Singh Upadhi Mahavidyalaya, Pilibhit

Total Page:16

File Type:pdf, Size:1020Kb

Singh Upadhi Mahavidyalaya, Pilibhit Paper 3, Module 5: Text I. (A) Personal Details Name Affiliation Principal Investigator Prof. Tutun University of Hyderabad Mukherjee Paper Coordinator Dr. Neeru Tandon CSJM University, Kanpur Content Writer/Author (CW) Dr. Jaba Kusum Upadhi Mahavidyalaya, Singh Pilibhit Content Reviewer (CR) Dr Neeru Tandon CSJM University, Kanpur Language Editor (LE) Dr. Ram Prakash VSSD College, CSJMU Kanpur Pradhan (B) Description of Module Item Description of module Subject Name English literature Paper name Nineteenth Century English Literature Module title P B SHELLEY Module ID MODULE O5 Pre-requisites The reader is expected to have familiarity with the trends of the romantic age and major poets. Objectives To familiarize the reader with the poems and persona of P B SHELLEY as a poet. Key words Romanticism, Ode to the West Wind, Ode to a Skylark, Hymn to Intellectual Beauty 5.0 The Upshot 5.1 Shelley at a Glance 5.2 Introduction 5.3 Biographic and Career Details 5.4 Shelley, the Poet 5.5 Shelley and His Critics 5.6 Shelley and his Poetic Technique 5.7 Some Interesting Facts 5.8 ‘Ode to the West Wind’: A Study 5.9 ‘Ode to a Skylark’: A Critique 5.10 ‘Hymn To Intellectual Beauty’: An Analysis 5.11 Important Excerpts from the Poems 5.12 Conclusion 5.13 Self-assessment: Test Your Knowledge (Multiple Choice Questions) 5.14 Self-assessment: Explain the excerpts 5.15 Self-assessment: Answer the questions. 5.16 Bibliography /Web Links 5.0 The upshot The present module discusses P.B. Shelley‟s „Ode to the West Wind‟, „Ode to Skylark‟ and „Hymn to Intellectual Beauty.‟ The study begins with a general introduction of romantic poetry. The contents prove Shelley‟s genius as a romantic poet. The unit includes exercises in the form of multiple choice questions and long questions to help the learner in knowing the poet and his poems. Some important quotes taken from the prescribed poems will help the scholars in understanding the very ethos of the era of romanticism. Bibliography shall act as a pinch of salt in food to enhance the knowledge of the learner about P.B. Shelley. 5.1 Shelley at a Glance Birth: 4 August 1792 Death: 8 July 1822 at the Age of 30 in Lerici, Kingdom of Sardinia (now Italy) Father: Timothy Shelley Mother: Elizabeth Pilford. Spouses: Harriet Westbrook, Mary Godwin Major Poems: „Ozymandias‟, „Ode to the West Wind‟, „To a Skylark‟, „Music, When Soft Voices Die‟, „The Cloud‟ and „The Masque of Anarchy.‟ He also wrote a verse drama The Cenci (1819) and long, visionary poems like Queen Mab. The poems like Alastor, The Revolt of Islam, Adonaïs, Prometheus Unbound, Hellas: A Lyrical Drama are some of his masterpieces. The Triumph of Life (1822) is his unfinished work. 5.2 Introduction: P.B. Shelley, the English romantic, is a poet with a difference. Before going through Shelley and his poems, it becomes mandatory to know about Romantic Movement, which inspired the romantic poets. In NTC's Dictionary of Literary Terms (1997), „Romantic Movement‟ means an association in art and literature, in the eighteenth and nineteenth centuries, which took birth in rebellion against the Neoclassicism of the last centuries. The German poet Friedrich Schlegel defined romantic literature as “literature depicting emotional matter in an imaginative form” while Victor Hugo defined it as “liberalism in literature.” The American Scholar A. O. Lovejoy finds the word „romantic‟ contesting and thinks that it denotes so many things that, by itself, it means nothing at all. In The Decline and Fall of the Romantic Ideal, F.L. Lucas counted 11,396 definitions of „romanticism.‟ Cuddon in The Dictionary explains that the word romantic (ism) has an intricate and exciting history. In the Middle Ages 'romance' denoted the new vernacular languages derived from Latin - in contradistinction to Latin itself, which was the language of learning. Enromancier, romancar, romanz meant to compose or translate books in the vernacular. The work produced was romanz, roman, romanzo and romance. A roman or romant was an imaginative work and a „courtly romance.‟ Thus the early suggestions are that it was something fresh, diverse and at the same time opposing. Towards 17th century, in Britain and France, „romance‟ acquires the derogatory connotations of imaginary. It meant something out of the ordinary, larger-than-life, and fantastic. Cuddon further explains that in France a distinction was made between romanesque and romantique which meant „tender‟, „gentle‟, „sentimental‟ and „sad‟ whereas the former one had derogatory connotation. In Germany the word romantisch was used in the 17th century in the French sense of romanesque, and then, increasingly from the middle of the 18th century, in the English sense of „gentle‟, „melancholy.‟ It is a common belief that the Romantic Movement really began in Britain. In the 18th century, there was a kind of shift in all art forms, in sensibility and feeling. No doubt, a new era of poetry began with the romantic poets who were quite vibrant and lively in language along with innovations in themes and ideas. Shelley in A Defence of Poetry writes that “'Poetry is the record of the best and happiest moments of the happiest and best minds.” The definition best explains the ethos of English Romantic poetry. 5.3 Biographic and Career Details: Shelley is a romantic poet par excellence. His life and works illustrate „Romanticism‟ in extremes—extreme of ecstasy and extreme of despair. His poems like „Ode to the West Wind‟ and „The Masque of Anarchy‟ make him popular and loving. His long poems like Queen Mab and Alastor are equally significant contribution in the realm of romanticism. A kind of restlessness is present in his poems. He rebels against authority. He becomes quite scientific in his treatment towards Nature who plays a major role in giving voice to his feelings and ideas. He becomes visionary and imagination begins to dance in the pursuit of ideal love. His untamed spirit remains in search of freedom. His poems reveal his life. No doubt, he left this world at the age of 29 but generation after generation will remember his works, which demonstrate romanticism, his rebellious spirit. His poems are his ideals, which he longed for to realize. His upbringing inspired him to become a romantic poet. He becomes the mature poet while living in the village Broadbridge Heath, just outside of West Sussex. His father, Timothy Shelley, was a squire and Member of Parliament while his mother was Elizabeth When he was 10 years old, he left home for studying at Syon House Academy that was 50 miles north of Broadbridge and 10 miles west of Central London. After 2 years, he joined the Eton college where his classmates teased him mentally and physically so profoundly that he reacted and rebelled against them. In the fall of 1810, Shelly entered University College, Oxford. He got an academic environment better than that of Eton. Soon the college authorities expelled him and his friend Thomas Jefferson Hogg. They wrote a pamphlet, titled, The Necessity of Atheism, which challenged the existence of God. His parents were quite frustrated because of Shelley‟s actions. They asked him to forsake his beliefs, including vegetarianism, political radicalism and sexual freedom. He was a rebel by nature and so he left nothing. It made his parents angry. In August of 1811, he eloped with Harriet Westbrook, a 16-year-old girl, whom his parents did not like. His love episodes are as interesting as his poems. His love for Harriet was a time bound affair. Later he became interested in Elizabeth Hitchener, a schoolteacher who became inspiration for his major poem, Queen Mab. On 28 July 1814, Shelley severed his ties with the pregnant Harriet and ran away to Switzerland with Mary. Mary was the daughter of his mentor Godwin. Shelley was also associated with another romantic poet Lord Byron. Later this friendship became so mature that it influenced the output of his poetry. In a boating tour with Byron, he was inspired to compose „Hymn to Intellectual Beauty.‟ He was also in close touch with John Keats whose death in 1821 inspired him to compose Adonais. On 8 July 1822, a sudden storm on the Gulf of Spezia drowned him. Alas! He could not complete his 30th birthday. 5.4 Shelley: The Poet Though Shelley shakes hands with contemporaries on the issues of themes and images, he has something special that differentiates him from other romantic poets. Symbols in his poems seem to float before the screen of the mind. He concretizes the abstract. The symbols and images reveal his visionary pursuit of the ideal. Ideals become his philosophy. Queen Mab: A Philosophical Poem is an outcome of Shelley‟s friendship with the British philosopher William Godwin. The poem reveals Godwin‟s freethinking socialist philosophy in a profound way. His stay in Italy and association with Byron proved to be fruitful as it resulted in worth reading poems, which made him a universal poet. The Revolt of Islam (1818) and Prometheus Unbound (1820) are his masterpieces. „Ode to the West Wind‟, „The Cloud‟, „To a Skylark‟, and „Ode to Liberty‟ are his supreme unmitigated lyrics. He penned his drama The Cenci that is replete with the Gothic scenario. The absence of moralistic political instruction makes the drama quite popular among the readers. He wrote A Defence of Poetry to justify poetry in his response to Peacock‟s essay, „The Four Ages of Poetry.‟ The Triumph of Life was his last long fragmented poem. Critics including T.S. Eliot who is not an admirer of Shelley consider The Triumph of Life as superior to all other writings as it shows a perfect fusion of style and vision.
Recommended publications
  • 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]
  • 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]
  • [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]
  • In Shelley, Dickens and Priestley's Mister Creecher Chloe
    How monsters are made: ‘No remorse, no pity’ in Shelley, Dickens and Priestley’s Mister Creecher Chloe Alexandra Germaine Buckley, Lancaster University Abstract Chris Priestley’s 2011 novel, Mister Creecher, promises to show ‘the making of a monster…’ Set in 1818, the novel is a metafictional rewriting of Mary Shelley’s Frankenstein (1818), imagining the monster’s journey as he tracks his creator to Scotland. In this version, the monster is aided by London pickpocket, Billy, whose provenance, the early novels of Charles Dickens, suggests further intertexts for this contemporary novel. It is Billy, rather than the eponymous ‘Creecher’, who is the novel’s protagonist: a sentimentalized, suffering Dickensian child, whose narrative is reconfigured through encounters with Shelley’s gothic novel and a range of other intertexts. Through Billy, Mister Creecher (2011) re-imagines Dickens’ children and the Dickensian bildungsroman, reconfiguring the positions of villain and innocent. Neo-Victorian texts have been characterized by a doubled relationship to their intertexts, a relationship that is parasitic on the one hand, revisiting the traumas of a past reconstructed as barbaric, and redemptive on the other hand, since these reconstructions are usually aimed at a revisionist critique. In the case of Mister Creecher (2011) the parasitic relationship of contemporary metafiction to past gothic and Victorian works is a part of the novel’s active intertextual fabric. This is a novel that explores how intertextuality itself functions as a corrupting parasite, problematizing and infecting any future encounter with back-grounded works. The introduction of Shelley’s creation into Dickens’ landscape is a wilfully contradictory gesture.
    [Show full text]
  • The Timelessness of Art As Epitomized in Shelley's "Ozymandias"
    Advances in Language and Literary Studies ISSN: 2203-4714 Vol. 5 No. 1; February 2014 Copyright © Australian International Academic Centre, Australia The Timelessness of Art as Epitomized in Shelley’s Ozymandias Krishna Daiya Government Engineering College, Rajkot E-mail: [email protected] Doi:10.7575/aiac.alls.v.5n.1p.154 Received: 05/01/2014 URL: http://dx.doi.org/10.7575/aiac.alls.v.5n.1p.154 Accepted: 27/02/2014 Abstract Percy Bysshe Shelley was a poet whose name itself is a Metaphor for exquisite, rhythmic poetry laden with images of Nature as well as Man. He possesses the magical power of transporting the reader into an alternative world with the unique use of metaphors and imagery. His personal sadness was translated into sweet songs that are echoed in the entire world defying all boundaries and straddles. One of the most renowned works of Shelley, Ozymandias is a sonnet that challenges the claims of the emperors and their empires that they are going to inspire generations to come. It glorifies the timelessness of art. The all-powerful Time ruins everything with its impersonal, indiscriminate and destructive power. Civilisations and empires are wiped out from the surface of the earth and forgotten but there is something that outlasts these things and that is art. Eternity can be achieved by the poet’s words, not by the ruler’s will to dominate. Keywords: Art, Civilizations, Empires, Eternity, Time 1. Introduction The period from the last decade of the eighteenth century to the opening decades of the nineteenth century is an era of revolutionary social changes in all fields, economic, political, religious and literary.
    [Show full text]
  • 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.
    [Show full text]
  • Shelley and the Nature of Nonviolence
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Fall 2000 Shelley and the nature of nonviolence William James Stroup University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Stroup, William James, "Shelley and the nature of nonviolence" (2000). Doctoral Dissertations. 2145. https://scholars.unh.edu/dissertation/2145 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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 bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI 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. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • PERCY BYSSHE SHELLEY, DYNAMIC ORGANICISM and COSMIC HARMONY Dr
    European Journal of English Language and Literature Studies Vol.6, No.4, pp.62-75, May 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) PERCY BYSSHE SHELLEY, DYNAMIC ORGANICISM AND COSMIC HARMONY Dr. George Ewane Ngide Senior Lecturer of British and American Literature, the University of Yaoundé 1, Cameroon. ABSTRACT: This article examines Shelley’s philosophic and poetic visions of social and political mutations in the universe. It posits that Shelley’s Romantic Imagination is one that views the universe as a single organised mechanism (the Whole), and yet one that is corrupt by man through deviant social and political behaviours that are not commensurate with his being as at creation, thus leading to evils and divisions (the One). We further contend that Shelley’s vision is one that encourages “a therapeutic drive”, a movement that looks like a progression but which is actually a regression to an Edenic past, (the Whole), what Shelley calls the Golden Age. This Golden Age is an earthly paradise where, like in Genesis, both the animate and the inanimate, the flora and the fauna, the organic and the inorganic, the material and the immaterial brief, where man, hitherto considered as the “butcher of nature” is at one with himself, with other species and with Nature. This is what Pope calls “The Great Chain of Being”, Wordsworth’s “Cosmic Harmony” and Shelley’s “Millennial Future”, “Golden Age” or “Everlasting Spring”. It is the realisation of this finality that indeed is the crux of this study. KEYWORDS: Dynamic Organicism, Cosmic Carmony, Philosophic Vision, Millennial Future, Golden Age, Shelley INTRODUCTION Studies in the notion of Cosmic Harmony have over the past several years been an interesting field of academic investigations.
    [Show full text]
  • THE LANGUAGE OP COLOR in SHELLEY's PROMETHEUS UNBOUND APPROVED: Major Professor
    THE LANGUAGE OP COLOR IN SHELLEY'S PROMETHEUS UNBOUND APPROVED: Major Professor /?. M. o. Minor Professor c<? - Cs •')(.- Ik. Director of the'Department of English (7^-^^ , f LA Dean of the Graduate School THE LANGUAGE OF COLOR IN SHELLEY'S PROMETHEUS UNBOUND THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Charlotte Ann Farrell, B. A, Denton, Texas May, 1969 TABLE OP CONTENTS Page LIST OP TABLES iv LIST OP ILLUSTRATIONS v Chapter I. INTRODUCTION 1 The Premise and the Proposal The Perspective Shelley Prometheus Unbound The Method II. LANGUAGE AND ARTISTIC THOUGHT 11 The Artistic Perception The Role of Language The Tools of Transmutation Poetic Language . Shelley's Language III. THE SEMANTICS OP COLOR 24 t j The Nature of J?olor Experience The Potentiality of Color Language IV. THE LANGUAGE OP COLOR IN PROMETHEUS UNBOUND . 28 Characteristics of Shelley's Color Language 1 The idiosyncracies of Shelley's color diction The salient features of Shelley's poetry Techniques and Effects in the Color Language of Prometheus Unbound Modes of appearance Meaning through motion Time and dimension Conclusion: Transmutative Harmony APPENDIX . 52 BIBLIOGRAPHY 66 LIST OF TABLES Table Page A-I. Appearances of Color Terms In Prometheus Unbound . 57 A-II. Modes of Appearance of Color 64 iv LIST OP ILLUSTRATIONS Figure Page 1. Kandinsky's Conception of Color in Motion 41 2. Frequency and Distribution of Color Terms 43 3. Apparent Sizes of Colors . 47 4. Volume-Density Comparison of Color Terms 48 A-l.
    [Show full text]
  • 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.
    [Show full text]
  • Shelley's Inspiration in 1818 Vi
    ARTICLE SHELLEY’S INSPIRATION IN 1818 VI THE MYSTERY OF ‘A VISION OF THE SEA’ Suzuna Jimbo* (1) Prometheus and the Poems As I said in my previous papers on Prometheus Unbound (i.e. ‘Shelley’s Inspiration in 1818 I-V’, 1997-98), Shelley was blessed with rare inspiration by translating Plato’s Symposium in July 1818. His Greek study with Peacock (Thomas Love, 1785-1866) and other friends bore poetical fruit almost for the first time in the form of Prometheus Unbound (written 1818-1819), where his philosophy and poetical imagination are found in perfect harmony. In his letter to his publisher Charles Ollier (6 March, 1820 from Pisa) we can see how he was satisfied with this lyrical drama. ‘“Prometheus Unbound”, I must tell you,’ he wrote, ‘is my favourite poem; I charge you, therefore, specially to pet him and feed him with fine ink and good paper.’1 And even with those merits, he thought, it wouldn’t sell ‘beyond twenty copies’ (in the same letter). Prometheus was for him a very special work of art, very different from The Cenci (written May-8 August 1819) or ‘Julian and Maddalo’ (written autumn 1818), and expected to be read by the very few, among whom were Peacock and Hunt (Leigh, 1784-1859). With such Prometheus were published in 1820, nine poems (written in 1819 and 1820), among which are his most well-known odes such as ‘Ode to the West Wind’ and ‘To a Skylark’, while a few of them are little known, not easy to understand or even mysteries to the readers.
    [Show full text]
  • 'Ozymandias' by Percy Bysshe Shelley
    Research Journal of English Language and Literature (RJELAL) A Peer Reviewed (Refereed) International Journal Vol.8.Issue 3. 2020 Impact Factor 6.8992 (ICI) http://www.rjelal.com; (July-Sept) Email:[email protected] ISSN:2395-2636 (P); 2321-3108(O) RESEARCH ARTICLE MORALITIES IN ‘OZYMANDIAS’ BY PERCY BYSSHE SHELLEY VIDHYA K R Assistant Professor, Department of English, VISTAS. Abstract Percy Bysshe Shelley exemplifies the moralities of life in his poetry by using imageries. Shelley was quite a rebellion in his works, he never settled with lesser facts. His brave nature made him to impart his unique narration of ‘Ozymandias’ into VIDHYA K R an appreciation of art’s durability and eternity. His unique technique to portray the Article Received:27/06/2020 ethics of life and fate has made the poem into a predominant work. This article will Article Accepted: 02/08/2020 analyse the writing techniques of Shelley into a way of beauty and art’s eternity. Published online:09/08/2020 DOI: 10.33329/rjelal.8.3.149 Introduction The pain and pleasures of his species must become his own. It is the art of poetry, no other The central thematic concerns of Shelley’s English poet of the early nineteenth century so poetry are largely the same themes that defined emphasized the connection between beauty and romanticism, especially among the younger English goodness, or even believed so avidly in the power of poets of Shelley’s era that is; beauty, passions, art’s sensual pleasures to improve society. nature, political liberty, creativity and the sanctity of the imagination.
    [Show full text]