Keats and Shelley: a Pursuit Towards Progressivism
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John Keats and Fanny Brawne Pages of an Enduring Love
John Keats and Fanny Brawne Pages of an enduring love Source images: http://englishhistory.net/keats/fannybrawne.html “When shall we pass a day alone? I have Read this short account of John Keats’s and Fanny Brawne’s thwarted love story. had a thousand Keats and Fanny, who were newly neighbours, first met in a troubled time for the poet: his mother had died of tuberculosis, soon to be followed by his youngest brother Tom. The teenaged Fanny was not considered beautiful, but she was spirited and kind and Keats was struck by her coquettish sense of fun. Her family’s financialkisses, difficulties influencedfor her with a strong sense of practicality. However, she did fall for young Keats, who was neither well off nor making money through his writing. Her mother against better economical judgement could not prevent a love match, though not without the opposition of Keats’s friends, the two got engaged. Yet, further obstacles were to come. Keats knew his only hope of marrying Fanny was to succeed in writing, since he was often asked by his brother George for moneywhich loans. Inwith February my1820, however, the couple’s future was threatened by illness: Keats had been troubled by what looked like a cold, but later turned out to be a sign of tuberculosis. He was well aware of his worsening condition so at some point he wrote to Fanny that she was free to break their engagement, but she passionately refused to Keats’s relief: “How hurt I should have been hadwhole you ever acceded soul to what I is, notwithstanding, very reasonable!” In an attempt not to upset the poet with too strong emotions, his friend Charles Brown nursed him diligently and kept Fanny at a distance. -
National Trauma and Romantic Illusions in Percy Shelley's the Cenci
humanities Article National Trauma and Romantic Illusions in Percy Shelley’s The Cenci Lisa Kasmer Department of English, Clark University, Worcester, MA 01610, USA; [email protected] Received: 18 March 2019; Accepted: 8 May 2019; Published: 14 May 2019 Abstract: Percy Shelley responded to the 1819 Peterloo Massacre by declaring the government’s response “a bloody murderous oppression.” As Shelley’s language suggests, this was a seminal event in the socially conscious life of the poet. Thereafter, Shelley devoted much of his writing to delineating the sociopolitical milieu of 1819 in political and confrontational works, including The Cenci, a verse drama that I argue portrays the coercive violence implicit in nationalism, or, as I term it, national trauma. In displaying the historical Roman Cenci family in starkly vituperous manner, that is, Shelley reveals his drive to speak to the historical moment, as he creates parallels between the tyranny that the Roman pater familias exhibits toward his family and the repression occurring during the time of emergent nationhood in Hanoverian England, which numerous scholars have addressed. While scholars have noted discrete acts of trauma in The Cenci and other Romantic works, there has been little sustained criticism from the theoretical point of view of trauma theory, which inhabits the intersections of history, cultural memory, and trauma, and which I explore as national trauma. Through The Cenci, Shelley implies that national trauma inheres within British nationhood in the multiple traumas of tyrannical rule, shored up by the nation’s cultural memory and history, instantiated in oppressive ancestral order and patrilineage. Viewing The Cenci from the perspective of national trauma, however, I conclude that Shelley’s revulsion at coercive governance and nationalism loses itself in the contemplation of the beautiful pathos of the effects of national trauma witnessed in Beatrice, as he instead turns to a more traditional national narrative. -
Prometheus Unbound and the Gothic Novel 15
From the Sublime to the Numinous A Study of Gothic Qualities in the Poetry and Drama of Shelley's Italian Period A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in English in the University of Canterbury by Robert Percival University of Canterbury 2000 Contents Page Acknowledgements Abstract Introduction 1 I. Prometheus Unbound and the Gothic Novel 15 II. Prometheus Unbound and the Classical Gothic 29 III. Prometheus Unbound- Heroes and Villains 50 IV. The Cenci - An Absence of the Numinous 64 V. Leonardo's Medusa and the Limits of the Sublime 78 VI. The West Wind-Poet as Prophet and Enchanter 90 VII. Adonais - Flight from the City of Death 101 VIII. Adonais - The Hunter Hunted 112 IX. The Triumph ofLife - The Living Dead and the Car of Life 130 X. The Triumph ofLife - Rousseau, the Shape, and the "shape all light" 146 Conclusion 159 Bibliography - (Primary and Secondary Sources) 164 Acknowledgements I would like to thank my wife, Hannah, for her limitless patience, and for her unfailing practical and moral support, without which this thesis would never have been completed; and my supervisor, Dr Gordon Spence, for his continuing encouragement, his unobtrusive guidance, and the generous spirit in which he always shared his time and erudition. Abstract In this thesis I consider six poems which Shelley wrote in Italy, between 1818 and his death in 1822: Prometheus Unbound, The Cenci, "On the Medusa of Leonardo da Vinci in the Florentine Gallery", "Ode to the West Wind", Adonais, and The Triumph ofLife. -
John Keats 1 John Keats
John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy. -
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. -
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. -
Beatrice Cenci: Hawthorne, Melville and Her Atlantic-Rim Contexts Diane Hoeveler Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 5-1-2005 Beatrice Cenci: Hawthorne, Melville and Her Atlantic-Rim Contexts Diane Hoeveler Marquette University, [email protected] Published version. Romanticism and Victorianism on the Net, Vol. 38-39 (May, 2005). DOI.© 2005 University of Montreal. Used with permission. Beatrice Cenci in Hawthorne, Melville and her Atlantic-Rim Contexts | Érudit | Romanticism on the Net n38-39 2005 | FrançaisEnglishEspañol Vos noticesRSS Revues Livres et actes Thèses Documents et données > Recherche détaillée . À propos de cette revueNuméros disponiblesIndex des auteursNuméros thématiquesRecherche dans cette revue Romanticism on the Net Année Volume Numéro Page > Sommaire du numéro Texte intégralRésuméBibliographie Romanticism on the Net Numéro 38-39, mai 2005 Transatlantic Romanticism Sous la direction de Joel Pace, Lance Newman et Chris Koenig-Woodyard Direction : Michael Eberle-Sinatra (directeur) Éditeur : Université de Montréal ISSN : 1467-1255 (numérique) DOI : 10.7202/011670ar < Précédent Suivant > Article file:///C|/Users/fortierr/Desktop/Beatrice%20Cenci.htm[8/2/2013 2:18:03 PM] Beatrice Cenci in Hawthorne, Melville and her Atlantic-Rim Contexts | Érudit | Romanticism on the Net n38-39 2005 | Beatrice Cenci in Hawthorne, Melville and her Atlantic-Rim Contexts Diane Long Hoeveler Marquette University Abstract The figure of Beatrice Cenci was, according to Melville, the embodiment of those “two most horrible crimes possible to civilized humanity--incest and parricide." Nevertheless, she enjoyed a curious popularity as a subject in late eighteenth and nineteenth-century Atlantic-rim literary culture. Indeed, the renewed fascination with her story indicates several important psychological as well as social themes that authors as diverse as Walpole, Shelley, Swinburne, Hawthorne, Melville, Dickens, and Wharton all attempted to delineate. -
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. -
[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. -
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). -
January 2017
Registered Charity: 1147589 THE KEATSIAN Newsletter of the Keats Foundation - January 2017 This issue of ‘The Keatsian’ looks forward to forthcoming Keats Foundation events for the spring of 2017. Reported here too is a Keats Foundation lecture at the Plymouth Athenaeum, and a visit to Charles Armitage Brown’s home at Laira, Plymouth, where the first full-length biography of John Keats was written. As this issue of The Keatsian reaches you, we are finalising the development of the new Keats Foundation website – scheduled to go ‘live’ later in the spring of 2017. Dates for your diary: Wednesday, 17 May 2017 at 7 pm: Dr. Margot Waddell and Dr. Toni Griffiths will repeat their acclaimed evening discussing Keats and Negative Capability, at Keats House, Hampstead, in the ‘Nightingale Room’. Tickets will be £5. 00 from Eventbrite; Keats Foundation Supporters, free. Friday 19 May-Sunday 21 May: The fourth Keats Foundation Bicentenary Conference at Keats House, Hampstead: ‘John Keats, 1817: Moments, Meetings, and the Making of a Poet’. See further information in this Newsletter. Thursday 21 September 2017: The Keats Foundation annual Keats House Lecture. Dr. Jane Darcy of UCL will speak on ‘Primrose Island: Keats and the Isle of Wight’. Stop Press! Keats Foundation Photographic Competition announced: go to http://keatsfoundation.com/photography-competition/ Annual Wreath Laying at Westminster Abbey, 31 October 2016 The Keats Foundation organized the laying of our annual wreath for John Keats at Westminster Abbey on 31 October, on the 221st anniversary of the poet's birth. Members of the Keats Foundation and staff and ambassadors of Keats House were joined by Poetry Society and Young Poets Network members. -
A Dark Ecology of Performance: Mapping the Field of Romantic Literary Celebrity Through Gothic Drama
A Dark Ecology of Performance: Mapping the Field of Romantic Literary Celebrity through Gothic Drama Brian R. Gutiérrez A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Marshall Brown, Chair Juliet Shields Raimonda Modiano Program Authorized to Offer Degree Department of English 2 ©Copyright 2017 Brian R. Gutiérrez 3 University of Washington Abstract A Dark Ecology of Performance: Mapping the Field of Romantic Literary Celebrity through Gothic Drama Brian Robert Gutiérrez Chair of the Supervisory Committee: Professor Emeritus Marshall Brown Comparative Literature Gothic drama reached a height of popularity in the 1790s, partly due to celebrity actors like Sarah Siddons. Yet we know very little about the relationship between the many writers of gothic dramas and the celebrity apparatus. Although critics such as Richard Schickel regard literary celebrity as strictly a twentieth century phenomenon, recently other scholars have been arguing for a broader historical view. Richard Salmon, for instance, has cited photography, investigative journalism, and the phenomenon of authors being interviewed at their homes as evidence of the machinery of celebrity culture operating in the 19th century; David Higgins and Frank Donoghue have argued for the importance of periodical writing in the 18th and 19th centuries, and Claire Brock and Judith Pascoe have pointed out the feminization of fame and public theatricality in the Romantic period. And Tom Mole, in addition to examining the career of Lord Byron in the context of celebrity culture, has recently edited a collection of essays on the material and discursive elements of celebrity culture from 1750 to 1850 to provide a “synoptic picture of celebrity.” 4 Yet the most popular and profitable literary genre of the Romantic era has remained a stepchild of criticism, the victim of a disjuncture between literary critical study of dramatic texts and historical study of performance culture.