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A study of Shelley's poetry, approaching it from the viewpoint of contemporary Jungian analytical psychology that incorporates the theories of Melanie Klein and D.W. Winnicott. Material that relates to the earliest stages of the ego's development - to the pre-Oedipal situation - are used.
First published in 2009. This book argues that the images of and allusions to music in Shelley’s writing demonstrate his attempt to infuse the traditionally masculine word with the traditionally feminine voice and music. This further extends to his even more fundamental desire to integrate the "object voice" with his own subjectivity. For Shelley, what plagues this integration is the prospect of losing both the poet’s authority and the subjectivity upon which it relies. This book asserts that the resultant deadlock and instability paradoxically becomes Shelley’s ultimate goal — creating a steady state of suspension that finally preserves both his authority and his humanity.
Madness and the Romantic Poet by James Whitehead Pdf
Madness and the Romantic Poet examines the longstanding and enduringly popular idea that poetry is connected to madness and mental illness. The idea goes back to classical antiquity, but it was given new life at the turn of the nineteenth century. The book offers a new and much more complete history of its development than has previously been attempted, alongside important associated ideas about individual genius, creativity, the emotions, rationality, and the mind in extreme states or disorder - ideas that have been pervasive in modern popular culture. More specifically, the book tells the story of the initial growth and wider dissemination of the idea of the 'Romantic mad poet' in the nineteenth century, how (and why) this idea became so popular, and how it interacted with the very different fortunes in reception and reputation of Romantic poets, their poetry, and attacks on or defences of Romanticism as a cultural trend generally - again leaving a popular legacy that endured into the twentieth century. Material covered includes nineteenth-century journalism, early literary criticism, biography, medical and psychiatric literature, and poetry. A wide range of scientific (and pseudoscientific) thinkers are discussed alongside major Romantic authors, including Wordsworth, Coleridge, Blake, Hazlitt, Lamb, Percy Bysshe Shelley, Keats, Byron, and John Clare. Using this array of sources and figures, the book asks: was the Romantic mad genius just a sentimental stereotype or a romantic myth? Or does its long popularity tell us something serious about Romanticism and the role it has played, or has been given, in modern culture?
Rivermen examines the mythic context and psychological dimensions of the river and its source through an investigation of the recurring motifs associated with the source in classical and English literature -the heroic quest, the river journey, and the naiad or muse. Frederic Colwell focuses on the writings of those redoubtable rivermen, the English Romantic poets. He explores poems by Wordsworth, Coleridge, Keats, and Shelley, showing that the image of the river is used in their work as a compelling archetype and a metaphor for the nature and process of the creative impulse. From the preface: "Unlike the rhythms of oceans, rivers have direction and a purposive flow. The river's will is always its own, not laid down by man, for whom the river passage demands a surrender to its will, its currents and eddies. To move with the flow is to course with time and change; to stand astride or view it from a height offers the prophetic stance by which we contemplate its entire passage, its past, present, and the brightening waters or rippling shoals ahead."
First published 1984. In a provocative study, this book argues that the problems posed by Shelley’s notoriously difficult style must be understood in relation to his ambivalence towards language itself as an artistic medium — the tension between the potential of language to mirror emotional experience and the recognition of it’s inevitable limitations. Through an exposition of Shelley’s idea of language, as reflected in his theoretical writings and individual poems, this book makes a strong case for his artistic worth. A definitive introduction to Shelley, useful for both scholars and newcomers, this book will be interest to students of literature.
Complementing recent feminist studies of female self-representation, this book examines the dynamics of masculine self-representation in nineteenth-century British literature. Arguing that the category "autobiography" was a product of nineteenth-century individualism, the author analyzes the dependence of the nineteenth-century masculine subject on autonomy or self-naming as the prerequisite for the composition of a life history. The masculine autobiographer achieves this autonomy by using a feminized other as a metaphorical mirror for the self. The feminized other in these texts represents the social cost of masculine autobiography. Authors from Wordsworth to Arnold, including Samuel Taylor Coleridge, Thomas De Quincey, John Ruskin, Alfred Tennyson, Robert Louis Stevenson, John Stuart Mill, and Edmund Gosse, use female lovers and family members as symbols for the community with which they feel they have lost contact. In the theoretical introduction, the author argues that these texts actually privilege the autonomous self over the images of community they ostensibly value, creating in the process a self-enclosed and self-referential "community of one."
Percy Bysshe Shelley (1792–1822) was one of the major Romantic poets and wrote what is critically recognised as some of the finest lyric poetry in the English Language. In this volume, the editors have selected the most popular, significant and frequently taught poems from the six-volume Longman Annotated edition of Shelley’s poems. Each poem is fully annotated, explained and contextualised, along with a comprehensive list of abbreviations, an inclusive bibliography of material relating to the text and interpretation of Shelley’s poetry, plus an extensive chronology of Shelley’s life and works. Headnotes and footnotes furnish the personal, literary, historical and scientific information necessary for an informed reading of Shelley’s richly varied and densely allusive verse, making this an ideal anthology for students, classroom use, and anyone approaching Shelley’s poetry for the first time; however the level and extent of commentary and annotation will also be of great value for researchers and critics.
The Poems of Shelley: Volume Four by Michael Rossington,Jack Donovan,Kelvin Everest Pdf
Percy Bysshe Shelley (1792-1822) was one of the major Romantic poets, and wrote what is critically recognised as some of the finest lyric poetry in the English language. This is the fourth volume of the five-volume The Poems of Shelley, which presents all of Shelley’s poems in chronological order and with full annotation. Date and circumstances of composition are provided for each poem and all manuscript and printed sources relevant to establishing an authoritative text are freshly examined and assessed. Headnotes and footnotes furnish the personal, literary, historical and scientific information necessary to an informed reading of Shelley’s varied and allusive verse. Most of the poems in the present volume were written between late autumn 1820 and late summer 1821. They include Adonais, Shelley’s lament on the death of John Keats, widely recognised as one of the finest elegies in English poetry, as well as Epipsychidion, a poem inspired by his relationship with the nineteen-year-old Teresa Viviani (‘Emilia’), the object of an intense but temporary fascination for Shelley. The poems of this period show the extent both of Shelley’s engagement with Keats’s volume Lamia, Isabella, The Eve of St. Agnes, and Other Poems (1820) — a copy of which he first read in October 1820 — and of his interest in Italian history, culture and politics. Shelley’s translations of some of his own poems into Italian and his original compositions in the language are also included here. In addition to accompanying commentaries, there are extensive bibliographies to the poems, a chronological table of Shelley’s life and publications, and indexes to titles and first lines. The volumes of The Poems of Shelley form the most comprehensive edition of Shelley’s poetry available to students and scholars.
The Romantic Sublime and Middle-Class Subjectivity in the Victorian Novel by Stephen Hancock Pdf
This study follows the aesthetic of the sublime from Burke and Kant, through Wordsworth and the Shelleys, into Thackeray, Dickens, Eliot and Hardy. Exploring the continuities between the romantic and Victorian "periods" that have so often been rather read as differences, the book demonstrates that the sublime mode enables the transition from a paradigm of overwhelming power exemplified by the body of the king to the pervasive power of surveillance utilized by the rising middle classes. While the domestic woman connected with the rise of the middle class is normally seen as beautiful, the book contends that the moral authority given to this icon of depth and interiority is actually sublime. The binary of the beautiful and the sublime seeks to contain the sublimity of womanhood by insisting on sublimity's masculine character. This is the book's most important claim: rather than exemplifying masculine strength, the sublime marks the transition to a system of power gendered as feminine and yet masks that transition because it fears the power it ostensibly accords to the feminine. This aesthetic is both an inheritance the Victorians receive from their romantic predecessors, and, more importantly, a broad historical phenomenon that questions the artificial boundaries between romantic and Victorian.
Wordsworth, Hemans, and Politics, 1800–1830 by Benjamin Kim Pdf
Wordsworth, Hemans, and Politics, 1800–1830: Romantic Crises is a study of the political lives of William Wordsworth and Felicia Hemans between 1800 and 1830. Tracing trajectories from the first decade of the nineteenth century to the meeting of the two authors in 1830, Wordsworth, Hemans, and Politicsargues that the dominant paradigm for their political thought was that of “crisis.” Obsessed with the mysterious connections between the individual, the home, and the state, Wordsworth and Hemans portrayed all three in a common crisis that would be resolved in the future. Both writers articulated historical moments when the tenuousness of the present society gave glimpses into a future one. Building on and reacting to the strong critical statements of the 80s and 90s that tended to see the political views of Wordsworth and Hemans as formed by personal crises, Wordsworth, Hemans, and Politicsargues that far from being tied to personal circumstances, crises were staged by Wordsworth and Hemans to argue for clear political positions on a wide variety of topics. Because crises come with claims of singularity, the use of crises to explain historical change finds its origin in revolutionary ideology. But because imagined crises proliferated throughout the Romantic period, crises no longer signaled earth-shattering change, but business as usual. The ideology of crises carried the tension between revolution and modernity that haunted the Romantic period. Wordsworth, Hemans, and Politicspresents revisionary readings of major works and contributes to long-standing discussions on a number of different topics: dissenting politics, poor relief, gender roles in peace and wartime, and the nature of historical memory, to name a few. By focusing on the dramatic nature of crisis narratives, Wordsworth, Hemans, and Politicsresponds to master narratives of the Romantic period that limit and simplify political expression. The book restores complexity to the political lives of two poets who fashioned revolutionary ideology for their own ends.
The Radical Ecology of the Shelleys by Colin Carman Pdf
The Radical Ecology of the Shelleys: Eros and Environment is the first full-length study to explore a radically queer ecology at work in writings by Percy Bysshe Shelley and Mary Wollstonecraft Shelley as their discussions of nature and the natural consistently link ecology and erotic practice. Initiated by Timothy Morton in 2010 as a hybrid of two schools of thinking about nature, queer ecology combines the alertness of environmentalists to constructions of the "natural" with efforts of sexuality scholars to denaturalize identity and to expose sexuality as a culture-bound construct. Conceptions of place are central to this investigation not only because an attachment to place is traditionally thought to be the ontological basis of all environmental consciousness (e.g. think-globally-act-locally) but because these two Romantic writers underscore the dynamic interaction between a person’s natural surroundings and his/her interpersonal attachments. The poetical and prose writings of the Shelleys claim our special attention because of their unusual conception of the oikos, the etymological root of "ecology," to mean both local grounds and the social, often domestic, places in which people dwell and desire. The overarching thesis of this book asserts that proto-ecological theories in Romantic-era England cannot be understood separately from discourses related to married/family life, and the texts considered demonstrate the comingling of earthly and erotic enjoyment. The issues raised by Eros and Environment are fundamental not only to literary and queer history but to all humanistic studies. They render the study of nature from a queer perspective a matter of intense interest to scholars in numerous disciplines ranging from ecocriticism and the natural sciences, including climate studies, to feminist criticism and sexuality studies.
Iconoclastic Departures by Mary Wollstonecraft Shelley Pdf
"Iconoclastic Departures contributes to the ongoing reevaluation of Mary Shelley as a professional author in her own right with a lifelong commitment to the development of her craft. Many of its essays acknowledge the importance of her family to her work - the steady theme of much earlier scholarship - but for them the family has become an imperative socio-psychological context within which to better understand her innovations in the many literary forms she worked with during her career: journals, letters, travelogues, biographies, poems, dramas, tales, and novels." "The book's essays also convey the conviction that even if Mary Shelley, after Percy Shelley's death, gradually retired from public life as his relatives wished, she retained a resiliently resistant attitude toward many of the established orders of her day, easily recovered by a careful look beyond her "feelings" to the productions of her literary "imagination."" "The Mary Shelley who inhabits this three-part collection of portraits is a radical, even if a quiet radical. Part 1 focuses on various moments in her construction of her authorial identity; parts 2 and 3 anatomize the nature of her resistance and her innovation. She is presented as a writer who reappropriates authority for herself, who redesigns genres, who redefines gender, who rewrites history and biography, who revises her readers' aesthetic expectations, and who protests cultural imperialism at home and abroad. It seems significant to the contributors to this volume that this new, radical Mary Shelley was not invented by a pointed call for papers but emerged spontaneously from an open invitation to scholars working in various corners of the English-speaking world."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
British Romanticism and the Critique of Political Reason by Timothy Michael Pdf
Romantic writers responded to the challenges of reform and revolution by rethinking the scope of political reason. What role should reason play in the creation of a free and just society? Can we claim to know anything in a field as complex as politics? And how can the cause of political rationalism be advanced when it is seen as having blood on its hands? These are the questions that occupied a group of British poets, philosophers, and polemicists in the years following the French Revolution. Timothy Michael argues that much literature of the period is a trial, or a critique, of reason in its political capacities and a test of the kinds of knowledge available to it. For Wordsworth, Coleridge, Shelley, Burke, Wollstonecraft, and Godwin, the historical sequence of revolution, counter-revolution, and terror in France—and radicalism and repression in Britain—occasioned a dramatic reassessment of how best to advance the project of enlightenment. The political thought of these figures must be understood, Michael contends, in the context of their philosophical thought. Major poems of the period, including The Prelude, The Excursion, and Prometheus Unbound, are in this reading an adjudication of competing political and epistemological claims. This book bridges for the first time two traditional pillars of Romantic studies: the period’s politics and its theories of the mind and knowledge. Combining literary and intellectual history, it provides an account of British Romanticism in which high rhetoric, political prose, poetry, and poetics converge in a discourse of enlightenment and emancipation.