Shelley's The Triumph of Life


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The Triumph of Life


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The Triumph of Life was the last major work by Percy Bysshe Shelley before his death in 1822. The work was left unfinished. Shelley wrote the poem at Casa Magni in Lerici, Italy in the early summer of 1822. He modelled the poem, written in terza rima, on Petrarch's Trionfi and Dante's Divine Comedy. Shelley was working on the poem when he was accidentally drowned on 8 July 1822 during a storm on a voyage from Leghorn. The poem was first published in the collection Posthumous Poems (1824) published in London by John and Henry L. Hunt which was edited by his wife Mary Shelley, who emphasised the importance of the work. The theme of the poem is an exploration of the nature of being and reality. For Shelley, life itself, the "painted veil" which obscures and disguises the immortal spirit, is a more universal conqueror than love, death, fame, chastity, divinity, or time, and, in a dream vision, he sees this triumphal chariot pass, "on the storm of its own rushing splendour," over the captive multitude of men. Ultimately, natural life corrupts and triumphs over the spirit.










The Masque of Anarchy


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A Defence of Poetry


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The Oxford Handbook of Percy Bysshe Shelley


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The book is an authoritative and up-to-date collection of original essays on one of the greatest of all English poets, Percy Bysshe Shelley. It covers a wide range of topics, exploring Shelley's life and work from various angles.




The Complete Poetry of Percy Bysshe Shelley


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Winner of the 2013 Richard J. Finneran Award, Society for Textual ScholarshipOutstanding Academic Title, Choice "His name is Percy Bysshe Shelley, and he is the author of a poetical work entitled Alastor, or the Spirit of Solitude.” With these words, the radical journalist and poet Leigh Hunt announced his discovery in 1816 of an extraordinary talent within “a new school of poetry rising of late.” The third volume of the acclaimed edition of The Complete Poetry of Percy Bysshe Shelley includes Alastor, one of Shelley’s first major works, and all the poems that Shelley completed, for either private circulation or publication, during the turbulent years from 1814 to March 1818: Hymn to Intellectual Beauty, Mont Blanc, Laon and Cythna, as well as shorter pieces, such as his most famous sonnet, Ozymandias. It was during these years that Shelley, already an accomplished and practiced poet with three volumes of published verse, authored two major volumes, earned international recognition, and became part of the circle that was later called the Younger Romantics. As with previous volumes, extensive discussions of the poems’ composition, influences, publication, circulation, reception, and critical history accompany detailed records of textual variants for each work. Among the appendixes are Mary W. Shelley’s 1839 notes on the poems for these years, a table of the forty-two revisions made to Laon and Cythna for its reissue as The Revolt of Islam, and Shelley’s errata list for the same. It is in the works included in this volume that the recognizable and characteristic voice of Shelley emerges—unmistakable, consistent, and vital.




The Complete Poetry of Percy Bysshe Shelley


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Winners of an Honorable Mention from the Modern Language Association's Prize for a Distinguished Scholarly Edition 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.