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Books : Literature & Fiction : Authors, A-Z : ( S ) : Shelley, Percy Bysshe
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Rich selection of 123 poems by 6 great English Romantic poets: William Blake (24 poems), William Wordsworth (27 poems), Samuel Taylor Coleridge (10 poems), Lord Byron (16 poems), Percy Bysshe Shelley (24 poems) and John Keats (22 poems). Introduction and brief commentaries on the poets.
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This second edition is based on the authoritative texts chosen by the editors from their scholarly edition of "The complete Poetry of Percy Bysshe Shelley". Each selection has been re-edited, and the order of the poems re-arranged, inlight of re-dating or other reconsiderations. All headnotes are new or updated and many footnotes have been added, replaced or revised. The "Criticism" section reflects the recent renaissance in Shelley studies, the greatest renaissance since 1870-92. All 23 essays are new to the second edition, amongst which include the work of: Harold Bloom, Stuart Curran, Annette Wheeler Cafarelli, Michael Ferber, James Chandler and Susan J. Wolfson. A chronology and updated selected bibliography and an index of titles and first lines are also included.
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Poetry by definition, achieves its effects by rhythm, sound patterns and imagery. One of the most popular areas of audiobooks -- spoken poetic form -- evokes emotions and sensations by bringing the voice of the poet to life in an appropriately intimate way, directly to the ear and mind of the listener. This anthology contains the works of some of the greatest poets of the Romantic Age, including Blake, Wordsworth, Shelley, Coleridge, Keats, Byron and Clare.
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Shelley: The Pursuit is the book with which Richard Holmes—the finest literary biographer of our day—made his name. Dispensing with the long-established Victorian picture of Shelley as a blandly ethereal character, Holmes projects a startling image of "a darker and more earthly, crueler and more capable figure." Expelled from college, disowned by his aristocratic father, driven from England, Shelley led a life marked from its beginning to its early end by a violent rejection of society; he embraced rebellion and disgrace without thought of the cost to himself or to others. Here we have the real Shelley—radical agitator, atheist, apostle of free love, but above all a brilliant and uncompromising poetic innovator, whose life and work have proved an essential inspiration to poets as varied as W.B. Yeats and Allen Ginsberg.
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Percy Bysshe Shelley (1792-1822) was a Romantic poet of radical imaginings, living in an age of change. His tempestuous life and friendship with Byron, and his tragically early death, at times threatened to overwhelm his legacy as a poet, but today his standing as one of the foremost English authors is assured.
This freshly edited collection--the fullest one-volume selection in English--includes all but one of the longer poems, from Queen Mab onwards, in their entirety. Only Laon and Cythna is excerpted, in a generous selection. As well as works such asPrometheus Unbound, The Mask of Anarchy, and Adonais, the volume includes a wide range of Shelley's shorter poems and much of his major prose, including A Defence of Poetry and almost all of A Philosophical View of Reform. Shelley emerges from these pages as a passionate and eloquent opponent of tyranny and a champion of human possibility.
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Zastrozzi, Shelley’s first published novel, is a work of pure Gothic fantasy, offering many glimpses of the author’s nascent poetic genius. Zastrozzi, the arch-villain of the tale, is sworn to avenge the wrongs done to his mother. Prepared to go to any lengths to execute his horrific plans, he enlists the help of the willing Matilda. Together, they vow to destroy Verezzi and Julia, the subjects of their wrath, and embark upon a fateful chain of events that can lead only to catastrophe.
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Shelley's work has been criticized for its didacticism and undisciplined emotionalism. But essentially, he was a poet of ideas and in his search for truth and original human perfection, Shelley was inspired as much by the Greek poets and philosophers, particularly Plato, as by the radicalism of his own age. Above all, his great gift was his lyricism and his verse comes as near to music as poetry can.
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The Cenci was a verse drama written in the summer of 1819 by Percy Bysshe Shelley. It was inspired by a real Italian family, the Cencis (especially Beatrice Cenci). Due to its theme of incest the play was considered unperformable in its day , and it was not performed in London until 1922. Later it was included in the Harvard Classics as one of the most important and representative works of the western canon
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This Prestwick House Literary Touchstone Classic includes a glossary and reader's notes to help the modern reader more fully appreciate the richness and unique vision of these Romantic innovators. When, in 1798, The Rime of the Ancient Mariner and other Romantic poems were published in Lyrical Ballads, the book did not immediately capture the public's imagination. Today, however, most modern critics consider the collection extremely important and influential-it ushered in what came to be known as the English Romantic Era in poetry and moved from the contrived and intellectual poetic language of the Enlightenment to a celebration of the simple, the pure, and the natural. The poems in this anthology represent, not necessarily the most famous, but certainly the best poetry produced by the six great English Romantic poets-Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats. These twenty-two poems reveal the heights of ecstatic inspiration, the depths of grief and utter desolation, and the ideologies of these mystics, revolutionaries, and free thinkers. Mini-biographies of the poets accompany their works and tell the stories of the fascinating, and often scandalous, lives of the modern world's first true literary celebrities
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Witty, sexy and radiantly beautiful, the Shelley translation of Plato's great Dialogue on Love, The Banquet (or The Symposium) is by far the best in the English language. It has been described as conveying much of the vivid life, the grace of movement, and the luminous beauty of Plato -- the poetry of a philosopher rendered by the prose of a poet. Although a masterpiece in its own right, the translation was suppressed and then bowdlerized for well over a century. In 19th century Britain, male love at the heart of the dialogue was unmentionable. The Banquet and Shelley's accompanying essay, A Discourse on the Manners of the Antient Greeks, were not published in their entirety until 1931, and then in an edition of 100 copies intended for private circulation only. For many years, the Shelley translation has been unobtainable, new or used. Pagan Press now offers a new edition, which is complete and authentic. In terms of both typography and editing, it is the most readable edition ever published.
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Leaving no stone unturned in this illuminating portrait of Byron and Shelley's formative years, Ian Gilmour's entertaining dual biography explores the early lives of these two rebellious poets as they pursued freedom from traditional authority—in poetry, in politics, and in love. Born at a time of political and intellectual upheaval, the two well-born heretics were at ideological odds with the establishment even as boys. During their brief stints at university—Shelley was expelled from Oxford after publishing The Necessity of Atheism, and at Cambridge Byron concentrated mostly on gambling and whoring—they developed a fervent mutual hatred of persecution, inequality, and compulsory religion, quite to the shock of their fellow aristocrats. Their embrace of revolutionary ideals manifested itself, too, in their travels abroad, youthful love affairs, and early accomplishments in the literary arena. The twenty-four-year-old Byron became an immediate sensation upon the publication of Childe Harold's Pilgrimage ("I awoke one morning and found myself famous"), but the prolific Shelley would not "become [a] star among the stars of mortal night," as he put it, until after his death. Black-and-white illustrations add to this impressive work, charting the careers of these two revolutionary poets who came to epitomize the Romantic Age.
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Percy Bysshe Shelley endures today as the great Promethean bard of the High Romantic period who is best remembered for extolling the sublime and affirming the possibility of transcendence.
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From Ann Wroe, a biographer of the first rank, comes a startlingly original look at one of the greatest poets in the Western tradition.
Being Shelley aims to turn the poet's life inside out: rather than tracing the external events of his life, she tracks the inner journey of a spirit struggling to create. In her quest to understand the radically unconventional Shelley, Wroe pursues the questions that consumed the poet himself. Shelley sought to free and empower the entire human race; his revolution was meant to shatter illusions, shock men and women with new visions, find true love and liberty—and take everyone with him. Now, for the first time, this passionate quest is put at the center of his life. The result is a Shelley who has never been seen in biography before.
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This major biography of Shelley, England's most radical and controversial Romantic poet, is the first to appear in thirty years. Informed by the author's extensive research, psychological insight, and recent scholarship on Shelley and his circle, the biography stresses the intimate relationship between the poet's writing and his complex personality.
James Bieri draws upon his dual background as a Shelley scholar and a psychologist to create a compelling narrative of Shelley's multifaceted life. Shelley's personality transcends any entreaty either to see it "plain" or to be labeled with a clinical diagnosis. Remarkably resilient, he was continually creative despite intervals of depression and periodic, hallucinatory panic attacks. Fascinated by the human psyche, he incorporated into his poetry his own self-analysis, including a remarkably sophisticated theory of love that provided the title to his most powerful erotic poem, Epipsychidion.
Bieri also probes Shelley's numerous emotional, romantic, and familial entanglements. Based on the author's twenty years of research, the book includes new information on the discovery of Shelley's older illegitimate half-brother; important letters of his father and grandfather; his mother's early life, her letters about young Shelley, and her major influence upon Shelley; the first published portrait of Sophia Stacey, who beguiled Shelley in Florence; and further evidence on Shelley's secretly adopted Neapolitan infant.
This biography offers a sympathetic and nuanced view of Shelley's tumultuous life, personality, and poetry.
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A milestone in literary scholarship, the publication of the Johns Hopkins edition of The Complete Poetry of Percy Bysshe Shelley makes available for the first time critically edited clear texts of all poems and translations that Shelley published or circulated among friends, as well as diplomatic texts of his significant incomplete poetic drafts and fragments. Edited upon historical principles by Donald H. Reiman and Neil Fraistat, the multi volume edition will offer more poems and fragments than any previous collective edition, arranged in the order of their first circulation. These texts are followed by the most extensive collations hitherto available and detailed commentaries that describe their contextual origins and subsequent reception. Rejected passages of released poems appear as supplements to those poems, while other poetic drafts that Shelley rejected or left incomplete at his death will be grouped according to either their publication histories or the notebooks in which they survive.
Volume One includes Shelley's first four works containing poetry (all prepared for publication before his expulsion from Oxford), as well as "The Devil's Walk" (circulated in August 1812), and a series of short poems that he sent to friends between 1809 and 1814, including a bawdy satire on his parents and "Oh wretched mortal," a poem never before published. An appendix discusses poems lost or erroneously attributed to the young Shelley.
"These early poems are important not only biographically but also aesthetically, for they provide detailed evidence of how Shelley went about learning his craft as a poet, and the differences between their tone and that of his mature short poetry index a radical change in his self-image... The poems in Volume I, then, demonstrate Shelley's capacity to write verse in a range of stylistic registers. This early verse, even in its most abandoned forays into Sensibility, the Gothic, political satire, and vulgarity -- perhaps especially in these most apparently idiosyncratic gestures -- provides telling access to its own cultural moment, as well as to Shelley's art and thought in general." -- from the Editorial Overview
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Treasury of 37 well-known and representative poems by great Romantic poet includes "Ode to the West Wind," "To a Skylark," "Adonais," "Ozymandias," "Hymn to Intellectual Beauty," many more. Lists of titles and first lines.
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Writing to his publisher in 1813, Shelley expressed the hope that two of his major works "should form one volume"; nearly two centuries later, the second volume of the Johns Hopkins edition of The Complete Poetry fulfills that wish for the first time. This volume collects two important pieces: Queen Mab and The Esdaile Notebook. Privately issued in 1813, Queen Mab was perhaps Shelley's most intellectually ambitious work, articulating his views of science, politics, history, religion, society, and individual human relations. Subtitled A Philosophical Poem: With Notes, it became his most influential -- and pirated -- poem during much of the nineteenth century, a favorite among reformers and radicals. The Esdaile Notebook, a cycle of fifty-eight early poems, exhibits an astonishing range of verse forms. Unpublished until 1964, this sequence is vital in understanding how the poet mastered his craft.
As in the acclaimed first volume, these works have been critically edited by Donald H. Reiman and Neil Fraistat. The poems are presented as Shelley intended, with textual variants included in footnotes. Following the poems are extensive discussions of the circumstances of their composition and the influences they reflect; their publication or circulation by other means; their reception at the time of publication and in the decades since; their re-publication, both authorized and unauthorized; and their place in Shelley's intellectual and aesthetic development.
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In 1822, after having been discharged from the British navy, deserted by his wife, and as good as disowned by his father, the thirty-two year old Edward John Trelawny set off for Italy to make the acquaintance of his hero, Lord Byron. "I have met today the personification of my Corsair," Byron wrote in a letter. "He sleeps with the poem under his pillow, and all his past adventures and present manners aim at this personification." But though Byron enjoyed the company of his admirer, and was eventually to embark with him on his ill-fated final expedition to aid in the War of Greek Independence, he had grown guarded and ironical with age, and the perfect meeting of minds that Trelawny had envisioned was not to be. Shelley, however, enchanted him. In the months before his death at sea, he and Trelawny were frequent companions, and the young poet emerges from these pages in all his splendid carelessness and otherworldly concentration.