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.







Shelley's The Triumph of Life


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The Masque of Anarchy


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The Life of Percy Bysshe Shelley


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Drawing especially on the many scholarly discoveries of recent years, this biography examines the life – and death ‒ of one of the greatest Romantic poets. Based on sceptical historical investigation and featuring an in-depth look at Shelley’s personal, financial and familial situation, it builds a compelling narrative about a controversial writer and thinker whose personal and philosophical convictions caused much turmoil during his short yet extraordinarily influential life. The Life of Percy Bysshe Shelley reveals sides of the author not often studied. It looks at Shelley as an intensely loving, thoughtful and responsible man and father, who (except in one case) took exemplary care of the women he loved and who fell in love with him. It shows how significant his status as a gentleman was; it examines his poetry, letters, notebooks and discursive prose so that readers can comprehend the most important concerns of his life; it explores the financial and medical grounds for his years of exile; it is also the first biography to take account of his recently discovered early long poem the Poetical Essay on the Existing State of Things. This biography offers readers a unique look at a famous poet, scholar, gentleman, democrat, atheist and tragic icon of English Romanticism.




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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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.




Red Shelley


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