Summer Assignment AICE a Level Lit Mrs. Larrabee and Mrs. Politis Your

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Summer Assignment AICE A Level Lit Mrs. Larrabee and Mrs. Politis Your summer reading assignment is divided up by your last name. Carefully read the list below to see which poems you have been assigned by the first letter of your last name (n.b. There is more than one page). You are responsible for obtaining a copy and thoroughly annotating. You will bring in your annotated copies the first day of school. You will also complete a Google slide project for your poems. The directions are on the document in Google classroom titled “Summer Slide Project.” You MUST also join the summer Google classroom for updates, assignments and information. The code is: vqqgs. If you have problems, please see Mrs. Larrabee in room 5-212 before the end of school. You can contact either teacher via Google classroom over the summer. All the following poetry was written by PERCY BYSSHE SHELLEY A-C A Lament Adonais: An Elegy on the Death of John Keats An Exhortation Autumn: A Dirge Hymn to Intellectual Beauty D-H Invocation to Misery Liberty Lines: ‘The cold earth slept below’ Lines: ‘When the lamp is shattered’ Love’s Philosophy I-L Mont Blanc Mutability Ode to the West Wind On Death Ozymandias M-P Sonnet: England in 1819 Sonnet: ‘Lift not the painted veil’ Sonnet to Byron Stanzas written in Dejection, near Naples Summer and Winter Q-T The Cloud The Mask of Anarchy To — ‘Music, when soft voices die’ To a Skylark To Jane: ‘The keen stars were twinkling’ U-Z To Jane: The Invitation To Jane: The Recollection To Night To — ‘One word is too often profaned’ Ozymandias .

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Ode to the West Wind" Author(S): I
The Symbolism of the Wind and the Leaves in Shelley's "Ode to the West Wind" Author(s): I. J. Kapstein Source: PMLA, Vol. 51, No. 4 (Dec., 1936), pp. 1069-1079 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/458084 Accessed: 06-11-2016 14:50 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA This content downloaded from 210.212.129.125 on Sun, 06 Nov 2016 14:50:54 UTC All use subject to http://about.jstor.org/terms LXX THE SYMBOLISM OF THE WIND AND THE LEAVES IN SHELLEY'S "ODE TO THE WEST WIND" T H E "Ode to the West Wind" has received considerable special com- ment from a number of students of Shelley. H. B. Forman' has in- dicated, in part, its emotional background; Professor H. C. Pancoast2 has discussed it in relation to the scene and climate in which it was written; W. E. Peck3 has pointed out parallels of its thought and imagery in Shelley's earlier work; and Professor B. P. Kurtz4 has recently shown in an admirable study the relation of its theme of life and death and re- generation to the poet's "pursuit of death" throughout his work.
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Humanities (World Focus) Course Outline
Guiding Document: Humanities Course Outline Humanities (World Focus) Course Outline The Humanities To study humanities is to look at humankind’s cultural legacy-the sum total of the significant ideas and achievements handed down from generation to generation. They are not frivolous social ornaments, but rather integral forms of a culture’s values, ambitions and beliefs. UNIT ONE-ENLIGHTENMENT AND COMPARATIVE GOVERNMENTS (18th Century) HISTORY: Types of Governments/Economies, Scientific Revolution, The Philosophes, The Enlightenment and Enlightenment Thinkers (Hobbes, Locke, Montesquieu, Voltaire, Jefferson, Smith, Beccaria, Rousseau, Franklin, Wollstonecraft, Hidalgo, Bolivar), Comparing Documents (English Bill of Rights, A Declaration of the Rights of Man, Declaration of Independence, US Bill of Rights), French Revolution, French Revolution Film, Congress of Vienna, American Revolution, Latin American Revolutions, Napoleonic Wars, Waterloo Film LITERATURE: Lord of the Flies by William Golding (summer readng), Julius Caesar by Shakespeare (thematic connection), Julius Caesar Film, Neoclassicism (Denis Diderot’s Encyclopedie excerpt, Alexander Pope’s “Essay on Man”), Satire (Oliver Goldsmith’s Citizen of the World excerpt, Jonathan Swift’s Gulliver’s Travels excerpt), Birth of Modern Novel (Daniel Defoe’s Robinson Crusoe excerpt), Musician Bios PHILOSOPHY: Rene Descartes (father of philosophy--prior to time period), Philosophes ARCHITECTURE: Rococo, Neoclassical (Jacques-Germain Soufflot’s Pantheon, Jean- Francois Chalgrin’s Arch de Triomphe)
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The Unfamiliar Shelley
THE UNFAMILIAR SHELLEY Proof Copy in gratitude for his major contribution to the understanding of Shelley To Don Reiman Proof Copy The Unfamiliar Shelley Edited by ALAN M. WEINBERG University of South Africa, RSA TIMOTHY WEBB University of Bristol, UK Proof Copy © Alan M. Weinberg and Timothy Webb 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Alan M. Weinberg and Timothy Webb have asserted their moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Gower House Suite 420 Croft Road 101 Cherry Street Aldershot Burlington, VT 05401-4405 Hampshire GU11 3HR USA England www.ashgate.com British Library Cataloguing in Publication Data The unfamiliar Shelley. – (The nineteenth century series) 1. Shelley, Percy Bysshe, 1792–1822 – Criticism and interpretation I. Webb, Timothy II. Weinberg, Alan M. (Alan Mendel) 821.7 Library of Congress Cataloging-in-Publication Data The unfamiliar Shelley / edited by Timothy Webb and Alan M. Weinberg. p. cm. – (The nineteenth century series) Includes bibliographical references and index. ISBN 978-0-7546-6390-4 (alk. paper) 1. Shelley, Percy Bysshe, 1792–1822–Criticism and interpretation. I. Webb, Timothy. II. Weinberg, Alan M. (Alan Mendel) PR5438.U64 2008 821'.7–dc22 2007052262 ISBN 978-0-7546-6390-4Proof Copy Contents General Editors’ Preface vii List of Illustrations ix Notes on Contributors xi Acknowledgements xv List of Abbreviations xvii Editorial Note xix Introduction 1 Timothy Webb and Alan M.
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The Wordsworthian Inheritance of Melville's
THE WORDSWORTHIAN INHERITANCE OF MELVILLE’S POETICS by Cory R. Goehring B.A., Washington and Jefferson College, 2000 M.A., University of Massachusetts-Amherst, 2004 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Cory R. Goehring It was defended on May 19, 2010 and approved by Nancy Glazener, Associate Professor, English Marah Gubar, Associate Professor, English Fred Evans, Professor, Philosophy Jonathan Arac, Andrew W. Mellon Professor, English ii Copyright © by Cory R. Goehring 2010 iii THE WORDSWORTHIAN INHERITANCE OF MELVILLE’S POETICS Cory R. Goehring, Ph.D. University of Pittsburgh, 2010 It has become commonplace among both Melville and Wordsworth critics to recognize a basic ambiguity or contradictoriness in each artist’s writing. In this project, I find the roots of that tension in each artist’s concept of the imagination and the process of poetic creation. More importantly, I find that Melville’s concept of art, as reflected in his magnum opus Moby-Dick and substantiated in his poetry, reveals a basic affinity with Wordsworth’s Imagination. Specifically, my project traces the lingering elements of Wordsworth’s concept of the poetic process in Melville’s writing, particularly focusing on two important and complex relationships in that creative process: 1) the implicit paradox of activity and passivity in a poetics that assumes at its heart inspiration, and Wordsworth’s particular devotion to preserving rather than reconciling that paradox; and 2) the role of society in a creative process that seeks to privilege individual genius while ensuring the social efficacy of the workings of that genius.
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The Quest for Truth and Beauty
PART 3 The Quest for Truth and Beauty La Belle Dame Sans Merci, 1893. John Williams Waterhouse. Oil on canvas, 44.09 x 31.89 in. Hessisches Landesmuseum, Darnstadt, Germany. “I am certain of nothing but the holiness of the heart’s affections and the truth of imagination—what the imagination seizes as beauty must be truth—whether it existed before or not.” —John Keats 841 John William Waterhouse/Hessisches Landesmuseum, Darmstadt, Germany/Bridgeman Art Library 00841841 U4P3-845482.inddU4P3-845482.indd Sec2:841Sec2:841 11/29/07/29/07 12:49:5612:49:56 PMPM BEFORE YOU READ Byron’s Poetry MEET GEORGE GORDON, LORD BYRON eorge Gordon, Lord Byron—aristocrat, In his own poet, member of Parliament, athlete, words, “I Gexpatriate, and freedom fighter—was awoke one perhaps the most colorful figure of his day. morning and found myself famous.” “Be thou the rainbow to the storms of life, His books sold well, and he influenced art and fashion, as well as literature, The evening beam that smiles the with his flamboyant style. In addition, as a member clouds away, of the House of Lords, he championed liberal politi- And tints to-morrow with prophetic ray!” cal causes. For example, he bravely defended the rebelling Nottingham weavers, whose jobs were —Lord Byron, The Bride of Abydos threatened by new textile machines. Soon, however, this extraordinarily handsome poet—with brown curly hair, fine features, and Descended from two noble but flamboyant and vio- intensely brilliant eyes—saw his fame turn to noto- lent families, Byron inherited his title and a large riety.
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August, 1965 Approved for the Y~Jor Department ~~.~
SHELLEY'S VE~PONuENCY Tt~~: THE SHOHT LYRICS FROM 1817 to 1822 j , A Thesis Presented to the Faculty of the Department of English Kansas State Teachers College, Emporia In Partial Fulfillment of the Requirements for the Degree Master of Arts by Ann J. Ealy August, 1965 Approved for the Y~jor Department ~~.~ for the Graduate Council '~.JII'?~~ ~ , ~) ?': ~ c.; '.~ 1 . PREFACE This study is the result of my continued interest in Shelley and of the encouragement given this interest by Dr. Charles Walton, Department of English, Kansas State Teachers College. Since this particular aspect of Shelley's poetry has not been previously investigated, my use of secondary sources has been necessarily limited. Those which have been especially valuable are Ne~~an Ivey ~lliite's Shelley, the standard biography of the poet, and James A. Notopoulos's The Platonism of Shelley, a definitive study of the Platonic elements in Shelley's poetry. I wish to express my appreciation to Dr. Walton for his encouragement and suggestions and my gratitude to Dr. June Morgan, Department of English, Kansas State Teachers College, for her interest and assistance. August 2, 1965 A. J. E. Eaporia, Kansas TABLE OF CONTENTS CHAPTER PAGE I. THE BIOGRAPHICAL BASIS • • • • • • • • • • • 1 II. THB PHILOSOPHICAL BASIS • • • • • ••• • • 49 III. CONCLUSION • • • • • • • • • • • • • • • • • 84 BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • 87 CHAPTER I THE BIOGRAPHICAL BASIS Shelley's longer poems, those which he regarded as the most important works of his career and to which he dedicated most of his time and energies, are characterized by n • • • the struggle ror human weal; the resolution firm to martyrdom, the impetuous pursuit, the glad triumph in good; the determi nation not to despair.
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Selective Affinities and Poetic Appropriation: Percy Bysshe
SELECTIVE A ffinities a n d P oetic A ppropriation : P e r c y B y ss h e S helley a n d W illem K lo o s Kris Omer Eli Antoon Sebastiaan STEYAERT University College London Ph.D. in Dutch September 2000 ProQuest Number: U642576 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642576 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract In this dissertation, I examine the reception and appropriation of Percy Bysshe Shelley’s works in the Low Countries during the period 1880-1940. This period roughly coincides with the writing career of Willem Kloos (1859-1938), the Dutch poet-critic who monopolised his admiration for Shelley and proclaimed himself to be his only poetical heir. I demonstrate how Kloos’s own poetics and political beliefs made him misrepresent and manipulate key facts in Shelley’s life and literary output during his never-ending promotion of the artistic, as well as spiritual, bond between himself and the English writer. More particularly, Kloos showed great determination in advancing Shelley’s works as a comprehensive endorsement of his own artistic tenets.
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Study of Romantic Poem of Percy Bysshe Shelley's "The Flight of Love” from Formalism Perspectives
ISSN: 2348 9510 International Journal Of Core Engineering & Management (IJCEM) Volume 1, Issue 12, March 2015 Study of Romantic poem of Percy Bysshe Shelley's "The Flight of Love” from Formalism Perspectives Sepideh Kamarzadeh M.A. in English Literature, Islamic Azad University-Arak Branch, Arak, Iran. Tel: +989186757670 E-mail: [email protected] ABSTRACT Percy Bysshe Shelley was a great Roamntic poet, who was born in 1792, so he was at that era which the formalism was formed newly and had its basic rule. He was using two dominant rule for composing his poems. He uses love as a subject matter, and then has a special outlook on formalist theory. According to the fundamental rules and categories of formalism, Shelley composed his works. The Flight of Love was a strong poem which mourned for lost love and the situation which beloved couples have to tolerate. He criticize the selfish love, which choose such a frail place like heart, and suddenly abandon their and makes it to fall apart. This study looks at this poem from formalism perspective and considers its thinkers theories. Keywords: Percy Bysshe Shelley, the poem of "The Flight of Love", Romanticism, Formalistic theory, and Formalism literary school. 1. Introduction 1.1. Percy Bysshe Shelley's biography Percy Bysshe Shelley (/ˈpɜrsi ˈbɪʃ ˈʃɛli/) was born in 1792, and was the main poet of English Romantic era and is considered as a lyrical poet of English language by the gret thinkers and critics. "A radical in his poetry as well as his political and social views, Shelley did not achieve fame during his lifetime, but recognition for his poetry grew steadily following his death.
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The Life & Letters of Mary Wollstonecraft Shelley
*#. >* ^%v*. ^T^Jr* 38? * |4\ -' "^ t" *'*$&<s ^ *^: sr%^' ^- *,\\^\ ^j -.j**[Al'..i j$ IVI OT R I ATtamBUNIVERsTTAS. "^gaElr- y / , '//// /'s' /.)///, // fy,fy, THE LIFE AND LETTERS OF MARY WOLLSTONECRAFT SHELLEY II ' . J. TRELA WNY. from, a portrait after Severn,, in, ?Ju>, possession, of Sir Percy f'Shelley. 73/rrf London. Richird BenUev i Son; 1889 THE LIFE & LETTERS OF oIlstonetraft BY MRS. JULIAN MARSHALL WITH PORTRAITS AND FACSIMILE IN TWO VOLUMES VOL. II LONDON RICHARD BENTLEY & SON in rttnarg to p?cr fHajcstg tfje uem 1889 ?R 5338 V-2 CONTENTS CHAPTER XVII JULY-SEPTEMBER 1822 1822 (July). Mary and Mrs. Williams go to Pisa They can learn nothing Trelawny accompanies them back to Casa Magni The bodies of Shelley and Williams are washed ashore Trelawny brings Mary, Jane, and Clare back to Pisa Mary's endurance Letters from Godwin Mary's letter to Mrs. Gisborne The bodies are cremated Dispute about Shelley's heart It remains with Mary Mary's decision to remain for a time with the Hunts, and to assist them and Byron with the Liberal Goes to Genoa Mrs. Williams goes to England Letter from Mary to Mrs. Gis- borne and Clare Letters from Clare and Jane Williams The Hunts and Byron are established at Albaro '-35 CHAPTER XVIII SEPTEMBER i822-JuLV 1823 1822 (October). Mary's desolate condition Her diary Extracts Discomfort with the Hunts Byron's antipathy to them all Note from him to Mary Trelawny's presence a refresh- ment Letters to and from him Letter from Godwin Journal Letter to Clare Mary's poem "The Choice." 1823.
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Weinberg and Webb, the Unfamiliar Shelley Index
Weinberg and Webb, The Unfamiliar Shelley Index Note: bold numbers refer to illustrations Abinger, Lord, collection of 315, 316 Adamson, Carlene 32, 33n.40, 35n.41, 35n.42, 36n.43, 146n.40, 147, 151, 168n.26, 249n.43 see also BSM V and VI Aeschylus 7 Agamemnon 143n.25 Persae 195, 321 Prometheus Unbound (lost play) 187 Agamben, Giorgio 284 Formatted: Italian (Italy) AI: Artificial Intelligence 285 Alfieri, Vittorio 138 Il Misogallo 143n.27 Alighieri, Dante, see Dante Alps 87–100 passim, 127, 163n.16 American War of Independence 232 anti-semitism 294 Apollo Belvedere 163 Apollonius Rhodius 8 Arch of Titus 6 Archimedes 221, 230 Argolis 167 Ariosto, Ludovico Orlando Furioso 89, 248n.36 Aristophanes 15, 246–7, 281–4 passim Armstrong, John Juvenile Poems 53n.40 Arnold, Matthew 257, 257n.1 Arve, River 203 atheism 45, 74, 210, 222, 225, 232 see also Shelley (WORKS –PROSE): The Necessity of Atheism Athenaeus 8 Athenäums Fragmente 27 Athenaeum, see under Medwin, Thomas Athens 38, 168, 245, 252, 280 Augustine 219 Confessions 52 Austerlitz, Battle of 107 Austria 139, 145, 149, 152, 154–5 Formatted: French (France) Bacon, Francis 12, 207, 209, 209n.36, 252, 260, 266n.25 De Augmentis Scientiarum 207 Advancement of Learning 257 ‘Of Judicature’ 257n.2 Bagni di Lucca 168 Formatted: Italian (Italy) Baker, Carlos 69n.2 Bakhtin, Mikhail Mikhailovich 70n.5, 279, 282, 291n.41 Bamberg, Bishopric of 147 Barbauld, Anna Laetitia Eighteen Hundred and Eleven 53n.39 Barebone, Praise-God 300 Barker, John W. 149n.59 Barker-Benfield, Bruce 8, 54n.44, 146, 146n.40, 147n.45, 149, 151, 163n.12, 164 see also BSM XXIII Barruel, Abbé de 226, 226n.29 Formatted: French (France) Histoire du Jacobinisme 226 Bartel, R.
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Ode to the West Wind" Author(S): I
The Symbolism of the Wind and the Leaves in Shelley's "Ode to the West Wind" Author(s): I. J. Kapstein Source: PMLA, Vol. 51, No. 4 (Dec., 1936), pp. 1069-1079 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/458084 Accessed: 26-12-2017 06:07 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA This content downloaded from 37.8.58.239 on Tue, 26 Dec 2017 06:07:13 UTC All use subject to http://about.jstor.org/terms LXX THE SYMBOLISM OF THE WIND AND THE LEAVES IN SHELLEY'S "ODE TO THE WEST WIND" T H E "Ode to the West Wind" has received considerable special com- ment from a number of students of Shelley. H. B. Forman' has in- dicated, in part, its emotional background; Professor H. C. Pancoast2 has discussed it in relation to the scene and climate in which it was written; W. E. Peck3 has pointed out parallels of its thought and imagery in Shelley's earlier work; and Professor B. P. Kurtz4 has recently shown in an admirable study the relation of its theme of life and death and re- generation to the poet's "pursuit of death" throughout his work.
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Ode to the West Wind
Get hundreds more LitCharts at www.litcharts.com Ode to the West Wind POEM TEXT 29 Thou who didst waken from his summer dreams 30 The blue Mediterranean, where he lay, I 31 Lull'd by the coil of his crystalline streams, 1 O wild West Wind, thou breath of Autumn's being, 32 Beside a pumice isle in Baiae's bay, 2 Thou, from whose unseen presence the leaves dead 33 And saw in sleep old palaces and towers 3 Are driven, like ghosts from an enchanter fleeing, 34 Quivering within the wave's intenser day, 4 Yellow, and black, and pale, and hectic red, 35 All overgrown with azure moss and flowers 5 Pestilence-stricken multitudes: O thou, 36 So sweet, the sense faints picturing them! Thou 6 Who chariotest to their dark wintry bed 37 For whose path the Atlantic's level powers 7 The winged seeds, where they lie cold and low, 38 Cleave themselves into chasms, while far below 8 Each like a corpse within its grave, until 39 The sea-blooms and the oozy woods which wear 9 Thine azure sister of the Spring shall blow 40 The sapless foliage of the ocean, know 10 Her clarion o'er the dreaming earth, and fill 41 Thy voice, and suddenly grow gray with fear, 11 (Driving sweet buds like flocks to feed in air) 42 And tremble and despoil themselves: oh hear! 12 With living hues and odours plain and hill: IV 13 Wild Spirit, which art moving everywhere; 43 If I were a dead leaf thou mightest bear; 14 Destroyer and preserver; hear, oh hear! 44 If I were a swift cloud to fly with thee; II 45 A wave to pant beneath thy power, and share 15 Thou on whose stream, mid the
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