshe Shelley
ENGLISH CLÀSSICS The vignette, representing Shelleÿs house at Great Mar lou) before the late alterations, is /ro m a water- colour drawing by Dina Williams, daughter of Shelleÿs friend Edward Williams, given to the E ditor by / . Bertrand Payne, Esq., and probably made about 1840. SELECT LETTERS OF PERCY BYSSHE SHELLEY EDITED WITH AN INTRODUCTION BY RICHARD GARNETT NEW YORK D.APPLETON AND COMPANY X, 3, AND 5 BOND STREET MDCCCLXXXIII INTRODUCTION T he publication of a book in the series of which this little volume forms part, implies a claim on its behalf to a perfe&ion of form, as well as an attradiveness of subjeâ:, entitling it to the rank of a recognised English classic. This pretensión can rarely be advanced in favour of familiar letters, written in haste for the information or entertain ment of private friends. Such letters are frequently among the most delightful of literary compositions, but the stamp of absolute literary perfe&ion is rarely impressed upon them. The exceptions to this rule, in English literature at least, occur principally in the epistolary litera ture of the eighteenth century. Pope and Gray, artificial in their poetry, were not less artificial in genius to Cowper and Gray ; but would their un- their correspondence ; but while in the former premeditated utterances, from a literary point of department of composition they strove to display view, compare with the artifice of their prede their art, in the latter their no less successful cessors? The answer is not doubtful. Byron, endeavour was to conceal it. Together with Scott, and Kcats are excellent letter-writers, but Cowper and Walpole, they achieved the feat of their letters are far from possessing the classical imparting a literary value to ordinary topics by impress which they communicated to their poetry.
[Show full text]
Systemic Thought and Subjectivity in Percy Bysshe Shelley's Poetry
Systemic Thought and Subjectivity in Percy Bysshe Shelley‟s Poetry Sabrina Palan Systemic Thought and Subjectivity in Percy Bysshe Shelley’s Poetry Diplomarbeit zur Erlangung eines akademischen Grades einer Magistra der Philosophie an der Karl- Franzens Universität Graz vorgelegt von Sabrina PALAN am Institut für Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Martin Löschnigg Graz, 2017 1 Systemic Thought and Subjectivity in Percy Bysshe Shelley‟s Poetry Sabrina Palan Eidesstattliche Erklärung Ich erkläre an Eides statt, dass ich die vorliegende Arbeit selbstständig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benutzt und die den benutzen Quellen wörtlich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Überdies erkläre ich, dass dieses Diplomarbeitsthema bisher weder im In- noch im Ausland in irgendeiner Form als Prüfungsarbeit vorgelegt wurde und dass die Diplomarbeit mit der vom Begutachter beurteilten Arbeit übereinstimmt. Sabrina Palan Graz, am 27.02.2017 2 Systemic Thought and Subjectivity in Percy Bysshe Shelley‟s Poetry Sabrina Palan Table of Contents 1. Introduction ............................................................................................................................ 5 2. Romanticism – A Shift in Sensibilities .................................................................................. 8 2.1 Etymology of the Term “Romantic” ............................................................................. 9 2.2 A Portrait of a Cultural Period .....................................................................................
[Show full text]
Ozymandias by Percy Bysshe Shelley
Ozymandias by Percy Bysshe Shelley I met a traveler from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert. Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed; And on the pedestal these words appear: “My name is Ozymandias, king of kings: Look upon my works, ye Mighty, and despair!” Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away. Detailed Analysis of the Poem: This sonnet composed in 1817 is probably Shelley’s most famous and most anthologized poem—which is somewhat strange, considering that it is in many ways an atypical poem for Shelley, and that it touches little upon the most important themes in his oeuvre at large (beauty, expression, love, imagination). Still, “Ozymandias” is a masterful sonnet. Essentially it is devoted to a single metaphor: the shattered, ruined statue in the desert wasteland, with its arrogant, passionate face and monomaniacal inscription (“Look on my works, ye Mighty, and despair!”). The once-great king’s proud boast has been ironically disproved; Ozymandias’s works have crumbled and disappeared, his civilization is gone, all has been turned to dust by the impersonal, indiscriminate, destructive power of history. The ruined statue is now merely a monument to one man’s hubris, and a powerful statement about the insignificance of human beings to the passage of time.
[Show full text]
Gender, Authorship and Male Domination: Mary Shelley's Limited
CHAPITRE DE LIVRE « Gender, Authorship and Male Domination: Mary Shelley’s Limited Freedom in ‘‘Frankenstein’’ and ‘‘The Last Man’’ » Michael E. Sinatra dans Mary Shelley's Fictions: From Frankenstein to Falkner, New York, Palgrave Macmillan, 2000, p. 95-108. Pour citer ce chapitre : SINATRA, Michael E., « Gender, Authorship and Male Domination: Mary Shelley’s Limited Freedom in ‘‘Frankenstein’’ and ‘‘The Last Man’’ », dans Michael E. Sinatra (dir.), Mary Shelley's Fictions: From Frankenstein to Falkner, New York, Palgrave Macmillan, 2000, p. 95-108. 94 Gender cal means of achievement ... Castruccio will unite in himself the lion and the fox'. 13. Anne Mellor in Ruoff, p. 284. 6 14. Shelley read the first in May and the second in June 1820. She also read Julie, 011 la Nouvelle Héloïse (1761) for the third time in February 1820, Gender, Authorship and Male having previously read it in 1815 and 1817. A long tradition of educated female poets, novelists, and dramatists of sensibility extending back to Domination: Mary Shelley's Charlotte Smith and Hannah Cowley in the 1780s also lies behind the figure of the rational, feeling female in Shelley, who read Smith in 1816 limited Freedom in Frankenstein and 1818 (MWS/ 1, pp. 318-20, Il, pp. 670, 676). 15. On the entrenchment of 'conservative nostalgia for a Burkean mode] of a and The Last Man naturally evolving organic society' in the 1820s, see Clemit, The Godwinian Novel, p. 177; and Elie Halévy, The Liberal Awakening, 1815-1830, trans. E. Michael Eberle-Sinatra 1. Watkin (New York: Barnes & Noble, 1961) pp. 128-32.
[Show full text]
Shelley's Poetic Inspiration and Its Two Sources: the Ideals of Justice and Beauty
SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY. by Marie Guertin •IBtlOrHEQf*' * "^ «« 11 Ottawa ^RYMtt^ Thesis presented to the School of Graduate Studies of the University of Ottawa as partial fulfillment of the requirements for the degree of Master of Arts in English Literature Department of English Ottawa, Canada, 1977 , Ottawa, Canada, 1978 UMI Number: EC55769 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform EC55769 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY by Marie Guertin ABSTRACT The purpose of this dissertation is to show that most of Shelley's poetry can be better understood when it is related: (1) to each of the two ideals which constantly inspired Shelley in his life, thought and poetry; (2) to the increasing unity which bound these two ideals so closely together that they finally appeared, through most of his mature philosophical and poetical Works, as two aspects of the same Ideal.
[Show full text]
SPECIAL ARTICLE OPEN ACCESS P.B. Shelley's Poem Ozymandias In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Space and Culture, India Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 56 https://doi.org/10.20896/saci.v7i1.420 SPECIAL ARTICLE OPEN ACCESS P.B. Shelley’s Poem Ozymandias in Russian Translations Dmitry Nikolayevich Zhatkin †*and Anna Anatolyevna RyabovaÌ Abstract The article presents a comparative analysis of Russian translations of P.B.Shelley’s poem Ozymandias (1817), carried out by Ch. Vetrinsky, A.P. Barykova, K.D. Balmont, N. Minsky, V.Ya. Bryusov in 1890 – 1916. These translations fully reflect the peculiarities of the social and political, cultural and literary life in Russia of the late 19th – early 20th Centuries, namely weakening of the political system, growing of interest to the culture of Ancient Egypt, and strengthening of Neoromanticism in opposition to Naturalism in literature. In the process of the analysis, we used H. Smith’s sonnet Ozymandias, P.B. Shelley’s sonnet Ozymandias and its five Russian translations. The methods of historical poetics of A.N. Veselovsky, V.M. Zhirmunsky and provisions of the linguistic theory of translation of A.V. Fedorov were used. The article will be interesting for those studying literature, languages, philology. Keywords: P.B. Shelley, Ozymandias, Poetry, Literary Translation, Russian-English Literary Relations † Penza State Technological University, Penza, Russia * Corresponding Author, Email: [email protected], [email protected] Ì Email: [email protected] © 2019 Zhatkin and Ryabova. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
[Show full text]
Percy Bysshe Shelley (1792 – 1822)
Percy Bysshe Shelley (1792 – 1822) Biography: ercy Bysshe Shelley, (born Aug. 4, 1792, Field Place, near Horsham, Sussex, Eng.— died July 8, 1822, at sea off Livorno, Tuscany [Italy]), English Romantic poet whose P passionate search for personal love and social justice was gradually channeled from overt actions into poems that rank with the greatest in the English language. Shelley was the heir to rich estates acquired by his grandfather, Bysshe (pronounced “Bish”) Shelley. Timothy Shelley, the poet’s father, was a weak, conventional man who was caught between an overbearing father and a rebellious son. The young Shelley was educated at Syon House Academy (1802–04) and then at Eton (1804–10), where he resisted physical and mental bullying by indulging in imaginative escapism and literary pranks. Between the spring of 1810 and that of 1811, he published two Gothic novels and two volumes of juvenile verse. In the fall of 1810 Shelley entered University College, Oxford, where he enlisted his fellow student Thomas Jefferson Hogg as a disciple. But in March 1811, University College expelled both Shelley and Hogg for refusing to admit Shelley’s authorship of The Necessity of Atheism. Hogg submitted to his family, but Shelley refused to apologize to his. 210101 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk Late in August 1811, Shelley eloped with Harriet Westbrook, the younger daughter of a London tavern owner; by marrying her, he betrayed the acquisitive plans of his grandfather and father, who tried to starve him into submission but only drove the strong-willed youth to rebel against the established order.
[Show full text]
Shelley's Editing Process in the Preface to <I>Epipsychidion</I>
The Keats-Shelley Review ISSN: 0952-4142 (Print) 2042-1362 (Online) Journal homepage: http://www.tandfonline.com/loi/yksr20 Shelley's Editing Process in the Preface to Epipsychidion Michael Laplace-Sinatra To cite this article: Michael Laplace-Sinatra (1997) Shelley's Editing Process in the Preface to Epipsychidion , The Keats-Shelley Review, 11:1, 167-181 To link to this article: http://dx.doi.org/10.1179/ksr.1997.11.1.167 Published online: 18 Jul 2013. Submit your article to this journal View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=yksr20 Download by: [Bibliothèques de l'Université de Montréal] Date: 07 February 2016, At: 08:47 SHELLEY'S EDITING PROCESS IN THE PREFACE TO EPIPSYCHIDION by Michael Laplace-Sinatra Prefaces are often disregarded by readers who, more often than not, start without taking time to peruse them first. Sir Walter Scott knew this perfectly well, and he wrote about it, very wittily, in 'A PostScript Which Should Have Been a Preface', the last chapter of his novel Waverley written in 1814: 'most novel readers, as my own conscience reminds me, are apt to be guilty of the sin of omission respecting the same matter of prefaces' .1 Scott refers to novel readers but poetry readers are also 'guilty of the sin of omission', maybe even more so in so far as they may wish, understandably enough, to read only poetry and not a prose introduction. Many critics include prefaces in their analysis, but most of the time only as a means of interpreting the work they precede.
[Show full text]
Shelley's “Ode to the West Wind” As the Reflection and Expression Of
Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 3 (2); 2019; 26-32 Available online at: http://ejournal.undip.ac.id/index.php/culturalistics Research Article Received: 03-11-2019; Accepted: 10-11-2019; Published: 12-12-2019 Shelley’s “Ode to the West Wind” as the Reflection and Expression of the Romantic Era Christine Renitriwati Respatio English Department, Diponegoro University,Semarang, 50277 Abstract Literary works usually act as a mirror of the society is life. A literary work can represent historical, social and political background of an era. A poem as one of literary works can do the same thing. In this paper, the writer took the Ode to the West Wind by Shelley, that is as the reflection of the Romantic Age. The writer used the historical approach to understand the historical background of the Romantic Period, and the aspect of the Romanticism era to explore the contain of the poem. The result shows that Ode to The West Wind is really reveals the condition of that era. Keywords: Romanticism; imagination; individual; the post; nature. 1. Introduction Literary works usually act as a mirror of the society’s life in which they are produced, or in other words we can say that the literary works act as the time spirit of an era. When and what kind of situation the literary works are produced are really describe a period of time. A literary work, thus, can represent historical, social and political background of an era. 2. Methods A poem as one of literary works can do the same thing.
[Show full text]
Shelley in the Transition to Russian Symbolism
SHELLEY IN THE TRANSITION TO RUSSIAN SYMBOLISM: THREE VERSIONS OF ‘OZYMANDIAS’ David N. Wells I Shelley is a particularly significant figure in the early development of Russian Symbolism because of the high degree of critical attention he received in the 1880s and 1890s when Symbolism was rising as a literary force in Russia, and because of the number and quality of his translators. This article examines three different translations of Shelley’s sonnet ‘Ozymandias’ from the period. Taken together, they show that the English poet could be interpreted in different ways in order to support radically different aesthetic ideas, and to reflect both the views of the literary establishment and those of the emerging Symbolist movement. At the same time the example of Shelley confirms a persistent general truth about literary history: that the literary past is constantly recreated in terms of the present, and that a shared culture can be used to promote a changing view of the world as well as to reinforce the status quo. The advent of Symbolism as a literary movement in Russian literature is sometimes seen as a revolution in which a tide of individualism, prompted by a crisis of faith at home, and combined with a new sense of form drawing on French models, replaced almost overnight the positivist and utilitarian traditions of the 1870s and 1880s with their emphasis on social responsibility and their more conservative approach to metre, rhyme and poetic style.1 And indeed three landmark literary events marking the advent of Symbolism in Russia occurred in the pivotal year of 1892 – the publication of Zinaida Vengerova’s groundbreaking article on the French Symbolist poets in Severnyi vestnik, the appearance of 1 Ronald E.
[Show full text]
[SD0]= Livre Free Zastrozzi
Register Free To Download Files | File Name : Zastrozzi PDF ZASTROZZI Tapa blanda 22 marzo 2020 Author : It's OK it is interesting to read and entertaining. The style is quite pompous, which is normal for many novels of its time, but it is not a boring book at all. However, there is nothing more than that! I recommend it, but don't expect something spectacular with great suspence and pathos. There is very little Gothic flavour in this simple novel, in my opinion. Flawed but simultaneously completely perfect Zastrozzi: A Romance is a Gothic novel by Percy Bysshe Shelley first published in 1810 in London by George Wilkie and John Robinson anonymously, with only the initials of the author's name, as "by P.B.S.". The first of Shelley's two early Gothic novellas, the other being St. Irvyne, outlines his atheistic worldview through the villain Zastrozzi and touches upon his earliest thoughts on ... Zastrozzi: A Romance: With Geff Francis, Mark McGann, Tilda Swinton, Hilary Trott. An adaptation of Shelley's Gothic novel, presented as a contemporary romance. Zastrozzi, A Romance was first published in 1810 with only the author's initials "P.B.S." on its title page. Percy Bysshe Shelley wrote it when he was seventeen while at Eton College. it was the first of Shelley's two early Gothic novels and considered to be his first published prose work as well. Zastrozzi: A Romance (1810) is a Gothic horror novel masterpiece by Percy Bysshe Shelley. Zastrozzi was the first publushed work by Shelley in 1810. He wrote Zastrozzi when he was seventeen and a student at Eton.
[Show full text]
Bibliography
Bibliography Allott , Miriam (ed.) ( 1982 ), Essays on Shelley (Liverpool: Liverpool University Press). Angeli , Helen Rossetti ( 1911 ), Shelley and His Friends in Italy (London: Methuen). Arditi , Neil (2001 ), ‘T. S. Eliot and The Triumph of Life ’, Keats-Shelley Journal 50, pp. 124–43. Arnold , Matthew ( 1960 –77), The Complete Prose Works , ed. R. H. Super, 11 vols (Ann Arbor: University of Michigan Press). Bainbridge , Simon ( 1995 ), Napoleon and English Romanticism (Cambridge: Cambridge University Press). Baker , Carlos ( 1948 ), Shelley’s Major Poetry: The Fabric of a Vision (Princeton: Princeton University Press). Bandiera , Laura ( 2008 ), ‘Shelley’s Afterlife in Italy: From 1922 to the Present’, in Schmid and Rossington ( 2008 ), pp. 74–96. Barker-Benfield , Bruce ( 1991), ‘Hogg-Shelley Papers of 1810–12’, Bodleian Library Record 14, pp. 14–29. Barker-Benfield , Bruce ( 1992 ), Shelley’s Guitar: An Exhibition of Manuscripts, First Editions and Relics to Mark the Bicentenary of the Birth of Percy Bysshe Shelley, 1792– 1992 (Oxford: Bodleian Library). Beatty, Bernard ( 1992 ), ‘Repetition’s Music: The Triumph of Life ’, in Everest ( 1992 a), pp. 99–114. Beavan , Arthur H . ( 1899 ), James and Horace Smith: A Family Narrative (London: Hurst and Blackett). Behrendt , Stephen C . ( 1989 ), Shelley and His Audiences (Lincoln: University of Nebraska Press). Bennett , Betty T ., and Curran, Stuart (eds) ( 1996 ), Shelley: Poet and Legislator of the World (Baltimore: Johns Hopkins University Press). Bennett , Betty T ., and Curran , Stuart (eds) ( 2000), Mary Shelley in Her Times (Baltimore: Johns Hopkins University Press). Bieri, James (1990 ), ‘Shelley’s Older Brother’, Keats-Shelley Journal 39, pp. 29–33. Bindman , David , Hebron , Stephen , and O’Neill , Michael ( 2007 ), Dante Rediscovered: From Blake to Rodin (Grasmere: Wordsworth Trust).
[Show full text]