DOCSLIB.ORG

Byron's Childe Harold's Pilgrimage IV and Shelley's “Ode to Liberty”: The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Byron's Childe Harold's Pilgrimage IV and Shelley's “Ode to Liberty”: The B y r o n ’s Childe Harold ’s Pilgrimage IV and Shelley ’s “ O d e t o L i b e r t y ” : The Poetic Voice of the Exile s a n d t h e i r Aspirations for F r e e d o m Hiroshi HARATA In the middle of December 1818, Shelley sent a letter from Naples to his friend, Thomas Love Peacock: I entirely agree with what you say about Childe Harold. The spirit in which it is written is, if insane, the most wicked & mischievous insanity that ever was given forth. I r emonstrated with him in vain on the tone of mind from which such a view of things alone arises. 1 In this letter Shelley condemn s the Fourth Canto of C h i l d e H a ro l d ’s Pilgrimage s i n c e h e t h i n k s that Byron indulged himself in lamenting over the d e c l i n e o f Ve n i c e sentimentally a s i f h e w e r e a passive onlooke r. Shelley assume s t h a t B y r o n ’s n i h i l i s m came from his own wild debauchery with Italian girls and w o m e n 2 ( 5 8 ) that led him to “the most wicked & mischievous i n s a n i t y ” under the mental condition of which the poem was w r i t t e n . S h e l l e y ’s indignation against Byron ’s moral corruption became all the more h a r s h because his “ i n s a n e s p i r i t ” s p o i l e d t h e d i v i n e s o c i a l mission of poetry that Shelley always advocated. 1 Byron’s “insane” attitude toward the world may have occupied Shelley’s mind seriously. In the next year Shelley composed a conversation poem, Julian and Maddalo , which reflects the d i s c u s s i o n between Julian / Shelley and Maddalo / B y r o n t h a t t o o k place in Venice l a t e in August 1818 , when they first re - u n i t e d a f t e r t h e y had parted in G e n e v a in the summer of 1816. 3 I n t h e ‘ P r e f a c e ’ to the poem, S h e l l e y criticizes M a d d a l o ’s n e g a t i v e philosophy of h u m a n life, though in the manner of m o r e m o d e s t and sophisticated than in that letter: He [Count Maddalo] is a person of the most consummate genius, and capable, if he would direct his energies to such an end, of becoming the redeemer of his degraded country. But it is his weakness to be proud: he derives, from a comparison of his own extraordinary mind with the dwarfish intellects that surround him, an intense apprehension of the nothingness of human life. 4 However, it is also very important for us to suppose that Shelley’s great anger might ha ve blinded him to Byron’s strategy that he had carefully embedded his political assertion of transnational freedom in the central, Roman stanzas (78 - 9 8 ) o f Canto the Fourth. 5 When he wrote to Peacock i n 1 8 1 8 , I surmise t h a t S h e l l e y slightly browsed the Canto, in particular only both its beginning part where Byron deplores the fall of Venice 2 melancholically and its closing part where he heartily sympathizes with “deep and dark blue Ocean” ( 1 6 0 3 ). 6 Undoubtedly, Shelley read the ending of the Canto because, in the same letter to Peacock, he admires Byron’s genius as a poet: “he [Byron] is a great poet, I think, the address to Ocean proves” ( 5 8 ) . By the summer of 1819, when h e c o m p l e t e d Julian and M a d d a l o , in which Julian / S h e l l e y a n d M a d d a l o / Byron sharply r e f u t e the other statement about such issues as destiny, free will, God and so on, Shelley must have (re)read the whole of C h i l d e Harold’s Pilgrimage I V, a n d f o u n d o u t in those core stanzas (78- 9 8 ) B y r o n ’s f i r m argument that political freedom should be p r e v a l e n t i n Europe. And in the middle of 1820, when he wrote Ode to Liberty , Shelley adopted, as its epigraph, the first two lines from the s t a n z a 9 8 : “ Ye t , Freedom! Yet thy banner, torn, but flying, / Streams lik e the thunder - storm against the wind.” 7 In this respect, it would be not be unsafe to s a y that Shelley publicly expressed his political alliance with Byron, leaving aside both his indignation against Byron’s mental nihilism and the difference between their philosophical opinions. As an exile i n I t a l y, Byron wrote Canto the Fourth during the latter part of 1817 , w h e n t h e d e s p o t i c a n c i e n r é g i m e h a d a l r e a d y b e e n r e s t o r e d i n E u r o p e after the Congress of Vienna h e l d in the years between 1 8 1 4 a n d 1815. 8 W h a t i s t h e m o s t strikingly different from the three previous Cantos is that Byron c o m p o s e d t h i s C a n t o as h e f e l t p r o f o u n d d e j e c t i o n concerning the 3 p o l i t i c a l s t a t u s q u o o f E u r o p e and the mutability of human mind. It is true t h a t when he composed Canto the Third t r a v e l i n g through the Continent along the Rhine and s t a y i n g a t Vi l l a D i o d a t i in 1816, he was already an exile, and that the European p o l i t i c a l environment o f 1 8 1 6 w a s , at large, l i t t l e d i fferent from that of 1817 . However, the Rhine, Lake Leman, and the Alps provided him with the sublime s c e n e r y to turn his eye to outward natural grandeur, rather than to inward reflection on European political issues. In particular, G e n e v a , surrounded w i t h L a k e Leman and the Alps , w a s a k i n d o f a n earthly Elysium, i n w h i c h B y r o n could almost every day enjoy a lively conversation with the Shelleys and Polidori , stimulating Mary into the creation of her substantial virgin work , w h i c h later came to fruition as Frankenstein i n 1 8 1 8 . He could afford to s i n g of t h e b e a u t y of a sunset reflecting on the lake, h i s p l e a s a n t cruise around the lake while reading Rousseau’s J u l i e , or the New Heloise , a n d , finally, h i s w a r m f a t h e r l i k e feelings toward h i s s e p a r a t e d d a u g h t e r. I n this respect, the Third Canto can unquestionably be called a sequel of the two previous Cantos , a n d the three poems p r e s e r v e t h e s o - called genuine Byronic travel writings. Byron’s witty, brilliant and captivating power in narrating , for instance, h i s admiration of the S panish maid i n C a n t o I ( 558- 6 11 ) , a n d h i s r e v e r i e a b o u t the glory of ancient Athens walking about among i t s r u i n s in Canto II ( 7 8 3 - 8 8 1 ) m a d e t h e ir r e a d e r s turn a page after page impatiently w i t h o u t taking into consideration w h a t 4 Byron thought E u r o p e a n politics should be like; so did Canto the T h i r d .
Load more

Recommended publications
  • Impermanence / Mutability: Reading Percy Bysshe
    IMPERMANENCE / MUTABILITY: READING PERCY BYSSHE SHELLEY’S POETRY THROUGH BUDDHA Leila Hajjari Persian Gulf University [email protected] Zahra Soltani Sarvestani Persian Gulf University [email protected] Received: 22 May 2020 Accepted: 1 February 2021 Abstract As an ongoing phenomenon, the impermanence of the world has been observed by many people, both in ancient and modern times, in the East and in the West. Two of these authors are Gautama Buddha (an ancient, eastern philosopher from the 6th-5th centuries B.C.) and Percy Bysshe Shelley (a modern Western poet: 1792-1822). The aim of this paper is to examine in the light of Buddhist philosophy what impermanence means or looks in a selection of Shelley’s poems, after considering that this philosophy was not alien to the Europeans of the 18th and 19th centuries. Buddhism, seeing impermanence (anicca) as the foundation of the world, both acquiesces to it and urges the individuals to sway with its ebb and flow. Shelley mainly falters in the incorporation of the phenomenon into his mindset and his poems. However, he often shows a casual acceptance of it; and even, in a few cases, he presents it with a positive assessment. Keywords: Buddhism, Shelley, impermanence, mutability, transience, anicca Littera Aperta 5 (2017): 19-37. ISSN: 2341-0663 20 Leila Hajjari – Zahra Soltani Sarvestani TRANSITORIEDAD / MUTABILIDAD: LECTURA DE LA POESÍA DE PERCY BYSSHE SHELLEY A TRAVÉS DE BUDA Resumen La transitoriedad del mundo ha sido considerada un concepto relevante por muchos autores antiguos y modernos, tanto en el este como en el oeste. Dos de estos autores son Gautama Buda (ss.
    [Show full text]
  • Systemic Thought and Subjectivity in Percy Bysshe Shelley's Poetry
    Systemic Thought and Subjectivity in Percy Bysshe Shelley‟s Poetry Sabrina Palan Systemic Thought and Subjectivity in Percy Bysshe Shelley’s Poetry Diplomarbeit zur Erlangung eines akademischen Grades einer Magistra der Philosophie an der Karl- Franzens Universität Graz vorgelegt von Sabrina PALAN am Institut für Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Martin Löschnigg Graz, 2017 1 Systemic Thought and Subjectivity in Percy Bysshe Shelley‟s Poetry Sabrina Palan Eidesstattliche Erklärung Ich erkläre an Eides statt, dass ich die vorliegende Arbeit selbstständig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benutzt und die den benutzen Quellen wörtlich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Überdies erkläre ich, dass dieses Diplomarbeitsthema bisher weder im In- noch im Ausland in irgendeiner Form als Prüfungsarbeit vorgelegt wurde und dass die Diplomarbeit mit der vom Begutachter beurteilten Arbeit übereinstimmt. Sabrina Palan Graz, am 27.02.2017 2 Systemic Thought and Subjectivity in Percy Bysshe Shelley‟s Poetry Sabrina Palan Table of Contents 1. Introduction ............................................................................................................................ 5 2. Romanticism – A Shift in Sensibilities .................................................................................. 8 2.1 Etymology of the Term “Romantic” ............................................................................. 9 2.2 A Portrait of a Cultural Period .....................................................................................
    [Show full text]
  • Fashioning Frankenstein: a Fundamentalist Experiment in Edenic After-Tastes
    Vassar College Digital Window @ Vassar Senior Capstone Projects 2019 Fashioning Frankenstein: a fundamentalist experiment in edenic after-tastes Haley Hill Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Hill, Haley, "Fashioning Frankenstein: a fundamentalist experiment in edenic after-tastes" (2019). Senior Capstone Projects. 871. https://digitalwindow.vassar.edu/senior_capstone/871 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Hill 1 Fashioning Frankenstein: A Fundamentalist Experiment in Edenic After-tastes Haley Hill Leslie Dunn Fall Semester 2018 Introduction Hill 2 In regards to Genesis, it can be said of Eve that: at the core of her story’s overarching narrative lies the creation of man. Made in the mold of a set of ideals, he works, in isolation, to make sense of his environment. Yet: drawn from the rib of his own desires, he, himself, inadvertently creates corruption within his world, damning himself to an irreversible reality of death, despair, and, ultimately, the triumphant damnation of decay from which alone his soul may finally split off from his rotten form. In regards to Mary Shelley’s most infamous novel, it can be said that: at the core of her story’s overarching chaos lies yet another creation of man. However, made in the
    [Show full text]
  • Enthymema XXVII 2021 Victor Frankenstein's Evil Genius
    Enthymema XXVII 2021 Victor Frankenstein’s Evil Genius: Plutarch, Brutus’s Vision, and the Absent Revolution Fabio Camilletti University of Warwick Abstract – This essay examines the influence of Plutarch’s Life of Brutus on Mary Shelley’s Frankenstein, arguing that the relationship between Brutus and his «evil genius» provides Shelley with a model for characterizing the pair of Victor Franken- stein and his Creature. By considering the broader context of Plutarch’s reception from the sixteenth through the early nineteenth centuries, and particularly the con- struction of Brutus as a ghost-seer, a clinical obsessive, or a revolutionary icon, the essay examines the Brutus/Victor parallel as actual and/or symbolic parricides, shed- ding new light on Shelley’s failed representation of the French Revolution in her novel. Keywords – Plutarch; Mary Shelley; Frankenstein; Ghosts; French Revolution. Camilletti, Fabio. “Victor Frankenstein’s Evil Genius: Plutarch, Brutus’s Vision, and the Absent Revolution.” Enthymema, n. XXVII, 2021, pp. 18-30. http://dx.doi.org/10.13130/2037-2426/14492 https://riviste.unimi.it/index.php/enthymema Creative Commons Attribution 4.0 Unported License ISSN 2037-2426 Victor Frankenstein’s Evil Genius: Plutarch, Brutus’s Vision, and the Absent Revolution Fabio Camilletti University of Warwick Les grands hommes de la Révolution furent les victimes de Plutarque. Jean Cocteau 1. Introduction Frankenstein-related criticism could not ignore the influence of Plutarch on Mary Shelley’s novel, if not for the fact that Parallel Lives is part of the Creature’s education, teaching him the deeds of ancient heroes and the greatness and misery of human nature.1 Still, when editing a most recent book on Frankenstein and Its Classics, Jesse Weiner, Benjamin Eldon Stevens, and Brett M.
    [Show full text]
  • Mary Shelley: Life and Works British Romantic Indira Gandhi Literature National Open University School of Humanities
    BEGC -109 Mary Shelley: Life and Works British Romantic Indira Gandhi Literature National Open University School of Humanities Block 4 MARY SHELLEY: FRANKENSTEIN Unit 1 Mary Shelley: Life and Works 189 Unit 2 Frankenstein: A Gothic Novel 203 Unit 3 Frankenstein: Summary and Analysis 213 Unit 4 Frankenstein: Major Themes 229 187 Mary Shelley: Frankenstein BLOCK INTRODUCTION This Block will introduce you to one of the important After the completion of this block, you will be introduced toMary Shelley(1797-1851), also known as Mary Wollstonecraft Shelley, a British novelist. You will • get introduced to the gothic tradition. • be familiarised with the major influential factors on the Gothic with special reference to Mary Shelley. • comprehend her effects worldwide. • trace her impacts on the later generations. ACKNOWLEDGEMENT The material (pictures and passages) we have used is purely for educational purposes. Every effort has been made to trace the copyright holders of material reproduced in this book. Should any infringement have occurred, the publishers and editors apologize and will be pleased to make the necessary corrections in future editions of this book. 188 UNIT 1 Mary SHELLEY: LIFE AND WORKS Mary Shelley: Life and Works Structure 1.0 Objectives 1.1 Introduction 1.2 Infancy And Early Years 1.3 Challenge Preadolescence 1.4 Teenage 1.5 Mary's Relocation 1.6 Love Life 1.7 Mary's Journey To London 1.8 Mary and Her Personal Calamities 1.9 Mary's First Novel Frankenstein or The Modern Prometheus 1.10 Story of "Frankenstein or The Modern Prometheus 1.11 Other Works of Mary Shelley 1.12 Last Stage of Mary Shelley's Life 1.13 Let Us Sum Up 1.14 Questions and Answer Keys 1.15 Suggested Readings 1.0 OBJECTIVES It is evident that the life account of a famous novelist is a storehouse of facts and events which are essential to grasp the background of the author and the literary works.
    [Show full text]
  • SPECIAL ARTICLE OPEN ACCESS P.B. Shelley's Poem Ozymandias In
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Space and Culture, India Zhatkin and Ryabova. Space and Culture, India 2019, 7:1 Page | 56 https://doi.org/10.20896/saci.v7i1.420 SPECIAL ARTICLE OPEN ACCESS P.B. Shelley’s Poem Ozymandias in Russian Translations Dmitry Nikolayevich Zhatkin †*and Anna Anatolyevna RyabovaÌ Abstract The article presents a comparative analysis of Russian translations of P.B.Shelley’s poem Ozymandias (1817), carried out by Ch. Vetrinsky, A.P. Barykova, K.D. Balmont, N. Minsky, V.Ya. Bryusov in 1890 – 1916. These translations fully reflect the peculiarities of the social and political, cultural and literary life in Russia of the late 19th – early 20th Centuries, namely weakening of the political system, growing of interest to the culture of Ancient Egypt, and strengthening of Neoromanticism in opposition to Naturalism in literature. In the process of the analysis, we used H. Smith’s sonnet Ozymandias, P.B. Shelley’s sonnet Ozymandias and its five Russian translations. The methods of historical poetics of A.N. Veselovsky, V.M. Zhirmunsky and provisions of the linguistic theory of translation of A.V. Fedorov were used. The article will be interesting for those studying literature, languages, philology. Keywords: P.B. Shelley, Ozymandias, Poetry, Literary Translation, Russian-English Literary Relations † Penza State Technological University, Penza, Russia * Corresponding Author, Email: [email protected], [email protected] Ì Email: [email protected] © 2019 Zhatkin and Ryabova. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
    [Show full text]
  • Vampyre Gone Wild
    vampyre gone wild Lord Ruthven Strikes Again FSU College of Law 5th Annual Civil Mock Trial Competition B y r o n v . V a m p y r e H o l d i n g C o . , L L C , a n d D r . P o l i d o r i March 3-5, 2017 Table of Contents Acknowledgment ....................................................................................................................... 1 Rules .......................................................................................................................................... 2 Competition Agenda ............................................................................................................... 10 College of Law Map ................................................................................................................ 11 Advocacy Center Floor Plans ................................................................................................ 12 Scoresheet ................................................................................................................................. 13 Complaint ................................................................................................................................. 14 Answer ...................................................................................................................................... 21 Reply ........................................................................................................................................ 24 Depositions Clairmont .....................................................................................................................
    [Show full text]
  • The Diary of Dr. John William Polidori, 1816, Relating to Byron, Shelley
    THE DIARY OF BR, JOHN WILLIAM POUDORI WILLIAM MICHAEL ROSSETTI 4 OfarttcU Ittinerattg Slihrarg atljata, New ^nrh BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 MAY 3. l?*^ Inlciffimry loan I ^Q*^! ^P^ 7 ? Cornell UniversHy Library PR 5187.P5A8 William PoMo^^^^^ The diary of Dr. John 3 1924 013 536 937 * \y Cornell University Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013536937 The Diary of Dr. John William Polidori — The Diary of Dr. John WilHam Pohdori 1816 Relating to Byron, Shelley, etc. Edited and Elucidated by William Michael Rossetti "Mi fiir mostrat! gli spirit! magni Che del vederli in me stesso n'esalto." Dantk. LONDON ELKIN MATHEWS VIGO STREET MCMXI Richard Clav & Sons, Limited, bread street hill, e.c., and bungay, suppolk. sA#^ -0\N Y-ITvV iJf^ ^^ DEDICATED TO MY TWO DAUGHTERS HELEN AND MARY WHO WITH MY LITTLE GRAND-DAUGHTER IMOGENE- KEEP THE HOME OF MV CLOSING YEARS STILL IN GOOD CHEER The Diary of Dr. John WiUiam Polidori INTRODUCTION A PERSON whose name finds mention in the books about Byron, and to some extent in those about Shelley, was John William Polidori, M.D. ; he was Lord Byron's travelling physician in 1816, when his Lordship quitted England soon after the separa- tion from his wife. I, who now act as Editor of his Diary, am a nephew of his, born after his death.
    [Show full text]
  • Shelley's "Adonais", Keats, and Poetic Influence Author(S): Andrew Epstein Source: Keats-Shelley Journal, Vol
    Keats-Shelley Association of America, Inc. "Flowers That Mock the Corse beneath": Shelley's "Adonais", Keats, and Poetic Influence Author(s): Andrew Epstein Source: Keats-Shelley Journal, Vol. 48 (1999), pp. 90-128 Published by: Keats-Shelley Association of America, Inc. Stable URL: http://www.jstor.org/stable/30213023 . Accessed: 01/06/2011 12:11 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=ksaa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. 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]. Keats-Shelley Association of America, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Keats-Shelley Journal. http://www.jstor.org "Flowers that Mock the Corse Beneath": Shelley's Adonais, Keats, and Poetic Influence ANDREW EPSTEIN I T the center of Adonais, Shelley's tormented elegy for Keats, lies a paradoxical self-portrait that suggests the elegist's attitude towards his subject is much more conflicted and contradic- tory than many readers have recognized.
    [Show full text]
  • Classen, Albrecht
    Slovenian 19TH Century literary responses to the Poetry of Lord Byron Byronism on the the Slovene Territory in the 19th century Igor Maver University of Ljubljana [email protected] https://dx.doi.org/10.12795/futhark.2011.i06.09 Abstract The article examines the influence of lord Byron's poetry through the translations into the Slovenian language in the 19th century. Byron is analyzed through the translations and cultural mediation of the poets dr. France Prešeren, Jovan Vesel Koseski and Josip Stritar, who all, particularly Prešeren, contributed to the development of the Slovenian Romantic Revival movement and Slovenian literature in its own right within the Habsburg and later the Austro-Hungarian monarchy. Lord Byron's poetry enabled Slovenian poets and translators to articulate their own national/political identification within the multinational empire. Keywords: English romanticism, lord Byron, poetry translation, the Habsburg monarchy Studying verse translation always means being aware of the many parallel processes that shape a culture at a given point of time, taking into account the economic, political, social and “metaphysical” needs implicit in the choice of texts for translation and consequent cultural dissemination. This dimension has been all too often ignored in investigations of various translation processes, even though it would substantially enrich the general knowledge of a cultural history (Bassnett 1991; Maver 1991), for the role of cultural exchange and cultural diffusion by verse translation is undeniable. This study is based on the Futhark 6 (2011) Recibido 01/03/2010 ISSN 1886-9300 Aceptado: 09/07/2010 194 results of my detailed research of 19th century byronism in the Slovene cultural space (Maver 1989; 2005), concentrating on the metalinguistic complexity of a particular verse translation into the target language and its significance in a metatextual sense in terms of a modified cultural understanding and valuation of Byron’s originals.
    [Show full text]
  • The Dashes in Manfred
    The dashes in Manfred Jane Stabler Date of deposit 19 07 2019 Document version Author’s accepted manuscript Access rights © 2019, the Author. This work is made available online in accordance with the publisher’s policies. This is the author created, accepted version manuscript following peer review and may differ slightly from the final published version. Citation for Stabler, J. (2019). The dashes in Manfred. Romantic Circles published version Praxis. June 2019. Link to published https://romantic-circles.org/praxis/manfred/praxis.2019.manfred.stabler.html version Full metadata for this item is available in St Andrews Research Repository at: https://research-repository.st-andrews.ac.uk/ 1 The dashes in Manfred – Jane Stabler, University of St Andrews “The Dashes in Manfred” examines the ways in which one aspect of Byron’s manuscripts has been translated by his editors. The dash is one of the most distinctive and controversial features of Byron’s writing and is the vehicle for the silent part of his voice. Like many other editors, I think that accidentals can be substantive. In this paper, I look at the cultural associations of the dash, its translation from manuscript into print in Byron’s particular case, and the different versions of Manfred that come into sight (and hearing) if we use Byron’s manuscripts as a musical score. In the opening scene of the play, Manfred tells the spirits to appear “in your accustom’d forms” (I. i. 180).1 In response, they ask him to “choose a form –” (I. i. 183), and Manfred replies: “I have no choice” (I.
    [Show full text]
  • Indeterminacy in Some of Shelley's Major Poems: a Critical Discussion
    Durham E-Theses Indeterminacy in some of Shelley's major poems: a critical discussion Magarian, Barry How to cite: Magarian, Barry (1993) Indeterminacy in some of Shelley's major poems: a critical discussion, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/5719/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ABSTRACT BARRY MAGARIAN INDETERMINACY IN SOME OF SHELLEY'S MAJOR POEMS: A CRITICAL DISCUSSION Ph.D. 1993 This thesis examines a selection of Shelley's major poems in order to delineate the way they invite and resist interpretation. I argue that Shelley's reluctance to supply simplistic meanings is bound up with his search for truth and symptomatic of intellectual honesty. Shelley's texts call upon the reader's responses in order to bring their meanings into focus. These meanings are dynamically provisional.
    [Show full text]