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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. -
British Poetry of the Long Nineteenth Century
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Zea E-Books Zea E-Books 12-1-2019 British Poetry of the Long Nineteenth Century Beverley Rilett University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/zeabook Part of the Literature in English, British Isles Commons Recommended Citation Rilett, Beverley, "British Poetry of the Long Nineteenth Century" (2019). Zea E-Books. 81. https://digitalcommons.unl.edu/zeabook/81 This Book is brought to you for free and open access by the Zea E-Books at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Zea E-Books by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. British Poetry of the Long Nineteenth Century A Selection for College Students Edited by Beverley Park Rilett, PhD. CHARLOTTE SMITH WILLIAM BLAKE WILLIAM WORDSWORTH SAMUEL TAYLOR COLERIDGE GEORGE GORDON BYRON PERCY BYSSHE SHELLEY JOHN KEATS ELIZABETH BARRETT BROWNING ALFRED TENNYSON ROBERT BROWNING EMILY BRONTË GEORGE ELIOT MATTHEW ARNOLD GEORGE MEREDITH DANTE GABRIEL ROSSETTI CHRISTINA ROSSETTI OSCAR WILDE MARY ELIZABETH COLERIDGE ZEA BOOKS LINCOLN, NEBRASKA ISBN 978-1-60962-163-6 DOI 10.32873/UNL.DC.ZEA.1096 British Poetry of the Long Nineteenth Century A Selection for College Students Edited by Beverley Park Rilett, PhD. University of Nebraska —Lincoln Zea Books Lincoln, Nebraska Collection, notes, preface, and biographical sketches copyright © 2017 by Beverly Park Rilett. All poetry and images reproduced in this volume are in the public domain. ISBN: 978-1-60962-163-6 doi 10.32873/unl.dc.zea.1096 Cover image: The Lady of Shalott by John William Waterhouse, 1888 Zea Books are published by the University of Nebraska–Lincoln Libraries. -
British & American Literature: Romanticism to Modernism (The Long 19Th Century)
Dept. of English & Comparative Literature, SJSU MA Exam Reading List: Group 2 British & American Literature: Romanticism to Modernism (the long 19th century) Description: This part of the MA exam focuses on major 19th century writers/texts from the U.K. and U.S.A. Students should have a general knowledge of the definitions and rules of the various forms and genres popular during the British Romantic and Victorian literary periods, as well as the American Romantic, Transcendentalist, and Realist movements. Students should also pay attention to how these forms and genres are used/deployed in different historical and cultural moments. Poetry: ● Lyrical ballad ● Odal hymn ● Elegy ● Sonnet (Petrarchan, Miltonic, Shakespearean) ● Broadsides Prose: ● Gothic Novel ● Historical Romance ● Bildungsroman ● Domestic Novel ● Detective Novel ● Serialized Novel ● Silverfork Novel ● Slave Narrative ● Short Story ● Sketch ● Tall Tale Students should also familiarize themselves with the general biographical, cultural, historical, and political for the various texts and their related periods. A review of the information included in the introduction and headnotes in most anthologies is sufficient; however, the Broadview anthologies offer the most current and diverse historical context on these periods. British: Romantic-era (1775-1835) and Victorian-era (1835-1902) Literature Charlotte Smith (1749-1806) Elegiac Sonnets (1795) William Blake (1757-1827) Songs of Innocence and Experience Mary Wollstonecraft (1759-97) Vindication of the Rights of Men, Vindication of the Rights of Woman William Wordsworth (1770-1850) and Samuel Taylor Coleridge (1772-1834) Lyrical Ballads (1798 version), Preface to the 1800 edition of Lyrical Ballads Jane Austen (1775-1817) Pride and Prejudice or Northanger Abbey George Gordon, Lord Byron (1788-1824) Don Juan Percy Bysshe Shelley (1792-1822) “Prometheus,” “Hymn to Intellectual Beauty,” “Ozymandias,” “Mutability,” “England in 1819,” A Defence of Poetry John Keats (1795-1821) “The Eve of St. -
Percy Bysshe Shelley's Conception of the Poet and Poetic Creativity
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347–4564; ISSN (E): 2321–8878 Vol. 9, Issue 3, Mar 2021, 29–44 © Impact Journals PERCY BYSSHE SHELLEY’S CONCEPTION OF THE POET AND POETIC CREATIVITY Ladan Farah Bakhsh Research Scholar, University of Warsaw, Poland Received: 12 Mar 2021 Accepted: 17 Mar 2021 Published: 31 Mar 2021 ABSTRACT Percy By she Shelley, as one of the pioneers of English Romanticism, depicts many of the school’s principles in his poems; typical motifs and themes that keep recurring in typical Romantic texts include imagination, nature, inspiration, individualism, revolutionism, emotionality, and nostalgia. These elements, which are also common in the works of the founders of British Romanticism, laid the foundation of an unprecedented way of literary aesthetics in the last years of the eighteenth century. Therefore, a thorough study of Shelley’s or any other Romantic writer’s works can yield a perfect picture of Romantic tenets and values in writing. In the present article the central questions of are: What are Shelley’s views regarding the poet, the process of writing, and poetic creativity? Can we consider Shelley as a Romantic critic? To answer the questions, the researcher draws upon Shelley’s ideas inserted in his “A Defence of Poetry” and highlights the relevant propositions and assertions proclaimed by the poet. This research shows that Shelley held individualistic and idiosyncratic criteria for appreciating and composing literary texts. Furthermore, like Blake, Wordsworth, and Coleridge, Shelley founded his writings on certain theories and expositions he expounded in a critical essay. -
Utopian Desire in Percy Bysshe Shelley's Poetry
E-ISSN 2281-4612 Academic Journal of Interdisciplinary Studies Vol 2 No 8 ISSN 2281-3993 MCSER Publishing, Rome-Italy October 2013 Utopian Desire in Percy Bysshe Shelley’s Poetry Parastoo Salavati Department of Foreign Languages, Faculty of Foreign Languages, Sanandaj Payam-E-Noor University, Sanandaj, Kurdistan, Iran. E-mail: [email protected] Doi:10.5901/ajis.2013.v2n8p267 Abstract This study has considered the Utopian desire in Percy Bysshe Shelley's major poems. It describes Shelley's idealism and Utopian desire based on the creative power of love. Shelley's Utopia is an imaginary land in which love creates, while hatred brings about destruction. Shelley can be considered as the culmination of the Romantic Movement in English literature. He looks at nature primarily as a realm of overwhelming beauty and aesthetic pleasure. His works deal with the subjective world of ideals that is more real to him than the world of facts. He is a poet of idealism and love, a representative of hope and liberty, who desires to change the world to Eden before the fall of man. His idealism is based on the elimination of all sorts of tyranny and oppression to terminate a liberal and humane world. Since Shelley's Utopia is governed only by justice, love and beauty, good triumphs over evil when love dominates man's heart and society, because according to him, love is a harmonizing power that joins and supports the elements to bring about creation. Shelley’s seclusion from the world of men and his dissatisfaction and failure in the actual life lead him to a higher world that is created by poetry and ruled by love and beauty, a Utopian Land that affords relief from what is unbearable in the social world and is much more beautiful and more perfect than the external world. -
Articles Set in Albuquerque and Wolfgang Von Goethe, Friedrich Schiller, Ludwig Tieck, Some in Rochester
N E W S De-Faced Blake Blake/An Illustrated Quarterly, Volume 20, Issue 3, Winter 1986-87, p. 110 PAGE 110 BLAKE/AN ILLUSTRATED QUARTERLY WINTER 1986-87 CALL FOR PLAYS NEWSLETTER Actors Theatre of Louisville is now conducting a nation- wide search for unpublished translations and adapta- tions of plays for next season's (1987-88) Classics in Con- text Festival — "The Romantics," which will celebrate DE-FACED BLAKE the ideals and influence of Romanticism on the stage. Readers may have noticed a certain patchiness in the Though plays by any dramatist whose work is associated type of our fall issue, the unfortunate but unavoidable with Romanticism will be considered, plays byjohann result of having some articles set in Albuquerque and Wolfgang von Goethe, Friedrich Schiller, Ludwig Tieck, some in Rochester. The patchiness will continue until all Alexander Pushkin, and Michael Lermontov are of par- articles set in New Mexico have been published, perhaps ticular interest. New plays (either original or adapta- as late as the summer and fall issues next year. tions of novels) that deal with the people, ideas, and events connected with Romanticism will also be con- ERRATA'S ERRATA sidered. Please submit plays by 1 November 1987 to Actors Theatre of Louisville, Literary Department, 316 Our readers might like to note these corrections to "Im- West Main Street, Louisville, KY 40202. proving the Text of The Complete Poetry & Prose of William Blake' {Blake, fall 1986): Blake p. 50: ENERGY AND THE IMAGINATION p. xvii canterbury should read Canterbury Morton D. Paley would like to purchase a clean, un- *p. -
William Blake 1 William Blake
William Blake 1 William Blake William Blake William Blake in a portrait by Thomas Phillips (1807) Born 28 November 1757 London, England Died 12 August 1827 (aged 69) London, England Occupation Poet, painter, printmaker Genres Visionary, poetry Literary Romanticism movement Notable work(s) Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time Spouse(s) Catherine Blake (1782–1827) Signature William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".[1] His visual artistry led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".[2] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[3] Although he lived in London his entire life except for three years spent in Felpham[4] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",[5] or "Human existence itself".[6] Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings William Blake 2 and poetry have been characterised as part of the Romantic movement and "Pre-Romantic",[7] for its large appearance in the 18th century. -
The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2006 The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake Edgar Cuthbert Gentle University of Tennessee, Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Gentle, Edgar Cuthbert, "The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake. " Master's Thesis, University of Tennessee, 2006. https://trace.tennessee.edu/utk_gradthes/4508 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Edgar Cuthbert Gentle entitled "The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. Nancy Goslee, Major Professor We have read this thesis and recommend its acceptance: ARRAY(0x7f6ff8e21fa0) Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I amsubmitting herewith a thesis written by EdgarCuthbert Gentle entitled"The Politics of Abstraction: Race,Gender, and Slavery in the Poetryof WilliamBlake." I have examinedthe finalpaper copy of this thesis forform and content and recommend that it be acceptedin partialfulfillm ent of the requirements for the degree of Master of Arts, with a major in English. -
Mary Shelley
Mary Shelley Early Life Mary Wollstonecraft Godwin Shelley was born on August 30, 1797, the daughter of two prominent radical thinkers of the Enlightenment. Her mother was the feminist Mary Wollstonecraft, author of A Vindication of the Rights of Woman, and her father was the political philosopher William Godwin, best known for An Inquiry Concerning Political Justice. Unfortunately, Wollstonecraft died just ten days after her daughter’s birth. Mary was raised by her father and stepmother Mary Jane Clairmont. When she was 16 years old, Mary fell in love with the Romantic poet Percy Bysshe Shelley, who visited her father’s house frequently. They eloped to France, as Shelley was already married. They eventually married after two years when Shelley’s wife Harriet committed suicide. The Writing of Frankenstein In the summer of 1816, the Shelleys rented a villa close to that of Lord Byron in Switzerland. The weather was bad (Mary Shelley described it as “wet, ungenial” in her 1831 introduction to Frankenstein), due to a 1815 eruption of a volcano in Indonesia that disrupted weather patterns around the world. Stuck inside much of the time, the company, including Byron, the Shelleys, Mary’s stepsister Claire Clairmont, and Byron’s personal physician John Polidori, entertained themselves with reading stories from Fantasmagoriana, a collection of German ghost stories. Inspired by the stories, the group challenged themselves to write their own ghost stories. The only two to complete their stories were Polidori, who published The Vampyre in 1819, and Mary Shelley, whose Frankenstein went on to become one of the most popular Gothic tales of all time. -
Cain in Early Nineteenth-Century Literature: Traditional Biblical Stories Revised to Encompass Contemporary Advances in Science Kara Davis Iowa State University
Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2012 Cain in early nineteenth-century literature: Traditional biblical stories revised to encompass contemporary advances in science Kara Davis Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the Literature in English, British Isles Commons Recommended Citation Davis, Kara, "Cain in early nineteenth-century literature: Traditional biblical stories revised to encompass contemporary advances in science" (2012). Graduate Theses and Dissertations. 12308. https://lib.dr.iastate.edu/etd/12308 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Cain in early nineteenth-century literature: Traditional biblical stories revised to encompass contemporary advances in science by Kara Anne Davis A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program of Study Committee: Dometa Wiegand Brothers, Major Professor Linda Shenk KJ Gilchrist Iowa State University Ames, Iowa 2012 Copyright © Kara Anne Davis, 2012. All rights reserved. ii TABLE OF CONTENTS CHAPTER 1: INTRODUCTION 1 CHAPTER 2: “TO KNOW MORTAL NATURE’S NOTHINGNESS”: 11 REVISIONS OF IMMORTALITY IN BYRON’S CAIN CHAPTER 3: THE PHYSICALITY OF FAITH: 38 SENSING GOD IN NATURE IN “THE WANDERINGS OF CAIN” CHAPTER 4: “THIRD AMONG THE SONS OF LIGHT”: 62 THE INTERSECTION OF ASTRONOMICAL METAPHORS AND THE APOTHEOSIS OF JOHN KEATS IN SHELLEY’S ADONAIS CHAPTER 5: CONCLUSION 86 1 Introduction During the early nineteenth century, a number of authors sought to revise the traditional story of Cain, frequently using non-canonical sources to complete these revisions. -
ENG 3806-001: British Romantic Literature C Wharram Eastern Illinois University
Eastern Illinois University The Keep Fall 2009 2009 Fall 8-15-2009 ENG 3806-001: British Romantic Literature C Wharram Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/english_syllabi_fall2009 Part of the English Language and Literature Commons Recommended Citation Wharram, C, "ENG 3806-001: British Romantic Literature" (2009). Fall 2009. 118. http://thekeep.eiu.edu/english_syllabi_fall2009/118 This Article is brought to you for free and open access by the 2009 at The Keep. It has been accepted for inclusion in Fall 2009 by an authorized administrator of The Keep. For more information, please contact [email protected]. English 3806-001: BRITISH ROMANTIC LITERATURE Autumn 2009 I TTh 12:30-13:45 I 3691 Coleman Professor: Wharram· Email: [email protected] Office: 3010 Coleman, 217-581-6318 Office Hours: TTh 10:00-12:00; 14:00-15:15; 18:15-19:00 Mailbox: 3155 Coleman Romantic Healthcare: Going Viral The Classical I call the healthy and the Romantic the sick. (2 April 1829) . -Goethe from Conversations with Eckermann --- Could sickness not be a medium of higher synthesis the more frightening the pain, the higher the desire hidden within. Each sickness is perhaps the necessary beginning of love. -Novalis Charles Bell, The Anatomy ofthe Brain (1812) In this seminar, we will explore a few ways of evaluating what we consider to be Romanticism by observing and analyzing the role of healthcare and sickness during this literary period. Friedrich Schlegel coined the term "romantisch" in opposition to Classical forms of writing, drawing on an etymology connecting it to the medieval enromancier, romancar, the translation or rendering of predominantly Latin texts into the vernacular. -
The Poetic Mind: Blake, Wordsworth and Coleridge on the Imagination
81 The Poetic Mind: Blake, Wordsworth and Coleridge on the Imagination Alexandra Kulik Lake Forest College This article examines the contributions of three leading British Romantic writ- ers toward advancing a theory of the poetic mind. I show how the works of Blake, Wordsworth, and Coleridge, by emphasizing the importance of the im- agination, disrupted the conclusions reached by the Age of Enlightenment that championed rationality over spirituality, the scientist over the poet or prophet. In turn, I review a selection of the poetic and prosaic works of each of these writers which seem to best illustrate their evolutive theory of mind. While ad- ditionally having recourse to authoritative scholarship, I examine how the imagination becomes the fountainhead of metaphysical truth and perceptual integrity for the Romantic thinkers. The nature of reality propounded by the so-called Age of “Enlightenment” was built upon systematic theory, a discourse of reason which for the most part renounced the capabilities of spiritual vision. It sought to supplant the emotional and the imaginative with the rational and the analyti- cal. Committed to the demystification of existence, theorists of the time were apt to reduce and codify the world in terms of binaries: subjects and objects, spirits and bodies, universals and particulars, I and other. What the age thus engendered was a proliferation of metaphysical boundaries and, consequently, the narrowing of the “doors of perception.” Against this backdrop of limitation and perceptual diminution, the insurgent glow of Romanticism was born, ignit- ing what Irving Babbitt rightly called “the most dangerous form of anarchy— anarchy of the imagination” (qtd.